Lotus (Hoa Sen)

lotus

  French version
 Vietnamese version

No aquatic plant causes the admiration of the Vietnamese as much as the lotus. In addition to its buddhist emblem, the lotus is synonymous to purity, beauty and serenity. The lotus differs from the other aquatic plants not only by the grace of its flower both simple and distinguished  but also by the richness of the traditions which accompany it in Asia, in particular in Vietnam. In this country, it forms part of the four noble plants (Tứ Qúi ): mai (plum tree), liên (lotus), cúc (chrysanthemum), trúc (bamboo) used in the representation of the four seasons (Tứ Thì).

 

 

In the Vietnamese art, the landscape is often built according to an ancient immutable diagram (Cổ Ðiển). This one determines the elements, in particular the characters to be put in the scene. One often finds an artistic symbiosis, an insoluble association of plant and animal in the small vietnamese paintings. This is why the lotus is always associated with a duck (Liên Áp). It is rare to find it associated with another animal unless the artist does not respect traditional conventions. The lotus is known in vietnamese with its flower under the  name « Hoa Sen or Liên Hoa « . It is part of the Nymphaeceae family and known under the scientific name of Nelumbo Nucifera or Nelumbium Speciosum. It is found everywhere in Vietnam (ponds, pools, parks, rivers etc.). It is also present in the pagodas and temples for the purpose of calming the fervors of the bonzes and to allow the visitor to feel carried furtively into nothingness thanks to the light scent released by its flowers. It develops easily and adapts to all surroundings. It contributes to the thriving of the aquatic life by purifying all dirty and muddy water that it colonizes, which makes it the symbol of a man of confucius quality (junzi). This latter, no matter where he lives, continues to remain faithful to himself, to maintain his purity in the middle of corruption. He does not let himself be contaminated by the vices of society as the lotus manages to destroy all the stench of its environment thanks to its flagrant flowers.

It is for that reason that in the Vietnamese poetry there is a poem dedicated to the man of confucian quality through the image of the lotus:

Chung quanh cành trắng, giữa chen nhị vàng
Nhị vàng cành trắng lá xanh,
Gần bùn mà chẳng hôi tanh mùi bùn

What can be more beautiful than the lotus in the pond?
Green leaves, white flowers, yellow stamen
Gold stamen, white flowers, green leaves
Though close to the stinking mud, it does not smell its odor.

To evoke the quality of this man or the lotus, one often says in vietnamese: Cư trần bất nhiễm trần (or in English Live in the society without being contaminated by its vices.)

The lotus has other qualities which enable it to belong to the chinese and vietnamese noble plants. It is what has inspired a Chinese Zen Buddhist sect known under the name  » Pháp Hoa Tông  » at the period of Tang to give birth to the doctrine  » Diệu Pháp Liên Hoa Tông « .  This one was  based only on the worship of life in relying upon the quality of the lotus. One found at that time in this sect the bonze poets Phong Cang and Thập Ðắc as famous as Lý Thái Bạch (Li Tai Bai) (1) , Bạch Cư Dị ( Bai Juji )(2). This sect whose pagoda was in Hàn Sơn in the neighborhoods of the city Cô Tô cultivated only the lotus in its ponds. It thought that one could find peace in the heart and free oneself from reincarnation and the fires of concupiscence while depending on this doctrine which borrowed from the lotus the character:

  • – carefree (Vô ưu). Its scent allows the one who has the occasion to sniff it to find peace and serenity. According to the Forefathers, it is an antiaphrodisiac plant like lettuce.
  • -adaptable (Tùy thuận). It can grow everywhere even on an arid soil.
  • –odoriferous (Cư trần bất nhiễm trần ). It does not let itself influenced by the stench of the environment where it grows but it continues to release its scent according to the intensity of light.
  • –specific to the level of reproduction.(Vô cấu ). It has a mechanism which is unique to itself for the vegetative multiplication. There is no formation of gametes. Its flower is exceptional by its size, by the hard and waxy consistency of its petals and by its perfume whose intensity varies during the day. A lotus flower only lives four days. The Japanese describe this blossoming in the following way: the first day, the flower has the shape of a bottle of saké, the second day that of a cup of saké, the third day that of a soup bowl and the fourth day, that of a saucer. Gradually, its fruit is formed and resembles a reversed cone or rather the head of a watering can. Its higher plane face is supplied with a score of cells containing seeds. It is detached from its stalk at maturity and its higher face disaggregates in contact with water with the passing days. That makes it possible to release and convey seeds far from the place of flowering. Its seeds heavier than water stick fast in the mud and take root.

That makes it possible for the young buds  to sprout as they already carry seeds at the time of their formation. This is why the Vietnamese say the following about the lotus: Nhân quả đồng hành to mean that the seed is made at the same time as the fruit. Buddha (3) was accustomed to using the lotus to name the person who has succeeded in freeing himself completely from concupiscence because the latter is the source of all human sufferings (duhkha) and of successive reincarnations.

The lotus is often visible in the vietnamese art, in particular in buddhist architecture. The motif that identifies the lotus in the decoration always has eight petals indicating the eight cardinal points and reproduces the mandala, geometrical and symbolic representation of the Buddhist Universe.

In the Vietnamese pharmacopea, the lotus seeds are used in the treatment of diarrhea, dysentery, erotic dreams. These seeds are considered sleeping pills when they are eaten raw and in great quantity. The consumer can fall asleep rapidly if he absorbs the green germ found in the middle of the seed. Formerly, the young vietnamese boys were accustomed to offering lotus flowers to declare their feelings to their beloved. One also finds candied lotus seeds and tea aromatized with lotus in all the traditional festivals of Vietnam, in particular that of Tết without forgetting to note for the epicurians in the art of vietnamese cooking that there is a delicious dish, the lotus salad.

The land of legends as is our Vietnam was plunged into war, injustice and corruption. Any Vietnamese in love with peace, justice and freedom always cherishes the hope to see that one day his country find serenity, splendor and dignity in the image of purity of this aquatic plant.

Its grace was evoked by the king poet Lê Thánh Tôn in his poem Hoa Sen at the time when Vietnam was at the height of its glory and radiance:

Nỏn nà sắc nước nhờ duyên nước
Ngào ngạt hương thơm nức dặm Trời ..

The lotus flower is of a beautiful whiteness and perspicacious thanks to the contribution of water
Its penetrating fragrance is spread into the sky.

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(1) Li Bai, one of the famous chinese poets of the time of the emperor of Tang Xuanzong. ( 701-762).
(2) The great chinese poet of the time of Tang (772-846)
(3) Siddhârta Gautama ( Cồ Ðàm Tất Ðạt Ða ).

 

Flowers in the Vietnamese culture

French version
Vietnamese versionimg_6909

 

In their cultural tradition, the Vietnamese attach a great importance to flowers. One notes their marked preference for the names of the flowers in the choice of the feminine first names . There is even an anecdote on the first name that great king Lý Thánh Tôn of the dynasty of Lý has chosen for his imperial concubine Ỷ Lan known later under the name Linh Nhân Hoàng Hậu. One day, on his way back to the capital, the king was greeted by jubilant villagers. He realized that there was a young country girl of extraordinary beauty who kept looking timidly at him while leaning against a magnolia. Desirous of knowing her, he made her come in front of him. Taken by her beauty and intelligence, the king asked her to marry him and gave her the name « Ỷ Lan » (Ỷ Lan means leaning against a magnolia). She was known later in the history of Vietnam as one of the greatest queens to take up several social projects for disinherited and women.

Những loại hoa được yêu trong nền văn hóa Việt Nam

To immortalize the affliction they continue to bear for their daughter-in-law, from then on, they forbade their close relations and subjects to use the word Hoa not only in the choice of given names but also in the naming of public buildings. Because of that prohibition, the Ðông Hoa market in Hue became the central market Ðông Ba. The province Thanh Hoá was from then on called Thanh Hoa. The bridge stretching across the Thi Nghe river in Saigon changed its name to Cầu Bông from the name Hoa Bắc. However « Hoa » is the word the most used in Nguyễn Du‘s Kim Vân Kiều, the masterpiece of Vietnamese literature. Without counting the name of the flowers evoked, one can come up with an inventory of at least 130 verses containing the word « Hoa ». Moreover, this word appears in a great number of terms having the connotation of flower in the Vietnamese literature.

Hoa diện, mặt hoa : blossoming face ( To have a beautiful face )
Hoa chúc: Flower of the torch ( the lamp in the nuptial room)
Hoa niên: Flower of Age ( youth )
Hoa tay: To have the pulp of the fingers in the form of a flower ( To be very adroit )
Số đào hoa: To be born under the peach flower star ( To be liked by women )
Ngừơi tài hoa: Man of talent to the image of a flower ( To be talented and distinguished)
Hoa tai : Flower of the ear ( Earring )
Hoa đèn: Flower of the lamp ( coal of the wick of an oil lamp)
Hoa khôi: Flower of first rank (To be the most beautiful girl, also attributed to the plum flower or that of a lotus )
Hoa đá: Stone flower ( Coral )
Hoa vương: Queen of flowers ( Peony)

Concerning the stone flower, there is an anecdote recalling the episode when Vietnam was troubled by ceaseless internal wars between the two ruling families, the Trinh and the Nguyễn. It was one of the practical jokes of a mandarin named Trạng Quỳnh serving lord Trinh Cương and frequently known under the pseudonym Cống Quỳnh or Trạng Quỳnh. Lord Trịnh Cương was very greedy. He only thought of living in opulence and debauchery. That was why Cống Quỳnh tried to bring him back to reason and wisdom. He told him that he knew how to prepare a very delicious little dish called Hoa đá (Stone flower).

Lord Trinh Cương asked him to prepare it. But he told the lord that he must wait for at least two days to be able to taste that dish because he had to simmer it during that time. Lord Trinh Cương accepted this proposal. Back home, he ordered his servants to go to the store and get edible algaes and simmer them in water. Famished by this long wait, the lord Trinh recognized that the dish prepared by Cống Quỳnh was delicious even though it only contained vegetables after having tasted it.

One found some classical famous novels bearing the name of flowers. It is the case of Nhị Ðộ Mai (Twice blossoming plum tree) and Hoa Tiên (Flowery Loose Sheets). The first one was written in Nôm with two thousand eight hundred twenty Six-Eight verses and adapted from a Chinese work. It is the story about king fidelity, filial piety, loyalty, gratitude and love. As for the second novel, it was composed by the learned Nguyễn Huy Tự.This novel comprises more than eight hundred verses written in Six-Eight feet (lục bát). It is the first Vietnamese romantic poem and still remaining within the Confucian thought.

Despite a great variety of flower species found on this land of legends, the Vietnamese do not hide their preference to certain plants. They do not hesitate to classify some in the category of noble plants. Among those, one can quote:

Mai(Plum)
Lan (Magnolia)
Cúc (Chrysanthemum)
Sen (Lotus)
Mẫu đơn (Peony)
Hoa hồng (Rose)

These plants or their flowers have each one a particular and ethical signification and the Vietnamese tradition. The plum tree ( mai ) is the symbol of a superior man. It succeeds in resisting the cold and bad weather and continues to bloom in February, which allows it to symbolize the Spring in the representation of the four seasons (Tứ Thì). At the occasion of Têt, for a Vietnamese, there is never a lack on the altar of some branches of plum trees (or cherry) in bloom that are selected so that the flowers hatch during the festival. The plum flower is very much adored by learned and intellectual Vietnamese. An independent man of character like Cao Bá Quát who did not bow to mandarinal servitude had to admit to only bending his head before the plum flower during his lifetime.

Nhất sinh đê thủ bái hoa mai
Suốt đời chỉ cúi đầu trước hoa mai

All my life, I curve only my head in front of the flower of plum tree.

Another learned man Ðào Tấn, the father of stage productions of the Bình Ðịnh region in Central Vietnam, also nourished the hope to die one day near plum trees. That is why, while living, he chose (Mộng Mai) (Dream of Plum Flowers) as his pseudonym and had the occasion to reveal his state of heart in the two verses found in one of his poems:

Núi mai rồi giữ xương Mai nhé
Uớc mộng hồn ta là đóa Mai

It is the mountain of the plum trees where will be buried my skeleton of plum tree.
I continue to dream that my soul would be the flower of plum tree.

It was not an utopia for him because at his death (July 1907), he was buried at mount Huynh Mai, not too far from a plum garden which is a few kilometers away. Contrary to the Chinese, they are the plum and lotus flowers which are more appreciated than the peony. That’s why they are called Hoa Khôi (Flowers of first rank)
One has a preference for the plum tree because the lotus is rather reserved to Buddhism although it is also the symbol of a man of Confucian quality (junzi). It was the plant chosen by the learned Mạc Ðỉnh Chi to reveal his extraordinary talent and genius when king Trần Anh Tôn hesitated to appoint him « First Doctor » finding him too ugly at the time of diploma delivery. To convince the king, he compared himself to a lotus in a jade well by composing in front of the king the poem entitled «  Ngọc Liên Tỉnh Phú » (Lotus in a a jade well).

Giống quý ấy ta đây có sẳn
Tay áo nầy ta chứa đã lâu
Phải đâu đào, lý thô màu
Phải đâu mai, trúc dãi dầu tuyết sương
Cũng không phải tăng phường câu kỷ
Cũng không là Lạc Thủy mẫu đan
Cũng không là cúc, là lan
Chính là sen ở giếng vàng đầu non

That precious species I already possess
In this coat sleeve I kept it for a long time
It is neither peach nor cherry whose color is gross
It is neither plum tree nor bamboo exposed to snow and dew
It is even not berry whose scent is to be avoided
It is not the peony from Lac Thủy(1)
It is neither chrysanthemum nor magnolia
But it is the lotus in the golden well on top of the mountain.

Mạc Ðỉnh Chi had the occasion to compose a funeral oration in honor of disappearance of a Mongol princess when he was sent to China as the Ambassador of Vietnam. That day, before the imperial court, one gave him a sheet of paper on which there were four lines, each one began with a single word « one » (một ). It was up to him to compose a poem by completing the lines to render a great homage in memory of that princess. Imperturbable, he succeeded in doing it with the surprise and admiration of all the Mongol imperial court by designating the princess like a flower:

Lò hồng môt giọt tuyết
Vườn thượng uyển môt cành hoa
Cung quảng hàn (2) một vầng nguyệt
Than ôi! Mây tan! Tuyết tiêu!
Hoa tàn! Trăng khuyết !

One cluster of clouds in the blue sky
One flake of snow on the rose beam
One flower in the imperial garden
One lunar disk in the Moon palace
Alas! Cloud disappears! Snow melts!
The flower wilts! The moon is incomplete !

As for the chrysanthemum, it is not only the monopoly of the Autumn but also the symbol of serenity and the indifference of people to honors and glory. Analogous to the flower of plum tree, the magnolia is the symbol of feminine beauty. It often designates a young girl in poetical compositions. Although the peony is seen as a noble flower, it does not have a significant range than it continues to have in China. Probably because of the Chinese influence, one continues to keep that custom. The peony is often evoked in Vietnamese ornamental art or in legends (The story of the mandarin Từ Thức and the fairy Giáng Hương for example).

As for the rose, it is the symbol of love and affection. To understand the value and the range of significance that the Vietnamese give to this flower, we should read the novel « Bông Hô`ng Cài A’o ( A rose pinned on the coat ) » of the Vietnamese zen monk Thi’ch Nhâ’t Hạnh. He attempts to remind us through his narration that everyone of us has a unique mother that we neglect to think of because of the ups and downs in life. We often forget that if everyone of us still has a mother today, that is because God has left an invaluable treasure with us. We still have the chance to be able to love her and show her our affection. For that, we can continue to pin a rose on our coats because we alone still have that immense, intimate and indescribable joy that lots of people no longer had long time ago.

Not long ago on this land of legends, one could not see white myrtle flowers (Hoa Sim) laid by young girls on the tomb of their lovers who had fallen valiantly in the defense of their ideal and fatherland. They did not have the chance to see peace coming back some day. They did not have the occasion to pin a rose on their coats even when their mothers were still alive. It is for these valiant people that all the Vietnamese want to offer a rose for the love they have always had for this land. They want to show them their sincere affection and profound gratitude. Without the bravery, sacrifice, and the nobility of soul of these people, Vietnam would not have been able to retain its independence, its cultural identity, its millennial traditions.

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(1) Lạc Thủy: a river known in China.
(2) Cung quảng hàn : the  mythical  Chinese palace  found on the moon.
(3): An anecdote on the chrysanthemum of Luoyang  with  Wu Ze Tian empress ( Võ Tắc Thiên) of  Tang dynasty.
 

Văn Lang kingdom (Văn Lang)

French version
Vietnamese version

 In fact, Văn Lang referres the semi-legendary epoch of the eighteen Hùng kings or Lạc Vương (2879-257 B.C.) or 2622 years. It was the legend and the myth of the Dragon and the Immortal of whom Vietnamese are issue. This kingdom was located in the Yang Tse river basin (Sông Dương Tử) and was placed under the authority of a Hùng king . This one had been elected for his courage and his values. He had divided his kingdom into districts entrusted to his brothers known under the name « Lạc hầu » ( marquis ). His male children have the title of Quan Lang and his daughters that of Mỵ nương. His people was known under the name « Lạc Việt« . His men had a habit of tattooing their body. This « barbarian » practice, often revealed in the Chinese annals, was intended to protect men from the attacks of  water dragons (con thuồng luồng) if one believes the Vietnamese texts. It is perhaps the reason why the Chinese often designated them under the name « Qủi (daemons) ».

Loincloth and chignon constituted the usual costume of these people to which were added bronze ornaments. The Lac Viet lacquered their teeth in black, chewed betel nuts and crushed rice with their hand. The farmers practiced the cultivation of rice in flooded field. They lived in plains and coastal areas while,  in the mountainous areas of the current Việt Bắc and on part of the territory of the current Chinese province of Kuang Si,  lived the Tây Âu,  ancestors of the ethnic groups Tày, Nùng and Choang currently disseminated in the North Vietnam and in the South of China. At that epoch, the Vietnamese people lived on fishing and cultivation. They already knew how to use tree bark to make clothes, prepare rice alcohol, practice slash and burn agriculture, eat ordinary rice or sweet rice, live in houses on stilts to avoid wild animals etc… Many Vietnamese popular tales (the story of the Sweet Rice Cake, that of the Betel Quid and that of the Mountain and River Gods etc.) came  from these customs.

There is a part of reality in the history of this kingdom. The ruines of the Cổ Loa citadel (Spiral citadel) located  about 18km in the district Đồng Ánh from  Hànội and the temples of Hùng kings testifies to these indisputable vestiges with historians viewpoint.

 

HUNG_VUONG

 

Le défi (Thách Thức)

English version
Version vietnamienne
Galerie des photos

Le défi

Ce mot n’est pas étranger aux Vietnamiens. Par contre, il est synonyme de la persévérance, de la résistance, de l’ingéniosité et de la confrontation pour ces gens frêles, les pieds enfouis dans la boue des rizières depuis la nuit des temps. Ceux-ci ne cessaient pas de relever, de génération en génération, le défi imposé incessamment par les intempéries d’une nature ingrate et inhospitalière et par l’Empire du Milieu, leur grand frère limitrophe et leur ennemi héréditaire. Les Vietnamiens vouaient à ce dernier une admiration étonnante en même temps une résistance implacable dans le but de garder leur indépendance nationale et leurs spécificités culturelles. La Chine tenta de siniser à maintes reprises le Viêt-Nam durant sa domination millénaire mais elle réussit à estomper les particularités sans les faire disparaître complètement. Elle ne tarda pas à s’en apercevoir car à chaque occasion favorable, les Vietnamiens affichaient leur résistance et leur différence. Ils cherchaient à affronter même les Chinois dans le domaine littéraire. Cela a été rapporté par un grand nombre de récits continuant à abonder encore jusqu’à nos jours dans l’histoire littéraire vietnamienne.

Selon l’on-dit, après avoir réussi à mater la révolte des deux sœurs Trưng Trắc Trưng Nhị et de pacifier le Giao Chỉ (l’ancien pays des Viets), le général chinois Mã Viện (Ma Yuan) de la dynastie des Han édifia en 43 à la frontière sino – vietnamienne un pilier haut de plusieurs mètres et portant l’écriteau suivant:

Ðồng trụ triệt, Giao Chỉ diệt
Ðồng trụ ngã, Giao Chỉ bị diệt.

Le Vietnam disparaîtrait pour toujours avec la chute de ce pilier.

Pour éviter sa chute, chaque Vietnamien tenta de le consolider en jetant, à chaque passage, un morceau de terre autour de cette colonne colossale, ce qui permit d’édifier progressivement un monticule faisant disparaître ainsi ce pilier mythique.

Pour ironiser sur la peur et l’angoisse des Vietnamiens de perdre leur patrie, l’empereur des Ming n’hésita pas à s’adresser arrogamment au délégué vietnamien Giang Văn Minh (1582-1639) lors d’une réception, avec des termes inamicaux:

Ðồng trụ chí kim đài dĩ lục
Le pilier en bronze continue à être envahi par la mousse verte.

pour rappeler à Giang Văn Minh l’écrasement de la révolte dirigée par les sœurs Trưng Trắc et Trưng Nhị et la pacification de son pays par les Chinois. Imperturbable, Giang Văn Minh lui répondit avec une perspicacité étonnante et une détermination énergique et courageuse :

Ðằng giang tự cổ huyết do hồng
Le fleuve Bạch Ðằng continue à être teinté avec du sang rouge.

pour rappeler à l’empereur des Ming les victoires éclatantes et décisives des Vietnamiens contre les Chinois sur le fleuve Bạch Ðằng.

Ce n’est pas la première fois que cette compétition littéraire avait lieu. A l’époque du règne du roi Lê Ðại Hành ( Le Grand Expéditeur ), le bonze Lạc Thuận eut l’occasion de frapper d’admiration l’ambassadeur chinois Li Jiao ( Lý Giác ) à qui il avait fait passer le fleuve en se déguisant en sampanier. Il n’hésita pas à achever le quatrain entamé d’abord par Li Jiao qui se mit à chanter en voyant les deux oies sauvages jouer sur la crête des vagues:

Ngỗng ngỗng hai con ngỗng
Ngữa mặt nhìn trời xanh

Des oies sauvages, voyez ces deux oies sauvages
Elles dressent la tête et se tournent vers l’horizon

par ses deux vers suivants:

Nước biếc phô lông trắng
Chèo hồng sóng xanh khua

Leurs plumes blanches s’étalent sur les eaux glauques
Leurs pattes roses, telles des rames, fendent les flots bleus.

On constate non seulement la rapidité et l’improvisation du moine Lạc Thuận mais aussi son ingéniosité de mettre en parallèle les idées et les termes à employer dans ce quatrain.

Galerie des photos

defi

Mais le mérite de la confrontation revient évidemment au lettré Mạc Ðỉnh Chi car ce dernier sut montrer durant son séjour en Chine sa capacité de résistance mais aussi son talent de savoir répliquer savamment à toutes les questions et éviter toutes les embûches. Il fut envoyé en Chine (1314 ) par le roi Trần Anh Tôn après que ce dernier avait défait l’armée des Mongols de Kubilai Khan avec le général Trần Hưng Ðạo. À cause d’un retard inopiné, il ne put pas se présenter à l’heure convenue devant le portail du fort à la frontière sino-vietnamienne. Le mandarin chargé de la surveillance de ce fort accepta d’ouvrir ce portail à condition qu’il réussît de répondre d’une manière appropriée à la question que ce mandarin voulait lui poser et dans laquelle il y avait 4 mots « quan »

Quá quan trì, quan quan bế,
nguyện quá khách quá quan

Qua cữa quan chậm, cữa quan đóng,
mời khách qua đường qua cữa quan

Vous êtes en retard, la porte réservée étant fermée.
Je vous demande de bien vouloir vous présenter devant cette porte.

Imperturbable devant ce défi littéraire, il répondit au mandarin avec une facilité étonnante par la phrase suivante:

Xuất đối dị, đối đối nan, thỉnh tiên sinh tiên đối.
Ra câu đối dễ, đối câu đối khó
xin tiên sinh đối trước

C’est très facile pour vous de poser une question, la réponse n’étant pas évidente.
Je vous demande de bien vouloir poser la question.

On constate que dans cette réplique, il y a non seulement le mot « đối » qui se répète en quatre fois et qui est disposé de la même manière que le mot « quan » mais aussi la virtuosité de savoir respecter les rimes et les règles prosodiques par Mạc Ðỉnh Chi dans son vers tout en faisant connaître au mandarin la situation où il était empêtré avec sa suite. Cela contenta énormément le mandarin chinois. Celui-ci n’hésita pas à ouvrir le portail du fort et à le recevoir en grande pompe. Cet incident fut rapporté à la cour de Pékin et ne tarda pas à porter envie aux meilleurs mandarins lettrés chinois de se mesurer avec lui dans le domaine littéraire.

Un beau jour, dans la capitale de Pékin, il était en train de faire une promenade avec son mulet. Comme ce dernier ne trottinait pas assez vite, cela énerva un mandarin chinois qui le suivait de près sur son chemin. Irrité par cette lenteur gênante, le mandarin se tourna vers lui en lui adressant avec un ton arrogant et méprisant:

Xúc ngã ky mã, đông di chi nhân dã, Tây di chi nhân dã?
Chạm ngựa ta đi là người rợ phương Ðông hay là người rợ phương Tây?
En gênant le passage de mon cheval, est -il un barbare venant de l’Est ou de l’Ouest?

Ce mandarin s’inspira de ce qu’il avait appris dans le livre de Mencius (Mạnh Tử )(1) pour désigner les Barbares, ceux ne possédant pas la même culture que l’empire du Milieu par l’emploi des deux mots « Ðông di ». Surpris par ce propos blessant lorsqu’il savait que la Chine fut gouvernée à cette époque par les tribus nomades, les Mongols, Mạc Ðỉnh Chi lui répliqua avec son humour noir:

Át dư thừa lư, Nam Phương chi cường dư, Bắc phương chi cường dư
Ngăn lừa ta cưởi, hỏi người phương Nam mạnh hay người phương Bắc mạnh?

En empêchant la marche normale de mon mulet, est-il fort, l’homme du Nord ou celui du Sud?

L’empereur des Yuan n’hésita pas à vanter sa puissance en le comparant au soleil et en faisant savoir à Mạc Ðỉnh Chi que le Viêt-Nam, comparable à la lune, serait anéanti et dominé bientôt. Imperturbable, Mạc Ðỉnh Chi lui répondit d’une manière ferme et courageuse:

Nguyệt cung, kim đạn, hoàng hôn xa lạc kim
Trăng là cung, sao là đạn, chiều tối bắn rơi mặt trời.

Etant prise pour l’arbalète, la lune avec les étoiles comme des projectiles, détruit facilement dans la nuitée le soleil.

L’empereur des Yuan Kubilai Khan ( Nguyên Thê’ Tổ ) dut reconnaître son talent et lui accorda ainsi le titre  » Premier docteur » ( Lưỡng Quốc Trạng Nguyên ) aussi bien en Chine qu’au Viêt-Nam, ce qui rendit jaloux quelques mandarins chinois. L’un d’eux tenta de l’humilier un beau matin en le traitant comme un oiseau car à cause de la tonalité monosyllabique de la langue, les Vietnamiens donnent l’impression de gazouiller toujours lorsqu’ils parlent:

Quích tập chi đầu đàm Lỗ luận: tri tri vi tri chi, bất tri vi bất tri, thị tri
Chim đậu cành đọc sách Lỗ luận: biết thì báo là biết, chẳng biết thì báo chảng biết, ấy là biết đó.

L’oiseau s’agrippant sur une branche lit ce qui a été écrit dans le livre Les Entretiens : Si nous savons quelque chose, nous disons que nous la savons. Dans le cas contraire, nous disons que nous ne la savons pas. C’est ainsi que nous disons que nous savons quelque chose.

C’est une façon de recommander Mạc Ðỉnh Chi de se montrer plus humble et de se comporter comme un homme de qualité confucéenne ( junzi ). Mạc Ðỉnh Chi lui répliqua en le traitant comme une grenouille car les Chinois ont l’habitude de clapper à cause de leur manière de boire ou de parler bruyamment:

Oa minh trì thượng đọc Châu Thư: lạc dữ đọc lạc nhạc, lạc dữ chúng lạc nhạc, thục lạc.
Châu chuộc trên ao đọc sách Châu Thu: cùng ít người vui nhạc, cùng nhiều người vui nhạc, đằng nào vui hơn.

La grenouille barbotant dans la mare lit ce qui a été écrit dans le livre Livre des Documents Historiques (Chou Ching): certains jouent seuls de la trompette, d’autres jouent ensemble de la trompette. Lesquels paraissent en jouer mieux.

C’est une façon de dire au mandarin chinois d’avoir un esprit sain pour pouvoir avoir un comportement juste et un discernement équitable.

Malgré la confrontation littéraire, Mạc Ðỉnh Chi fut très apprécié en Chine. Il fut chargé même par l’empereur des Yuan de composer une oraison funèbre en l’honneur de la disparition d’une princesse mongole. Grâce au respect que les Chinois savaient entretenir traditionnellement à l’égard des gens de talent vietnamiens, en particulier des lettrés ayant une érudition inouïe et une vivacité d’esprit, le lettré Nguyễn Trãi fut sauvé in extremis par le grand intendant Houang Fou (Hoàng Phúc). Il était aux yeux du généralissime chinois Tchang Fou (Trương Phụ ) un homme captif à abattre, un personnage dangereux et nuisible à la politique d’expansion de la Chine au Viêt Nam . Il fut retenu par Tchang Fou durant son séjour à Ðồng Quang ((ancien nom donné à la capitale Hanoï ) avant de pouvoir rejoindre plus tard le héros à habit de cotonnade Lê Lợi à Lam Sơn. Sans ce geste magnanime et protecteur de l’eunuque Houang Fou, Lê Lợi n’aurait pas pu déboulonner les Ming car c’était Nguyễn Trãi, le conseiller providentiel et le stratège éminent sur lequel Lê Lợi s’appuya pour mener le guérilla durant ses dix années de lutte contre les Chinois.

Cette confrontation littéraire commença à s’estomper progressivement avec l’arrivée des Français au Vietnam et cessa définitivement lorsque l’empereur Khải Ðịnh avait décidé de mettre fin au système de concours mandarinal vietnamien calqué jusqu’alors sur celui des Chinois et basé essentiellement sur les Quatre Livres Classiques (3) et les Cinq Livres Canoniques (4) du sage Confucius.(Tứ Thư Ngũ Kinh).intro1

On nota le dernier concours mandarinal organisé à Huế en 1918. Un autre système de recrutement à la française fut proposé à l’époque coloniale. Dès lors, le Vietnam n’avait plus l’occasion de se mesurer littérairement avec la Chine et de lui montrer sa différence, sa résistance intellectuelle et ses spécificités culturelles.

[Retour TRADITIONS]


(1) : Philosophe Jou de premier plan du IV è siècle avant J.C.
(2) : Le Juste Milieu , l’un des ouvrages de base de l’enseignement chinois.
(3) : La Grande Étude, ( Ðại Học), le Juste Milieu ( Trung Dung ), Les Entretiens ( Luận Ngữ ) et le livre de Mencius ( Sách Mạnh Tử).
(4): Le Livre des Odes ( Kinh Thi ), Les Documents Historiques( Kinh Thu ), Le Livre des Mutations ( Kinh Dịch ) Les Rites ( Kinh Lễ ) , Printemps et Automne ).( Kinh Xuân Thu ).

Vietnamese woodcuts (Tranh dân gian)

French version

Without the curiosity and open-mindedness of this young French military man, the Vietnamese popular woodcut would probably have been in oblivion and disappeared forever with the ups and downs of the war. The Vietnamese woodcut has its origin dated back to 15th century, at a time when scholar Lương Như Hộc introduced its fabrication technique on his way back from an official mission to China.

Henri Oger was one of the rare Frenchmen who, at the beginning of the century, was able to discover a millennium of wealth in traditions and customs throughout the Vietnamese society which was then closed to strangers, poor and backward. He took the initiative of creating an encyclopedia consisted of 10 volumes describing all aspects of the Vietnamese society in the old days: craftsman’s works, festivals, farming techniques, ancestral customs etc.. by requesting about 30 wood carvers to engrave designs on wood and then, because of weather conditions, imprint the engraving on the spot using the Vietnamese traditional methods. It should be acknowledged that the love of Vietnam and its people has allowed Henri Oger to overcome at that time all hardship in fund raising and in the realization of this huge work ( more than 4000 designs in all ).estampes_1

He did not get any help from the French government at all. He only got subscriptions from some two dozen persons, in the amount of 200 piasters.

Henri Oger

In spite of that, Henri Oger has succeeded in leaving to the Vietnamese people a priceless treasure. His work was unknown to the French and Vietnamese public for decades. Only in 1978 did an exhibition entitled « Peasant Painters of Vietnam » take place at the Cultural Center of Bourges. Three of his works are presently kept at the National Library of Hanoï and Saïgon City but only in the latter we find his 10 volumes in their entirety.

Bibliography:

Introduction générale à l’étude de la technique du peuple annamite. 2 volumes. Editions: Geuthner-Jouve, Paris.

 

Parallel sentences (Doanh thiếp)


Vietnamese version

French version

One of the charms of Vietnamese poetry lies in the usage of paralell sentences. Not only is found there the opposite of ideas or words used but also the relevance of the practice of parallelism. That is why parallel sentences constitute one of the major difficulties for novices but nevertheless they become one of the indisputable appeals for known Vietnamese poets such as Hồ Xuân Hương, Tự Ðức, Cao Bá Quát, Ðoàn Thị Ðiểm, Nguyễn Ðỉnh Chiễu etc. who had the opportunity to use them wisely. They have given us sentences showing their unprecedented talent and always serving as reference in the Vietnamese poetry.

Thanks to the contrast of the words or ideas in a verse or from stanza to stanza, the poet succeeded in stressing a reason or a crtitique and reinforcing the vigor of his thought. He composes these sentences based on prosodic rules established essentially on the alternation of equal (or bằng ) and oblique ( or trắc ) tones while leaning on the power of melodious and harmonious combinations of words used that are reinforced by the musicality of the Vietnamese language and the contrast of ideas.


Parallel sentences constitute a kind of intellectual pastime, an art that renowned poets found it hard to do without. They have succeeded in practicing this art with an astonishing ease and a remarkable ingenuity.

Parallel sentences reflect exactly what the poet saw and felt in his daily life. It is not surprising to see the Vietnamese’s infatuation of this subtle prosody for generations. It has become not only the pleasure of the people but also an efficient weapon against oppression, obscurantism and provocation.
Parallel sentences are a part of what every Vietnamese cannot miss on the occasion of Tết. The following two sentences:

Thịt mỡ, dưa hành câu đối đỏ,
Cây nêu, tràng pháo, bánh chưng xanh

Fatty meats, pickled shallots, red parallel sentences.
Tet poles, firecracker strings, green sweet rice cakes.

witness to the familiarity and profound attachment that the Vietnamese love to reserve to this popular prosody during the new year time. Rich or poor, poet or not, everyone try to have these sentences hung at the entrance to their homes. They compose them themselves or have them composed by learned people who would write them to best express their personal aspirations.

Parallel sentences probably found their root in Chinese literature. They are known in Vietnamese as « Doanh Thiếp » ( manuscript hung on the housepost ). They comprise two parts that are called upper part ( vế trên ) and lower part ( vế dưới ). They are also called given statement ( vế ra ) and cross statement ( vế đối ) when one is composed by a person and the other by another. One finds some characteristics common to those two parts:

· The number of words must be the same;
· The content must be suitable at the level of significance when it comes to antithesis or parallelism of ideas.
· The form must be respected when it comes to contrast of words used (respect of placement order of nouns, adjectives and verbs, observance of opposition rules and registered sounds bằng and trắc).
In the example cited below,

Gia bần tri hiếu tử
Quốc loạn thức trung thần.
Poor homes discern their pious children
Troubled nation recognizes its loyal citizens.

It is noted that there is the same number of words used ( 5 in each part, 6 in English ), the parallelism of ideas and the strict observance of registered sounds bằng and trắc used in both parts. At the position of the bang tone (Bần) in the upper verse one finds the trac tone (Loạn) at the same place in the lower verse. Likewise, the remaining trac tones in the upper verse hiếu and tử are respectively crossed by the two bằng tones trung and thần in the lower verse.

Parallel sentences made up of one to three words for each of the parts are called little parallel sentences ( or tiểu đối in Vietnamese ). When they contain four to seven words and follow prosodic rules of poetry, they are called « poetic parallel sentences » ( câu đối thơ ). It is the case cited above. In the case of parallelism of ideas which is called doi xuoi in Vietnamese, no opposition of ideas is detected; on the contrary, the is an intimate relation between the two parts, which we find in the following sentences:

Vũ vô kiềm tỏa năng lưu khách
Sắc bất ba đào dị nịch nhân.
Rain though not restraining, is retaining
Feminine beauty being no big waves, can easily be drowning.

In the opposite case they are called đối ngược in Vietnamese. 

The parallelism of ideas is frequently used by poet Cao Bá Quát. There is an anecdote about him during the passage of emperor Minh Mạng in his village when he was still a young boy. Instead of hiding, he threw himself in a pond to take a bath. His absurd attitude caused him to be tied and brought before Minh Mạng under the exhausting sun. Minh Mang, who was surprised by his boldness and young age offered to free him at the only condition that he succeed in composing the appropiate cross sentence in response to the emperor’s given statement. Seeing a bigger fish chasing a smaller one in the pond, the emperor began to say:

Nước trong leo lẽo, cá đóp cá
In clear water, fish eating fish.
Without hesitation, Cao Bá Quát replied with astonishing ease:

Trời nắng chan chan, người trói người
Under scorching sun, man tying man.

Marveled by his promptness and unprecedented talent, the emperor was obliged to set him free. Cao Bá Quát, known for his independence, presumption and contempt of the mandarinal system, often stood up against challenges launched by his adversaries. One day, while participating in a talk on poetry hosted by a mandarin, he did not stop making fun of the mandarin when this one gave simplistic explanations to questions made by the public. Annoyed by his continuing provocation, the mandarin challenged him with the intention of punishing him immediately by asking him to give a cross sentence appropriate to the statement given by the mandarin himself:

Nhi tiểu sinh hà cứ đác lai, cảm thuyết Trình, Chu sự nghiệp
Mầy là gả học trò ở đâu đến mà dám nói đến sự nghiệp của Trương Công và Chu Công?

You little student coming from nowhere dare to critique the works of Trinh and Chu?
Without hesitation, he replied with impertinence:
Ngã quân tử kiên cơ nhi tác, dục ai Nghiêu Thuấn quân dân
Ta là bậc quân tử, thấy cơ mà dấy, muốn làm vua dân trở nên vua dân đời vua Nghiêu vua Thuấn.

I the gentleman taking opportunity for action want to turn king and subjects to those of Nghiêu and Thuấn.

In the old days parallel sentences constituted a favorite place where Chinese and Vietnamese loved to affront publicly. The cross statement of the learned Giang Văn Minh, anchored in the memory of a whole people and perpetuated for several generations

Ðằng giang tự cồ huyết do hồng.

The Ðằng River is from ancient time still red of blood .
continues to illustrate its infallible determination to the provocation of the Ming emperor with its following given statement:

Ðồng trụ chí kim đài dĩ lục

The Bronze Pole is up until now covered with green of moss

There are also anonymous poets who left us memorable parallel sentences. It is those found on the altar of Nguyễn Biểu at the Bình Hồ commune ( North Vietnam ).

Năng diệm nhơn đầu năng diệm Phụ
Thượng tồn ngô thiệt thượng tôn Trần
Ăn được đầu người thì co’ thể ăn cả Trương Phụ
Còn lưỡi của ta thì còn nhà Trần

Capable of eating a human head is capable of eating Trương Phụ
Having still my tongue is having remain the dynasty of Trần.

Thanks to these two sentences, the anonymous poet wanted to render a vibrant homage to the national hero. He was drowned by the Chinese generalissimo Trương Phụ who had hosted a somptuous banquet in his honor. To intimidate Nguyen Bieu, Truong Phu did not hesitate to present him a plate on which sit the head of a decapitated adversary. Instead of being afraid of this presentation, Nguyen Bieu remained impassible, took the chopsticks, picked out the eyes and ate them savorily.

After the fall of Saigon in 1975, an anonymous composed the following parallel sentences:
Nam Kì Khởi Nghĩa tiêu Công Lý
Ðồng Khởi vùng lên mất Tự Do.

Nam Ki Uprising wiped out Justice
Ðồng Khởi Revolt took away Freedom

because the names of the bouvevards Công Lý and Tự Do were replaced by Nam Ki Khởi Nghĩa and Ðồng Khởi in this teeming city of the South.

By means of parallel sentences, the anonymous poet wanted to stress his caustic criticism with regard to the regime.
Taking advantage of the subtleness found in parallel sentences and of the figurative meaning of the Vietnamese language, Vietnamese politicians, emperor Duy Tân in particular, have often had the opportunity to probe and be ironical of their adversary.
Brooding on the idea of fomenting for a long time an insurrection against the colonial authorities, Duy Tân, taking advantage of a coastal excursion with his prime minister Nguyễn Hữu Bài at the beach of Cửa Tủng ( Quảng Trị ), requested of the latter a cross statement to his given sentence:

Ngồi trên nước không ngăn được nước
Trót buôn câu đã lỡ phải lần.

Sitting on water, but one is incapable of retaining it
Throwing out the fishing line, yet we can only pull it back slowly.

Since Nước also means country in Vietnamese, Duy Tân in his given statement wanted to express the idea that he was on top of the country, yet he could not govern it.

He also wanted to probe Nguyễn Hữu Bài‘s political intention to see if the latter was with his opinion or paid by the French colonialists. Knowing the political conjuncture and being close to the colonial authorities, Nguyễn Hữu Bài preferred immobilism and a politics of dialogue in the following reply:

Ngẫm việc đời mà ngán cho đời
Liệu nhắm mắt đến đâu hay đó

Thinking of life, one becomes fed up with it
Closing our eyes, we will take whatever happens

To be ironical of his adversary, Ðặng Trần Thường, who had judged him wrong for being a partisan of emperor Quang Trung, with the following sentence:

Thế Chiến Quốc, thế Xuân Thu, gặp thời thế, thế thời phải thế
At the time of Chiến Quốc and Xuân Thu, whoever had the opportunity would grab it.

Ngô Thời Nhiệm succeeded in giving a perfect reply to the given statement by his adversary Ðặng Trần Thường, a partisan of emperor Gia Long.
Ai Công hầu, ai Khanh tướng, trên trần ai, ai dễ biết ai
For the titles of Duke and Minister, who is who in society to know them.

He succeeded to show not only his bravery but also his contempt with regards to go-getters such as Ðặng Trần Thường. Annoyed by these vexing words, the latter ordered his subordinates to flog him to death in front of the temple of literature. Ngô Thời Nhiệm was not wrong to recall Ðặng Trần Thường of this remark because he was later condemned to death by emperor Gia Long.
Phú, it is the noun in Vietnamese attributed to parallel sentences having a large number of words or parts. It is the case of sentences used by Ngô Thời Nhiệm and Đặng Trần Thường. When they are made of several parts of sentences, three ( in the example cited above ) or more, in the middle of which is inserted a very short part, one calls them gối hạc ( the kneecap of the crane ) in Vietnamese because it looks like the two parts of the crane’s leg separated by the kneecap.

Parallel sentences become with the flow of time the true popular expression of the whole people in the permanent struggle against obscurantism and oppression. By giving the people the opportunity to show their character, temperament and soul, parallel sentences succeed in justifyingwhat novelist Staël has put:

By learning the prosody of a language, one intimately enters the spirit of the nation that speaks it. It is with parallel sentences that one can understand and feel better about Vietnam. One would

then be closer to its people and culture.

[Return LITERATURE]

[Return Tết Bính Ngọ]

Sentences parallèles (Doanh Thiếp)

Doanh thiếp

Version vietnamienne 

L’un des charmes de la poésie vietnamienne réside dans l’utilisation des sentences parallèles. On y trouve non seulement l’antithèse des significations  ou des mots employés mais aussi la pertinence dans  la pratique de ces sentences. C’est pourquoi les sentences parallèles constituent l’une des difficultés majeures pour les novices mais elles deviennent néanmoins l’un des attraits incontestables pour les poètes vietnamiens connus comme Hồ Xuân Hương, Tự Ðức, Cao Bá Quát, Ðoàn Thị Ðiểm, Nguyễn Ðình Chiễu etc …
Ceux-ci ont eu l’occasion de les utiliser savamment. Ils nous ont légué des sentences dignes de leur talent inouï et servant toujours de référence dans la poésie vietnamienne. Grâce à l’antinomie trouvée dans les  mots ou les significations à l’intérieur d’un vers ou de strophe en strophe, le poète réussit à faire ressortir une raison ou une critique et à renforcer la vigueur de sa pensée.  Les sentences sont composées  à partir des règles prosodiques établies essentiellement sur l’alternance des tons bằng et  trắc (1) tout en s’appuyant sur la puissance des combinaisons des mots utilisée  de manière harmonieuse et  accrue par l’extrême musicalité de la langue vietnamienne et sur l’antithèse des significations (ou d’idées) ou la cohérence et la mise en corrélation des significations.

Les sentences parallèles constituent en quelque sorte un passe-temps intellectuel, un art dont les poètes de grand renom ne peuvent pas se passer. Ces derniers ont réussi à l’exercer avec une facilité étonnante et une ingéniosité remarquable. Les sentences parallèles reflètent exactement ce que le poète a vu  et ressenti dans la vie quotidienne.

Rien n’est étonnant de voir l’engouement des Vietnamiens pour cette prosodie subtile  au fil des générations. Elle devient non seulement le plaisir du peuple mais aussi une arme aussi efficace contre l’obscurantisme,  l’oppression et la provocation.

Thịt mỡ, dưa hành câu đối đỏ,
Cây nêu, tràng pháo, bánh chưng xanh
Viande grasse, légumes salés, sentences parallèles rouges,
Mât du Tết, chapelets de pétards, gâteaux de riz du nouvel an.

Les sentences parallèles font partie de ce que chacun des Vietnamiens ne peut pas manquer à l’occasion de la fête du Tết. Elles témoignent de la familiarité et de l’attachement profond que le Vietnamien aime réserver à cette prosodie populaire lors du nouvel an. Riche ou pauvre, poète ou non, chacun tente d’avoir ces sentences pour les déposer devant  l’autel des ancêtres ou pour les accrocher à l’entrée de sa maison. Il les compose lui-même ou se procure auprès des lettrés celles qui formulent le mieux ses aspirations personnelles.

Les sentences parallèles trouvent probablement leur origine dans la littérature chinoise et sont connues en vietnamien sous le nom « Doanh thiếp (2) » . Elles comprennent deux vers: l’un est appelé le vers  supérieur (vế trên) et  l’autre le vers  inférieur (vế dưới). Le vers supérieur est le vers  composé et proposé par une personne souhaitant le commencement des sentences  tandis que le vers inférieur est  celui  qu’une autre personne  veut terminer pour la réplique.

On trouve quelques caractéristiques communes à ces deux vers: 

– Le nombre de mots doit y être le même.
– Le contenu doit y être convenable au niveau de la signification quand il s’agit de l’antithèse ou de la cohérence des idées.
– La forme doit y être respectée quand il s’agit de l’opposition totale des mots employés (respect de l’ordre de l’emplacement des mots, des adjectifs et des verbes, observation des règles d’opposition des registres sonores bằng et trắc).
Dans l’exemple cité ci-dessous,

Gia bần tri hiếu tử
Quốc loạn thức trung thần.

Nhà nghèo mới biết con hiếu thảo
Nước loạn mới biết rõ tôi trung
La famille pauvre discerne des enfants pieux
Le pays en désordre reconnaît des sujets fidèles.

on constate qu’il y a le même nombre de mots (5 mots dans chaque vers), le parallélisme des idées et l’observation stricte des registres sonores bằng et trắc employés dans les deux vers. A la place du ton bằng (nghèo) du vers supérieur on retrouve un ton trắc (loạn) au même emplacement dans le vers inférieur. De même, les tons trắc restants du vers supérieur hiếu et tử sont remplacés respectivement par les deux tons bằng trung et thần dans le vers inférieur.

Les sentences parallèles constituées de un à sept mots pour chacun des vers s’appellent des petites sentences parallèles (ou tiểu đối en vietnamien). Lorsqu’elles contiennent  plus de  sept mots et suivent les règles prosodiques de la poésie, on les désigne sous le nom de « sentences parallèles poétiques » (ou thi đối). C’est le cas de l’exemple cité ci-dessus. En cas du parallélisme d’idées, on les appelle  câu đối xuôi en vietnamien. Dans ce cas, aucune opposition d’idées n’y est décelée. Par contre, il y a une cohérence et une corrélation entre leurs deux vers, c’est ce qu’on trouve dans ces deux sentences suivantes:

Vũ vô kiềm tỏa năng lưu khách
Sắc bất ba đào dị nịch nhân.
Sans avoir la serrure à la porte, la pluie peut retenir celui qui est pressé de partir
Sans la possibilité de faire les vagues de la mer, la beauté d’une fille peut noyer celui qui s’en est épris.

Dans le cas contraire, on les appelle câu đối ngược en vietnamien. Dans ce type de sentences, l’antinomie de significations ou d’idées est visible dans les deux vers. C’est le cas de l’exemple suivant:

Hữu duyên thiên lý năng tương ngộ
Vô duyên đối diện bất tương phùng 
Có duyên dù ở xa ngàn dậm cũng có thể gặp nhau
Còn không có duyên  rồi dù ở có  đối mặt cũng không gặp được nhau.

Malgré plusieurs milliers de kilomètres de distance, on peut se rencontrer lorsqu’on a la chance.
En dépit de la proximité géographique, on ne peut pas se voir lorsqu’on n’a pas la chance.

Les sentences parallèles sont  employées fréquemment par le poète Cao Bá Quát. Il y a eu une anecdote sur lui lors du passage de l’empereur Minh Mạng dans son village quand il était encore un jeune garçon entêté. Au lieu de se cacher, il se jeta dans un étang pour prendre une baignade. Devant son attitude absurde, il fut ligoté et emmené devant Minh Mạng sous un soleil accablant.  Surpris par sa hardiesse et son jeune âge, celui-ci lui proposa de le libérer à condition qu’il réussît à composer une sentence appropriée répondant à celle émise par l’empereur. En voyant la poursuite engagée par le plus gros poisson sur le petit dans l’étang, l’empereur commença à dire:

Nước trong leo lẽo, cá đóp cá
L’eau étant tellement limpide, le grand happe le petit.

Sans hésitation, Cao Bá Quát répliqua avec une facilité étonnante:

Trời nắng chan chan, người trói người
Le soleil étant tellement accablant, le grand  ligote le petit.

Émerveillé par sa promptitude et par son talent inouï, l’empereur fut obligé de lui rendre la liberté. Cao Bá Quát, connu pour son indépendance, sa présomption et son mépris à l’égard du système mandarinal, était obligé de relever souvent le défi lancé par ses adversaires. Un beau jour, profitant de sa participation à un exposé organisé par un mandarin sur la poésie, il ne cessa pas de faire le clown lorsque ce dernier continua à donner des explications simplistes sur les questions posées par le public. Énervé par sa provocation continue, le mandarin fut obligé de le défier dans l’intention de le punir immédiatement en lui demandant de donner une sentence appropriée répondant à celle émise par lui-même :

Nhi tiểu sinh hà cứ đác lai, cảm thuyết Trình, Chu sự nghiệp
Mầy là gả học trò ở đâu đến mà dám nói đến sự nghiệp của Trương Công và Chu Công?

Étant un élève venant de quel coin, oses-tu citer les œuvres de Trương Công et Chu Công?

Sans hésitation, il lui répondit avec impertinence:

Ngã quân tử kiên cơ nhi tác, dục ai Nghiêu Thuấn quân dân
Ta là bậc quân tử, thấy cơ mà dấy, muốn làm vua dân trở nên vua dân đời vua Nghiêu vua Thuấn.

Etant un homme de ren (3), profitant des moments opportuns pour m’élever, puis-je devenir roi à l’image des rois Nghiêu et Thuấn?

Les sentences parallèles constituaient autrefois un lieu de prédilection où les Chinois et les Vietnamiens aimaient s’affronter publiquement. La sentence répondante du lettré Giang Văn Minh, ancrée dans la mémoire de tout un peuple et perpétuée depuis plusieurs générations :

Ðằng giang tự cổ huyết do hồng.
Le fleuve Bạch Ðằng continue à être teinté avec du sang rouge.
illustre bien sa détermination infaillible face à la provocation de l’empereur des Ming avec sa sentence émise suivante:

Ðồng trụ chí kim đài dĩ lục.
Le pilier en bronze continue à être envahi par la mousse verte.

Il y a aussi des poètes anonymes qui nous ont laissé des sentences parallèles mémorables. C’est celles qu’on a trouvées sur l’autel du héros national Nguyễn Biểu dans la commune Bình Hồ au Nord Vietnam.

Năng diệm nhơn đầu năng diệm Phụ
Thượng tồn ngô thiệt thượng tôn Trần
Ăn được đầu người thì có thể ăn cả Trương Phụ
Còn lưỡi của ta thì còn nhà Trần

En mangeant la tête humaine, on peut manger aussi Trương Phụ
En ayant encore la langue, je peux survivre autant que la dynastie des Trần.

Grâce à ses deux sentences, le poète anonyme a voulu rendre un vibrant hommage au héros national. Celui-ci fut noyé par le généralissime chinois Trương Phụ après que ce dernier avait organisé un banquet somptueux en son honneur. Pour intimider Nguyễn Biểu, Trương Phụ n’hésita pas à lui présenter un plat où on trouvait la tête décapitée d’un adversaire. Au lieu d’être effrayé par cette présentation, Nguyễn Biểu restant impassible, se servit des baguettes pour déloger les yeux et les mangea savoureusement.

Lors de la chute de Saigon en 1975, un anonyme a composé les deux sentences parallèles suivantes:

Nam Kì Khởi Nghĩa tiêu Công Lý
Ðồng Khởi vùng lên mất Tự Do.

Le soulèvement du Sud anéantit la justice
La révolte en marche fait périr la liberté

car les noms des boulevards Công Lý et Tự Do ont été remplacés respectivement par Nam Kì Khởi Nghĩa et Ðổng Khởi dans la ville bouillonnante du Sud. C’est par le biais de ces sentences que le poète anonyme a voulu mettre en relief sa critique acerbe à l’égard du régime.

Profitant de la subtilité trouvée dans les sentences parallèles et du sens figuré dans la langue vietnamienne, les hommes politiques vietnamiens, en particulier l’empereur Duy Tân, ont eu l’occasion de s’en servir souvent pour sonder ou ironiser sur l’adversaire. Caressé par l’idée de fomenter depuis longtemps une insurrection contre les autorités coloniales, Duy Tân, profitant de l’excursion maritime qu’il a effectuée avec le premier ministre Nguyễn Hữu Bài à la plage Cửa Tùng (Quảng Trị), proposa à ce dernier de lui donner une réplique appropriée à sa sentence émise:

Ngồi trên nước không ngăn được nước
Trót buôn câu đã lỡ phải lần
Etant assis sur l’eau, on est incapable de la retenir
En commettant l’erreur de jeter l’appât, on n’a plus la possibilité de le retirer.

À travers ces deux sentences, Duy Tân voulut connaître l’intention politique de son ministre Nguyễn Hữu Bài car le mot « nước » en vietnamien désigne à la fois l’eau et le pays. Il aimerait savoir si ce dernier était de son avis ou à la solde des colonialistes français. Connaissant la conjoncture politique et  étant un proche des autorités coloniales, Nguyễn Hữu Bài  préféra l’immobilisme et adopta une politique de concertation en donnant la réplique suivante:

Ngẫm việc đời mà ngán cho đời
Liệu nhắm mắt đến đâu hay đó
En réfléchissant mûrement sur la vie, on en est dégoûté.
En tentant de fermer les yeux, on n’a qu’à attendre le moment propice.

Étant chargé de juger le tort de Ngô Thời Nhiệm d’être le partisan de l’empereur Quang Trung,  Ðặng Trần Thường  l’a défié en émettant la sentence suivante:

Thế Chiến Quốc, thế Xuân Thu, gặp thời thế, thế thời phải thế, 
À l’époque des Royaumes Combattants ou des Printemps Automnes, quiconque rencontrant le moment opportun, en profite pour devenir celui qu’il est.

Ngô Thời Nhiệm a réussi à donner sa sentence répliquante avec ironie  à Ðặng Trần Thường, un  partisan de l’empereur Gia Long:

Ai Công hầu, ai Khanh tướng, trên trần ai, ai dễ biết ai
On est duc et marquis ou mandarin et ministre; quiconque vivant dans cette société, distingue facilement le rôle que chacun assume.

Il réussit à montrer non seulement sa bravoure mais aussi son mépris à l’égard des gens arrivistes comme Ðặng Trần Thường. Irrité par ces propos vexants, ce dernier donna l’ordre à ses subordonnés de le fouetter à mort devant le temple de la littérature. Ngô Thời Nhiệm n’a pas eu tort de rappeler à Ðặng Trần Thường cette remarque car il fut condamné à mort plus tard par l’empereur Gia Long.

Phu’, c’est le nom en vietnamien qu’on attribue aux sentences parallèles ayant un grand nombre  de membres de phrases. C’est le cas de l’exemple de sentences employées par Ngô Thời Nhiêm et Ðặng Trần Thường. Lorsque celles-ci comprennent trois ou plus (dans l’exemple cité ci-dessus) de membres, au milieu desquels on insère un membre très court, on les appelle sous le nom phú gối hạc (la rotule de la grue) en vietnamien car on trouve une ressemblance avec le schéma de la patte de la grue avec les deux membres longs séparés par la rotule.

Ces sentences parallèles deviennent au fil des années l’expression populaire véridique de tout un peuple en lutte permanente contre l’obscurantisme et l’oppression. En donnant à ce dernier l’occasion de montrer son caractère, son tempérament et son âme, elles réussissent à justifier ce que la romancière Staël a l’occasion de dire: En apprenant la prosodie d’une langue, on entre intimement dans l’esprit de la nation qui la parle. C’est avec ces sentences parallèles  qu’on peut comprendre et sentir mieux le Vietnam. On serait alors plus proche de son peuple et de sa culture.

[Return LITTERATURE]


(1) bằng deux accents: accent grave  et sans accents ; trắc: 4 accents: accent retombant, tilde, accent aigu et accent intensif.
(2) Doanh thiếp: manuscrit accroché au poteau de la maison.
(3) Être ren: c’est savoir faire régner bonne foi, tolérance, diligence et générosité. 

The Gongs of Central Highlands (Cồng Chiền Tây Nguyên) Last part

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Photo Đinh Xuân Dũng ( Nha Trang )

Intangible Heritage of Humanity by

Unesco in 2005

Last part

In the ritual ceremonies, the players of gongs move slowly in single file or in half-circle in front of a public admirer. They left from right to left in the counterclockwise direction to go back in time and return to their origins. Their footsteps are slow and rhymed to the beats of gongs, each of which has a well-defined role in the set. Each gong corresponds exactly to a guitar string, each having a note, a particular tone. Whatever the melody played, there is the active participation of all the gongs in the procession. However, an order very precise in the sequence and composition of beats is imposed in order to respond to the melodies and own themes chosen by each ethnic group.

Sometimes, to better listen to the melody, the auditor has the interest to be into a location equidistant from all the players arranged in a half circle otherwise he cannot listen properly because of the weakness and amplification of the resonance of some gongs corresponding respectively to the distance or the excessive closeness of its geographical position relative to one another.

For most of ethnic groups, the set of gongs is reserved only for men. This is the case of the ethnic group Jarai, Edê, Bahnar, Sedang, Co Hu. By contrast, for the ethnic group Eđê Bih, women are allowed to use the gongs. In a general way, the gongs are of variable size. The disk of the major gongs may vary from 60 to 90 cm in diameter with a cylindrical edge from 8 to 10 cm. This does not allow the players to wear them because they are too heavy.

These gongs are suspended often to the beams in house by the ropes. However, there are the gongs more small whose disk varies from 30 to 40 cm with an edge from 6 to 7cm. The latter are frequently encountered in the festive rituals.

For the identification of highland gongs, the Vietnamese musicologist Trần Văn Khê has the opportunity to enumerate a number of characteristics in one of his articles:

  • 1°) They are very varied.
  • 2°) They are linked closely to the spiritual life of highland ethnic minorities. Being regarded as sacred instruments, they promote communication with spirits and geniuses.
  • 3°) They accompany the highland people from its birth until its death. Their presence is visible not only in the important events (weddings, funerals, wars etc.) but also in the agricultural feasts (paddy germination, ear intiation, feast of the agricultural close etc.).
  • 4°) The manner of playing the highland gong is very particular and reflects the family structure of each ethnic minority. This allows to easily identify the ethnic group in question by the played stamp melodies.
  • 5°) The movement of players is always performed in the counterclockwise direction in the purpose to go back in time and return to the source. It is identical to the approach used by the Zen Buddhist school in its walking meditation (thiền hành) oriented from « the outside to the heart » (từ ngoài vào tim).

The composition of the played melody is based primarily on the sequence of beats settled according to original processes of repetition and answer.

One doesn’t finds elsewhere as many gongs as one had them on the Highlands of Vietnam. That is why, during his visit in Vietnam, the ethnomusicologist Filipino José Maceda, accompagned by Vietnamese musician Tô Vũ, had the opportunity to emphasize that the highland gongs are very original when he was in contact with the gongs. For him, because of the large number of gongs found, it is possible the Highlands may be the gong cradle in Southeast Asia.

Over the years, the risk of seeing the « original » and « sacred » character is real because of the illicit trafficking of gongs, the lack of gong tuner, the disinterestedness of young people and the destruction of natural environment where the gongs have been « educated ».

Highlands Gongs

For a few years, being regarded as cultural goods, the gongs become the object of all desire for Vietnamese antique dealers and foreign collectors, which brings the local authorities to exercise strict control with the aim of stopping the haemorrhage of gongs (chảy máu cồng chiêng)

The governmental effort is also visible at the local level by the establishment of incentive programs for learning with young people. But according to some Vietnamese ethnomusicologists, this allows to make durable the gongs without giving to the latter the means to possess a soul, a sacred character, a ethnic sound color because they need not only the skillful hand and fine hearing of gong tuner but also the environment. This is the latter factor that one forgets to protect effectively during the last years. Because of the intensive deforestation and galloping industrialisation for the coming years, the ethnic minorities don’t have the opportunity to practice slash and burn agriculture. They will not have any occasion to honor the ritual festivals, their genius and their traditions. They no longer know to express sorrows and joys through the gongs. They don’t know their oral epics (sử thi). Their paddy fields are replaced by coffee and rubber plantations. Their children are no longer forest clearers but they are engaged to industrial and tourist activities, which allows them to have comfortable livelyhoods. Few now recall how to tune these gongs.

The character « sacred » of gongs no longer exists. The latter become instruments of entertainment like other music instruments. They can be used anywhere without significant events and very specific and sacred hours (giờ thiêng). They are played according to the tourism demand. They are no longer what they were until now.

It is for this irreparable loss that UNESCO has not hesitated to underline the urgency in the recognition of space of gong culture in the Central Highlands (Tây Nguyên) as the masterpiece of Oral and Intangible Heritage of Humanity on 25 November 2005. The gongs are only one essential element in the achievement of this masterpiece but it must be understood that other elements are as important as these gongs: the environment, the traditions and customs, the ethnic groups etc. ..

The gongs without their environment and their ethnic sound color no longer possess the sacred soul (hồn thiêng) of Central Highlands.They lose the original character for ever. There is always a price to pay in the preservation of the gong culture in Central Highlands but it is to the scope of our collective efforts and our political will. One cannot refute that the culture of the gongs in Highlands is part now of our cultural heritage.

[Back to page « Vietnam, land of 54 ethnies »]

 

 

The Gongs of Central Highlands (Cồng Chiền Tây Nguyên) Third part

congchien_4e

The culture of the gongs is localized in the 5 provinces of central Vietnam (Đắc Lắc, Pleiku, Kontum, Lâm Đồng and Đắk Nong). Some twenty ethnic groups (Bahnar, Sedang (Xơ Đăng), Mnongs, Cơ Ho, Rơ Mam, Êđê, Jarai (Giarai people), Radhes etc ..) are identified in the use of these gongs. According to illustrated Vietnamese musicologist Trần Văn Khê, in the other countries of Southeast Asia, the gong player always remains seated and can play several instruments associated at the same time. This is not the case of the gong players of Highlands in Vietnam. Each player may play a single gong. There are as many gongs than players in a set.

Thanks to a thin string or to a band of cloth that can be more or less tightened by torsion, each player suspends the gong to the left shoulder. He struck the central dome of the gong outer face either with a wooden or leather mallet or with his right fist barren or wrapped up in fabric.

The sound quality of the gong depends not only on the alloy with which the gong has been manufactured but also the tuner quality. Other parameters are involved: the wooden or leather mallet, the position and action of the hand striking the gong, the tension of the strap etc. . In addition, the player can modulate skillfully the effects of the gong sound by varying the pressure and the relaxation on the bent edge of the outer face with his left hand. The muting effect may be caused by this action. Each ethnic group prefer a type of wood in the manufacture of the mallet. By choosing the hard wood, the Êđê often obtain interference noise in the power of the gong resonance. By contrast, in selecting the soft wood, the Bahnar manage to obtain the « clarity » of its fundamental tone despite the weakness of intensity detected in the resonance.

At the time of the purchase, the gong is delivered to the « raw » state, without musical tone, character and soul. Its outer face is almost flat. It is similar to an object producing an audible signal. (Cái kẻng) Thanks to the strokes of wooden mallet and to fine hearing of the tuner, the gong receives small bumps and concentric circles on its border and on its inner and outer faces. The blow of the mallet given on its outer face increase its tone.

By contrast, the decrease of the resonance is visible inversely with its inner face. The gong tuner manages to give it a sound color, a particular musical note, which makes it now a musical instrument in its own right. According to the highland people, analogous to the man, the gong has a face, a character and a soul.  It is unlike any other gong.It is said that the gong is educated because from an object that is purchased with the « raw » state from the Kinh (or Vietnamese) (Quảng Nam), it receives an education, a note, an ethnicity, a sacred character. For the gong purchased in Laos, it already has a soul but it is a Laotian soul.

To transform it into a gong of the high plateaus, it must be educated by the blows of wooden mallet so that it knows as well the language Bahnar, Stieng, Edê, Mnong etc. It now has the sacred soul (hồn thiêng) of the high plateaus.

The latter does not disappear as long as there is still the environment where the gong is « educated » (the forest, the ethnic groups, the villages, the sources of water, the animals etc.) The sacred character of the gong can only be found in this natural environment which allows it to find its ethnic identity through the melodies varying from one village to another or from one ethnic group to another and the agrarian rites. The gong can produce a false note over the years of use. One says that it is « sick ».

It must be treated by bringing in a doctor (or a good musician tuner) that it is difficult to find sometimes on-site. It is necessary to travel several kilometers in other regions to succceed in finding him. Once readjusted the sound, it is said that the gong is healed.

congchien5

[More reading (Tiếp theo)]

 

Vestiges d’une époque (Di tích của một thời)

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Version française
English version
Galerie des photos

Rất đáng ngạc nhiên khi thấy Việt Nam ngày nay đã sát nhập những thành tựu kiến trúc của Pháp quốc từ thời thuộc địa vào di sản quốc gia. Các công trình nầy  không trở  thành những dấu vết  cần phải  xóa bỏ  từ  cuộc  chiến tranh  đau thương mà giờ đây  là một phần bền vững  của di sản kiến ​​trúc và văn hóa mà Việt Nam cố gắng bảo tồn trong việc tôn trọng môi trường đô thị và xây dựng một bản sắc lịch sử. Một số thành tựu kiến  trúc nầy  được  xây dựng dựa trên mô hình  từ các kiệt tác kiến trúc của mẫu quốc Pháp. Đây là trường hợp với nhà hát lớn Hà Nội, được xây cất dựa theo kiểu mẫu của nhà hát nổi tiếng Opera Garnier ở  Ba Lê. Ga Đà Lạt trông thật giống với ga Deauville-Trouville. Ngay cả đài truyền hình sơn phết đỏ trắng cũng  mang đậm nét đẹp của Pháp với một ngọn tháp nhỏ tượng tự như tháp Eiffel Paris ở giữa thành phố Đà Lạt. Còn có các công trình khác được trông thấy dựng với phong cách kiến trúc cổ điển ở giữa trung tâm thủ đô Hà Nội với mặt tiền đồ sộ.   Như dinh của toàn quyền Đông Dương được xây dựng vào năm 1901-1905, trở thành thành hiện nay là phủ chủ tịch hay là bảo tàng viện mỹ thuật (Hà Nôi)

Nhà thờ Saint Joseph thường được du khách viếng thăm ngày nay lấy nguồn cảm hứng từ nhà thờ Đức Bà ở Paris nổi tiếng được dựng lên với phong cách tân cổ điển trên  chổ  của chùa Báo Thiên cũ, được xây dựng dưới triều đại nhà Lý và bị phá hủy vào năm 1883 bởi chính quyền Pháp.Được biết đến ngày nay « Cầu Long Biên », cái cầu nổi tiếng của ông toàn quyền  Paul Doumer vẫn còn tiếp tục đứng vững mặc dù bị phá hủy dữ dội (14 lần trong tất cả) trong những năm chiến tranh. Ngày nay nó là biểu tượng cho sự đoàn kết và bền bỉ của người dân Việt Nam.

Ngoài ra còn có các tòa nhà được thiết kế bởi kiến ​​trúc sư Ernest Hébrard, người đã không ngần ngại lấy nguồn cảm hứng đặc biệt từ các nguyên tắc cấu tạo của  các chùa và đình  để lựa chọn một kiến ​​trúc hỗn hợp (phong cách Đông Dương) có tính cách mang cả  ảnh hưởng của phương Tây và Châu Á. Đối với kiến ​​trúc sư người Pháp Christian Pédémusore de Loddis, Ernest Hébrard đã thành công trong việc tổng hợp giữa ảnh hưởng Đông và Tây bằng cách kết hợp kỹ thuật hiện đại và phong cách phương Tây với những kỹ năng cơ bản của ngành xây dựng  và các không gian của truyền thống Á Châu. Bằng cách cho phép Ernest Hébrard biểu lộ được  năng lực sáng tạo và đổi mới  trong kiến ​​trúc, Việt Nam đã làm biết đến một phong trào trở lại với  sự hiện đại của nền văn minh và kiến ​​trúc truyền thống thông qua các công trình vĩ đại.

Trong các công trình này, chúng ta có thể trích dẫn Bảo tàng của trường Viễn Đông Pháp (hay là Louis Finot) mà ngày nay trở thành bảo tàng Lịch sử, toà nhà  tài chính chung (1925-1928), đã trở thành trụ sở  ngày nay của bộ ngoại giao hoặc đại học Đông Dương cũ ngày nay là Đại học Quốc gia Hà Nội.

Đối với hòn ngọc Viễn Đông (hay Sài Gòn) ở miền nam Việt Nam, một số di tích thuộc địa vẫn còn nhìn thấy ở trung tâm thành phố. Nhà thờ Đức Bà là một nhà thờ kiểu La Mã mới được thiết kế bởi kiến ​​trúc sư Jules Bourard và có bức tường bên ngoài được xây dựng bằng gạch đỏ nhập khẩu từ Pháp quốc. Tòa đô chính, nơi  mà ủy ban  của thành phố Hồ Chí Minh tọa lạc, minh họa một thiết kế hợp lý tựa như các tòa nhà công cộng của Pháp dưới thời Cộng hòa thứ ba. Nhà hát lớn Sài Gòn (Nhà hát lớn Thành phố Hồ Chí Minh), nằm cách khách sạn Caravelle nổi tiếng không xa, không che giấu phong cách lòe loẹt của nó  đến từ Đệ tam Cộng hòa Pháp.

Chỉ có những công trình kiến ​​trúc này biểu lộ cho chúng ta thấy được  sự hiện diện của Pháp ở Việt Nam vào thời điểm xa xôi vì ở Việt Nam hiện nay, ít người còn có thể nói tiếng Pháp, một thứ tiếng mà đối với người dân Việt  là  một ngôn ngữ văn học dành cho  giới thượng lưu  địa phương và chỉ được biết đến với những người lớn tuổi. Theo điều tra dân số gần đây, có hơn 70.000 người nói tiếng Pháp trong tổng số hơn 100 triệu dân. Pháp đã không  biết khai thác những ưu thế lịch sử, văn hóa và kinh tế của mình ở thời điểm mà Việt Nam thống nhất. Trong văn hóa Việt Nam,  còn có nhiều yếu tố ảnh hưởng của Pháp quốc. 

Đây là những gì chúng ta thấy được  trong lĩnh vực ngôn ngữ ở cấp độ từ điển và trong thuật hùng biện. Bất chấp sự gắn bó mật thiết của người dân  Việt  với văn hóa Pháp và tiếng Pháp  vẫn được  Việt Nam lựa chọn làm ngôn ngữ nói ở Liên Hiệp Quốc, Pháp đã không lấy lại được vai trò ưu thế của mình. Ngày nay  tiếng Pháp được thay thế ở mọi nơi bằng tiếng Anh, một  ngôn ngữ giao tiếp quốc tế và  sau đó bởi tiếng Trung Hoa. Sự nhận xét nầy không còn là ảo tưởng.

Vestiges d’une époque.

Il est surprenant de voir le Vietnam d’aujourd’hui intégrer dans son patrimoine national les réalisations françaises de l’époque coloniale. Celles-ci ne constituent pas des vestiges encombrants issus d’un conflit douloureux mais elles font désormais partie d’un héritage architectural  inaltérable et culturel que le Vietnam tente de bien préserver dans le respect de l’environnement urbain harmonieux et dans la construction d’une identité historique. Certaines ont été réalisées  directement  en miniature sur le modèle des bâtisses métropolitaines. C’est le cas de l’Opéra de Hanoï, une réplique fidèle de l’opéra Garnier de Paris. La gare de Dalat ressemble énormément à celle de Deauville-Trouville. Même la petite dame de fer rouge et blanche, l’antenne relais ou la petite tour d’Eiffel (Dalat) gardant le  trait très fort de la France est là pour rappeler sa consœur parisienne au cœur de la ville. D’autres ont surgi en plein cœur de Hanoï avec leurs façades imposantes et leur style néo-classique. C’est le cas du palais du gouverneur général de l’Indochine (construit en 1901-1905), devenu aujourd’hui le Palais présidentiel ou celui du musée des beaux-arts.

L’église Saint Joseph fréquemment visitée de nos jours et inspirée par la célèbre église Notre Dame de Paris a été érigée avec son style néo-gothique sur l’emplacement de l’ancienne pagode Báo Thiên, construite sous la dynastie des Lý et détruite en 1883 par les autorités françaises. Connu aujourd’hui sous le nom de « Cầu Long Biên », le fameux pont du gouverneur  Paul Doumer continue à tenir toujours debout malgré les bombardements acharnés (14 fois en tout ) durant les années de guerre. Il est aujourd’hui le symbole de l’unité et de l’endurance du peuple vietnamien

Il y a aussi des bâtisses conçues par l’architecte Ernest Hébrard n’ayant pas hésité de s’inspirer notamment des principes de composition des pagodes et des đình (maisons communales vietnamiennes) pour opter une architecture mixte (style indochinois) qui prend en compte à la fois les influences occidentales et asiatiques. Pour l’architecte français Christian Pédélahore de Loddis, Ernest Hébrard a réussi à faire la synthèse entre Orient et Occident en associant la modernité technique et stylistique occidentale avec les savoir-faire de construction  et les espaces de la tradition asiatique. En permettant à Ernest Hébrard de révéler ses capacités créatrices et innovatrices en architecture, le Vietnam a fait connaître dans un mouvement de retour la modernité de sa civilisation et de son architecture traditionnelle par le biais de ses œuvres grandioses.

Parmi celles-ci, on peut citer le Musée de l’Ecole Française d’Extrême-Orient ou Louis Finot qui devient aujourd’hui le Musée d’Histoire ( Bảo tàng lịch sữ), la Recette Générale des finances (1925-1928), devenue le siège du Ministère des Affaires étrangères ou l’ancienne université d’Indochine (aujourd’hui l’université nationale de Hanoi).

Quant à la perle de l’Extrême Orient (ou Saigon) dans le sud du Vietnam, quelques vestiges coloniaux sont encore visibles dans le centre ville. La cathédrale Notre Dame est une église néo-romane conçue par l’architecte Jules Bourard et dont le mur extérieur a été  construit avec des briques rouges importées de France. L’hôtel de ville abritant le comité populaire de Ho Chi Minh Ville illustre bien une conception rationnelle à l’instar des édifices publics français sous la IIIème république. L’opéra de Saigon ( Nhà hát lớn Thành phố Hồ Chí Minh ), situé non loin du fameux hôtel Caravelle ne cache pas son style flamboyant de la IIIème république.

Il n’y a que ces ouvrages architecturaux permettant de témoigner de la présence française au Vietnam à une époque lointaine car dans le Vietnam actuel, peu de gens savent parler encore le français qui est pour la plupart des Vietnamiens la langue de la littérature réservée à une élite locale et connue seulement par les gens assez âgés. D’après le recensement récent, on dénombre plus de 70.000 francophones sur une population de plus de 100 millions d’habitants. La France n’a pas su exploiter à temps ses atouts historiques, culturels et économiques au moment de la réunification. Dans la culture vietnamienne, il y a des éléments d’influence française. C’est ce qu’on a constaté dans le domaine linguistique au niveau lexicographique et dans la rhétorique. Malgré l’attachement des Vietnamiens à la culture française et le français choisi par le Vietnam à l’ONU, la France n’a pas réussi à retrouver son rôle prépondérant. Aujourd’hui le français est remplacé partout par l’anglais, la langue de communication internationale et régionale et au delà par le chinois. Le constat est sans illusions.

[Return SAIGON]