ai về Hà Tĩnh thì về, mặc lụa chợ Hạ, uống chè hương sen
Come back to Hà Tĩnh: wear the silk of Hạ market, drink lotus-scented tea — the province's own invitation.
Traditional Vietnamese folk verses and couplets
Come back to Hà Tĩnh: wear the silk of Hạ market, drink lotus-scented tea — the province's own invitation.
Homeward I send a stalk of areca — the front bunch to honor mother, the rear to honor teacher — piety in a parcel.
Who ferried the starling across the river, letting it slip its cage and fly — a lament for love freed into another's keeping.
Lift your full rice bowl and remember: each fragrant grain cost someone a world of bitterness — gratitude for the farmer in every mouthful.
Don't rush to laugh at each other — what tree hasn't a borer gnawing some branch — every trunk has its worm.
Don't rush to laugh — laughed at today, laughing they'll be at you tomorrow — ridicule's short lease.
Don't rush to laugh at each other — examine yourself first and back, then laugh — mockery owed a mirror first.
Leave no field fallow, friend — every inch of soil is an inch of gold.
Siblings are as hands and feet — torn or whole, wrap each other; failing or able, hold each other up — the defining verse of brotherhood.
Siblings are no strangers: one father, one mother, one flesh — love each other as hands love feet — the classic verse of brotherly duty.
A straw hero — put a match to him and the heroics burn off in one flare.
Homeward bound, I hold your wrist and say: we are sworn now — let distance dim no face nor forget this heart.
Go master your letters, love — nine moons I'll wait, ten autumns I'll stay — the sweetheart's pledge to the studying beloved.
Away, I miss my village home — the water-spinach soup, the eggplant in fermented sauce, the one sun-baked and dew-soaked, bailing water by the road — homesickness itemized in humble things.
When the banana grows branches and the fig buds, when the loach spawns atop the banyan — then I'll marry you — refusal by botanical impossibility.
When the grass of Tháp Mười runs out — the resistance oath: only then will the South stop fighting — defiance with a botanical deadline.
Now the plum asks the peach: is there a path into the rose garden yet? The peach replies: a path there is, but none has entered — courtship's most elegant negotiation.
Set a ladder to the old moon and ask: is a girl's fate truly rain scattered mid-sky — landing in a clear well if lucky, in hardship if not.
Rubber-plantation roads: easy to walk in, hard to walk out — men leave their health in the latex rows — the colonial plantation's epitaph.
Rich parents, an easy child; poor parents, a child of hardship — charcoal on the mountain at dawn, crab-holes on the shore at dusk.
Who could count the feathers of the sky's birds — the unaccountable, in one line.
Evening after evening at the back gate, gazing toward mother's village — a gut aching nine ways at dusk — homesickness's most quoted couplet.
Her husband fights at the Lô river; mine squats by the stove roasting corn till his trousers scorch — the wives' merciless comparison of husbands.
A girl's 'yes' means no, her 'love' means hate, her 'sad' means glad — the teasing dictionary of courtship.
The mandarin's child becomes a mandarin; the poor man's child catches crabs all day — heredity as the old regime's whole career ladder.
The king's child becomes king; the temple novice's child sweeps banyan leaves — station inherited, verse-form; the twin of the mandarin version.
Child, remember this line: night robbers are bandits; day robbers are officials — the sharpest protest verse in the language.
Plowing the field at high noon, sweat dripping like rain onto the furrows — whoever lifts a full bowl, remember: one fragrant grain, a world of bitterness — the fullest form of the farmer's-toil verse.
The stork wades the pond bank — o girl in the peach bodice, will you marry my uncle? He's fond of spirits and rice wine, thick tea and long naps; by day he wishes for rain-days, by night for one more watch of sleep — the great satirical matchmaking verse.
The taller the tree, the harder the wind rocks it — the higher the fame, the fuller the hardship.
Dry wood stays dry even in water — a poor fate arrives poor wherever it travels.
Only by bailing the East Sea dry is a mother's heart made plain; without climbing Mount Thái, how fathom a father's love — filial devotion at oceanic scale.
You there cutting grass alone — let me cut beside you and make us a pair — the field as courtship ground.
Girl in the nón, where to? — I'm a new bride gone to serve; the mother-in-law is cruel past bearing — I can't stay, I'm going home to mine — the runaway daughter-in-law's verse.
A father's labor is a sky-high peak; a mother's love the water beyond the East Sea — high mountain, wide ocean: child, engrave the nine words of care.
A father's labor is Mount Thái Sơn; a mother's devotion, the spring that never stops flowing — serve both wholly, for that is a child's whole way.
Master Cai sports a feather in his hat and a ring on his wrist — one errand in three years, the short coat borrowed and the long trousers hired — colonial petty rank, dressed entirely in loans.
Your wrist white as ivory, your glance a slicing areca knife, your smile a ngâu blossom, your headscarf a lotus — the inventory of infatuation.
Gambling is Brother Poverty's own uncle — the house sold off, and your feet in the stocks — the definitive verse against cards and dice.
The areca knife slits the golden betel leaf; my eye slides to you and yours to me — flirtation sharp and folded as the quid itself.
The sand-crab rolls its pellets in the eastern sea — endless toil, and not one grain of credit to keep.
A mother's sister loves the child as her own — should the mother be lost, on whom else would the child lean.
Let them talk crooked or slanted — my heart stands firm as a three-legged trivet — constancy that gossip cannot tip.
Wherever you travel, up-country or down, remember the Ancestor Festival on the tenth of the third month — the Hùng Kings' day binding all Vietnamese.
Upstream or down, the rice-ball wrapped in cọ leaf marks the Sông Thao native — identity carried in a packed lunch.
Teach a child in its infancy, a wife in her bewildered first days — guidance belongs at beginnings.
White-skinned and cloud-haired she may be — lovely, but not for this heart; my wife is country-plain, and morning to noon I am glad beside her.
Autumn monsoon: mother sings the child to sleep — five long watches, and she wakes through all five — the lullaby's ledger of sleepless love.
Wind sways the bamboo low across Trấn Vũ's bell and Thọ Xương's rooster-watch; through mist and pounding of Yên Thái's pestles, West Lake lies a mirror — Hanoi's dawn, engraved in four lines.
The wind bears the mustard plant to heaven; the knotweed stays behind to swallow the bitterness — the one taken, the one left to grieve.
A wise rooster doesn't spar with the flock; a wise girl doesn't quit her village — prudence keeps its home ground.
Haul your misery up the mountain and dump it; bend your back and run — misery still follows behind.
A fragrant flower everyone would wear; a wise person no one burdens with harsh words — worth draws gentleness.
Last night bailing water by the đình, I left my shirt on the lotus branch — if you found it, give it back; or keep it as my pledge — the most beloved courtship verse in Vietnamese.
The Quảng student came for the examinations, saw a Huế girl, and could not make himself leave — scholarship's oldest hazard.
O girl bailing water by the road — why bail the golden moonlight and pour it away — courtship's most famous opening line.
Wisdom isn't measured by volume — the wise show wise in half a sentence.
Be clever answering outsiders — chicks of one mother must never spar with each other — solidarity begins in the coop.
No father? There's the uncle — standing in, word for word, the uncle serves as father.
Without father's labor you'd eat empty air; without mother's care you'd sit licking plates — the blunt accounting of what parents provide.
Who would bend a gold needle into a fish-hook — who with sense would bend a harsh word against another — worth is too fine for cruel use.
To be a person is to measure and weigh — balance heavy against light, sound the shallow and the deep.
Be a man worth the name: back bowed, knees braced — to carry two sesame seeds — the mock-epic of the useless husband.
Marry a virtuous wife and it's a coin that buys good things forever — the husband's bargain of a lifetime.
Resolve to perfect yourself first, young man — no rush toward fame, no fretting over debts.
Climb the mountain to know its height; go down to the sea with a pole to learn shallow from deep — knowledge is bodily.
Climb the mountain to know its height; raise a child to know a gentle mother's labor — scale learned only firsthand.
Adrift past Thần Phù strait — the well-cultivated float, the ill-cultivated sink — virtue as seamanship.
Words cost nothing to buy — so choose the ones that please each other's hearts — the golden rule of Vietnamese speech.
To eat your fill, work with a will — one golden rice grain costs nine drops of sweat.
To cross to riches, build the Kiều bridge; for a lettered child, cherish the teacher — the old bridge-toll of education.
Gone home, will you remember me? I go home remembering the teeth of your smile — the classic parting verse.
Ten years adrift on rivers and lakes; one day of mending, and the estate stands again — it is never too late to turn.
When did rice-cake ever have bones; when did a stepmother ever love her husband's child — the bitterest of family proverbs.
An aged mother is a banana ripe on the tree — one gust and she falls, and the child is orphaned — cherish her while the stem holds.
An old mother in a thatched lean-to — visit at dawn and again at dusk, or a child's heart cannot rest.
Each night I light a lamp to heaven, praying my parents live alongside me forever — the child's nightly petition.
One tree makes no mountain; three trees clustered make a high peak — union as elevation; Vietnam's great verse of solidarity.
One arm cradling the little ones, one arm fending the world — and someday, father frail and mother old, who will heap the rice bowl, who lift the tea.
Gold sash at the waist, pressed hat, long musket; flintlock in one hand, lance in the other, ordered down to the boats — drums beat five-fold, and boarding, his tears fall like rain — the conscript's farewell.
Fear poverty of kindness and duty, not poverty of coin — the only destitution that matters is moral.
'Nam mô' on the lips, three basketfuls of daggers in the heart — piety worn over an armory.
Once you were tiny; look how grown you are — father's rice, mother's clothes, teacher's pains: think how to be worth those hoping years.
Look up at the lashings of the roof — as many knots as there are, that many times I miss my grandparents.
Others transplant rice for wages; I transplant watching every quarter — sky, earth, cloud, rain, sun, day, night — praying for firm feet and soft stone, calm heaven and quiet sea — the farmer's whole anxiety in one verse.
Others travel in pairs and return in pairs; I go single and come back alone — solitude in one couplet.
Why did we ever have to meet — a hundred years on, who knows if the path held fate or not.
Idle and sad, I remember my mother of old — chewing rice soft for me, her tongue sorting out the fish bones — tenderness recalled in its smallest act.
The red cloth drapes the mirror's stand — people of one country must love one another — the national verse of solidarity.
At Nhà Bè the current splits in two: one home to Gia Định, one to Đồng Nai — the southern crossroads of longing.
Humanity and duty reign forever; silver and gold are guests just passing through — the visitor status of money.
Missing someone, restless and turning — like standing in a bonfire, like sitting on coals — longing rendered in embers.
When the weather crossed and the child fell ill, mother could neither stand nor sit — a whole life of ceaseless toil, trading rice-bowls of gold to raise her young.
Eyes like knotweed leaves and willow-leaf brows — worth a hundred strings of coin — the classical inventory of a lovely face.
Raising a child to full and whole, the parents' heads scratch bare, bones wear, knees bow — grown now, the child must honor those two.
Only in raising my own children do I understand — and silently love my parents for raising me back then.
Say nine, then do ten; say ten and do nine, and the world will laugh — deeds must outrun words.
Give your word and keep your word — don't be the butterfly that lands and flits away.
Speaking of others, weigh yourself — feel the back of your own neck and judge how near it lands.
Laughable, the grasshopper kicking the cart — yet the grasshopper stood and the cart tipped over — the underdog verse that history kept quoting.
The phoenix on its high crag, fallen on hard times, must run with the chickens — but come fair wind and rain, it molts and is phoenix again — nobility in eclipse.
Powder and rouge adorn the rivers and mountains — bringing glory to the women of the South — the verse of feminine patriotism.
Crossing the bridge I tip my hat and gaze — as many spans as the bridge has, that many sorrows tip with it.
Passing the đình I tip my hat and gaze — as many tiles as the roof holds, that much I love you — devotion counted in roof-tiles.
A 'gentleman' of the Chinese-novel sort — little rice, plenty of vegetables — the mock title for genteel poverty.
Only on the river do you learn shallow from deep; in the creeks and backwaters there's no sounding at all.
Knotweed grows in hard ground — easy to uproot, hard to transplant; love her as you may, she is another man's wife.
Sleep, child, sleep — so mother can slip to an empty corner and mourn her own lot — the lullaby's hidden second verse.
Sleep sound, child, while mother hauls water to wash the elephant's howdah — want to see? Climb the mountain and watch Lady Triệu ride her elephant and strike the gong — the lullaby that carries a woman general.
Sleep deep, child, while mother weaves and father dyes the brown — cutting trousers and shirts she sews, for father to wear plowing the fifth-month season — the household loom in a lullaby.
Each farmer banks their own field; each meets their own fate — waiting for another's is labor wasted.
Our field we transplant, our field we plow — labor's plain claim to its own ground.
Weak wine still intoxicates in quantity; a wise man's talk, however fine, palls with repetition — moderation even in eloquence.
A dragon beached in a dry pool, sunning its whiskers — your story hides its head and shows its tail — grandeur stranded, and a lie showing its seams.
A golden dragon bathing in a stagnant pond — the able person stuck among fools, and chafing.
Off to the sea for crabs — grab the crab, it pinches; grab the turtle, it swims — the comedy of inept effort.
Off together to transplant and plow — hardship now, ease someday: shallow field above, deep field below, husband plowing, wife transplanting, buffalo harrowing — the family economy in one scene.
The forest has veins and walls have ears — before those inside are clear, those outside already know.
The long river hides its fish from sight — but a fated match waits a thousand years; bank your own field, meet your own fate.
A deep river can be bridged — but who fathoms a treacherous heart — engineering ends at the human interior.
Deep rivers flow and stone wears; feasts are eaten and gone, but kindness is carved in the bone.
Your fate: if not rich then poor; on Tết's eve, meat hangs in the house; you have a mother and father — mother female, father male; a spouse awaits, and your firstborn — girl if not boy — the immortal parody of fortune-tellers.
Fated rich, empty hands still prosper; fated poor, nine barns and ten buffalo still drain away — fortune as the senior partner.
Fated rich, wealth ambles up unbidden — bulging eyes were never the way to riches.
Alive, you gave them nothing to eat; dead, you lay out feasts and read odes to heaven — the verse that shames performative mourning.
Home again, I bathe in my own pond — clear or murky, the home pond is still better — belonging over perfection.
Hands lifting the salt dish and ginger — ginger hot, salt sharp: let us not forget each other — hardship shared is the bond.
Bundle raised, she crosses the river — soaked in sweat, she follows for love of her husband.
Boat, do you remember your wharf? — the wharf, single-hearted, waits fast for its boat — constancy's most beloved metaphor.
Better corn kernels chewed plain than wealth with your old mother in the grave — no fortune outbids a living parent.
My body isn't worth much money — but for the weight of my love, thousands wouldn't buy it.
I am the porch broom — for you to wipe your feet on, dawn and dusk — servitude in a household image.
I am the crane atop the đình — longing to fly, and unable even to lift myself — grace pinned in place.
I am a fish inside the trap — no room left to thrash, and nowhere to turn — confinement complete.
I am a gilded couch and you a torn mat lost by the road — pray heaven send a great wind to spread the torn mat over the gold couch — mismatched love's impossible prayer.
I am the dragonfly's wing — perched when pleased, flown when sad — affection with no mooring.
I am a rose in bloom, married to a husband like a heap of dry straw — beauty bound to dullness.
I am a daisy on the hedgerow — passersby pinch the stamens, visitors snap the bloom — beauty exposed to every hand.
I am the đình's center post — dirty hands wipe on me, leprous hands wipe too — the used and unthanked.
I am the spiny water-caltrop — white within, black without; taste before you judge, and find me sweet — plainness pleading its hidden worth.
I am a well at the roadside — the refined wash their faces, the coarse wash their feet — one worth, two usages.
I am a burst of rain — one drop falls in the well, one in the flower garden; one lands in a mansion, one in the plowed field — a woman's fate scattered by chance.
I am a sliver of dried areca — the refined covet the thin, the coarse covet the thick — every taste claims its cut.
I am a duckweed leaf — upstream, downstream, wherever the current tips — a fate with no rudder of its own.
I am a bần fruit adrift — wind battering, waves tossing, with no shore to wash up on — the floating-fate lament.
I am the durian fruit — some call me foul, others call me delicious — no middle opinion exists.
I am a bolt of scarlet silk — prized in many quarters, loved in many more — the sought-after bride's verse.
I am a bolt of peach silk — fluttering in the open market, into whose hands I cannot say — beauty at the mercy of the buyer.
I am chili ripening on the plant — the brighter the skin, the hotter the heart within.
Married as the shared second wife — a shuttlecock everyone's head pushes through — polygamy from below.
Better never to have known — for every measure of knowing, that measure of heartache.
Loving a husband means bending with him — swallow the bitter, savor the salt-warm; a wife's shared weather.
Loving her child she scrimps dawn to dusk — rice bundled in a shirt-corner, porridge wrapped in taro leaf.
Missing father and mother like needles in the gut — a boat without a rudder; a child without parents, who shows the way.
Pity the cinnamon tree mid-forest — its heat unknown, its fragrance unguessed — worth wasted on the wilderness.
Pity the turtle's lot — bearing the crane at the đình, bearing the stele at the pagoda — burdens sacred and endless alike.
Pity womankind — older by two or three years, and still ranked the junior.
As honest as a buffalo-trader, as loving as bride and mother-in-law — two proverbial impossibilities in one breath.
The world is still foolish, not yet wise — alive in torn shirts, buried in fine ones — spending on the dead what the living needed.
Stay up late and learn how long the night is; live with someone long and learn whether their heart is kind — duration is the only test.
Pity the pearl-white grain of rice — washed in muddy water, then rolled in straw-char — worth spoiled by wrong handling.
Rice and money are mother's and father's; the inkstone and brush are truly mine — the scholar-child's declaration of estate.
A wise man picks his wife in the crowded market; a wise woman picks her husband amid the ranks of soldiers — choose where character shows.
What matters boy, what matters girl — a child of duty and gratitude is the better birth — the verse against preferring sons.
What in the marsh is lovelier than the lotus — green leaf, white bloom, gold stamens — near the mud yet never smelling of mud — Vietnam's emblem of integrity.
Blame the one who schemed too widely — plum already picked, and reaching to snap the peach besides.
Blame the nameless 'gentleman' — done with the flower, he breaks the branch and hawks it — the seducer's full itinerary.
Lovely the bamboo at the đình's gate — and you, lovely standing all alone, are lovely still — beauty that needs no company.
A hundred years wear down the stone stele; a thousand years, and the stele of mouths still stands — reputation outlasts granite.
A hundred years keeping the word 'follow' whole — as the river runs, so its falls: one husband, no more.
A hundred years, the vow is broken — the old banyan and the same wharf, but a different ferry carries her now — love's landmarks outliving love.
The dimmed moon still outshines the stars; the landslid mountain still stands above the hill — diminished greatness is greatness still.
Dragon eggs hatch dragons; water-snakes hatch water-snake lines — lineage breeds true.
No cloister betters the home altar — honor father and revere mother: that is true practice — piety as the highest monastery.
Temple-hair strands short and long — we could not marry, so I will love you a thousand years — the vow of the unwed.
Shell the prawn and trim the tail, pound the rice white — to feed an aging mother — devotion in kitchen verbs.
Sound timber beats fine varnish; a plain face with good character beats beauty — the standard verse of substance over surface.
Since Tự Đức took the throne... — the protest verses dated by reign, where complaint learned to keep a calendar.
Bend the tree while it's young; teach the child while it's innocent — formation's window in one couplet.
Bend bamboo while it's still a shoot; guide a wife in her uncertain first days — formation belongs to beginnings.
For a husband's sake she strains at the work — no one was born with iron skin and bronze bones.
Should a phoenix sail past, mother calls it a chicken — and the child agrees — filial deference measured against the evidence of one's own eyes.
Though the plank bridge is nailed firm and the bamboo bridge sways and pitches — hard going, mother leads the child: the child walks to school, mother walks the school of life.
Though mother owns nothing at all, mother and child are never parted — poverty cannot divide that pair.
Letters that wouldn't fill a jackfruit leaf, force that couldn't crack a potsherd — yet hearing of the exam, off he swaggers to sit it — the immortal satire of the unqualified candidate.
No luck with essays, verse or rhyme-prose — go home to the old village and learn to plow properly — the failed scholar's honest retreat.
Husband and wife are a whole life's bond — weigh every word of it, the losses with the gains.
Far off lies Côn Đảo the prison isle — the exile's landmark, sung at a distance no boat wants to close.
Don't fear the distance — far from the person, far from the voice, but the heart has not moved.
Homely as he is, he's my husband — the handsomest man is still somebody else's — fidelity's tart arithmetic.
In love, seven arecas split into three; in hate, six split into ten — generosity and spite, measured in betel.
In love we swapped shirts — home, mother asks: crossing the bridge, the wind took it — the beloved lie of young lovers.
In love the spiny caltrop is round; in hate the soap-nut is square — affection redraws geometry itself.
In love, any mountain can be climbed, any river forded, any pass crossed — the anthem of determined lovers.
Love someone and you love their very road; hate someone and you hate their whole clan — feeling annexes everything adjacent.
My shirt's hem thread is torn — I have no wife yet, and my old mother can no longer sew — the bachelor's artful complaint, fishing for a bride.
Carrying your bell to strike in another's land — if it won't ring, strike it three times anyway for the name — persistence abroad, dignity kept.
Travel and you'll learn the there and here; stay home with mother and when will you wisen — the road as the only school.
Passing by, I tip my nón and bow — no greeting from me, no word from you, only because the crowd was watching — decorum over a beating heart.
Where are you off to, leaving your old mother — who straightens her pillow, who serves her tea — the guilt-verse of the wandering child.