tóm tắt tanh thơ khuê phụ đời đường

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INTRODUCTION
1. Rationale
1.1. Until now, there have been many studies, exploring the beauty of
Tang poetry; however, it is still a mysterous world. Selecting this research
topic, we wish to explore “a fertile land” that contains many interesting things
hidden in the vast world of Tang poetry.
1.2. The Poems about the women was interested but so far these studies
have not fully agreed on the name, the concept of the connotation, so there are
still a few points need to add.
In-depth study of this type will help the readers who love Tang poetry
have a full and deep look about the rich appearance of Tang poetry.
1.3. Vietnam, as well as some Oriental peoples, has a close relationship
with Chinese culture, and in the process of building his poetic language has
more or less receptive to the influence of Tang poetry. So this verse studies
have also the basis for further research in the subject of poetry and literature in
Vietnam.
1.4. Currently, Tang poetry is still taught in the curriculum at many
universities, colleges and high schools in Vietnam. With implementation of this
theme we hope will add a certain amount of knowledge about Tang poetry,
especially on the subject of poetry for practical research and learning and
teaching at the current schools.
2. Aims and objectives
2.1. Interpreting the specific factors that make Tang poetry flourish in the
poems about the lonely women.
2.2. Studying the characteristics about the content and the art of poetry
about the lonely women to strengthen its position and special mark of this type
in the system of Tang poetry.
2.3. Affirming the growth and progress in cognitive and emotional
development of the Tang Dynasty poet and human life through the exploration
of the inner world with many hidden desires and memories of the lonely

women.
3. The scientific and practical meaning of the study:
3.1. “The lonely women” is a topic that appears early on Chinese ancient
poetry. Just as the subject: Saying goodbye, nature… were mentioned in the
previous period, it is especially flourishing in Tang dynasty. There were a lot of
famous poets such as Ly Bach, Do Phu, Bach Cu Di, Vuong Xuong Linh
who took the topic of the lonely women as the subject compositions and created
many valuable works. Therefore, to have a deep awaraness about Tang poetry,
it must learn this particular type.
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3.2. Studying the lonely women in Tang poetry could see a breakthrough
in terms of awareness, depth of thought, humanitarian sentiments of the classic
poets who lived far from us over a thousand years.
On the other hand, in this verse, there are a few directly lyrical
subjects, mainly are immersively lyrical subject in “the male poets composing
the saying of the women who live in the lonely room” (male poet who wrote the
words instead of the situation of the women). In the Vietnamese literature, there
are many similar cases; from analyzing this verse may suggest the similarities
works in Vietnam.
3.3. When the life of modern man has many things to pay attention, we
also realize that the "concerns" of the lonely women are increasingly empathy
and sharing. Therefore, exploring the lives of these women through the ancient
Tang poems is considered as a way to contemplate the value of human life.
4. Scope of the study
4.1. The scope of the survey text:
Regarding the scope of lonely women poetry, we based on how to
conceptualize the lonely women (闺妇.) Here, iconic women characters are not
the women in common, it is the women who are married (wife). The main
features of the character’s inner world with the exquisite melody are plaintive
sadness. The root cause of these sentiments bower is the woman has to live in

special circumstances such as the couple separated or divorced, or the woman
was betrayed, abandoned, lived alone in the lonely room.
In limited subject, we synthetize the research with 234 poems about
image of the women, from the collection of Tang poems selected and translated
in Vietnam. In addition, from some suggestions of research that related to this
verse, we consult some of the original Chinese articles in Full Tang
Poetry, Banh Dinh Cau (彭 定 求, 1960
全唐

诗
).
4.2. The scope of the research topic.
Researching the lonely women poetry is very wide and it is a meticulous
work, so we only focus on very basic issues as:
- Content of the key ideas of the lonely women poetry through
“decoding” the subject's characteristic lyrical and poetic character.
- Characteristic art form of poetry in personality of the lonely woman is
an array of topics in Tang poetry.
5. Methods of the study
We made this thesis is based on the combination of two approaches:
education and cultural poetics in which enforcement approach from the
mainstream school. Simultaneously, we use a number of methods:
- Interdisciplinary method.
- Methods of statistics and classification.
- Methods of analysis and synthesis.
- Methods of comparison.
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6. Overview of the study
Apart from the introduction, conclusions, references, appendices, the
main contents of the thesis are set out in four chapters:

Chapter 1: An overview of research issues
Chapter 2: The prosperity of the lonely women poems in Tang Dynasty
poetry
Chapter 3: The subject lyrical of the lonely women poems in Tang
Dynasty poetry
Chapter 4: The art of describing lonely women characters in Tang
Dynasty poetry

Chapter 1
AN OVERVIEW OF RESEARCH ISSUES
1.1. Researchs about the lonely women poems in China
1.1.1. About poems
The study of the lonely women poems started from Tang dynasty, through
the poems - research methods which is the most primitive of Tang poetry. In
Tang poetry collections, from large or small poems we can see more or less
about the lonely women side, however, just as individual poems as envidence
that represents a verse, a period or a particular poet. After that, the compiling
this particular recruitment was increasingly richer, by verse or by theme, stage
of development, according to the content, by author These recruitment editors
can create "infrastructure" for the study of poetry and artistic content.
1.1.2. About the name
The poems writing about the lonely women characters often
called women plaintive poetry (the women sadness in the private room), also
known as the women’s emotion (Emotional in the private room), also the
concept of limited women’s missing (wife’s missing). These names are relative,
because the feelings of the women not only private, not only resentment, but
also the nostalgia, so in their sayings always contained much sorrow and the
missing Several poems are classified women plaintive poem was cited when
discussing the women’s emotion poetry or the women’s missing poetry and
vice versa.

1.1.3. About the content and art
Duong Nhu Tuan (Ming dynasty) was the first person who discussed on
the content and art of the poems about ladies in boudoirs as a separated theme,
which is written in the book "Tang poetry analysis". Although without focusing
on typical characteristics of content and art or specific characters in this type of
poetry, the writer's comments and annotations on typical poems drew its
preliminary aspect.
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After May Fourth Movement, new scientific methods permeated in
China, scholars gradually broke out of the impressive critical comment
approach, started revising and editing documents systematically. Thenceforth,
there have a lot of wide and deep scientific theses and treatises about Tang
poetry, even under the interdisciplinary point of view.
The first should be mentioned are the general articles about the woman's
life in Tang poetry, in which also mentioned on the life (especially the spiritual
life) of the lonely women in boudoirs. Nevertheless, these articles only
generalized the women's images in Tang dynasty through Tang poetry
macroscopically; their shortages and loss in personal life as well as their
personal longings and needs weren't analyzed thoroughly. Some treatises
directly studied issues relating to the content and art of the poems about lonely
women in boudoirs under the popular name "Chinese gui-yuan poetry" (boudoir
lament poetry). However, these researches just considered "lonely women in
boudoirs poetry" from objective side, didn't have insightful analyses from
subjective side, especially from lyrical subject - a typical prosody of this sort of
poetry. We continue developing, contributing and solving the scientific missing
points by basing on the suggested and oriented issue during the process of
carrying out this thesis.
1.1.4. On typical poets of "lonely women in boudoirs poetry"
The image of lonely women in boudoirs came into a lot of Tang poets'
works, which helped them write valuable poems in their course of writing.

Therefore, while studying typical Tang poets, scholars could easily recognize
the important position of the poems about lonely women in boudoirs among
their other works. From approached materials, we found that researchers had a
united point of view: first, there were a large number of the poets who wrote
"lonely women in boudoirs poetry", from Early Tang to Late Tang there were
famous poets writing about this topic with lots of valuable poems. It can be
recorded that Li Bai and Bai Juyi were the poets who had the greatest number
of successful "lonely women in boudoirs poetry"
Although these are separated and unsystematic considerations, they still
helps readers have a insightful and comprehensive view of Tang boudoir lament
poetry.
1.2. Researches on "lonely women in boudoirs poetry" in Vietnam
1.2.1. About selections of poems
Like in China, in Vietnam there is not a selection of poems about women
in boudoirs. The poems about lonely women in boudoirs only appeared in
selections of typical Tang poems, which is associated with specific style of
poetry and poets. However, most of famous poems about lonely women in
boudoirs were translated into Vietnamese and introduced in Vietnam. Within
the range of existing materials, we counted 63 poems about the image of
women in boudoirs in Tang poetry being translated and introduced into
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Vietnam. The existence of poems about lonely women in boudoirs in
Vietnamese typical selections of poems helps to affirm its position in Tang
poetry.
1.2.2. About content and art of lonely women in boudoirs poetry
Tang poetry was introduced early into Vietnam and was noticed to study
on the first days they appeared in Vietnam, which is illustrated through its
features in the works of Middle Vietnamese poets. From Ly to Tran dynasty,
the poem "Khue oan" (laments in boudoir) of Tran Nhan Tong appeared with
the similar theme, motif and typical image to the Tang boudoir lament poetry,

then there were "Thu thanh" of Nguyen Binh Khiem and "Tale of Kieu" of
Nguyen Du. Especially, Dang Tran Con is considered the first person in
Vietnam who studied the most widely and deeply Tang poetry about lonely
women in boudoirs. Because without in-depth research, he could not absorb
creatively the ancient Chinese poetry, especially about Tang poetry to write his
immortal work "Chinh phu ngam" (Lament of the soldier's wife). From that
point, we have a consideration that when later researchers and scholars studied
gloss and commented on "Lament of the soldier's wife", they definitely have an
in-depth study about lonely women in boudoirs poetry of the ancient Chinese
poetry treasure, including Phan Huy Chu (Lich trieu hien chuong loai chi -
Categorized Records of the Institutions of Successive Dynasties), Lai Ngoc
Cang, Dang Thai Mai, Hoai Thanh. Especially, in the latest and quite completed
research on the relation between "Lament of the soldier's wife" of Dang Tran
Con and the ancient Chinese poetry, Professor Nguyen Khac Phi had a
meticulous study of the ancient Chinese poetry; poetry about women in
boudoirs was included. Therefore, he had insightful interpretation on the reason
why with the same topic about war, Tu Fu and Bai Juyi's works have less
impression than Li Bai's. Therefore, although without directly dealing with
poetry about lonely women in boudoirs, the research documents about "Lament
of the soldier's wife" of Vietnamese scholars and researchers brought us
precious materials to carry out this thesis.
Besides, content and art of lonely women in boudoirs poetry are often
mentioned in general introduction about Tang poetry, and specific poets in the
selections of poems. Some treatises such as Mai Thi Thanh Loan's (2006)
"separation in Tang poetry" mentioned on several poems about innermost
feelings of wife and husband in separation; the thesis of Nong Thi Nham (2009)
directly studied "Tang poetry about lonely women in boudoirs" in which some
aspects of content and art were talked about on the object side - the characters
in poems and in the scope of researching 45 translated poems in Vietnam.
1.2.3. Consideration on poems about lonely women in boudoirs of several

typical poets in Tang dynasty
Like in China, poems about lonely women in boudoirs were usually
mentioned when studying about specific poets. Most of the famous poems
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about lonely women in boudoirs of Li Bai, Tu Fu, Bai Juyi, Wang Changling
were translated into Vietnamese and studied in Vietnam. The scholars all
remarked that lonely women in boudoirs poetry are one of the topics in which
the morality and humanity of the poets were expressed the most obviously. One
of the typical representations of this type is Li Bai.
Chapter 2
THE POPULARITY OF THE WOMAN-IN-BOUDOIR POETRY
DURING THE TANG DYNASTY
2.1. The Tang society with the popularity of the woman-in-boudoir poetry
2.1.1 The society context forming “woman in boudoir” phenomenon
2.1.1.1 War, military rule and warrior’s wife during the Tang dynasty
There are a large number of warrior’s wives because of the long war over
hundred years during the Tang dynasty. That means there created the need for
soldiers, which estimated from Duong Thai Tong to Cao Tong dynasty, the
number of soldiers having been appointed reached to hundred millions.
In summary, war and military dictatorial policies are the main reasons
leading to the present of a large number of warrior’s wives who had to live in
loneliness and widowhood during the Tang dynasty. The grief lament of the
warrior or warrior’s wife is no longer limited in a family; it becomes the story
of Tang society. And truthfully, it also becomes the story in poetry.
2.1.1.2 The development of Tang economy and businessmen’s wives
The new noisy urban areas together with traditional industry and trading
development reveal the busy trading activities during the Tang dynasty.
Therefore, during this period, the number of businessmen (those who sell
things) is very crowded. They are from not only noble but also small business
(those who run small business) class. Tang territory is very large with tough

river or mountain, difficult transportation; which it takes months or even years
for distant businessmen to come back home together with leaving a message.
As a result, their wives may not live under the deprivation physically but they
have to suffer from the torment and misery mentally. The husband is out of
home over times, while the wife is lonely and sad in the empty room. Like
those who are the warrior’s wives far away, their youth passes meaninglessly
when they are waiting. Meanwhile, businessmen are ones who “appreciate
profits than separation”, which makes the wife not only suffer the loneliness but
also experience the anxiety and fear of being betrayed. That is not only the
story of a family but also the remarkable point in this contemporary society.
2.1.1.3 Fame and wealth point of view, traveling style during the Tang dynasty
and the wives of travelers, candidates and mandarins
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Sharing the same condition as wives of warriors or businessmen, the large
number of wives of distant mandarins, addicted-to-examination candidates and
travelers (those who like traveling everywhere) who have to be on their own in
lonely rooms is also a typical feature in Tang dynasty. This is resulted from the
open examination policy and the success point of view during the Tang
dynasty.
During the Tang dynasty, the ways to become a mandarin are mainly
from taking part in examinations, convening or participating in shogunates.
Then, especially in the most prosperous period under the Tang dynasty, the
development and civilization create many opportunities for people to make their
ideals come true. However, in order to succeed, many people have to leave their
hometown; meanwhile, ways to become a mandarin are not always easy, yet
have great difficulties which make it hard to be true. Consequently, their wives,
still young majorly, have to suffer the sadness of separation and let their youth
pass meaninglessly. Another reason making many young wives live far from
their husbands is the traveling style, which is very popular during the Tang
dynasty.

2.1.1.4 The social standing of Tang woman generally and abandoned woman
specifically
The social standing of woman in Chinese feudal society is quite low.
Until the Tang dynasty with the society development, the position of woman is
raised dramatically. However, the idea of “respecting the men” still remains
when man holds every right within a marriage. The law and the rule in society –
they all do not protect the woman.
In addition, under the Tang dynasty, when the society is prosperous, the
economy is developed, the culture is open; man has many opportunities to have
outside relations or to travel to many places to broaden their knowledge. Hence,
they also have many chances to abandon their old wife in order to seek for new
happiness. Although the husband is not far from home, the loneliness always
exists; it always obsesses the woman in the lonely boudoir. The story of
abandoned woman is popular in ancient Chinese society; it even appears more
under the Tang dynasty because of many typical social reasons. It also becomes
a social matter which is interested in by many people with progressive outlook
including many writers.
2.1.2 The conditions fostering the development of the woman-in-boudoir
poetry during the Tang dynasty
2.1.2.1. The development of culture
The development of culture with open and tolerant cultural policies as
well as the applying of accepting policies in school of thoughts and three
religions (Confucianism, Buddhism, Taoism) make Tang mental life develop
quite freely and can absorb many sides deeply. Being brought up in such a good
atmosphere, poets under the Tang dynasty are free to write and to express their
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emotions and thoughts about life and people. They pack all sounds, images and
rhythms of life into their poems. Therefore, such secret feelings of the woman
in boudoir like sorrow for being far from the husband, desire for happiness,
mournful accusation against the unfairness of the feudal system and rights of

man are precisely and deeply expressed in poems which are received much
sympathy in society.
On the other hand, under the Tang dynasty, the development of
examinations, education and culture make the academic standard of society
becomes more improved as well as expand the poetry public places. Such a
social environment also helps to spread and extend this lonely-woman poetry.
2.1.2.2. Maturation in cognitive and emotional Tang Dynasty poet
Tang poets not only collected the traditional cultural values but also
received valuable new cultural era, the broad-minded soul, expand awareness,
and know how to respect the value of human life, to appreciate women. The
living mode of poor Tang artists appreciated penetration, practical experience,
writers escape from the court for traveling everywhere, even feeling optimistic
in the border areas, battlefield to find out the way of living.
With much personal experience, in conclusion, penetrating the real-life
deeply, widely and sentiment "man’s best time" of the Tang Dynasty poets
made themselves listen, empathize, had the same feeling with the unfortunate
lonely women, urged them to write poems on this theme with the deepest and
most touching way. That was an important reason for the lonely women poetry
to be able to come up with the general public which had stubborn vitality, was
widely circulated.
2.2. Lonely women Poetry in Chinese Poetic Flow
2.2.1. Lonely women poetry in Odes
If the Classic of Poetry was seen as the original source of Chinese poetry,
the Classic of Poetry could also be said as the original source of lonely women
poetry. In the Classic of Poetry, the lonely women poetry was mainly
concentrated in Style (18 poems) and little elegance (3 poems). The best poems
expressed the love remembrance, misery because of the separation in life and
parting in death of lonely women in boudoir as Bó Xĩ (Wei Feng); Jun Zi Ú Ỳ
(Wang Feng); YinQí Léi (Shào Nán); Juăn Er (Zhou Nán); Ge Sheng (Táng
Feng)

In the era of the Classic of Poetry, because of the separated couples, the
bitterness grievances of many women not only had the cause from the main
battle, drudgery. They sometimes must be away by force, live in leading a
single life, a cold pillow because of consequences of polygamy: Being
abandoned by their husbands. Being the first original poetic collection of
Chinese poetry, the Classic of Poetry with a very innocent expression, pure-
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minded was firstly sketched secret heart lines of the lonely women in boudoir
with sorrowful mournful melody. But this melody created specifically beauty
for “the lonely women” poetry.
2.2.2. Lonely women poetry in Quin Han Verse
Following the bright and pure source circuit of the Classic of Poetry, the
lonely women poetry to folk conservatoire Han Dynasty had developed a new
step.
In feudal society, due to the status of poor women whose economic life
depended on the men, her happy or miserable fate was often determined by a
good or bad man. Thus, "There were many poems in folk conservatoire talking
about the men who had a change of heart, made the women suffer” [4203]. Not
only the upper woman classes met that plight but also the normal laborious
women were also abandoned by their husbands as fans in the middle of fall. For
as the woman in poem Shàng qĩ yídòng yingli mi wú
The end of the Han Dynasty poetry, especially in the Old-style Poetry
appeared more and lonelier women poems, the poetic inspiration filled with the
meaningful compassion.
We can say, the lonely women poetry at this period had pretty long
strides. The lonely women’s "deep plaintive affection” was expressed by the
words both seem natural, rustic and had the highly polished. Moreover, the
sense of "separation in life, parting in death" have naturally in the depths of the
Classic of Poetry writer soul who was so easy to empathize with the
resentment " lonely women’s separation in life and parting in death", making

the feelings expressed in a audacious, powerful way, touching people's hearts.
Therefore, the sympathetic feeling of folk conservatoire and Classic of Poetry
in Han Dynasty imbued with the lonely women poetry at future generation
clearly.
2.2.3. Lonely women Poetry in Six Dynasties
With an intensely emotional effort liberation, poetry in Qin Han period
had poems which were on the subject of lonely women, handed down to future
generations; actually, however, taking "lonely women" as the written subject
must be composed by Wei Tan Northern and Southern Dynasty period
Still emotional characteristic trends: melancholy of the soldier’s wife or
the sorrowful joy resentment of women abandoned by their husbands and
strong lyrical feature "melancholy" in ancient lonely women poetry age, the
poems whose subject was lonely women Tan Wei Northern and Southern
Dynasty, had the writer's creative personality strongly.
The lonely women Poetry in this period mainly " the male poets
composing the saying of the women” (male poet spoke for woman in boudoir),
mainly used metaphor, political implications but also had some directly express
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the confident of women in boudoir. For example, we can see how to express the
mood of the character of the Gui qíng poem by Fen Yún also charming,
delicate, feminine equally with the theme of female authors Bao Ling Hui or
Xie Tiao with Yù jie yuan, a beautiful poem that later Li Bai deeply affected
when composing a poem of the same name
Thus, the lonely women poetry at Six Dynasties had a breakthrough with
new, creativity images and poetic ideas; psychological character was portrayed
very subtle, profound. In particular, the objective impersonal narrative way: the
character in the first person, the character’s mood world reveals itself in a
natural, truthful way. In general, lonely women poetry at the Tan Wei, Northern
and Southern Dynasty period made a clear frame, creating good conditions for
resplendent development in the Tang dynasty.

2.2.4. The lonely women poetry in Tang Dynasty
With the foundation set out by the previous generations, The Tang
Dynasty poets expanded the lonely women poems themes and achieved the
brilliant achievements not only in content but also about art measures. The
number of poets takes “woman in boudoir” as the subject compositions have
increased many times previous periods, including the famous poets: Li Bai, Du
Fu, Bai Juyi, Wang Changling.
Right from the first period, the lonely women poems appeared in Tang
Dynasty. Although not out of vanity odd style poetry previous period, the
poetry lyrics can still realize the breath and mettle of Tang Dynasty poetry.
Until Tabernacle, middle Tang Dynasty the lonely women poems have
developed and have many brilliant achievements. The number of multiple,
profound ideological content advancements, expanding space expression of the
poetry, reflected the rich realism and objectivity. Poetry is not only limited in
lonely women poetry but also has some social issues, emotional expression
deeper escaped from mold the poems about lonely women in the South
Dynasty. Many works depict subtle character, virtuosity, clearly expressed
personal temperament and different spiritual world of human as: women
plaintive poem (Vuong Xuong Linh), XuanTu, Lament Spring, Truong Can
Hanh,… (LiBai), the lonely women (Bai Juyi), Lament Spring (Kim xuong Tu),
Da dich tu (Thi Kien Ngo).
The Late Tang Dynasty, as general style of poetry during this period,
mainly the lonely women poetry reflects sadly mournful though. Faced with
complex social reality, the poets could not find the way out and tried to find
solace and compensation of men and women in love, the theme of the life about
the love between men and women become the poet’s aesthetic look.
Representative of this type of poetry is Ly Thuong An and On Dinh Quan. In
addition, some poets to acquire realistic style of Du Fu, Bai Juyi, Bi Nhat Huu,
Do Tuan Hac, Lac Quy Mong,… reflected deep social problems through
reflects the tragic destiny of the lower-class women. However, as well as

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general characteristics of the poetry of this period, the lonely women poems in
Late Tang Dynasty lost its heroic and charm, less quantity, content and
descriptive art are more monotonous than the previous period.
2.2.5. The lonely women poems in the Song, Yuan, Qing, Ming dynasty
The lonely women poems in the Tang Dynasty not only affect the lonely
women poems later but also affect foreign poetry, such as Vietnam. Two
influential periods, Vietnam absorbs the Tang poetry the most is medieval
period and new poems (early 20
th
century). Medieval period, Lament of the
soldier’s wife (Dang Tran Con) is a works that influent the Tang Dynasty
poetry the most, including the lonely women poems. Many new poets had to
acquire, affect the lonely women poems in Tang Dynasty, as Thai can poet in
Waiting husband poem. Some images, symbols in the lonely women poetry of
LiBai, Bai Juyi… went into the new poetry as nice stories.
Chapter 3
LYRICAL SUPJECT IN LONELY WOMEN POETRY
3.1. About theory
Speaking of lyrical poetry, the basic to say is concept “Lyrical character”,
which can express feelings also known as “lyrical subject” [104271]. We can
say that the lyrical subject- image of the author is the subject to distinguish all
the characters in the poetry.
In the lonely women poetry in Tang Dynasty, the lyrical subject express
in two forms: direct lyrical subject, express directly author’s ego, emotions in
the poem is the poet’s feelings about his life story. The direct subject of this
poetry is female poet, primarily stories are told in poems are stories, emotions
that they experienced in real life. However, some poets exhibit a direct lyrical
subject not much, very little compared with the rate lyrical subject style. In this
verse, a common phenomenon is “the male poets composing the saying of the

women who live in the zenana” (male poet who wrote the words instead of the
situation of the women). Many male poets in Tang Dynasty selected the topics
of women in the zenana to compose demonstrate the awareness of women in
society of the Tang Dynasty poets have changed.
3.2. The subject of the lyrical compositions of female poets
3.2.1. Direct lyrical subject
3.2.1.1. Point of view of the lyrical subject
Here, the lyrical subject is directly autobiographical mood phenomena,
the platinum self- loosening side of the lonely women. Therefore glimpse of the
lyrical subject coincide with the view of the subject compositions imbued with
gender-specific. When writing about himself, about his desire, women seldom
praised the beauty of themselves. They often revel in their human side; look
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deep into your inner being, to express feelings, their aspirations, often poetic
inner detail specification. Therefore, women tend to focus on everything around
them, were confined space than the sight of men, they almost do not touch
social issues, focus on emotional individuals. The sentiment of the lonely
women was deep on compression. Whether expressing their grief but remains
gentle attitude, liturgy. Most of them are keen to find a shoulder to lean on,
turning to the old social order. They were resentment but not angry, indignant
but longing, tenderness, tolerance. Feminine beauty (mostly beautiful soul) so
always is expressed in a natural and true way. That’s the beauty of love featured
woman, a gentle beauty and tragedy.
3.2.1.2. Message from the lyrical subject
Awareness of the world, about oneself
Lectured by the orthodox Confucian beliefs from an early age with the
commandment of “Women" and the conventions of male-dominated society,
the women's competition remains a persistent perception traditional in her
gender: women totally depend on men and are fully aware of the obligation
themselves. The duty of women in particular separation is absolute fidelity to

her husband, so when her husband abandoned them leaving only grief,
frustration overflowing, the only opposition is complaining, resentment,
compassion even still remember the old one.
Though not intentionally (or not want) to say this, but through confided in
poetry, we can see, these women viewed themselves as totally dependent on her
husband, have a duty to carry back pleasure for her husband.
On the other hand, in the perception of the gender and of herself confided,
the poetess also expressed attitudes and perceptions about the husband, the man
of her life. What they are most concerned about the ethics husband. Their
happiness associated with the ethics of the husband, the husband's fidelity.
However, apart from the traditional perception is ingrained in the mind;
the poet also reveals awareness about women's progress, about themselves:
Talk equality with her husband, confided demand of individuals.
The concept of human
For women, the most important thing in their entire life as a husband and
family, the woman who lived in ancient Chinese society, this is almost absolute.
The main living space is “Khue” (the chamber) associated with married life,
with all happiness, sadness, dreams and in the limit around themselves. And
their world, the center is the husband, the man, pillar of the family. That
opinion in their conception of human life and are with tend of thought about
women.
The Tang Dynasty poetess also seems similar to happiness what is so
great, nor measured by the decorations, silk dress, silver and gold. Happiness is
simply the couple be together, and cherish every moment of youth and beauty.
Do Nuong Thu Kim Kim Lu Y presented this view:
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With that small woman, her husband and family happiness are special
concerns, political issues, social seldom appear in their poetry, if there is an
issue directly related access to personal life.
3.2.2. Poetess roles the lonely women

In the society which is central to the voice of women is bound by
aesthetic criteria, standards and values, ethical standards that society began to
follow the woman. Thus, in ancient Chinese literature, many women poets
composing or putting themselves in positions depend on men to express into
misery, resentment tragic, or blur the nature of women to imitate the voices of
men, to adapt to “man rules", or to be exact the same as men, to be able to carry
out his ideals. Among poetess in the Tang Dynasty, Ly Tri (Ly Ky Lan) and Tat
Dao follow is the second style, poetic with macho style. Therefore, the point of
view of the subject in lyrical compositions of Tat Dao, Ly Tri, does not
coincide with the point of view of the composing subject. Point of view of the
lyrical subject is still point of view of the lonely women but is refracted through
two layers: poetess → men location → the lonely women. In this point,
poetesses were obscure nature of their gender, location borrow a man, man style
to role, expressing the sentiments of the lonely women.
If the poet when spoke for the lonely women often try to say words like
the lonely women, poetry often "feminized" poetesses borrow, the position that
the lonely women they tried to talk to the same style of male poets, poetry so
powerful, unlike the point of view of women as normal.
3.3. Role-playing lyrical subject - “the male poets composing the women’s
saying”
3.3.1. The cause of “the male poets composing the women’s saying”
phenomenon
The majority of “the male poets composing the women’s saying” is the
first cause emotional similarities between the poet and the lonely women. One
side is the light hardworking gentleman books, cherished ambition, high school
resources but wide fire road on Highway met many detractors, causing harm to
fail, even demoted exile. One side is the beautiful, young woman, abandoned
the cold closet place. Psychology discontent, resentment, pain of the elite’s
rhythm to a relationship filled from behind him in the hearts of the lonely
women. Moreover, borrowing the shoulder of lonely women, poets have

created a relatively safe distance, necessary to the creative freedom and
spokesperson. With “female mask "the poet can boldly presents the
perspectives, attitudes, political, human birth is the most taboo issues:
relationships king - my sexual instincts.
However, the biggest reason and most valuable reason urge poets instead
woman in the bedroom by his voice which was touched and the real interest of
the previous year, the plight of the sentiment of the lonely women. Only
vibrations where his deep heart really makes them new poets created poems
14
circulated posterity, the poem about the little people, the most vulnerable in
society.
3.3.2 The view of the lyrical subject under “man’s eyes”
When roleplaying, lyrical subject (the poet composed of men) to look in
the eye “of the play”: woman in boudoir. So, the point of view of the lyrical
subject has been “feminized”: male poet woman in boudoir. Here, the lyrical
subject stood in place, cognitive, emotional side that’s shown woman in
boudoir. This means that the subject compositions (male poets) have to observe
carefully, imagination, looking to the lyrical subject snugly round role-playing,
the right voice of woman in boudoir.
However, if we carefully observed and compared with the works of the
same subject that all women poets lyrical narrative, we can see that there are
both the mood of the play 's point of view - implicit woman in boudoir and" the
view of man, "that is the hallmark of creative subjects - male poets. Women in
their poetry rarely mentions beauty looks, personality itself. With the poet
composed of men, much less woman in boudoir’s image is refracted through
the prism of male poets should bring the look, lines in the view of the men in
contemporary society. That's reason why we often see beauty of woman in
boudoir is very traditional posture soft, flowing, like willow, like flowers,
gentle, peaceful moonlight and seemed most pure, noble, patience, sacrifice.
Another noteworthy point is that, in the lyrical subject composed of male poets

often revealing self pity his state of mind is very clear, this is less common in
the poet’s work. This state of mind is clearly reflected from the point of view of
the subject compositions, male poets have sympathy, compassion for the lonely
woman in lonely room and compassion becomes the main tone in this verse
array.
The other hand, reflected from the view of man, the point of view of the
lyrical subject is not limited the one of women. Content poetry is often
expanded expression, not only reflects woman in boudoir’s individual
emotional life parts but also contains social issues. That is reason why the work
of male poets often have large spatial context, liberal, create ideas unique art
scene, it’s rare in women poets writing. It comes from the perspective view of
man should look at all possible psychological lyrical compositions of men in
the always more outspoken than in poetry of women. Also in this verse array,
the women's work is “sexually obsessed" less revealing than the male poet.
Demand instinct in the women poets that often reveal very faint distant, dare
not directly reflect the demands of this nature in poetry as men. This is partly
due to the number of women poets still modest on the people, composed of a
number of poets and small, more ideologically bound to more than the male
poet. The mostly female poets assert feminine values: the soft, sacrifice, deeply
loyal love, generous, as a way to attract the attention of men (their husbands).
The male poet could always be more active, there is a safe distance thanks to
15
“mask girly" so when they replaced the word woman in boudoir to express their
feelings, the sensitive, the prohibitions cavalry had been publicly revealed.
3.3.3. "Tác khuê âm" (Writing on the mind in the lonely room) - The
comparisons, metaphors, deposited the mind of male poets
"Nam tử tác khuê âm" (male poet spoke for woman in the lonely room)
as well as the "I want to say, borrowing this old saying" is a traditional art
method, commonly used in ancient Chinese poetry. This method creates
superficial layer of meaning to the work, the purpose is political implications,

and this is not the creation of the poet.
Tang poetry of woman in doudoir also directly notes specific artistic
metaphor. It is poet Bach Cu Di with her poem Ty ba hanh. The poem is hidden
suffering of so calming wisdom talented beauty being mistreated, despised.
Borrowing sad voice of woman playing on the river late for sorrow is
expressing his bitter hatred. Not all the poems of woman in boudoir are the
same, but we can see that the poem to convey the author's mind about lives
pretty a lot. Because the concept of feudal Confucian ideology, god military
relations (king – I and husband - wife) is a unified relationship. Many poets
have borrowed the relationship between woman in boudoir with her husband to
talk to his relationship (themselves with the king, to bring the good woman to
compare with the outstanding talent itself is not significant advantage. In the
mood of expectation woman in boudoir that is hoping to see the King. The
desire of family reunion of woman missing her husband contains that of
dedication of “gentleman”. The mood of anger, resentment of woman in
boudoir to her husband in the bottom of lonely room is also affordable mood of
gentleman‘s resentment but I've monarch abuse? The fear of youth, beauty
fades may also recommend that the financial regrets, aspirations are the most
prolific period dropped the charges.
In addition to the implications of the relationship between the monarch
servant, the poet was deposited on the center of social and political issues,
which many people noted in contemporary society, such as social injustice is a
matter full of topical political and smarting under the Tang Dynasty poets who
is particularly concern about issues of war.
It can be said that there are not a lot the poems reflected political
implications are composed by the author Bach Cu Di. However, basing on the
circumstances of composing poems, the portrait and documentary about the
author’s life, especially through poetry we can think of the talk about the time
that the author may have been introduced into woman in boudoir characters.
3.3.4. The subject lyrical role

3.3.4.1. The purpose and significance of the role
Lyrical subject role is common and unique phenomenon of the Tang
poetry woman in boudoir array. However, not all the books instead, speaking
for the poet's men has subject lyrical role. In some works, the lyrical subject is
16
only the narrator, speaking for the mood of the character in the poem, often
with mixed feelings, the appropriate of the subject with the story of characters.
There are also compositions, lyrical subjects presented in both levels: The lead
story and role as in the poem “Khuê oán” of the poet Vuong Xuong Linh. In the
first two sentences, the subject is still in a position lyrical storyteller, but to
speak for the last two sentences, starting from the word "hốt kiến" lyrical
subject was role-played with emotional experience with woman in boudoir.
This sudden role created attraction by the poem suddenly makes sense for the
character woman in boudoir, making natural, authentic and lively characters.
Thus, the role of the lyrical subject is intended that all of the authors, to
keep character authentic, natural, vivid of the work. These problems are
reflected in the works are honest, most objective and most generalized.
On the other hand, the role of the lyrical subject is a meaningful way to
experience emotion and reason of male poets. Loneliness, the personal desire,
the weakness are not only belong to woman in boudoir. When expressing the
mood of lonely women in lonely rooms, poets have not only empathy,
understanding of the lives of women in boudoir, but also variations in the
emotional experience really about themselves.
3.3.4.2. Person role-play
The women-in-boudoir has actually become person role-play of the
lyrical subjects in poetry, but not in general which are the specific objects. In
the role of a specific character, the poets want to reflect actually the fate, the
mind of a specific class, group, in the society, that is the expression of
knowledge, the rich life-experience, the vivid visual beauty of the poets.
Among the contemporary women-in-boudoir, the wives’ roles of the

fighters were displayed the most. In addition, the wives of the merchants, of the
travelers and the ones whose husbands were the royal-officials in distance.
In summary, role-play is also a poetic feature of this array, it gives the
work many different meanings, and it also makes the false negative women
(speaking for women's voices) honest. So, role-play is the author’s incarnation
on the character. Playing a role means that the player have to act truly plot,
mood, life-happenings of it in order to make the character appear vividly,
naturally and really. But it is important that not only the player incarnates on
the role, take as true, but also make his role as soulful, alive, even personalized.
That means the role-player not only acts simply but also souls into the role, by
his experience in art and real life, and creative, refresh the character of his own
style. For example, in theater, cinema, there are many actors playing the same
role but not all are successful, only the really talented artists can make life the
roles timeless. Similarly, the lyrical subjects in the roles of the male-poets
express mood of the women-in-boudoir. The success in playing a role of the
lyrical subject not only makes "false" work become "true" one, but also be truer
than the false negative women. Their circumstances and status are different
17
from females’, since the males are more up-grow in cognition and emotion than
the females. Therefore, on behalf of the women they may speak out the needs or
wish that the women did not dare to speak, dare to dream or even think of.
3.3.5. The progressive human-conceptions
First, being aware of the anguish of the human life, especially the life of
the women in the contemporary society, the male-poets expressed empathy, a
deep kindness for the women who live separately by the responsibility of the
artists and the perspective property of the males. If they did not understand and
empathize for the women, the poets could not analyze and explain the
complexity and subtlety in the psychological development of the character,
such as: misses, grief angers, resentments and desires in their sounds. The poets
have observed meticulously every actions, gestures, daily activities of the

women-in-boudoir to share and put themselves into their plight to express the
sounds.
For the artists, the pity for the suffering of women is not only the pity for
the human’s suffering, but also the pity for the beauty, because the women are
the symbol of the beauty. This is really a manifestation of the new and
progressive of the spirit of humanism of the Tang Dynasty poets.
Not only having pity tinged inspire with lofty humanitarian spirit, the
Tang Dynasty poets also sent a progressive human-conception: advocacy for
the right to life, right to personal happiness of the women. In the society, the
supremacy was of the man, showing publicly the attitude that defended the
abandoned women (or forced by circumstances, or betrayed by their husbands)
was a remarkable progress. The Tang poets praised the beauty of the women
carrying a cosmetic color; this expressed their appreciation, love for the women
and whole human beings. Thus, the women-in-boudoir have appeared in this
array with the pure beauty, the nobility.
Therefore, when these women did not enjoy a normal life, the poets
helped them to fight for right to life, right to personal happiness for them. Here,
the male-poets chose to reflect the private and normal needs of happiness:
happy couple.
Indeed, the demand of power, sexuality or the need to be loved, shared,
and sympathized in lonely and isolated circumstances was not only the private
desire of those women, but also the legitimate expectation of all the people. So,
when talking about their issues with all the hearts, this proved that all the male-
poets also were really interested in the private and secret life; they not only
speak for the women-in-boudoir but also for themselves.
Chapter 4
ART OF EXPRESSING CHARACTERS IN TANG
18
LONELY WOMEN POETRY
4.1.1. Introduction

"Character in lyrical poetry is the subject that the authors send their
sentiments, and is the direct cause evoked the author's emotional power," [110
272]. Poets created the characters in order to express certain individuals as well
as the conceptions of those individuals.
The number of poems which mainly portray characters and write about
the character's story in Tang poetry gets a very small proportion of the total of
nearly five thousand poems, but most of them are precious and widely
circulated. Those are the works written by the famous Tang Dynasty poets, and
as Lu Xun remarked, "this approach of describing characters in Tang poetry is
unprecedented".
By applying traditional art method "portraying from real image", Tang
poets made brilliant achievements in terms of portraying the characters. In Tang
poetry about lonely women in boudoirs, the most striking point in describing
the character is the art of psychological character analysis.
4.2. Typical features of art of depicting characters in Tang poetry about
lonely women in boudoirs
4.2.1. Some typical methods
4.2.1.1. Sceneries imply feelings.
In traditional Chinese poetry, the method of describing sceneries to imply
feelings, the harmony between landscapes and sentiments to create unique
artistic scenes "harmonization of feelings and sceneries", is considered an
important category of art. Sceneries in the poems about lonely women in
boudoirs received the characteristics, personalities and inner mood of the lonely
women, which helps lyrical subjects to express easily their inner feelings.
Sceneries in harmony with character's inner mood and background.
Resemble scenery appeared in poetry in order to express the female
persona's background, loneliness such as: the context of autumn or winter with
remains and the cold; the late moonlight, separated and lonely things etc. In
the scope of 234 poems about lonely women in boudoirs, the context of autumn
appeared in 27 poems, the image of moon appeared in 42 poems; the night

appeared in 61 poems. Cold faded autumn has resemblance to the loneliness
and sadness of the women in boudoirs. The late moon helps to highlight the
loneliness and sadness of the wife in boudoir without the presence of her
husband.
The opposite images, which were portrayed more, are the context of
spring (in 45 poems) and the image of attached couples. Spring is the symbol of
youth, love and happiness, spring is always full of vitality which is completely
contrary to the lonely and abandoned life of the women, and increases their
grief and sadness.
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4.2.1.2 .Prosody "dreaming implies reality"
"How to escape from the suffering?" is an eternal question throughout the
ages. In art and poetry in particular, dreaming and imaging is the best solution
for every tragedy. Duong Tac Duong in the book "The root of Chinese culture"
once remarked "the main factors to solve the conceptive tragedy of the Chinese
are fairy, nature, wine and dream. Therefore, it is not certain that the lonely
women in Tang poetry often dream or imagine.
Thus, in order to reveal the deep longing for husband of the women, the
poet do not have to analyze the inner mood of the character but explore the
unity between dream and fact, as in "Xuan khue" of Dai Thuc Luan, "Xuan
Oan" of Kim Xuong Tu. It is the fictitious method and homogenization between
dream and fact that indirectly reveal the grief in the deepest level.
4.2.1.3. Exaggeration prosody
This is the art approach that emphasizes and highlights the images and
facts. By exaggerating, poets can highlight the deep grief of the women whose
husbands are away. The exaggeration is expressed in overstatements and the
way of using daring comparison and of the poets. This expression is more
touching and is easier to touch the women's sorrow.
It can be said that with the liberal language and daring imagination, poets
build original portray of art, describe their nice ideals and expectations as well

as the loves or abominations, which helps to create a special attraction of
poetry.
4.2.2. System of specific symbols
"Cultural Symbols are countless tangible or intangible images as
intermediaries, or intermediate language to help people identify a particular
cultural content" [7:27]. Tang poetry, essence of classical Chinese poetry, with
the typical aesthetic "condensation", "meaning outside the statement", "limited
words but unlimited meaning", is rich in images and implying in these images
are unique cultural icons. Applying the knowledge of cultural decoding, we
study and decipher some typical cultural symbols used in the poem which are
written about deep resentment of the woman in boudoir.
4.2.2.1. Natural Symbols: In the poems written about that "deep
resentment" of woman in boudoir, the natural images are also full of "wind",
"cloud", "sun", "moon" , "peace", "flower", "glass" etc. There, the nature is
the backdrop for the mood of lonely woman, just a friend sharing loneliness,
melancholy of women in special separation.
About the Wind: Why "wind" appears much in the poems about lonely
women in boudoirs? Does Wind have a specific meaning in poetry? To explain
this we must base on the symbolic meaning of wind in culture. In the ancient
Chinese conception, Wind also has the function of carrying information, Wind
is synonymous with air, so Wind presented in Tang poetry about lonely women
as a special character: When the wind of spring is abundant emotion of love,
20
when the wind of autumn is lonely, cold; when the wind of winter is screaming
in pain etc. To a woman in boudoir, wind is her friend and also the postman.
Only the wind can overcome all obstacles in the space, bringing innermost
feeling of the young wife to her husband.
If the wind carries the message function, even when the husband is
identified with the moon is "sound" is "the symbol of the passive material but
rich fecundity, of the night, the imagination, dreams, ability receptors, women

", mind moon in Chinese culture has many layers similar meaning: moon
symbolizes the fullness of union members, the moon was closely related to love
and marriage, the moon also embody femininity, for beauty; moon images,
moon is also the flowing of time So go to the moon in the Tang Dynasty poet
about lonely women as a vivid character, to be co- consistent with those from
women: beautiful but also lonely. Celestial moon is the night light in the vast
space between darkness. And night, as well as nostalgia, melancholy is
powerful surge in the hearts of most lonely women. Then the moon - the night
lights (or the human soul) is seen as a sidekick, so feel empathy, plight of
lonely women.
Icon Flowers: away from the natural world in ancient Chinese poetry a
symbol of time, the sense of time; flowers are also consistent with the woman,
the beauty, the woman's youth. See the beauty of cherry blossoms that loose
pants thinking about the beauty of his youth are drifting away pointless. The
secondary is particularly sensitive to the "bloom", "remnants" of the flower,
because it usually implies extreme step of time, the finite lifetime, of youth and
beauty.
Birds icon: In ancient China, so how come the terrain, difficulty walking,
people usually use a bird to touch, postman. However, each specific to birds
carry more specific meaning: the swift messenger of spring, love birds is a
symbol of conjugal happiness; dove symbolizes peace In this verse array,
bird often appears with two meanings: the first is the information bridge,
postman, and second messengers of love, because the birds are often more
suggestive pair reunited aspirations.
4.2.2.2. Artificial symbols: icons created by humans, associated with
personal daily life, here is the picture of life stick with the room side,
represented as: room. It is the iconic image for personal life involving conjugal
relationship.
That space is tight, cramped, it is also a symbol of limited life, is a
manifestation of the mechanism of life for women in ancient Chinese

society. Thus, "Khue" is also not the time for a woman to feel, contemplate
human life.
Within the scope of the existing literature, we statistically a lonely
woman’s image space, floor appeared in 52 articles, of which, directly a lonely
woman appeared in 40 articles. Private rooms often appear over the auxiliary
21
spaces such as: bed, pillows, blankets, curtains, silk curtains, table makeup In
that bed (appearing in 10 posts), silk curtains, pillows, blankets, curtains, table
makeup (appearing in 32 total posts). The life of women's lives absent
husband, and of course, the absent husband, Khue space (room) always is felt
here in state (not empty). It was a cold space, empty, faded, an abandoned
space, forgotten as its main tenant, the sub Khue
Paying attention on describing this space is the way that the poet wants to
reflect the plight of the poor woman missing husband: These women are at
every moment faced with the reality of his life, felt his debacle but not how to
get out.
4.2.3. Artistic situations
According to our statistics, photo upstairs, direct precipitation appeared
in 25 articles; crying, percentage (tear, cry expression) has appeared in 50
articles, look in the mirror and the mirror has appeared in 27 posts.
4.2.3.1. Moving upstairs, leaning the door (Lên lầu, tựa cửa)
Movement upstairs, the door is leaning movements frequently appear in
the far husband, is an expression of mood message waiting for her husband. As
well as precipitation moves upstairs are indicative of the mood outside waiting
aspirations, looks forward to her husband's private parts Khue
but precipitation also painted a different look, the look of sad young woman,
dully. Also looking forward to it but apparently filled with despair, waiting for
their depressed because that was too long
4.2.3.2. Crying
Tears and crying is an expression of pain turned outward. Woman was

inherently soft, hard to suppress the suffering, the sorrow so often in
tears. Image features such as rain, like spring rates or rates blanket pillow
dress is the specification of the suffering that women are suffering Khue.
4.2.3.3."Mirroring"
"Mirror" and "mirror" the elegiac mood reflected in a different
angle. Mirror material which is feminine grace. The lives of women are
considered personal activities (as family) is essential, so women often pay
attention to the details of themselves more than men, especially in the face, they
often look in the mirror. Moreover, in ancient societies, "women had to rely on
men to live, even professionals toys, grooming should not be not to ingratiate
men. The mirror is "the symbol of the object is observed in accordance with the
substance of them". From this sense, the mirror goes into the verse has
become the symbol of change in the sophisticated interior as well as reflects the
true emotional heart character. Movements could say "mirror" is a
manifestation of self-pity his state of mind at the lonely woman Khue
bedroom. Reflect can say is self-portrait, see the true picture of you in the
mirror, and is the objective test for accurate image of them. Therefore, the
22
mirror can also be directly or indirectly aware of a lonely woman for her own
life.
4.2.3.4. Washing, sewing, sending shirt
Primary care is particularly poetic imagery mainly appear in the poem
described the married soldier's wife. In the range of 95 poems about the Prime
Minister that we have collected about 27 articles have described the
action wash shirt, sew clothes, clothing sent by the government.
The poets often use this image to create the object warrior’s wife that has
the roof of society and culture. For the ancient Chinese women, the main works
in the family were embroidery, sewing, cooking as well as a criteriation to
evaluate women in society. The embroidery and sewing are not only the
responsibility but also the feelings of the women for their family. The first

period of Tang dynasty the soldiers had to their own everythings such as
clothes, food. All were prepared by their wives. Every time in the fall, the wives
at home prepared to wash cotton coats or made new cotton coats in order to
send them to their husbands to wear in winter. The period of Trung Duong
stage, although the soldiers were provided the clothes some of them still got the
warm coats from their wives. Because the washing clothes and sending them
were not only responsibility but also the attention and love of his wife for her
husband far away home. So the images of clothes washing, the clothes sewing,
and the clothes sending became the typical images associated with the warrior’s
wife in the Tang dynasty. Moreover, the sound of clothes washing became a
beautiful symbol not only when created the image warrior’s wife but also
appeared many times in the world of the classical poetry with the special
concepts.
CONCLUSION
Science conclusion
Women in boudoir are a different poetic part in the classical Chinese
poetry garden. Compared to other subjects as Saying goodbye, Going to the
border, Nature woman in boudoir poetry occupy a more modest number.
However, the names of the poets were not only famous in the Tang period as Ly
Bach, Do Phu, Bach Cu Di, Vuong Xuong Linh but also the worthy poems life
long in the life, Khue Phu poetry has created a bold mark in Tang Dynasty.
Based on the analyses, specific insights and the research results of the 234
poems, we came to some main scientific conclusions follows:
1.1. As a small flowing line, woman in boudoir poems appearing from
“The classical poetry” to “Tang Poetry” got brilliant achievements. Besides the
internal causes : the development of the literature itself, the larger social context
with the lively atmosphere, developing rapidly, diverse, colorful and it was also
the abundant material source to create vitality for poetry. The Human in Tang
23
Dynasty is not just interested in the ideal, ambition, great changes of the time,

they listened, seen carefully the personal stories of the individual lives. When
the outside of society the men participated strongly on the way of earning
living and follow the ideal, the close rooms where the wives were left alone
with the loneness that is getting. The sadness of the little people who did not
hold their own destiny, in the most pitiful in the scope of life that touched the
depths of the compassion poet’s. With the heart and talent, the poet recorded
the stories that touched the hearts of people, attracted the attention of society.
From there people are also more interested in the individual needs of each
person in society; this is a trend of the inevitable development and progress of
society.
1.2. Through poetry, the first time the women in the ancient Chinese
society had idea to confirm the existence and value of themselves with the
initial perception of gender, and they also demand the smallest rights of the
human and the right to live, the rights to love and the rights to have happiness.
However, with the number of poems and poets are rather modest (less than 10%
comparing the male poet's works - within the limits of our statistics) so the
problems mentioned by female poets were unclear and individual. Their stories
and issues of human life in the society, in which they had touched to the
society, impact on the perspective of humanand society that was mentioned
mainly through the male poets.
1.3. From exploring the characteristics of poetry woman in boudoir in the
compositions of female poets, we have had comparisons with the issues
reflected in the compositions of the male poets. With large numbers, the works
of “nam tu tac khue am” that really created the look and style for this woman in
boudoir poetry. Here, the male poet’s role - played the lonely women in the
boudoirs to express their feelings and aspirations. It is worth noticing that the "
female mask “through the perspective of men the poets not only discovered the
lots, the poor living circumstances of the women missing their husbands but
also understood and strongly spoke for the women in the bedrooms about the
deepest sorrow, the most simple wishes: the basic needs of psychology,

physiology of a human being in fact that they are deprived. Moreover,
borrowing the words of the woman in boudoir, the Tang poets not only sent
their feelings about life in general terms but also the wishes of the individual
man that was barriered by society. That is the reason why the poems about the
women in boudoir in patriarchal society that converged humanitarian values,
deeply humane, durable viability.
We can say that in society where all social benefits, positions are inclined
of men, laws do not belong to women so there are many male poets having deep
sympathy, sharing the misery, unhappiness and talking the private secret desires
of women. The women in boudoirs have shown rapidly growth in awareness
and thoughts and feelings of the poets in Tang Dynasty.
24
1.4. Beginning from the art concepts about human and life that have many
new points and rich in spirituality and humanitarian, the Tang poets built the
character women in boudoirs successfully, there is the typical character for
depictive art in classical Chinese poetry. The success made a difference in the
art of creating character of the Tang poets as Lo Tan remarked
"unprecedictability" the analyze of mental changes that are still known as the
"dialectic soul method" .
With the variety character system, many readers may find the viewing
about life deeply of the poets. Under visual aesthetic eyes, the poets described
quite accurately the appearance, the mood of each character object representing
for a number of women in society. There are consistent features but still have
the distinctive characters, the individuality of each person, in each different
situation. That is the point to create the vivid characters and attraction of poetry.
1.5. To sum up, from the understanding of misery individual human
suffering in this poem part women in boudoirs we discovered charming beauty
of the large poetry garden. Through characters women in boudoirs, the poets
not only “reflect, explain reality" but also "create a world with the needs and
direction of the human spirit". There perhaps, the first time in a society where

does not respect women, does not open to the word love (love between men and
women), a sense of personal and the needs that woke up. Especially, the shout
of the unhappy women was mostly spoken by males that shown the spirit of
humanity, the depth of thoughts, the feelings of poets and contributed to create
the fresh of the Tang poem.
2. The research of the subject in the future: The thesis may continue to
develop in the following directions: The first is to study carefully about the
formation and development of poetry women in boudoir in Chinese literature,
in which survey, compare, and collate the development of this poetry through
the ages: the quantity, the poetics, the author… The second is to study this
poetry base on primarily the poetics: the art concept about people and life,
space, time, language, structure or may study poetry women in boudoir under
comparison to poetry about female in general in Tang poetry.

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