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Statecraft on the Margins: Drama, Poetry, and the Civilizing Mission in Eighteenth-Century Southern Vietnam

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Statecraft on the Margins: Drama, Poetry, and the Civilizing Mission in Eighteenth-Century Southern Vietnam STATECRAFT ON THE MARGINS: DRAMA, POETRY, AND THE CIVILIZING MISSION IN EIGHTEENTH-CENTURY SOUTHERN VIETNAM A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Claudine Ang Tsu Lyn August 2012 © 2012 Claudine Ang Tsu Lyn STATECRAFT ON THE MARGINS: DRAMA, POETRY, AND THE CIVILIZING MISSION IN EIGHTEENTH-CENTURY SOUTHERN VIETNAM Claudine Ang Tsu Lyn, Ph.D. Cornell University 2012 In the eighteenth century, the Mekong delta was a site of interaction between an expansionary Vietnamese kingdom and a network of dispersed Chinese Ming loyalists. This dissertation investigates the ways in which eighteenth-century Vietnamese and Chinese literati shaped the cultural landscape of the Mekong delta. It demonstrates the importance of the intellectual and cultural inhabitation of space for the appropriation of frontier lands. Specifically, it considers the literary works of Nguy ễn C ư Trinh (1716-1767), a prominent southern Vietnamese scholar-official, and M ạc Thiên T ứ (1710-1780), the leader of Hà Tiên, an autonomously governed ethnic Chinese enclave in the Mekong delta. The first part of this dissertation examines a satirical play, Sãi Vãi (Monk and Nun), which Nguy ễn C ư Trinh composed in 1750 to encourage the people of Qu ảng Ngãi to fight the Đá Vách (Stone Wall) uplanders. The play reveals how Nguy ễn C ư Trinh’s attempt to stabilize the Vietnamese kingdom’s borders was intimately related to his attempt to educate the Vi ệt inhabitants of the frontier. Moreover, the play shows the extent to which Sino-Vietnamese literary culture formed a part of the Vietnamese cultural consciousness on the frontier during this period. The second part of this dissertation is dedicated to a study of the Ten Songs of Hà Tiên , a collaborative literary project that M ạc Thiên T ứ organized. The landscape poetry served as a medium through which the originator of the project rendered his domain civilized and brought it into the cultured discourse of Chinese intellectuals. A comparison of the landscape poems of both M ạc Thiên T ứ and Nguy ễn C ư Trinh, moreover, provides insight into the divergent nature of the Chinese and Vietnamese projects on the frontier. The patterns of migration that led the two authors to the Mekong delta informed the cultural production of knowledge in the region; and this knowledge, in turn, was integral to the literati’s attempts to shape statecraft on a rapidly changing frontier. BIOGRAPHICAL SKETCH Claudine Ang was born in Singapore in September of 1976. She attended the National University of Singapore (NUS), where she majored in Southeast Asian Studies and graduated with a B.A. (hons.) in 1999. She later returned to pursue a M.A. in the Department of History, which she received in 2005. In August of 2005, she arrived in Ithaca, NY for graduate study in history at Cornell University. Upon completion of her Ph.D., she begins her appointment as Assistant Professor of Humanities (History) at Yale-NUS College and is concurrently appointed as a fellow of the Whitney Humanities Center at Yale University in 2012-2013. iii ACKNOWLEDGEMENTS I consider myself immensely privileged to have had the opportunity to work with Keith Taylor, whose constant encouragement and intellectual guidance accompanied this project from its inception to its completion. I have learnt about much more than Vietnamese history from him and admire his sense of intellectual curiosity and openness, which I hope to always emulate. Sherman Cochran’s reflections on my chapters, the result of his close and careful engagement, never failed to excite me to think deeply about new ideas and scholarship. Eric Tagliacozzo reminded me of the importance of broader issues in my work and my life, which gave me much needed perspective while I was buried in the details of close textual study. I would also like to acknowledge with much gratitude the support of Ding Xiang Warner, who shared her excitement for reading and translating Chinese poetry with me. There are many who have contributed in important ways to seeing this project through its various stages of completion: Mitch Aso, Lauren Bellmore, Marc Brunelle, Hong Bui, Alexander Cannon, Jack Chia, Haydon Cherry, Lawrence Chua, Nola Cooke, Pamela Corey, Duane Corpis, Barb Donnell, Mohammed Effendy, Abi Fisher, Heather Furnas, Durba Ghosh, Tim Gorman, Richard Guy, TJ Hinrichs, Franz Hofer, Kate Horning, Paul Hyams, Sahoko Ichikawa, Naoko Iioka, Akiko Ishii, Ada Kuskowski, Peter Lavelle, Alvin Lim, Samson Lim, Liu Oi-Yan, Martin Loicano, Tamara Loos, Hajimu Masuda, Lauren Meeker, Marie Muschalek, Binh Ngo, Edmund Oh, Brian Ostrowski, Lorraine Paterson, Tom Patton, Trais Pearson, Hannah Phan, John Duong Phan, Joe Pittayaporn, Guillaume Ratel, Mary Roldan, Bruce Rusk, Richard Ruth, Leander Seah, Ivan Small, Peter Staudenmaier, Rebecca Tally, Allen Tran, Jason Hoai Tran, Nu-Anh Tran, iv Thuy Tranviet, Robert Travers, Eileen Vo, Courtney Work, Nurfadzilah Yahaya, and Mirabelle Yang. I would also like to acknowledge the generous financial support I received, which made it possible for me to undertake this endeavor. Cornell University’s Southeast Asia Program made available to me funds for overseas travel as well as a beautiful office space in the Kahin Center, in which much of this dissertation was written amidst the company of wonderful friends. The History Department at Cornell University provided support through the years in the form of fellowships and supportive faculty and colleagues. Cornell University Graduate School, the Judith Reppy Institute of Peace and Conflict Studies, the East Asia Program, the Mario Einaudi Center for International Studies, and the Institute of European Studies all provided generous funding for the development and completion of this dissertation. I would like to thank my parents and my sisters, Evelyn, Carolyn, and Emilyn, for their firm belief in the importance of my work. Finally, I thank my husband, Taran Kang, whose love, encouragement, and constant support brought added joy to my journey through graduate school. v TABLE OF CONTENTS Biographical Sketch iii Acknowledgements iv Table of Contents vi List of Figures vii Introduction 1 Civilizing Projects in Eighteenth-Century Đàng Trong Chapter One 32 Humor on the Frontier: Errant Power Holders and the Inadequacy of Orthodoxy Chapter Two 69 Skeptical Confucianism: Transcending Conventionality for Best Governance Chapter Three 110 The Illness of Human Emotions: Embracing Humanity to Smite the Barbarians Chapter Four 152 Writing Landscapes into Civilization: Ming Loyalist Ambitions on the Southern Vietnamese Frontier Chapter Five 195 Responding to the Dream: A Different Vision for the Chinese Frontier Province in Đàng Trong Conclusion 237 Deaths of Authors, Lives of Texts Works Cited 246 vi LIST OF FIGURES Figure 1: Map of the South China Sea 260 Figure 2: Map of Qu ảng Ngãi 261 vii Introduction Civilizing Projects in Eighteenth-Century Đàng Trong 1 In the eighteenth century, two extraordinary men lived on Đàng Trong’s frontiers. Political actors well suited to frontier living, they were able military leaders with successful records of both winning battles and avoiding them in order to protect the fragile peace of the frontier world. More distinctive, perhaps, was the fact that they were also highly educated men of letters. As scholars and officials living on the southern Vietnamese frontier, they were not content with carrying out the work of annexing territories, building settlements, and organizing soldiers and their families on the new lands. On top of the physical work of establishing settlements on the margins of the expanding kingdom, they sought to fully inhabit the worlds in which they lived by infusing the frontier lands with culture and literature. To this end, they composed drama and poetry in their quest to bring about what they believed was the elevation of the civilizational status of the frontier lands and its inhabitants. These two figures' lives and their literary works, which were composed in various provinces on the southern Vietnamese frontier, provide us with insight into civilizing projects in eighteenth-century Đàng Trong. This dissertation explores the intertwining lives and literary works of Nguy ễn C ư Trinh (1716-1767) and M ạc Thiên T ứ (1710-1780), 2 and investigates their civilizing projects in Qu ảng 1 Đàng Trong (The Inside) and Đàng Ngoài (The Outside) were the names used by the southern Vietnamese for their kingdom and the northern Vietnamese polity respectively. Foreign missionaries and traders used names derived from the terms Cochinchina (in reference to the south) and Tonkin (in reference to the north). In this dissertation, I refer to the southern Vietnamese polity as Đàng Trong, the name most commonly used by the Vi ệt inhabitants of the region. When discussing it in the context of foreign missionaries and traders I use the name Cochinchina, which was the name by which they most commonly called Đàng Trong. 1 Ngãi and Hà Tiên respectively. The two men came to inhabit the southern regions of Vietnam following two divergent trends of migration, namely contiguous territorial expansion and non- contiguous diasporic settlement. 3 In the eighteenth century, Vietnamese territorial expansion into the southern regions was fueled by the efforts of the Nguy ễn family, who had ruled the southern Vietnamese polity of Đàng Trong since the mid-sixteenth century. Prior to this, the Nguy ễn had been an important family in the political scene of Đại Vi ệt, the Vietnamese kingdom that had its capital in Th ăng Long (modern day Hà N ội). They were allied with another important family, the Tr ịnh, and together sought to defend the Lê dynasty against usurpation by the M ạc family. In 1545, Nguy ễn Kim was assassinated by the M ạc.
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