Summarry of doctotial thesic on Literature: Đao Tan’s tuong scripts – Issues of content and art

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Establish theoretical points in contents and rhetoric of Dao Tan’s scripts; understand basis, premise and impacts on development of Tuong in 19th century including Dao Tan’s; observed from movement tendency of Tuong in association with other kinds of traditional theater, generalize aspects of contents, rhetoric as well as innovations in Dao Tan’s script.

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Nội dung Text: Summarry of doctotial thesic on Literature: Đao Tan’s tuong scripts – Issues of content and art

MINISTRY OF EDUCATION AND TRAINING HANOI NATIONAL UNIVERSITY OF EDUCATION DINH THI KIM THUONG DAO TAN’S TUONG SCRIPTS – ISSUES OF CONTENT AND ART Speciality: Vietnamese Literature Code: 62.22.01.21 SUMMARRY OF DOCTOTIAL THESIC ON LITERATURE HANOI – 2017
THE DISSERTATION IS COMPLETED AT HANOI NATIONAL UNIVERSITY OF EDUCATION Supervisor: Assoc. PhD.Vũ Thanh. Institute of Literature, Viet Nam Academy of Social Sciences Reviewer 1: Prof. PhD. Tran Nho Thin University of Social Sciences and Humanities, Hanoi National University Reviewer 2: Assoc. PhD. Trinh Ba Dinh Institute of Literature, Viet Nam Academy of Social Sciences Reviewer 3: Assoc. PhD. Nguyen Thi Chien Hanoi University of Culture The dissertation will be defended at Examining Board of Department In Department of Literature, Hanoi National University of Education at……….., ……………..2017 Can find thesis at Library of Hanoi National University of Education or National Library
PUBLISHED SCIENTIFIC RESEARCH RELATED TO THE STUDY 1. Dinh Thi Kim Thuong (2016), "Spiritual elements in Dao Tan’s classical drama", Science Journal of Hanoi Metropolitan University No. 7, pp.55-66. 2. Dinh Thi Kim Thuong (2016), "The imaga of woman in Dao Tan’s classical drama", Science Journal of Hanoi Metropolitan University No. 9, pp.85-99. 3. Dinh Thi Kim Thuong (2016), "Art space and art time in the scenario of Dao Tan’s Tuong", Tan Trao university Journal of Science, No. 4, pp.42-52 4. Dinh Thi Kim Thuong (2016), "Hoang Phi Ho qua Gioi Bai quan, the innovative character type in ancient opera", Journal of Literary Studies, No. 12, pp.101-112 5. Dinh Thi Kim Thuong (2016), "Poetry in Dao Tan’s Tuong", Science Journal of Hanoi Metropolitan University No. 11, pp.61-71 6. Dinh Thi Kim Thuong (2017), “Signs of disintegration in the Confucian ideology of Dao Tan’s Tuong”, Hanoi National University of Education Journal of Science, No. 2, pp.57-63. 7. Dinh Thi Kim Thuong (2017), "Dao Tan’s Tuong clssical drama script and the process of development of classical drama in Vietnam’s literature", Science Journal of Hanoi Metropolitan University No. 13, pp.88-100. 8. Dinh Thi Kim Thuong (2017), "Patterns of the protagonist in Dao Tan's drama script", Collection of the study of literary research in 2017, Publisher. Education, pp.61-70.Dinh Thi Kim Thuong (2017), 9. Dinh Thi Kim Thuong (2017), "The impact of local culture in DaoTan’s classical drama", Science Journal of Hanoi Metropolitan University No. 16, pp.61-79. 10. Dinh Thi Kim Thuong (2017) “Hue Imperial place – the enviroment for the development of Vietnam classical drama”, HNUE Journal of Science, Volume 62, Issue 5, pp 74 – 82.
1 INTRODUCTION 1. Rationale: 1.1. Tuong is a lyrical – narrative genre of traditional theatre of Vietnam imbued with national identity. However, up to now, it has been studied mostly in field of performing art. There has been few mentions of Tuong script and it has not been studied both including its content and rhetoric in any scientific researches. Therefore, it is essential to study more about the literary value of Tuong scripts. 1.2. Dao Tan is a comprehensive talented author whose greatest typical work is his contributions to Tuong. However, so far, there has been no research on Dao Tan which corresponds with stature of his legacy. Therefore, it is essential that a research be made to systematically study and recognize scripts of “the forefather of Tuong” as a kind of literature in the course of Vietnamese medieval literature. Studying Dao Tan’s scripts provides us with a comprehensive vision to identify his features, movement and art thinking during periods. This is the basis for affirming values of his career and legacy. 1.3. Dao Tan is of great importance in history of Tuong as well as traditional literature and culture. Studying his scripts in comparison with classical Tuong, “Tuong pho” (composed based on Chinese classical stories) in the previous periods and “Nguyen Hien Dinh’s Tuong”, “Tuong do” (comedy Tuong) in the following periods is essential for us to assess movement – development tendency of Tuong scripts and Dao Tan’s position in Vietnamese medieval – pre-modern literature. 1.4. As a unique kind of literature, Tuong scripts are closely associated with traditional stages and people’s culture, yet, they has been strange to students of all levels. With this title, I expect to supplement a source of reference to teaching and studying literature, culture subjects in schools, besides, have contribution to preserving and promoting a kind of people’s traditional theater. 2. Aims: By studying contents and rhetoric of 09 existing scripts, I would like to affirm position, role and contributions of Dao Tan to Vietnamese literature and culture. In order to realize my purpose, I determine these following tasks: - Establish theoretical points in contents and rhetoric of Dao Tan’s scripts. - Understand basis, premise and impacts on development of Tuong in 19th century including Dao Tan’s. - Observed from movement tendency of Tuong in association with other kinds of traditional theater, generalize aspects of contents, rhetoric as well as innovations in Dao Tan’s script. 3. Objectives and scope of study: - Objective: a number of issues in content and art of Dao Tan’s Tuong scripts. - Scope of study: + Scope of Content: Generalize contents, art of Dao Tan’s Tuong script on: thinking - ethics - society, conception of human; realistic, humanity; texture, construction of characters,
2 literary genre, speech and so on, then, affirm value of Dao Tan’ Tuong scripts in Tuong as well as in Vietnamese literature and culture. + Scope of materials: I chose 09 existing scripts by Dao Tan printed in Dao Tan – Tuong hat boi, collected, collated, annotated by Vu Ngoc Lien, Publishing House of Stage in 2005. 09 Tuong scripts which we study including: - Tuong scripts edited and corrected by Dao Tan: Son Hau (mostly corrected Chapter III), Khue cac anh hung (corrected from Chapter II of Tam nu do vuong), Đao Phi Phung (slightly corrected, mostly in Chapter IV). - Tuong scripts composed by Dao Tan: Tan Da don, Dien vo dinh, Co Thanh, Tram Huong cac, Ho sinh dan (composed with his son - Dao Nhuy Thach), Hoang Phi Ho qua Gioi Bai quan (extracted from chapter II of “Gian thap dieu”). According to researcher, Dao Tan composed, corrected and edited more than 40 scripts. In this dissertation, I choose 09 above – mentioned scripts because most of his works are divided into 03 stages: when he was young, when he served as an official in Tu Duc Dynasty, when he served as viceroy of An Tinh twice. Up to now, most of work which Dao Tan was asked to compose during Tu Duc Dynasty are missing and not left intact. In the contrary, scripts composed and corrected by him are remained undamaged and adequate, stored in Dao Tan’s family, Tuong troupes and held by collectors. Accordingly, Dao Tan’s legacy includes 40 scripts, 09 of which are remained complete as above – mentioned. Hence, studies on Dao Tan is currently based on these 09 scripts. Also, these are 09 most typical works of Dao Tan. 4. Research Method In order to complete this dissertation, I use research methods as following: - Research method in classification - Research method in prosody - Method of multi-aspects approach 5. Significance of the Dissertation - Dissertation surveys and analyzes 09 existing Tuong scripts on various aspects in order to determine typical features of content and art in Dao Tan’s Tuong scripts. - Dissertation affirms Dao Tan’s talent and contributions in terms of literature, particularly, his role in Tuong as well as Vietnamese literature, culture. - Dissertation reveals new thinking and writing modes appearing in Dao Tan’s works and they will be developed in following literature periods. In other words, Dao Tan’s works contain signals of turning literature from medieval period to modern one. 6. Dissertation’s Structure Dissertation is written into 04 chapters: Chapters 1: Overview Chapter 2: Basic premises of Dao Tan’s Tuong scripts. Chapter 3: Contents of Dao Tan’s Tuong scripts Chapter 4: Mode of art used in Dao Tan’s Tuong scripts. Furthermore, Dissertation includes appendix, tables and diagrams.
3 CONTENT Chapter 1: OVERVIEW This chapter introduces definitions directly involving ways of approaching to the dissertation. I generally review literature research involving Dao Tan, particularly the way of studying Tuong from written scripts. In addition, I introduce theoretical premises to make basis for the study of dissertation. 1.1. Overview of Tuong 1.1.1. Tuong in Vietnamese historical literature. Through studying historical literature works and history textbook, it shows that whether Tuong is acknowledge in Vietnamese medieval literature is sill in dispute. In the lists of researchers not mentioning Tuong scripts in literature, typical names includes Nguyen Dong Chi (history of Viet Nam classical literature, 1942), Ngo Tat To (Vietnamese literature, 1942), even Le Van Sieu (Vietnamese history literature, 2006) only mentioned “noi singing”, not Tuong. Particularly, Pham The Ngu (updated summary of Vietnamese history literature, Book II – literature of past dynasties: Vietnamese literature, 1996), as mentioning kinds of “Nom” (Chinese-transcribed) literature, he considered “Hat noi” as the last advance of Nom literature. Some authors admitted the presence of Tuong in Vietnamese literature but lowered its position while they analyzed literature stages or introduced collections of typical works. These authors include Pham Van Dieu (Vietnamese literature, 1960), Nguyen Van Sam (Nam Ha Literature, 1971),… In the list of researchers who cared for the presence of Tuong in literature history, Duong Quang Ham (history of Vietnamese literature, 1943) should be named first. In Summary of Vietnamese Literature History (Literature Institure, Van Tan as chief author, 1960), Tuong is mentioned in several chapters. Moreover, in General Collection of Vietnamese Literature (1993), 02 books 14A và 14B write about Tuong and introducing several typical scripts which are, later on, collected by Hoang Chau Ky in Book 15 – classical Tuong . In Folk Tuong scripts (2014), Xuan Yen selected and introduced 19 typical folk scripts. Particularly, textbook Vietnamese literature (from the second half of century XVIII to the end of XIX, 2004) whose chief author is Nguyen Loc, classifies Tuong as a kind of literature in this period and generalizes origination, development and content of typical works of Tuong. In my context, from studying contents and rhetoric of Dao Tan’s script, I wish to contribute to establishing position of Tuong scripts in classical Vietnamese literature. 1.1.2. Definition of “Tuong script” From reference to Hoang Chau Ky (classical Tuong, 1977), Ha Van Cau (several issues in Cheo scripts, 1977), Le Ngoc Cau (comedy Tuong, 1980),… especially Xuan Yen (some issues of
4 moral standards- society aesthetics in classical Tuong, 1994) and Nguyen To Lan (treatise on Tuong “Quan phuong tap khanh”, 2014), I put forward definition of Tuong scripts as: Tuong script is language component fixed in text, is basic for performing Tuong. 1.1.3. Classification of Tuong scripts Currently, it is difficult to classify Tuong. Researchers provided different explainations to classify Tuong as Hoang Chau Ky (classical Tuong, 1977), Le Ngoc Cau (comedy Tuong, 1980), Xuan Yen (some issues of moral standards- society aesthetics in classical Tuong, 1994) and so on, however, none of which is logical and complete. Based on Tuong’s features and considering Tuong as a kind of literature in Medieval time, I classify Dao Tan’s Tuong as “Tuong of scholars” which is influenced by Confucianism ideology and aesthetic categories of Medieval time. 1.2. Literature Review Dao Tan is a great man of culture, his life and career have been studied on different aspects. In this chapter, I generalize basic points of former studies on Dao Tan on aspects such as characteristics, life, poems, words, Tuong, stage arguments in order to review the whole current research on “the forefather of Tuong”. Especially, I bring my focus on history of research on Dao Tan’s Tuong scrips on contents and art to make basis for developing theoretical points in dissertation’s content. 1.2.1. General of researches on Dao Tan Dao Tan started to be studied at the beginning of 20th century by Doan Nong’ papers (Hat bo, 1941), Huynh Ly (Dao Tan, 1942)… and was initially regconized as “the most typical Tuong composer” and “the leading Tuong composer in 20th century; yet; such evaluations were still subjective and didn’t provide real convincing evidences. Since 1960, documents on Dao Tan have been collected and they revealed many details of his life and careers. These documents includes articles by Quach Tan (biography, career and pieces of literature of Dao Tan, Lanh Manh No 48, 49, 50; 1960), Mich Quang (Dao Tan – eminent Tuong composer, 1963), Dao Nhu Tuyen (biography of Dao Tan, Nghien cuu Viet Nam No 1/1966). In general, due to partition of Viet Nam and lack of materials on Dao Tan, articles about him before 1975 was scattered and their contents were introducing, perceiving rather than being scientific researches. From 1975 until now, Dao Tan has been studied on various aspects. In 1977, scientific seminar titled Dao Tan – life and career was first held in Quy Nhon. The seminar was the start of research on Dao Tan. In this seminar, stories in Dao Tan’s life and career initially mentioned, his talent and contributions to Vietnamese literature and culture were highly evaluated by researchers. Dao Tan’s Tuong literature (scrips, language, characters....) was mentioned, yet, there still remained contents of patriotism, composing viewpoint, rhetoric style of Dao Tan’s works and so on not deeply studied. The second seminar was held in Quy Nhon in 1981 aimed at clarifying issues in political thinking of Dao Tan and contents of scripts in Hy truong tuy but. However, up to now, the origin of Hy truong tuy but is still in dispute. The 03rd seminar (1988), the 04th (2000), the 05th (2010) and 06th (2015) added more informations and contributed to clarifying many contents involving scripts and art style of Dao Tan.
5 In addition to seminars, until now, a number of researches on Dao Tan have been published such as: Dao Tan - poet, excellent Tuong artist (seminar summarry record, 1977), Hy truong tuy but (1981), Tuong scripts of Dao Tan (2 volumes – 1984), List of materials about Dao Tan (1985), Tang su tich bien (2001), Collection of Dao Tan’s work (2000), Mai Vien co su (story about Dao Tan) (2005), Dao Tan – poems and words(1987), reprinted in 2003; Dao Tan – Tuong hat boi (2005), Dao Tan – through bibliography (2006), Dao Tan – 100 years to review (2008), Dao Tan and hat boi Binh Dinh (2008), General researches of Dao Tan’s values of Art (2009), Dao Tan with Tram Huong cac (2009), Art world of Chinese poems and words of Dao Tan (2015). Accordingly, through 06 seminars and 14 published studies, stories about Dao Tan’s life, career, poems, words and Tuong were approached and understood in different levels. Although there are many researches on Tuong, none of them study all his 09 typical works and approach them in contents and rhetoric as a kind of literature. 1.2.2. Researches on Dao Tan’s life and career. Life and career of Dao Tan was studied in early time by researches such as Quach Tan (above- mentioned), Mich Quang (above-mentioned), Dao Nhu Tuyen (above-mentioned) , Le Ngoc Cau (About portrait of Dao’s, Summary Record of Seminar, 1977), Mac Nhu Tong (Stories heard about Dao Tan, 1977), Xuan Dieu (Study on Dao Tan, 1977), Hoang Chau Ky (Great things of Dao Tan, 1977), Vu Khieu (Dao Tan with countryside, in the past and now, 1977), Hoang Chuong (Đao Tan – Great man of Culture, printed in Dao Tan – 100 years to review, 2008), Son Tung (Dao Tan and Ho Chi Minh’s family, 2008), and other authors. Despite different approaches, researchers agree with consideration on Dao Tan’s life and career as following: - Dao Tan is a traditional Confucian scholar. - Dao Tan is a “goverment official on Tuong”. - Dao Tan is of great importance in Vietnamese literature. In contrary to researchers praising Dao Tan, several authors share their suspicions about Dao Tan’s life and works such as Nguyen Hue Chi, Cao Tu Thanh... Through studying Dao Tan’s life and career, it is possible to affirm his personality and great contributions to Vietnamese literature. Therefore, studying legacy of Dao Tan’s, especially Tuong scripts is extremely essential and meaningful. 1.2.3. Researchers on Dao Tan’s poems and words. Beside Tuong, poems and words are special piece of Dao Tan’ legacy appeal attention of researchers. The list of such researchers includes Dang Thai Mai, Nguyen Hue Chi, Xuan Dieu, Truong Luu, Nguyen The Khoa, Thanh Thao, Vu Thanh,... Most of whom think that “poem is soul diary” of Dao Tan, is the place where he shows secret thinkings, his concern about people and country and his extreme sadness. However, according to Tran Nghia, Pham Van Anh, words in some poems and in Mong Mai tu luc should be re-considered and researchers should keep cautiousness on text during studying this collection of poems.
6 I will not study history of researches on Dao Tan’s poem and words, I generally feature to compare and collate in order to find out poem’s features in Tuong as well as evaluate values of literature language in Dao Tan’s works. 1.2.4. Researches on Tuong of Dao Tan Tuong is a kind of art including a number of aspects. 02 main aspects art of performance and scripts. Researches on Dao Tan’s works focus on such 02 aspects. 1.2.4.1. Researches on performance (stages) Praised as “the second father of Tuong”, Dao Tan appeals attention of researchers, generations of actors and artress. Articles involving Dao Tan includes Dao Tan – innovator of Tuong (Hoang Chuong, 1978); Big Joy (Nguyen Lai, 1978); Dao Tan – pride of Vietnamese traditional drama (Ho Dac Bich, Van nghe Nghia Binh No 6/1981); Historical position of Dao Tan in art of performance in Viet Nam (Vu Ngoc Lien, Dao Tan through bibliography, 2006), it is essential to have right judgement on art values in Dao Tan’s work (Phan Xuan Hoang, 2008), Features of art values in Đao Tan’s works (Hoang Chuong, 2008); Exploiting cultural legacy of Dao Tan’s (Nguyen Nam Khanh, 2008), School of Dao Tan’s Tuong (Truong Luu, 2008). Such studies focus on: scripts, art of performance and planning, argument – criticism, style features, contributions of Dao Tan to Vietnamese drama. The noticeable debate is researches on Hy truong tuy but. Apart from researching appreciating values of this book – an argument - criticism of stage, articles by Ho Ngoc, Nguyen Hue Chi, Tran Van Tich, Vu Ngoc Lien indicate that origion of this book is not confidential. Therefore, up to now, there has been no agreement on the origin of Hy truong tuy but. However, by his own works, Dao Tan generated viewpoint of stage argument in the clearest way. On the basis of former research results, this dissertation generalizes arguments on contents and art of Dao Tan’ works. It can be inferred that Dao Tan had deep knowledge of all aspects of Tuong. It was foundation on which he composed masterpieces of great values for Vietnamese literature and art-work. Studying researches on Dao Tan’ works is the basis for me to explain art and rhetoric of Dao Tan’s Tuong scripts 1.2.4.2. Researches on scripts Considering Tuong scripts as a part of Tuong, researchers has spent a lot of time and efforts on studying values on literature viewpoint of Dao Tan’s work. The typical researches includes: Several thought of the way Dao Tan composed (Tong Phuoc Pho, 1977); Dao Tan through poems, words and Tuong scripts (Ho Dac Bich, 1977); Tuong and Dao Tan (Luu Trong Lu, Van hoa Nghia Binh No 6/1984); the vitality of Dao Tan’s Tuong scripts (Nguyen Duc Loc, 2006); Works by Dao Tan cross- cultural space (Ho Si Vinh, 2008); Viewpoint of “Daoism” in relationships of Dao Tan’s prosody (Truong Luu, 2008); Dao Tan – abandonment of a topic (Nguyen Tat Thang, 2008), The age mark in
7 Tuong by Do Tan (Van Su, 2008); Prosody and Tuong script structure of Dao Tan (Nguyen Khoa Linh, 2008); Tuong script of Dao Tan (Nguyen The Khoa, 2008). These authors focus on: Text: Many researchers spent years on looking for, collecting, collating, editting in order to Tuong texts which are closest to Dao Tan style. Currently, 09 scripts I am studying have trustworthy origins. They are linguistic data for us to exploit literature values of Dao Tan’s works. History of scripts is collecte in Appendix 4. Content: Contents of Dao Tan’s Tuong scripts were approached an studied by researchers on: title, thinking, character images; values of realism and humanity. Title, thinking: Noticeable articles include Great things of Dao Tan (Hoang Chau Ky, above- mentioned), Đao Tan – innovator of Tuong (Hoang Chuong, above-mentione), the vitality of Dao Tan’s Tuong scripts (Nguyen Duc Loc, 1977), “Departure” as an art quality and thinking mark of Dao Tan (Phan Trong Thuong, Nghien cuu Van hoc No 5/1991); especially there are 02 articles Hoang Phi Ho qua Gioi Bai quan – the turning point of thinking of Dao Tan (Vu Ngoc Lien, 2006) and Dao Tan – abandonment of an title (Tat Thang, 2008). Most of researchers think that transformation of Confucian ideology is the outstanding thinking of Dao Tan. According to Tat Thang: “What makes Dao Tan great is his effort to break topic of militarist, which lead Tuong to pinnacle”. Vu Ngoc Lien calle it “turning point of thinking”, a great revolution in Dao Tan’s awareness. Such researches are basis for generalizing collective features of titles, thinking in Dao Tan’s works, also, introducing new discoveries during transformation of his thinking, awareness through stages. Character images: Most of researchers came to an agreement that as classical Tuong, Tuong of Dao Tan is “stage for heroes”. Hero image is the most prevalent in all of his works. However, they are heroes with farmer nature. In addition, Phan Trong Thuong showed a character of “departure” in Dao Tan’s work. Values of realism and humanity: Researchers affirmed values of realism and humanity in Tuong scripts of Dao Tan. Noticable articles include Age mark in Dao Tan’s works (Van Su, 2008), Works by Dao Tan – cross-cultural space (Ho Si Vinh, 2008). Considering each work as a piece of lego into the picture of current realism of society, in Tuong script of Dao Tan (2008), Nguyen The Khoa generalized content of each script: “Tan Da don – Dutifulness to parents is mightier than loyalty to country”, “Co Thanh – a verdict of contingency theory and a Vietnamese Truong Phi”, “Tram Huong cac – Ghost in royal palace and determination to expel it”, “Hoang Phi Ho qua Gioi Bai quan – Death of a loyalty”, “Dien vo dinh – A big question and a half-done ending”, “Ho sinh đan – permanent masterpiece”. The author claimed: “If poems and words are considered as soul diary of Dao Tan, he spared them for himself and his friends, he spared Tuong, his greatest creation which contains all of his quality, love, knowledge and talent for miserable people and enslaved country”. Directly exploiting values of realism and humanity in Dao Tan’s works, Bui Hoang Oanh in Dao Tan with conservation and development of Tuong in Viet Nam (2008) thought that: “Most of Dao Tan’s
8 works originated from trouble spots of life”. The author also affirmed the great thing of Dao Tan’s is his mercy. Thanks to such affection, all of his works conveys a harassing concern about life. Due to inflexible apply of Marxism ideology into research during years before Doi Moi, the use of spiritual element as a way of trasmitting humanity in Dao Tan’s works is still in dispute between researchers. With approach from the view of culture and humanity, I give clearer explaination of this issue in Chapter 3 and Chapter 4. It can be seen that realism and humanity in Dao Tan’s work are mentioned in articles by researchers. However, values of realism were often equated with realism of Vietnamese history in the second half of 20th century; values of humanity were studied only in general aspects, not deeply approached in aspects of human life. The miraculously spiritual element hasnot been evaluated exactly. Inheriting and developing research values of former researchers, this dissertation provides clearer explaination of pending issue in studying values of realism and humanity of Dao Tan’s Tuong scripts. Rhetoric: Researchers highly evaluated words in Dao Tan’s works, especially his ability of composing poem in Tuong. He also generated great innovations in structure, outline such as reducing Tuong of 3 chapters to 1 chapter, art of character construction, structures of his works and so on. About art innovation of Dao Tan, the noticable articles are by Hoang Chuong and Hoang Chau Ky. In essay Great things of Dao Tan, Hoang Chau Ky considered art innovations of Dao Tan in aspects of composing opinion and methods:“he broke the viewpoint of “Daoism is literature nature” which had been used for years in Tuong scripts. Dao Tan didn’t write purely piece of literature, he brought literature in Tuong to scholarly level. What makes Dao Tan great and immortal is his creation of a new method of composing which both inherits ancient values and develop new ones”. Hoang Chuong in Dao Tan – innovator of Tuong affirmed that Dao Tan bravely innovated Tuong from method of composing to planning of performance art. Dao Tan modernized Tuong stage from script structure to construction of character and language. He broke the formular of “As King died, appropriate throne”, and didn’t adhere to style of happy ending of classical Tuong. He introduced a new opinion to Tuong as he dignified women, actions considered as robbers by other people. His Tuong scripts were constructed on strong conflicts and lyricism, 02 of which always intermingled and created continuous harmony and attraction. In general, researches on Dao Tan’s Tuong scripts clarified issues involving construction of character, outline, structure, literary language in Tuong. However, typical features of structure, language in Tuong such plot, kinds of Tuong were not mentioned and deeply explained. Particularly, artistic space and time has not been studied as considering Tuong as a piece of literature. These issues are specifically analyzed in Chapter 4. In conclusion, it can be seen that Dao Tan has been studied for more than 100 year on different aspects. These studies provides me many ideas to carry out this title. However, these studies are only
9 articles, speech in seminars, and have not been collated with a equal set of standards. Hence, a number of typical aspects in contents and rhetoric of Dao Tan’s Tuong have not been studied and convincingly explained. To carry out this dissertation, I expect to deeply study literature values of Dao Tan’s Tuong scripts and adapt them in progress of Tuong in the current of Vietnamse literature. 1.3. Theoretical Bases 1.3.1. Classification As mentioned above, researchers on the history of literature considered Tuong as a kind of Vietnamese classical literature , yet, they didn’t have deep study on nature of Tuong. Authors such as Phan Ke Binh (Vietnamese-Chinese reference, 1970), Duong Quang Ham (Summarized History of Vietnamese literature, 1943), Bui Ky (National Literature, 1956) generally but unclearly described. Yet, Tran Dinh Huou indirectly mentioned typical features of Tuong by comparing it with Chinese-transcribed stories (Tran Dinh Huou, collection of works, 2007, page.127). Based on such studies, I make a classification of Tuong on: - Genre: Tuong belongs to Oriental woeful and majestic drama. - Title, content, thinking: Set Confucianism as thinking foundation, “National army” is the most prevalent title of Tuong. - Structure, plot: Tuong often comprises 03 chapters and its structure is linear time order. Tuong plot comprises 02 main kinds: adapted and composed. - Character: Characters in royal palace are divided 02 conflicting sides (hero and anti- hero). Characters in Tuong are “masked characters” who experience few change in piece of Tuong. Elements influencing secret thinking of characters are not frequently mentioned. - Literary genre: Tuong is poem-drama including prose in couplet style in repartee and poem in singing. Considering its origin, Tuong is made up of Chinese literary genre and Vietnamese one. - Tuong characteristics: Symbolism - stylization, condensation – consition, musical rhythm. 1.3.2. Researches on Tuong scripts from cultural view Studying literature from cultural view has been done by foreign and domestic scholars and researchers for many years, these names include H. Taine, Charles Augustin Sainte Beuve, Dao Duy Anh, Truong Tuu, Cao Huy dinh, Tran Dinh Huou, Tran Le Bao, Tran Nho Thin. This approach is multi-aspect research. It requires supports of related science such as History, ethnology, sociology. To Tuong, studying scripts always goes with art of performace such as costumes, music, dance, stage and so on. Therefore, study on Tuong scripts from cultural view provides clearer image on Tuong literature. Summary of Chapter 1: Despite early appearance and its importance role in Vietnamese literature and culture under Nguyen Dynasty, Tuong scripts were not regconized
10 as a kind of literature of this period. By studying history of research on Dao Tan’s life, career, especially works in classification and cultural view, this dissertation provides a number of issues in content and rhetoric in Dao Tan’s works in following chapters. Chapter 2: THE BASIC OF DAO TAN’S TUONG SCRIPTS When studying Dao Tan Tuong scripts, firstly, must place it in developing environment and the flow of national literature. In this chapter, I set the task of reconstructing the historical, social and cultural contexts that governed the development of the traditional arts, including Dao Tan’s. That is the basis for explaining the content, art and meaning of drama scripts of this author to the culture and literature of Vietnam. 2.1. Historical and social premises 2.1.1. Dao Tan and “pain but great” age. Dao Tan, courtesy name is Chi Thuc, art names are To Giang and Mong Mai. When he went to the monastery at Nui Ong Pagoda, he also called Little Linh Phong or Mai Tang. He was born on February 17, 1845 and died on the full moon day of July 1907. Dao Tan lived in one of the "pain but great" periods of national history. The central event of this period was the invasion of the French colonialists and the fight against the invasion of our people. The Nguyen Dynasty was disordered and unable to defend the country. Peasants' uprising and patriotic movements took place everywhere but finally engulfed in bloodstream. French colonialists completed the process of aggression, stabilized the rule in our country and colonial exploitation. 2.1.2. The recession of Confucian ideology and the division of thought in Confucian class After nearly ten centuries of dominance, until the 18th century, Nguyen Dynasty continued to choose Confucianism as the legitimate ideology of national rule. Many policies of reviving Confucianism in the direction of Tong’s were enforced, bringing Confucianism to the dominant position in all aspects of social life. However, to the end of Tu Duc’s life, the political situation of the country has changed dramatically, directly influencing Confucianism. Especially the invasion of French colonialism and the advent of Western culture strongly affected all aspects of social life. Constraints inherent in Confucian ideology became a barrier that Confucianism could not renew itself and quickly collapsed. Facing that situation, Confucians were divided into different streams of thought, of which the two most prominent were the old and the renewal. 2.2. Cultural and literary premises 2.2.1. The development in policy of the Nguyen Dynasty and the appearance of Tuong via periods 2.2.1.1. The period of the Nguyen lords (1558 – 1777) Tuong was born very early but not supported by feudal court, even ostracised. By the sixteenth century, with the role of Dao Duy Tu and the artistic development policy of the lords in Cochinchina, Tuong began to be shaped as a royal literature. In this period, there are many famous scripts such as Son Hau, Dao Phi Phung, Tam nu do vuong, Trieu Dinh Long, Ly Thien Long... But most are anonymous scripts. These plays are the subject of the "national army"
11 centered on the main idea "help Le slay Trinh". Tuong is structured into three stages, the first is the generalization of the situation and the introduction of characters, which is long and cumbersome. The script of this period script is simple, much on speaking language, mostly Nom sentences. 2.2.1.2. The period of the Nguyen kings (1802 – 1945) Under the reign of the Nguyen Dynasty, especially Kings Minh Mang and Tu Duc, Tuong was given priority and developed brightly with the establishment of specialized agencies and theatrical performances such as Ban Hieu thu, Vien Viet Tuong, Thu Thanh Binh, Hoc Bo Dinh, Nhu Thi Quan… By the end of the nineteenth century, the team of composition and performance in the royal court was quite crowded, headed by Dao Tan. Minh Mang period's script has made significant progress over the previous period. But it was not until the Tu Duc period that drama reached the top of the genre. Hundreds of plays or sequels appearred, of which there are a few dozen of Dao Tan, till this day they have become the jewels of fine art such as Dien vo dinh, Tram Huong cac, Ho sinh dan, Hoang Phi Ho qua Gioi Bai quan... And even higher is the Tuong up to 100 stages as Van Buu trinh tuong, Quan tran hien thuy with fascinating combination drama, fine literature, lively characters. Besides, Tuong outside the court also flourished and became a spirit dish for people in the Cochinchina provinces. It can be said, with the development policies of the Nguyen, Tuong in the nineteenth century had a new look. It was a favorable environment for talented Tuong composers, including Dao Tan. 2.2.2. Tuong in the context of literature in the second half of the eighteenth century to the end of the nineteenth century Tuong appeared from the Tran Dynasty but until the late18th century to the end of the nineteenth century was shaped and developed strongly. Thus, Tuong is basically inherited the literary achievements of nearly eight centuries with the traditions of folk literature, literature of scholar, literature of Han script as well as the literature of Nom script. Especially at this time, literature grown dramatically in both quantity and quality, in all aspects of genre, author, composition, both of Nom and Han. That was the solid foundation for the drama to have a great success in this period. 2.2.3. The influence from the regional culture Dao Tan had a "exile" life as the characters in his play. Born and raised in Binh Dinh homeland, but during his 30 years as a government officials, he lived in many different parts of the country, of which, the two localities he had attached the most are Hue (18 years) and An Tinh (10 years).. Therefore, the cultural identity of these localities had a strong accent in his plays. 2.3. Life and personality of Dao Tan 2.3.1. Dao Tan – Government Officials’s life Dao Tan was born and raised in Binh Dinh as the third child in a peasant family. Since his childhood, he was smart and had a special love with Tuong. His teacher was Nguyen Dieu, a gracious master of both Chinese and French, and a talented composer. Dao Tan wrote his first playbook when he was very young (the Tan Da don drama ). He passed his bachelor at the age of 22 but did not work as a gorvernment officials but continued to pursue literature and singing. By
12 the age of 26, he was a member of the Cabinet and was promoted very quickly in various positions: Quang Trach prefect, Thua Thien District aspostolic prefect… When French colonialists invaded, he returned to his hometown at Nui Ong Pagoda for two years. After that, he returned to positions such as Thua Thien District aspostolic prefect, Ministry of Culture, Ministry of Public Security, Governor of An Tinh, Governor of Nam Ngai … After King Thanh Thai was deported, he applied for his retirement and died two years later. In general, Dao Tan was an important government officials in the Nguyen Dynasty. But he often blamed and stigmatized the government officials field in his compositions. He also had many personal confidences and many times help wise men such as Phan Boi Chau, Phan Chau Trinh, Huynh Thuc Khang … It can be affirmed, although not directly involved in the revolutionary movement, but Dao Tan still played a certain role in the pre-modern history of Viet Nam. Dao Tan's life and career are summarized in the 3rd appendix of the dissertation. 2.3.2. Dao Tan – Tuong composing career. In the history of the development of drama, if Dao Duy Tu was the creator, Dao Tan must be the developer. He was one of the first to train the stage in an organized and professional way. He offered theoretical and critical views as a basis for directing and performing. Elite of his life was dedicated for drama. He participated in numerous plays and many masterpieces such as Ho sinh dan, Dien vo dinh, Tram Huong cac… With such great contributions, he was honored by Nguyen Hien Dinh as "first doctoral candidate of drama" the next generation cherishes him as "the forefather of Tuong". Summary of Chapter 2: Thus, the premise of social history, literary culture combined with his personality, talent and passion devoted to the art of Dao Tan becoming necessary conditions to crystallize special value for his script. Chapter 3: SOME SCENE CONTENTS OF DAO TAN’S SCRIPTS The content of a literary work is the sum of the elements and internal processes that made the work. It is governed by ideology, How to judge and identify people - Reflecting reality... And expressed through themes, images, inspirations, systems of values, meanings... Therefore, we consider the contents of Dao Tan’s Tuong script in three main aspects: Ideology - morality - sociality; Concept of man; realistic values and humanitarian. 3.1. Ideological, ethical and social issues 3.1.1. Recession sign of Confucian ideology Drama is a literary genre composed by Confucianists who are deeply influenced by Confucian ideology. Through the study, Dao Tan's compositions were essentially based on the Confucian ideology as the basis for thought and towards the image of loyal and chaste heroes, Promote kindness, decorum, uprightness, wisdom, faithfulness. However, in some later writings, signs of disintegration of the Confucian ideology began to emerge. It was the breakdown of the three key relationships and the eclipsing of the virtues that were Confucianism values. These
13 signs are manifested by the theme change, the main inspiration in the writings written when he was in An Tinh such as Ho sinh dan, Dien vo dinh, Hoang Phi Ho qua Gioi Bai quan… Did not choose the "good lord" model as other royal court authors, the kings chosen by Dao Tan to build the image are often historical "benighted kings", "despot," or "adventurer". That was king Zhou (Tram Huong cac, Hoang Phi Ho qua Gioi Bai quan), Wu Zetian (Ho sinh dan), Cao Cao (Tan Da don, Co Thanh)… By choosing non-traditional reflecting objects, he partially "solved" the ideal figure of "good lord", changed the tendency of thought and aesthetic content in the classical Tuong. He turned king, a symbol of "righteousness - orthodoxy" into a villain in the drama. With sequences of works at a later stage, Dao Tan contributed to reflect the ideological tendencies of the time and signaled the end of the "loyal to the king" way as well as the Confucian thought in Vietnamese society in the second half of the nineteenth century. Not only "king - courties" but other social relationships also signs of breakage in Dao Tan Tuong like "father - son”, "husband - wife", "friendship". With the specific manifestations in dramas I studied, we can see clearly cracking and collapse of Three Moral Bonds and Five Constant Virtues in society. 3.1.2. Impressions of Taoist, Buddhist, and folk beliefs Besides the dominance of Confucian ideology, Dao Tan's Tuong was also influenced by the ideas of Taoism, Buddhism and folk beliefs. The Buddhist impression in Dao Tan's Tuong is expressed in the concept of compassion, kindness and predestined philosophy, the law of cause and effect. It manifests in the behavior, the actions of each character, and the conflict resolution in his drama. Taoist impressions in Dao Tan’s Tuong are embodied in the Wu Wei concept and the leisure philosophy. He highlighted the laws of nature and considered "natural progression" to be a necessary human behavior in the time of chaos. Leisure philosophy was given as a solution to have a peaceful life. Impressions of folk beliefs such as polytheism, ancestor worship, soulfulness … appearing in Dao Tan quite a lot. It represents the rich spiritual culture and humanity deep in the content and thought of Dao Tan’s Tuong. 3.1.3. Patriotic thinking, promoting the cause of righteousness Patriotism and the spirit of righteousness are two things throughout Vietnamese literature. In Dao Tan's scripts, these two things are expressed in different shades. The classical Tuong took the central theme of "national army", the king was the same as country. Thus, patriotism is expressed directly in the classical drama through the sacrifice of all to protect the country, the king and the royal lineage.. Dao Tan's drama took the reality of life as the object of reflection, towards everyday life but deep in it is the concern for the country and people. The secret patriotic love of Chi Thuc is expressed via the mood of Ly Huyen Minh (Khue cac anh hung), Quan Cong (Co Thanh) and especially through the iconic rebel hero, the hero with tragic fate with obsessive questions “where is my hometown ?” in most of his works.
14 Righteous spirit in Dao Tan’s Tuong was understood as rightness, common sense – dogma and equity. As we can see, if the superior in the classical drama is the loyalty to the king, the superior of Dao Tan’s Tuong is the spirit of the righteousness. The main characters in his Tuong represent the righteousness, in the name of justice to destroy evil. 3.2. Conception of man 3.2.1. From the concept of human morality to heroic image Under the great influence of Confucian ideology, the whole of middle age society was recognized in a moral system of a religious nature. Therefore, human was always judged by the moral senses. Dao Tan's character was also governed by these Confucian moral norms. On the other hand, born and raised in a cultural environment that promotes freedom, generosity, respect, and contempt of the South people so his human notion of favoring kindness, uprightness than other qualities. Using kindness - uprightness as basis, he built the heroic image in the aspects of: afforedable, rebel, female heroes and the end, Dao Tan's heroes fates were often tragic and deadlocked. As we can see, Dao Tan's heroic figure was shaped like the typical "heroic - contempt " hero of Vietnamese literature in the second half of the nineteenth century. They had strong resistance and never succumb to any power. As we can see, with the great changes in perception, thought, Dao Tan built iconic heroes in the Tuong with individual characteristics. These were the heroes crystallizing the ethics of the nation, with strong resistance but tragic, deadlock fate. The image of his hero is not the "monument" to be praised as in classical Tuong but the flesh and blood people honored in life and live forever in the heart of the people. The greatest success of Dao Tan Tuong script is probably "winning -heart" when building the hero in human heart, it is also the most obvious expression of his human notion. 3.2.2. The concept of equal humanity and the sign of a sense of democracy If the court Tuong was far from its ancient origins, Dao Tan brought it back to the folk, returning to its origins. It is not bound by the strict framework of feudalism with so many rituals, Dao Tan directed his work to the people, get them as objects to reflect. Dramatic stage is no longer the monopoly of the princes, princesses, goddesses, and heroic women but the life of cloth, barefoot heroes or farmer, servant, soldier, fishman and even ethnic minorities... Thus, in Dao Tan's Tuong, all characters are equal, there is less distinction of class, status than ancient play. In the other hand, in his works, people were judged in a new role, who were equivalent to other characters in his Tuong, became a supporting character and contribute to express the views and ideas of the author. That was the image of fishmen couple (Tan Da don) with life on the Tuong River, left the world all behind. Generals such as Huynh Minh, Chau Ky, Ngo Nhuong, Long Hoan (Hoang Phi Ho qua Gioi Bai quan) had ways to express aspirations of the people in the chaotic society. The ordinary people were named and given independent life by Dao Tan as the other classes. In Khue cac anh hung, Servant Bich Ha was set to be equal to Xuan Huong, Phuong Co,
15 she is even a benefactor of Chanh Hau. The other servants like Bich Dao (Dien vo dinh), Ho No (Ho sinh dan) became a catercousin and equal in relationship with the owner. In feudal society, the woman was considered "disaster", "difficult to teach", "ordinary child" but in the Tuong of Dao Tan, women were placed on equal footing with men and became one of the most beautiful, creative images, containing the most humane thoughts... That is the faithful wifes Gia thi (Hoang Phi Ho qua Gioi Bai quan), Lan Anh (Ho sinh dan),... It can be said, in his work is filled with the reality of people's lives and glittering people's dreams of a life of peace, happiness, justice and ethic. There seems to be no class, no class, no gender, age, wealth, status, just love and respect in this place. That made Dao Tan’s Tuong become more understandable and easy to enter people’s heart. 3.2.3. Developing view and realistic view about people Classical Tuong often view human beings in a metaphysical way. Character is thoroughly and uniquely modeled from the beginning to the end. Loyal to death, flattery to the end, there was no form of character from loyalty to flattery or opposite, and the character having both was less. In the sense of Dao Tan, man is a living entity, always subjected to the impact of the environment, circumstances. We can see he is very attentive to the context before the conflict occurs or when the character has a great transformation in the heart and action. Thus, the character has a change, not inconsistent from beginning to the end . It can said that his character is not only on stage but also alive. Although written based on Chinese plot, he added details or explaination of the character's actions in his own way. The inner development of the character according to events and circumstances is one of the highlights of Dao Tan’s Tuong. In other words, he builds his character from a development standpoint. Thus, Dao Tan's concept of humanity lies in the concept of literary art from the middle age at the same time reflect his progress on changes of the nation and the era. This system of views is consistent with the laws of movement of literature and reflects the relentless movement of thought, society, and the period of the late nineteenth century. Set Dao Tan's dramatic scenario into the context of the modern era and the period of Vietnamese literature will reveal a more comprehensive picture of Vietnamese society at the end of the Nguyen Dynasty. The value of his work is not in the work itself, but rather in the connection of history, culture, literature, art and the spirit of people and times. 3.3. Realism and Humanity values 3.3.1. Realism values Although most of Dao Tan's works are based on story from China but with strong changes in ideological perception, progressive view, shrewd look and political sensitivity, he chooses topics that carry the breath of the times, expressing the thoughts and aspirations of the people to the historical and social problems of the late nineteenth century. They are the issue of foreign invaders, the war against the enemy, the cowardice of the Hue court, the change of moral values in society and the deadlock of the contemporary strong-willed scholars. It is possible to
16 generalize the reality in Dao Tan’s Tuong in two respects: Exposing reality of chaotic reality and The deep thought division in all classes. The world described in Dao Tan is a world of uncertainty, chaos with chasing and running, separations, exile wandering journeys, battles, revolts, arrests, rebels... The role of the feudal court was rather indifferent and unacceptable to the people. With the motto “stage is life”, His drama scripts are highly suggestive. In the other words, Dao Tan used the stage to express a "troubled and unhappy era of the country". In the context of that turbulent time, he expressed quite clearly the deep ideological divisions of the various classes in society. It is the attitude of the king, the government officials and the people. For the king, was the representative of the feudal court depicted in the image of King Zhou (Tram Huong cac), Wu Zetian (Ho sinh dan), King Song (Dien vo dinh). Compared to the kings depicted in classical Tuong, it can be seen that Dao Tan expressed frustration with the attitude and role of the king during the turmoil. For the contemporary government officials, His general feeling is the helplessness of reality. For the attitude of the people, Dao Tan felt the rise of new ideas not belonging to feudal society. Thus, with nine scripts, he redrawn a complete picture of Vietnamese society in the late nineteenth century, from historical developments to royal life and the differentiation of the minds of all classes in society. Through studying the works of Dao Tan, we have more insight view into the history of Vietnamese social culture in modern times. 3.3.2. Humanity Values Although living and writing during the second half of the nineteenth century, Dao Tan's poetry was deeply influenced by the movements and thoughts of the previous period. Especially the impression of humanitarianism. The content of the humanitarian movement in his Tuong is expressed in two basic aspects: Firstly, Dao Tan condemns feudalism, ruling class and feudalism on the human right for human life, shows love for the miseries. Living in the "most painful and complicated time of our nation's history" He secretly denounced the evil side of the Nguyen court and the ruling class at that time. He vehemently condemns those who are ungrateful, turning betrayed as Tiet Nghia (Ho sinh dan), wild sex as king Zhou (Tram Huong cac), cunning as Cao Cao (Tan Da don), evil as Ho Ly (Hoang Phi Ho qua Gioi Bai quan), unruly, disloyalty as Ta Kim Hung (Khue cac anh hung)... He painted a society of "chaos" with so many kinds of infidelity, unfilial, inhuman... Courtiers rife and the loyal one keep silent. People who dare to stand upright, face it, become bandits, antagonists, wanted... Dao Tan has stood on human rights stance to criticize society. As we can see, on every page is the torment, concern, thinking about the times and people. In each work, he constantly sought direction and liberation for each destiny. But the end is still deadlocked. Therefore, Dao Tan Tuong is clearly tragic. With deep human affection, he directed his pen to the fate and tragedy of man. If ancient shows only show the fate and tragedy of the heroes, in Dao Tan’s we see the fate and tragedy of all human life.
17 Each of his characters has a destiny and suffers different tragedies. Thus the tragedy in Dao Tan's version is unique without duplication. Tiet Cuong - Lan Anh with tragedy can not live a normal life but robbers. They wants to have a normal family, peaceful and happy life but the dark forces always take away and bury their dreams, want to survive, they are forced to be "rebels", become robbers. Khanh Sanh - Kieu Quang with tragic love split. Hoang Phi Ho - Gia thi with the pain of death, family split... Secondly, Dao Tan affirms and praises human talents, dignity and aspirations. Inheritting the tradition of national literature, influenced by feminist tendencies in the second half of the 18th century, the first half of the nineteenth century, in his works, he devotes special affection for building a woman image. Most of the female characters in Dao Tan’s scripts have a deep awareness of their talents and dignity. They are self-confident, self-reliant women who struggle to master life and seek happiness for themselves. That is a brave, smart Phuong Co, a wise, clever Xuan Huong, a brave, resilient Bich Ha (Khue cac anh hung). That is a a strong, assertive Lan Anh, a Tu Ha respects affection and gratitude, a loyal and honest Ho No (Ho sinh dan). Those are loyal woman like Kieu Quang (Dien vo dinh), Gia lady (Hoang Phi Ho qua Gioi Bai quan)... Not only affirming and promoting human dignity, Dao Tan also expressed the desire for free love, the desire for family happiness... He exudes these aspirations through fierce resistance from the characters in Tuong. Unlike the fate of the battered woman in the seventeenth- eighteenth-century literature, the woman in Dao Tan's Tuong is the fate of "do not accept burying". That is the lady robber Lan Anh, lady Kieu Quang... Each person has a situation, a fate, a personality but they have one thing in common is not to submit to fate. It can be seen that humanitarian value is the infinite flow of Vietnamese literature from folk literature to middle age and modern literature. At each historical stage, each author of humanitarian values has different manifestations. With respect, love and absolute trust in people, Dao Tan chose to give life and destiny to his character. Therefore, the character of his play is very realistic and close to life. Summary of Chapter 3: The contents of Dao Tan script reflect partly the transformation of the thought of the times, the nation through the rift of the Confucian ideology, changes in topic, theme, central character in Tuong. On the basis of Confucian thought - Buddhism - Taoism and patriotic tradition of the nation, he inherited and created a world of drama bearing a separate identity. It is the image of the heroic beauty of the "undaunted" and "pain but great" stage of the nation.. They are women, farmers, soldiers, slaves... start to have their own position and voice. People are evaluated in the movement, changing environment and circumstances. Dao Tan's Tuong scripts also have great value and humanitarian. Each work is a miniature picture of contemporary social realism. Each piece of life, fate and human tragedy shown in the work is the most general overview of human life in the dark and turbulent period of the country. Dao Tan has truly created a world of richness, variot and full of vitality.