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This period of social collapse and ruin was, perhaps not surprisingly, also a high pint in the long tradition of Vietnamese poetry. After all, she was a woman writing poetry in a male, Confucian tradition. While women have always held high position in Vietnamese society- sometimes leading armies, often advising rulers, and always involved in the management of wealth- few were tutored in the rigorous literary studies given young men preparing to take the imperial exams in hopes of finding their places in the bureaucratic hierarchy that governed Vietnam from AD into the twentieth century.
A visitor to Ha Noi can still see, in a courtyard of the Temple of Literature, the magnificent stone turtles with huge stelae set upon their backs and carved with the names of the highest-ranking scholars from to The last exam was in Also surprising is what she wrote about.
At the end of the Le Dynasty, when the social status of women was sharply reduced, she constantly questioned the orders of things, especially male authority. But, finally, the most surprising fact is that the greater part of her poems- each a marvel in the sonnetlike lu-shih style- are double entendres: each has hidden within it an other poem with sexual meaning. In these poems we may be presented with a view of three cliffs, or a limestone grotto, or scenes of weaving or swinging, or objects such as a fan, some fruit, or even a river snail — but concealed within almost all of her perfect lu-shih is a sexual design that reveals itself by pun and imagistic double-take.
No other poet dared this. So, in a time when death and destruction lay about, when the powerful held sway and disrespect was punished by the sword, how did she get away with the irreverence, the scorn, and the habitual indecency of her poetry? The answer lies in her excellence as a poet and in the paramount cultural esteem that Vietnamese have always placed on poetry, whether in the high tradition of the literati or the oral folk poetry of the common people.
