How is Hải Thượng Lãn Ông portrayed in a French novel by Yveline Feray?
Cultural researcher Hữu Ngọc was moved to receive a gift copy of Monsieur le paresseux (Mr. Lazybones, published in April 2000) from Yveline Feray, the novel's author. The Vietnamese poet Huy Cận had brought the gift all the way from Paris. Yveline Feray had spent seven years writing Dix Mille Printemps (Then Thousand Springs, published in 1989), an 800-page novel about the Vietnamese man of culture, Nguyễn Trãi. Now, she'd spent another ten years writing this novel about "Mr Lazybones", the Vietnamese physician Hải Thượng Lãn Ông or Lễ Hữu Trác.
The heroes of her two novels are both personalities from turning points in Vietnamese history: Humanist Nguyễn Trãi is associated with Việt Nam's victory over the Ming invaders and the beginning of the prosperous Lê Dynasty in the 15th century; physician Lãn Ông shone brightly in the late 18th century amid the turmoil that brought an end to the struggle between the Trịnh and Nguyễn Lords.
It is probably easier to write about Nguyễn Trãi than Lãn Ông, since Nguyễn Trãi's life included adventures and vicisstudes of fortune, and his writing covers a range of subjects and styles. Deep feelings saturate Nguyễn Trãi's poetry. On the other hand, Lãn Ông (1720 - 1791) produced a colossal collection of writings on medicine and only a few poems and travel book, Thượng Kinh ký sự (The Journey to the Capital). Lãn Ông led a simple life except for his one year in the capital. Born into an aristocratic family in Hải Dương Province, he studied both literary and military arts. After fighting in several battles, he retired to his mother's native village in Hương Sơn, Hà Tĩnh Province when he was still young. He studied and practised medicine there until his death.
Mr. Lazybones focuses on Lãn Ông's stay in Thăng Long (ancient Hà Nội) and shows the conflict between Lãn Ông's characteristics and his historical context. The novel's central question is wherher Lãn Ông, who has given up wealth and glamour to pursue medicine, will resist the play of fate during his service in the court of the Trịnh Lord. In the first chapter, "Retreat at Hương Sơn", Lãn Ông's worries about his summons to the capital after many years of simple life. He has nearly finished his encyclopaedic Y tông tâm lĩnh, (Treatise of Medical Knowledge of Hải Thượng), a work of 66 volumes. Living quietly, Lãn Ông has nurtured his spirit with nature and poetry, which have shaped his philosophy. As the novel develops, Lãn Ông's character becomes clearer.
Lãn Ông, which means "Mr. Lazybones", explains his name to Lord Trịnh Căn: "My Lord, I gave mysefl this pseudonym when I practised medicine in the countryside. I wished that everyone would be healthy so I could play lazybones. That was my earnest desire as I drank wine and played music in the moonlight".
The Lord then ask, "Did you play lazybones because you loved poetry of life?"
It si obvious from the novel than Lãn Ông loved both, but that he loved life more. In the spirit of Confucianism, Lãn Ông played lazybones to avoid wealth and frame; by not seeking success, he could enjoy travel and poetry and devote himself to medicine.
Yveline Feray characterises Trịnh Căn, aged 8, as innocent and knowledgeable, remiding the reader of Saint Exupery's Le Petit Prince. She portrays Duke Huy as a good character, which is not in line with Vietnamese historical evidence.
Lãn Ông chose medicine because he loved people. He says, "Each physician should be a child of knowledge and love". Because of his love for little Lord Trịnh Căn, Lãn Ông wants to stay in the capital, even though he sees no hope for the boy's recovery. Court intrigue and jealousies are so intense that Lãn Ông cannot bear them and oftten fears for his life.
Mr. Lazybones recreates Vietnamese history with its customs, habits, and daily activities, including clothes, houses, and food. Occasional italicised Vietnamese words in the novel add a Vietnamese atmosphere. A detailed analysis of medicine reflects Asian philosophy, while a meeting between Lãn Ông and 2 French doctors illustrates the dialogue between Eastern and Western cultures. In addition to literary merits, Mr. Lazybones has ethnological and philosophical value.
The heroes of her two novels are both personalities from turning points in Vietnamese history: Humanist Nguyễn Trãi is associated with Việt Nam's victory over the Ming invaders and the beginning of the prosperous Lê Dynasty in the 15th century; physician Lãn Ông shone brightly in the late 18th century amid the turmoil that brought an end to the struggle between the Trịnh and Nguyễn Lords.
It is probably easier to write about Nguyễn Trãi than Lãn Ông, since Nguyễn Trãi's life included adventures and vicisstudes of fortune, and his writing covers a range of subjects and styles. Deep feelings saturate Nguyễn Trãi's poetry. On the other hand, Lãn Ông (1720 - 1791) produced a colossal collection of writings on medicine and only a few poems and travel book, Thượng Kinh ký sự (The Journey to the Capital). Lãn Ông led a simple life except for his one year in the capital. Born into an aristocratic family in Hải Dương Province, he studied both literary and military arts. After fighting in several battles, he retired to his mother's native village in Hương Sơn, Hà Tĩnh Province when he was still young. He studied and practised medicine there until his death.
Mr. Lazybones focuses on Lãn Ông's stay in Thăng Long (ancient Hà Nội) and shows the conflict between Lãn Ông's characteristics and his historical context. The novel's central question is wherher Lãn Ông, who has given up wealth and glamour to pursue medicine, will resist the play of fate during his service in the court of the Trịnh Lord. In the first chapter, "Retreat at Hương Sơn", Lãn Ông's worries about his summons to the capital after many years of simple life. He has nearly finished his encyclopaedic Y tông tâm lĩnh, (Treatise of Medical Knowledge of Hải Thượng), a work of 66 volumes. Living quietly, Lãn Ông has nurtured his spirit with nature and poetry, which have shaped his philosophy. As the novel develops, Lãn Ông's character becomes clearer.
Lãn Ông, which means "Mr. Lazybones", explains his name to Lord Trịnh Căn: "My Lord, I gave mysefl this pseudonym when I practised medicine in the countryside. I wished that everyone would be healthy so I could play lazybones. That was my earnest desire as I drank wine and played music in the moonlight".
The Lord then ask, "Did you play lazybones because you loved poetry of life?"
It si obvious from the novel than Lãn Ông loved both, but that he loved life more. In the spirit of Confucianism, Lãn Ông played lazybones to avoid wealth and frame; by not seeking success, he could enjoy travel and poetry and devote himself to medicine.
Yveline Feray characterises Trịnh Căn, aged 8, as innocent and knowledgeable, remiding the reader of Saint Exupery's Le Petit Prince. She portrays Duke Huy as a good character, which is not in line with Vietnamese historical evidence.
Lãn Ông chose medicine because he loved people. He says, "Each physician should be a child of knowledge and love". Because of his love for little Lord Trịnh Căn, Lãn Ông wants to stay in the capital, even though he sees no hope for the boy's recovery. Court intrigue and jealousies are so intense that Lãn Ông cannot bear them and oftten fears for his life.
Mr. Lazybones recreates Vietnamese history with its customs, habits, and daily activities, including clothes, houses, and food. Occasional italicised Vietnamese words in the novel add a Vietnamese atmosphere. A detailed analysis of medicine reflects Asian philosophy, while a meeting between Lãn Ông and 2 French doctors illustrates the dialogue between Eastern and Western cultures. In addition to literary merits, Mr. Lazybones has ethnological and philosophical value.
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