Saving Face
Chapter 7
Saving Face
The gamblers had been imprisoned. The courtesans were seized and thrown into the holding quarters. The rebellion had been quelled, and the money returned to the cloth sacks. With nothing left to anticipate, the villagers resumed their marketplace activities, trading almost exactly as before.
Yet this year, the market was split into two sections. Rows of stalls and tents stretched along the left side, fully covered. Opposite them, a gathering of people gathered under the scorching sun, where vendors laid fabric carpets on the ground and displayed their wares in wait of customers. But no one spared them a glance—instead, they flocked to the shaded stalls. A troublemaker poked his head out from a tent and mocked them with sarcasm:
- Forcing customers to endure the scorching sun and persistent rain—laying goods on the ground, selling them to the ants, ah?
Ignoring all jeering words, disregarding every gaze that sees them as an anomaly, they quietly weave a harmonious melody to the soaring and falling rhythm of the sli[1].
Oh friends, ah friends
What is fun to do during the early spring of the new year?
Please share your feelings
Remembering the old days, we sang together
Kindred spirits shall climb any mountain
Without the former destiny, please still uphold the old affection!
The winter is over, the moon is cold in three autumns
Do you still remember our bond of honor and affection from years past?
I grasp the jug of potent wine,
We wade through streams and cross mountains to meet.
Why are we now face to face, yet our hearts remain distant?
As if you merely gave me bare water
I just want to express a few words
Today, we are happy at the new festivity, please don't forget the past!
The sincere lyrics failed to move the visitors. Those who reminisced about the past were often overcome with sentiment but feared being mocked as fools who toasted with ants and ate dirt for longevity. Years had passed, yet those who cherished tradition still remembered the days when families and friends gathered around the carpeted stalls laid upon the ground, carefully selecting goods.
Sometimes, laughter erupted when people accidentally bumped their heads together. On certain days, when Silk old man and Moon old woman[2] tied a red string, the market felt like a festival, bustling with celebrations for a pair of strangers getting married.
The time when each day was a joy is no more. For years, though they shared in a lingering sorrow, none dared return to the past. The nostalgic and their joyful memories—like a pair of mandarin ducks—were driven apart by saving face.
"The beloved", ever mindful of saving face since two years ago, found the flaw of displaying goods on the ground too off-putting—it bored the guests, and eight out of ten feared food poisoning. Villagers from the Upper Village sat too close to those from the Lower Village, easily leading to confusion and quarrels.
Five, seven times, shop owners fought over customers, disputes over transactions escalated into brawls. Guests fueled violence, taking advantage of chaos to loot valuables. Some of these troublemakers even attacked those who had no involvement in the matter.
The repeated disturbances compelled the Chief Commissioner of Pacification[3] of Lang Chau circuit to report the situation to the imperial court. Initially, the emperor planned to advise the people and divide the market into separate sections. However, after consulting with the Grand Chancellor, they decided to auction off the market districts, with the highest bidder ruling for ten years. During this time, they could do as they pleased, so long as no laws were broken. The victor would rent the area to the commoners at reasonable prices and properly organize the trade space.
Previously, merchants looked down on Lang Chau, and few ever bothered to visit. The emperor decreed that a grand martial arts tournament be held there. The imperial court dispatched talents and resources, restoring scenic sites, carving through mountains, dredging ravines, opening waterways, building streams, and constructing mountain retreats within the vast forests. Soldiers and civilians alike endured great hardships, transforming the once desolate Lang Chau into an ethereal beauty of the mountainous hinterlands.
Visitors from everywhere came in droves, attracting "a pack of old foxes" like fragrant flowers lure honeybees. Poverty and low, none paid attention; wealth prevailed, many fawned eagerly. The emperor ordered an auction; the merchants plunged into a seemingly endless race for gold and silver. Nguyen Yen Van—the master of Venus Tower—emerged victorious with a thousand taels of pure gold.
Nguyen Yen Van, the master of Venus Tower, spent a thousand taels of pure gold to secure victory.
Two years later, Lang Chau saw the rise of a series of taverns attached to inns. In both scale and refinement, these tavern-inns were in no way inferior to those in the imperial city.
During the ethnic market assembly, Yen Van proposed renting out land for forty copper coins. The average monthly income of a commoner was around three hundred copper coins, while land rental had traditionally cost as much as one hundred and fifty.
The old merchant charged less than half of half the usual price. While the people were still astonished by such an extraordinarily low rate compared to the past, Yen Van had already ordered his servants to erect stalls, pitch tents, and arrange tables and chairs.
He suggested each shopkeeper trade in one or two related businesses, such as a food stall near a fruit stall for convenience in light meals and desserts. The merchants selling scales and baskets set up beside the fruit stalls so that customers need not trouble themselves searching elsewhere.
The Upper Village recognized the opportunity and embraced it, while those from the Lower Village sneered, condemning them as greedy men betraying tradition. Those who resisted change were destined to fail, yet the defenders of tradition still endured the scorching sun and rain, waiting for customers. Conservative ideology rejected the winds of reform.
The Grand Chancellor and the imperial court were frustrated by the dilemma, wracking their brains for a solution. Fortunately, thanks to Thiet Nam's efforts in quelling the unrest, he left a good impression on the people. Thu Do intended to use The Guardian of Justice's communication skills to unite everyone. The Grand Chancellor also saw this as an opportunity to assess Thiet Nam's capabilities, so the old man sighed:
- A small matter, yet it concerns the fate of the realm. Lang Chau is the frontier pass—most invasions from the North march through this land. If the people remain divided and in conflict, the defense line risks collapse should the enemy strike. This inherited obsession with saving face passed down from father to son drives me mad! As the Grand Chancellor of the court, I find myself helpless—what a disgrace!
Thu Do had never once let slip a single word that revealed his own thoughts, yet now he blamed himself aloud. His wife saw through him entirely—this was but a game of ghosts and shadows. Tired of his fondness for playing cat and mouse, she turned all her attention to Thiet Nam, eager to see what he would do. Outwardly, Tran Thi Dung appeared sorrowful at the irony of the market scene, her wistful longing for the past mirroring that of her aging husband.
The Guardian of Justice no heed to the Grand Chancellor and his wife; his full attention was fixed on the scene—unable to tell whether to laugh or to cry. He carefully observed every person and every detail of the ethnic market.
The people of the Upper Village and the Lower Village happened to see each other; those from the Upper Village immediately grew irritated and displeased, for they had repeatedly advised but the stubborn, ignorant folk refused to listen.
Each time this happened, they would lower their heads, chopping onions and slicing garlic in silence. The people of the Lower Village were downcast, for their childhood friends, now blinded by greed, had lost all chance of reconciliation.
Thiet Nam let out a weary sigh, tired of the countless chances for reconciliation wasted—all because saving face obsession demanded they sever ties completely. Owing to their prideful stubbornness due to saving face, hesitant customers who wished to buy from the traditional stalls feared ridicule and quietly turned away, one after another.
Years ago, Thiet Nam's mother had taken him and his little sister from their homeland, traveling along the Bac Giang[4] circuit to reach Lang Chau. Back then, shopkeepers were kind and always willing to help one another. But now, they acted like quarrelsome children. This wasn't one of Thu Do's tricks—it was the truth.
Still, Thiet Nam feigned ignorance and asked:
- Grand Chancellor, is this real or fake?
The old man chuckled:
- Fake—you think it's real. Real—you think it's fake. Are you truly wise, or merely pretending to be wise?
Thiết Nam laughed dryly:
- They don't mind losing face. They just need an excuse. I need the Drum Bong Dance ensemble to help me unite the villagers.
Though the young man and the old man differed vastly in conduct, their ideas coincided perfectly. The Grand Chancellor gave a faint smile, approving of Thiet Nam's solution. The elder minister, however, frowned deeply and said:
- You suddenly make such a request—where am I supposed to find a Drum Bong Dance ensemble for you? There is one in Lang Chau, but they only know how to dance, not how to act alongside you.
Thiet Nam smiled calmly:
- Grand Chancellor, you jest. The soldiers of Dai Viet wield swords in the morning, swing blades in the afternoon, and Drum Bong Dance at night.
Thu Do chuckled lightly before ordering Trung Hieu to gather the soldiers. Thiet Nam immediately said:
- Perhaps there's no need. Yen Van is will preparing to summon the Drum Bong Dance ensemble.
Yen Van offered a substantial portion of his wealth to the court, leased land at low rates, and taught the people the art of trade. He was determined to resolve the discord by any means necessary—for only then would the court regard the master of Venus Tower with favor. Yen Van was laying the bricks on the path to the grand stage of politics.
Similar in opinion, similar in strategy—the Grand Chancellor and Thiet Nam found the optimal solution, so it was unlikely that a seasoned and shrewd old fox like Yen Van would throw up his hands in surrender.
For Thu Do, everything must be flawless. Nothing is ever absolutely precise, and a wise man must always have a contingency plan. The Grand Chancellor ordered Trung Hieu to instruct the soldiers to purchase Drum Bong Dance costumes and adapt to the situation as needed.
Thiet Nam went to a place where the Guardian of Justice were required. Moments ago, his outburst had silenced the crowd; they had held their breath, listening intently, completely ignoring the stench he carried. However, once the commotion died down, they wrinkled their noses, covered their faces, and hurriedly distanced themselves.
Thiet Nam clicked his tongue, stripped to the waist, and entered the tea house. All raised their brows at the countless welts resembling whip marks carved across his body, eyes wide as they watched him scoop water to rinse off some of the animal stench.
The Grand Chancellor laughed heartily and paid for him, but the teahouse's old mistress hesitated, reluctant to accept the money. Thu Do firmly pressed the coins into her hands while observing Thiet Nam.
The young man picked up a gourd ladle, drew water, and poured it over himself from head to toe—swiftly and decisively.
Everyone was amused as they watched the young man, more carefree than a fly. Soft murmurs and loud chatter began to spread. He ignored the chuckles and paid no mind to the uproarious laughter of those who had just arrived at the ethnic market. They mocked him:
- Where did this wild creature come from?
- Monkey Cave…
Thiet Nam calmly dried himself, changed into fresh clothes, and entered a music shop, picking up a rice drum. Tran Thi Dung paid for it and watched as he tied the rice drum around his belly. He looked up and asked:
– Who has hot rice? Can you spare me a bit?
An old woman handed him rice. Thiet Nam thanked her, placing the rice in the center of the rice drum to stabilize its tone. This rice drum resonates but does not linger, sounding more melancholic than the erhu.
The newcomers to the market fair, still drinking and merrymaking, were annoyed by the disruption and cursed aloud. Their companions splashing water in the rain[5], joining in to sneer at Thiet Nam.
Ignoring all provocations, he adjusted the rhythm using short beats, covering the Metal side with his right hand and striking the Earth side with his left. He shifted the tones—sometimes as joyous as an old friend's reunion, sometimes as solemn as a sorrowful farewell—guiding the listeners' souls toward distant memories. Yet, the crowd remained stubborn in their pride, clinging to saving face.
Glancing at hesitant yet eager audience, Thiet Nam understood—they were waiting for him to stir up the atmosphere. He chuckled. The villagers from the Lower Village frowned and turned back, only to see him more jubilant than a festival-goer, laughed as he cradled the Earth and struck Metal, raising the melody to soar along with the childhood rhyme song:
You dwell in the Upper Village, I in the Lower Village[6]
You are the daughter of the old man Doan, I am the son of the old woman Ket.
You, the eldest daughter; I, the second son.
You bathe in the river; I wash in the well.
You journey to the Imperial City; I return to the fields.
You wear a hooded hat; I tie a cloth scarf.
You sell golden persimmons; I sell common persimmon.
You hang the tent; I endure the sun and rain.
You follow the times; I honor old customs.
You do not follow me, and I do not follow you.
You return to the plains; I return to the mountain village.
You go get married; I go take a wife.
You and I grow apart, each in our own land.
You reminisce about childhood; I cherish the past.
You ride the buffalo; I raise the calf.
We were close as brothers, those days when we bathed in the rain!
The Lower Villagers excitedly accompanied the folk lyrics with their instruments. Tourists exchanged glances, waiting in silence. The Lower Villagers shook their heads and sighed, as disappointed in those who dared not live their true selves as they were astonished by Thiet Nam.
Even at his most disheartened, he persisted in shifting tones and altering melodies—leaning eastward, swaying westward, inviting all to join in the revelry. From time to time, he leapt in circles, observing as if awaiting something.
- Are you still waiting for me?
The deep male voice deliberately turned shrill, clashing with the distant drumbeats, forming a striking contrast. The source of the comedic tone was a group of handsome men, their faces powdered and rouged, red crow-beak scarves wrapped around their heads, white trousers, and four-panel traditional dress.
Over, they wore a traditional silk halter underlayer with colorful patterns. The men disguised as maidens also donned black skirts adorned with elaborate tassels of five colors. Their attire was intricate and meticulously styled—yet none wore shoes, only white socks.
The 'maidens' playing the role of songstresses elegantly flicked the hem of their four-panel traditional dress, shyly stealing glances at Thiet Nam. He cast flirtatious glances in return and engaged in courtship singing with the 'young ladies':
Noong oh, noong ah. Chai diep noong! (Noong oh, noong ah. Chai love noong)
Chai longed and waited for so long!
Why would noong let chai feel abandoned?
The "songstresses" stared in bewilderment as Thiet Nam spoke in the Nung dialect, sounding exactly like a native of the region. Each "maiden" examined him from head to toe, their rosy lips curling into bashful yet affectionate smiles. While dancing, they gracefully tapped the Bong drums hanging from their chests. This "girl" swung her arm past the drum's surface, stepping diagonally in long strides toward Thiet Nam:
Chai oh, chai ah. Noong diep chai!
For noong must hide from my parents,
Engrossed in choosing a silk halter underlayer traditional, absorbed in putting on powdered!
Another 'maiden' feigned jealousy, pressing close against the back of her 'rival' to pivot and switch places. The lively sounds quickly attracted visitors from all around—one person told another that the market fair featured men disguised as women, singing and dancing. Curious onlookers gathered to see.
Chatter and laughter rippled through the crowd. People whispered, "This 'girl' dances the best, that 'girl' is a thousand times more coquettish!" Everyone engaged in lively discussion, watching Thiet Nam display his prowess. He gracefully curved his hands into wave-like shapes, swaying his hips in rhythm with the vibrant beat.
Young and old alike burst into laughter as Thiet Nam pressed his amorous gaze upon the bashful face of the songstress. The two hesitantly turned their backs to each other before boldly facing one another, locking eyes in deep admiration.
The "songstresses" encircled him, taking turns to dance, just like lovers deeply enraptured with one another. Paired dancers moved in synchrony, their arms and legs aligned, swaying to the handheld drums and the bright clink of small gongs.
As the music reached its climax, the eldest 'songstress' linked arms with Thiet Nam and glided with him across the green grass. At the sight of this 'man and maiden' exchanging flirtations, the spectators immediately doubled over with mirth.
As the crowd reveled in joy, another group of young men appeared at the ethnic market gate. They were dressed in exquisite attire, their hair neatly groomed, exuding a scholarly demeanor. Finding the scene peculiar, they burst into raucous laughter.
- Men pretending to be women—without shame!
- Madmen!
A child's bright voice rang out:
- You guys know nothing! This is the Bong Drum Dance, handed down from the time of Great King Bo Cai![7]
Angered, the youths searched the crowd for the brat who dared expose their ignorance. Before their eyes appeared a boy clad in handwoven brocade, his ornate ethnic garment adorned with the motif of a Lac Viet bronze drum upon his chest. His traditional trousers bore patterns of a giao long[8] struggling in river waves. His head was wrapped in a white scarf densely embroidered with the image of the Lac bird. Eyes wide, the boy could hardly believe they were unaware of something so simple. The young men rushed forward, ready to cause trouble:
- The brat, still reeking of milk, dares to boast.
- I must break the teeth of the one who defames our ancestors.
The boy ran from one shop to another, reached into his pocket, pulled out a book, flipped to the section on ancient dances, and read aloud:
- Ancient Dance Records states: Before setting out to war, Great King Bo Cai ordered his soldiers to dress as women and perform dances to raise morale. Battles are exhausting and easily lead to irritation. While stationed in Trieu Khuc Village[9], Great King Bo Cai and his court officials devised this very dance. They selected a few soldiers with graceful and delicate figures, dressed in vibrant women's attire, each carrying a Bong drum before their waists. Accompanying them was an ensemble of handheld drum and bronze gong. The young men gracefully disguised themselves as women, mimicking the gestures of the ladies.
They chuckled derisively and retorted:
- The insolent brat dares to fabricate lies. Did Phung Hung not know how to invite village maidens to dance, that he had to force men to disguise themselves as women?
The boy turned to the next page and read even louder than before:
- The reason women were not permitted to dance was that Great King Bo Cai did not wish to disturb the common folk, nor did he want his intentions misconstrued. Therefore, he ordered his soldiers to disguise themselves as women. In time, the Drum Bong Dance became an indispensable part of festivals in Trieu Khuc village. The people of old forbade women from entering the communal house area, believing their presence would 'defile the sacred space.' Those who violated this rule were threatened with capture and punishment. Partly to preserve ancient customs, partly because the elders did not wish for their daughters to marry far away, fearing the loss of traditional dances. Due to the prohibition of women dancing in front of the temple and sacred statues, men were required to dress as women to continue the tradition. Not every man could join the dance troupe. Only unmarried young men—handsome, of respectable lineage, filial, virtuous, gentle, well-regarded, without blemish, and from families free of mourning—were selected. Alternatively, men who had both sons and daughters, were virtuous, and had no mourning obligations could participate. If mourning was observed, they had to wait three years before rejoining.
The boy finished reading, shook his head, and curled his lips:
- With such a nasty temperament, you lot will never be chosen!
The surrounding chuckles erupted into roaring laughter. Thiet Nam laughed heartily:
- Ha ha... Words backed by records, proof in hand! Kid, you're the center of attention at the ethnic market fair today!
The ignorant fools, humiliated by the book, went mad and charged at the child. The soldiers disguised as commoners rushed forward, driving them out of the market. The boy called out as best he could:
- Next time, don't call our ancestors by their real names—you'll be committing a taboo![10]
He tucked the book into his cloth pouch, then turned back to watch the dance and song. His view was suddenly obscured by a familiar figure.
The boy raised his head and gave a strained smile, seeing an elder with gray hair, dressed in dark traditional wide-legged pants and a cross-collared robe, gazing at him solemnly.
The boy hurriedly pleaded:
- I won't run around again. Please, Master—let me stay and watch until the very end!
The elder, seeing the boy's eagerness, granted his request. The boy, overjoyed, swiftly turned back to watch Thiet Nam dance. He stood upon his master's shoulders, tiptoeing and leaping, his body swaying, nearly falling several times. The old man intended to remind him, but seeing the boy laughing brightly with Thiet Nam, he held back. The child eagerly clapped along to the rhythm of the rice drum. Not wanting to dampen the spirits of a student so passionate about his people's culture, the teacher instead steadied the boy's footing, letting him cheer and call out to encourage the Bong Drum dance troupe.
Suddenly, the crowd erupted into excited laughter as they watched Thiet Nam raise his arms high, clapping both hands together, striking the drum with resounding beats:
Noong oh, chai sluong diep noong lai!' (Beloved, I love you too much!)
Thiet Nam leaned back and howled, his voice echoing in all directions, igniting passion in the hearts of the visitors. Everyone rushed in to join the revelry—some draped their arms around the "songstresses", dancing gracefully, while others pressed their backs together before turning to face Thiet Nam, singing in harmony.
The Upper Village folk calmly chopped meat and cooked their dishes. The Lower Village folk, unwilling to let Thiet Nam efforts go to waste, took the initiative to strike up a conversation with the Upper Village. The Lower Village yielded in humility, while the Upper Village chopped their obsession with saving face into pieces with blunt words:
- We only know how to chop pork and boil dog meat—we have no clue about singing and dancing!
- What's the point of dancing? It's just a waste of time!
The Upper Villagers wiped the meat scraps from their hands and hawked the goods on behalf of the Lower Villagers:
- Come, everyone! These are freshly harvested tender wild mountain bamboo shoots from the forest—delicious beyond compare![11]
- Oranges gliding on hanging pulleys—fragrant, delicious, nutritious, and affordable![12]
The Upper Villagers beat drums and clanged gongs, inviting one person after another to join. The customers chatted lively, selecting and buying a little of everything. The Lower Villagers reciprocated with a warm welcome, inviting guests into tents and eateries to enjoy the local cuisine. Some grilled, others stir-fried; guests ladled the rich broth and slurped it with relish.
The aroma of roasted pork with clausena indica leaf[13] intertwined with the scent of fresh seafood, 'cooking' Thiet Nam's stomach into a bubbling frenzy. The fragrance slipped through the nostrils of the "songstress" troupe as they watched the chef mix glistening roasted meat into a bowl of thick, tangy noodle soup. The host of the eatery burst into laughter, to welcome guests, and invited the Grand Chancellor with his wife, Thiet Nam, and the songstresses to the banquet:
- You guys don't need to be overly courteous!
Footnote
[1] Sli songs are a form of sung poetry—primarily narrative poems—performed in a male-female duet style. These performances typically take place during festivals, market fairs, weddings, housewarming ceremonies, and other communal celebrations. Each duet is often performed by one or several pairs of lovers. The lead singer must possess a clear, resonant voice and respond swiftly and skillfully, demonstrating both eloquence and wit.
[2]Silk old man and Moon old woman are two gods who govern love and marriage in Vietnamese folklore. These two gods are similar to the Chinese Yue Lao.
[3] The Chief Commissioner of Pacification (An Phu Chanh Su) was the highest-ranking official overseeing a circuit (an Provincial Capital) during the Tran Dynasty. Lang Chau, known today as Lang Son, was historically referred to as Chau Lang. Its recorded history dates back to the Ly dynasty. In the 11th year of the reign era Thien Ung Chinh Binh (1242), Emperor Tran Thai Tong reorganized the realm's 24 administrative circuits into 12, though Lang Chau remained an exception and was retained in its original form.
At the time, it was administered by both a Principal Envoy (Chanh Su) and a Deputy Envoy (Pho Su). By the late Tran period, Lang Chau was part of the Lang Giang Circuit, which corresponds to parts of present-day Bac Giang, Hung Yen, Hai Duong, Hai Phong, and Lang Son. It comprised three prefectures, while the circuit directly administered five county:
Long Nhan (now part of Lang Giang)
Co Dung (now An Dung, Bac Giang)
Phuong Son (a part of Lang Giang, now known as Bac Giang)
Na Ngan (now Luc Ngan)
Luc Na (now part of Luc Ngan)
The three prefectures under Lang Giang Circuit were:
Lang Giang Prefecture, consisting of four county:
Yen The (now Yen The)
Yen Ninh (now part of present-day Lang Giang)
Co Lung (now Huu Lung, Lang Son)
Bao Loc (now Lang Giang)
Nam Sach Prefecture, consisting of three county:
Thanh Lam (now Nam Sach)
Chi Linh (now Chi Linh)
Binh Ha (now comprising Kien Thuy and Tien Lang in present-day Hai Phong)
Thuong Hong Prefecture, consisting of three county:
Duong Hao (now My Hao)
Duong An (now Binh Giang)
Da Cam (now Cam Giang)
[4]This region corresponded to present-day Bac Ninh, parts of Hanoi, and Bac Giang. It consisted of three prefectures, with the circuit directly governing two counties: Sieu Loai and Gia Lam.
Details of the prefectures:
Gia Lam Prefecture comprised three counties:
An Dinh (now Gia Binh)
Te Giang (now Van Giang)
Thien Tai (now Luong Tai)
Vu Ninh Prefecture consisted of five counties:
Tien Du (now Tien Du)
Vu Ninh (now Vo Giang)
Dong Ngan (now Tu Son and part of Soc Son, Hanoi)
Tu Son (now Que Vo)
Yen Phong (now Yen Phong)
Bac Giang Prefecture included three counties:
Tan Phuc (formerly Da Phuc, now part of Soc Son)
Phat The (now Hiep Hoa, Bac Giang)
Yen Viet (now Viet Yen)
Lang Giang Circuit:
Corresponding to parts of Bac Giang, Hung Yen, Hai Duong, Hai Phong, and Lang Son, it comprised three prefectures. The circuit directly administered five counties:
Long Nhan (now Lang Giang)
Co Dung (now Yen Dung)
Phuong Son (now Lang Giang)
Na Ngan (now Luc Ngan)
Luc Na (now Luc Ngan)
The three prefectures were:
Lang Giang Prefecture: consisted of four counties: Yen The, Yen Ninh, Co Lung (now Huu Lung, Lang Son), and Bao Loc (now Lang Giang).
Nam Sach Prefecture: consisted of three counties: Thanh Lam (now Nam Sach), Chi Linh (now Chi Linh), Binh Ha (now Kien Thuy and Tien Lang, Hai Phong).
Thuong Hong Prefecture: consisted of three counties: Duong Hao (now My Hao), Duong An (now Binh Giang), Da Cam (now Cam Giang).
Tam Giang Governorship:
Corresponding to modern Phu Tho, parts of Tuyen Quang, Vinh Phuc, and Hanoi, comprising three prefectures:
Thao Giang Prefecture: four counties: Son Vi (now Lam Thao), Ma Khe (now Cam Khe), Thanh Ba (now Thanh Ba), Ha Hoa (now Ha Hoa).
Tuyen Giang Prefecture: three counties: Dong Lan (Doan Hung), Tay Lan (now part of Doan Hung), Ho Nham (now Yen Son in Tuyen Quang).
Da Giang Prefecture: two counties: Lung Ban (now Ba Vi in Hanoi), Co Nong (now Tam Nong).
Thien Truong Governorship:
Corresponding to modern Nam Dinh and part of Thai Binh, comprising four counties:
My Loc (now My Loc)
Giao Thuy (now Giao Thuy)
Tay Chan (now Nam Truc)
Thuan Vi (now Vu Thu in Thai Binh)
Long Hung Governorship:
Corresponding to part of modern Thai Binh, comprising three counties:
Ngu Thien (now Hung Ha)
Dong Quan (now part of Dong Hung)
Than Khe (now part of Dong Hung)
Khoai Chau Circuit:
Corresponding to part of modern Hung Yen, comprising five counties:
Tien Lu (now Tien Lu)
Thien Thi (now An Thi)
Dong Ket (now Khoai Chau)
Phu Dung (now Phu Cu)
Vinh Dong (now Kim Dong)
Kien Xuong Governorship:
Corresponding to part of modern Thai Binh, comprising four counties:
Bong Dien (now Vu Thu)
Kien Xuong (now part of Vu Thu)
Bo (now part of Vu Thu)
Chan Loi (now Kien Xuong)
Hoang Giang Circuit:
Corresponding to parts of modern Ha Nam and Nam Dinh, comprising five counties:
Y Yen (now Y Yen)
Thien Ban (now Vu Ban)
Doc Lap (now part of Vu Ban)
Dai Loan (now Nghia Hung)
Vong Doanh (now part of Y Yen)
Truong Yen Circuit:
Corresponding to part of modern Ninh Binh, comprising four counties:
Uy Vien (now Gia Vien)
Yen Mo (now Yen Mo)
Yen Ninh (now Yen Khanh)
Le Gia (now Gia Vien)
Thien Quan Provincial Capital:
Corresponding to parts of modern Ninh Binh and Hoa Binh, comprising three counties:
Xich Tho (Boi River basin, between Lac Thuy and Gia Vien)
Dong Lai (now Lac Son in Hoa Binh)
Khoi (Nho Quan)
Tan Hung Governorship Circuit:
Corresponding to parts of modern Quang Ninh, Thai Binh, Hai Phong, and Hai Duong, with direct control over five counties:
Giap Son (now Kinh Mon)
Thai Binh (now Thai Thuy)
Da Duc (now Quynh Phu)
A Coi (now part of Quynh Coi)
Tay Quan (now Thai Thuy)
Three prefectures:
Dong Trieu Prefecture: with four counties: Dong Trieu, An Lao (now An Lao and Kien Thuy), Co Phi (now Kim Thanh and An Duong), Thuy Duong (now Thuy Nguyen).
Ha Hong Prefecture with four counties: Truong Tan (now Gia Loc), Tu Ky (now Tu Ky), Dong Loi (now Ninh Giang and part of Vinh Bao), Thanh Mien (now Thanh Mien)
Hai Dong Circuit
Roughly corresponding to part of what is now Quang Ninh, including Yen Bang Prefecture with 8 counties:
An Bang (now Hoanh Bo)
An Lap (part of now Yen Hung)
An Hung (part of now Yen Hung)
Tan An (western half of the old Hai Ninh province, now Mong Cai and Tien Yen)
Chi Phong
Dai Doc (now Cai Bau island)
Van Ninh (eastern Hai Ninh, now east of Mong Cai and Tien Yen and part of present-day Guangdong, China)
Van Don (now Van Don)
Quang Oai Provincial Capital
Corresponding to part of what is now old Ha Tay province, consisting of 2 counties:
My Lung (now Son Tay town)
My Luong (now My Duc and Luong Son)
Thien Hung Provincial Capital
Roughly present-day Son La, Lao Cai, and Phu Tho, consisting of 2 prefectures:
Gia Hung Prefecture with 3 counties:
Lung (now Thanh Son in Phu Tho)
Mong (part of now Moc Chau)
Tu Mang (part of now Moc Chau)
Quy Hoa Prefecture with 4 counties:
Yen Lap (now Yen Lap)
Van Ban (now Van Ban in Lao Cai)
Van Chan (now Van Chan)
Thuy Vi (now Lao Cai city)
Thai Nguyen Provincial Capital
Covering present-day Bac Kan and Thai Nguyen, including 11 counties:
Phu Luong (now Phu Luong)
Tu Nong (now Phu Binh)
Vu Le (now Vo Nhai)
Dong Hy (now Dong Hy)
Vinh Thong (now Bach Thong, Cho Don, and Cho Moi)
Tuyen Hoa (now Dinh Hoa)
Long Thach (location unknown)
Dai Tu (now Dai Tu)
Yen Dinh (now Dinh Hoa)
Cam Hoa (now Ngan Son and Na Ri)
Thai Nguyen Prefecture (now Thach Lam)
Lang Son Provincial Capital
Roughly present-day Lang Son and part of Quang Ninh, with 7 prefectures and direct control over 7 counties:
Tan An (now Loc Binh)
Nhu Ngao (part of now Loc Binh)
Dan Ba (The area between Loc Binh in Lang Son and Tien Yen in Quang Ninh today)
Khau On (now Chi Lang)
Ke Lang (now Huu Lung)
Uyen (now Van Lang)
Dong (now southern Huu Lung)
Seven prefectures:
That Nguyen (now Trang Dinh), with 6 counties: Thuy Lang, Cam, Thoat, Dung, Pha, Binh
Thuong Van (now Van Quang), with 3 counties: Boi Lan, Khanh Vien, Kho
Ha Van (now Van Lang)
Van Nhai (now Van Quan and part of Vo Nhai)
Quang Nguyen (now Quang Uyen, Quang Hoa, Thach An in Cao Bang)
Thuong Tu Lang (part of now Cao Bang)
Tuyen Quang Provincial Capital
Corresponding to present-day Tuyen Quang, part of Yen Bai and Vinh Phuc. It had 9 counties:
Khoang, Duong Dao, Van Uyen, Binh Nguyen: These four counties correspond to the present-day areas of Ham Yen and Vi Xuyen.
Day Giang (now Son Duong), Thu Vat (now Yen Binh in Yen Bai), Dai Man (now Chiem Hoa), Duong (now Tam Duong in Vinh Phuc), At (now Son Duong)
Thanh Do Provincial Capital
Now Thanh Hoa, with 3 prefectures, Provincial Capital direct control over 7 counties:
Co Dang (now Hoang Hoa)
Co Hoang (part of now Hoang Hoa)
Dong Son (now Dong Son)
Co Loi (now Tho Xuan and part of Thuong Xuan)
Vinh Ninh (now Vinh Loc)
Yen Dinh (now Yen Dinh)
Luong Giang (now Thieu Hoa)
Three prefectures:
Thanh Hoa Prefecture: Nga Lac (now Ngoc Lac and part of Tho Xuan), Te Giang (now Thach Thanh), An Lac (part of Thach Thanh), Loi Giang (now Cam Thuy)
Ai Prefecture: Ha Trung (now Ha Trung), Thong Binh (now Hau Loc), Tong Giang (now Ha Trung), Chi Nga (now Nga Son)
Cuu Chan Prefecture: Co Binh (now Ngoc Son), Ket Duyet (or Ket Thue, now Tinh Gia), Duyen Giac (part of now Quang Xuong), Nong Cong (now Nong Cong and Nhu Xuan)
Vong Giang Provincial Capital
Corresponding to the northern Nghe An region today, known as Dien Chau at the end of the Tran Dynasty, consisting of four counties: Thien Dong (now Yen Thanh), Phu Dung (now Quynh Luu), Phu Luu (now part of Quynh Luu), Quynh Lam (now part of Quynh Luu)
Nghe An Circuit Prefecture
Roughly corresponding to present-day Nghe An and Ha Tinh, including 4 prefectures and 8 directly controlled counties:
Nha Nghi (now Nghi Xuan)
Phi Loc (now Can Loc)
Do Gia (now Huong Son)
Chi La (now Duc Tho)
Tan Phuc (now between now Dien Chau and Nghi Xuan)
Tho Du (now Thanh Chuong)
Ke Giang (part of now Thanh Chuong)
Tho Hoang (now Huong Khe)
Four prefectures:
Nhat Nam Prefecture: Ha Hoang (part of now Thach Ha), Ban Thach (part of now Thach Ha), Ha Hoa (now Ky Anh), Ky La (part of now Ky Anh)
Hoan Prefecture, consisting of four counties: Thach Duong (now part of Nam Dan), Dong Ngan (now Dong Thanh), Lo Binh (now Hung Nguyen), Sa Nam (now part of Nam Dan)
Tra Lan Prefecture (now western Nghe An)
Ngoc Ma Prefecture (now in Laos)
Tay Binh Provincial Capital
Corresponding to present-day Quang Binh Province and part of Quang Tri. It comprised two prefectures and Provincial Capital directly overseeing three counties:
Phuc Khang (now Quang Ninh in Quang Binh)
Nha Nghi (now Le Thuy)
Tri Kien (now western Quang Ninh and Le Thuy)
The two prefectures included:
Bo Chinh Prefecture, consisting of three counties: Chinh Hoa (now Quang Trach), Dang Gia (now Bo Trach), Tong Chat (now part of Quang Trach)
Minh Linh Prefecture, consisting of three counties: Dan Due (now Vinh Linh), Ta Binh (now part of Gio Linh), Da Do (now part of Gio Linh)
Thuan Hoa Provincial Capital
Corresponding to present-day Quang Tri region. It comprised two prefectures:
Thuan Prefecture: Ba Lang (part of now Cam Lo), Loi Dieu (part of now Cam Lo), An Nhan (now Hai Lang), Thach Lan (now west Hai Lang)
Hoa Prefecture, consisting of seven counties: Loi Bong (now Huong Thuy), The Vang (now Phu Vang), Sa Lenh (now Huong Tra), Tra Ke (now Quang Dien), Tu Dung (now Phu Loc), Bo Dai (now Phong Dien), Bo Lang (now the upper reaches of the Perfume River in western Thua Thien Hue)
Summary of Circuits
Here is the list of the 12 circuits during the Tran dynasty, according to historical records such as Kham dinh Viet su Thong giam cuong muc and Lich trieu hien chuong loai chi. These are the two official historical chronicles of the Nguyen dynasty:
Thien Truong
Truong Yen
Hong
Bac Giang
Hai Dong
Lang Son
Tuyen Quang
Nghe An
Thanh Hoa
Dien Chau
Tra Huong
Quang Nguyen
Dong Do Circuit
The area includes the present-day regions of Hanoi, Ha Nam, and parts of Vinh Phuc and Bac Ninh, consisting of:
Dong Do Provincial Capital: directly managing Tu Liem county and one unnamed county, which during the Ming period was called Dong Quan county.
Quoc Oai Prefecture: including four sub-counties or townships — Son Minh (now Ung Hoa), Thanh Oai (now Thanh Oai), Ung Thien (Chuong My and part of Ung Hoa), Dai Duong (My Duc).
Thuong Phuc County: including three counties—Thuong Phuc (now Thuong Tin), Phu Luu (now Phu Xuyen), Long Dam (now Thanh Tri).
Tam Dai County: including six counties—Phu Long (near Vinh Tuong), Yen Lang (now Me Linh), Phu Ninh (now Phu Ninh), Yen Lac (now Yen Lac), Lap Thach (now Lap Thach), Nguyen Lang (part of Phu Ninh).
Tu Liem County: in the western part of Hanoi, on the right bank of the Hong River, including two counties—Dan Phuong (now Dan Phuong), Thach That (now Thach That).
Ly Nhan County: consisting of six counties—Thanh Liem (now Thanh Liem), Binh Luc (now Binh Luc), Co Bang (Kim Bang), Co Le (part of Ly Nhan), Ly Nhan (now Ly Nhan), Co Gia (part of Ly Nhan).
Local Administrative Apparatus
At the head of the administrative authorities of a circuit or provincial capital were positions such as the Chief Commissioner of Pacification, Deputy Commissioner, Court Commissioner, Military Governor, and Prefectural Magistrate. The administrative apparatus of a circuit or provincial capital was further divided into departments such as the Dike Department, responsible for levee and flood control; the Waterway Inspection Department, overseeing water transportation; the Censorate, conducting inspections and supervision; and the Agricultural Promotion Office.
The circuits and provincial capitals were closely supervised by the Trần court. Important ones were entrusted to royal princes.
Below the circuit and provincial capital level were the prefectures (for mountainous or frontier regions) and counties (for lowland regions). Prefectures were headed by Prefectural Magistrates, while counties were governed by County Magistrates. Supporting officials included Commandants (military functions) and Registrars (administrative clerks).
Under counties and prefectures was the sub-commune, established as an intermediary unit during the reign of Emperor Tran Nhan Tong. These units were headed by Great Overseers or Minor Overseers, usually ranked Fifth or higher. In the capital Thang Long, the city was organized into 61 wards, with some sub-communes comparable in size to the communes of the later Nguyen dynasty.
Beneath sub-communes were communes, each governed by commune mandarins: the Commune Chief, Commune Clerk, and Commune Inspector. Senior officials held the title of Senior Commune Official if of Fifth Rank or higher; otherwise, they were Junior Commune Officials. These were formal bureaucratic positions appointed by the royal court.
Villages and hamlets were not official administrative units under the central court but were under the direct supervision of the commune mandarins. They were responsible for local administration, household registration, and population control.
[5]Splashing water in the rain means going along with wrongdoing.
[6]The song borrows several lines from a traditional Vietnamese folk rhyme titled "The Shirt Worn by My Younger Sister."
[7]Phung Hung (Chinese: 馮興; ? – ?), renowned by his title Bo Cai Dai Vuong (Chinese: 布蓋大王), meaning "Great King Bo Cai" in English. However, it should be noted that "Bo Cai" may mean "father and mother" according to some historical sources.
He led a resistance movement during the reign of Emperor Daizong of the Tang dynasty, which ruled China and dominated the northern territory of Vietnam during the Third Era of Northern Domination (602–905) in Vietnamese history. At that time, China referred to this area as An Nam.
[8]Tattooing as recorded in Linh Nam Chich Quai:
"At that time, people living near the forests and fishing in the waters were often harmed by the giao long, so they reported it to the king. The king replied:
"The mountain people are different from the aquatic creatures; they are enemies and often harm each other."
Thus, the king ordered them to tattoo their bodies with the image of Lac Long Quan, resembling aquatic monsters. From then on, they were no longer harmed by the giao long. The tattooing tradition of the Bach Viet began here."
During the reigns of the Ly and Tran dynasties, from the emperor to the officials and commoners, everyone enjoyed tattooing as a way to preserve their traditional identity.
For royal family members and court servants, tattooing was mandatory, considered a law to be enforced. Military officers tattooed the words "殺韃" (Slay the Tatars) on their bodies to express their determination to resist the Mongol invasions.
The emperors continued the tradition of painting dragons on their thighs with indigo, a practice that lasted until the reign of Tran Anh Tong (1293–1314). Fearing the pain, he sought every possible way to avoid being tattooed by the royal artisans.
The Dai Viet Su Ky Toan Thu records: During the reign of Tran Minh Tong, at that time, soldiers were selected based on their physique, with fair and stout individuals ranked higher. As a result, the practice of tattooing among soldiers ceased from that point onward.
Chewing betel and blackening teeth remained common among the elderly, and even today, those over 60 may still recall seeing elders with blackened teeth.
[9]Trieu Khuc Village in present-day Hanoi.
[10]Name taboo, or 'avoidance of tabooed names' (also called huiji, hui taboo, or name avoidance), refers to the practice of altering the writing or pronunciation of certain words out of reverence or prohibition in the written and spoken language. The practice of name avoidance originated in China long ago. This practice was observed in autocratic monarchies within the cultural sphere influenced by Chinese script and Confucian traditions.
At the national level, all subjects were required to avoid using the taboo names of the imperial family. These names could not be used to name descendants, nor could they appear in written documents or daily speech.
At the family level, due to cultural traditions, descendants might avoid calling their ancestors by their real names.
In social life, superstition could lead people to avoid using certain words. Calling the real names of respected elders was forbidden. During examinations, scholars were prohibited from writing the names of the royal family or high-ranking figures directly. Those who violated this rule would be punished.
[11]Wild mountain bamboo shoots are a unique type of forest bamboo shoot found in Mẫu Sơn Mountain (Lộc Bình, Lạng Sơn), primarily from the slender drought-resistant bamboo (Bambusa sp.) and wild mountain bamboo. These bamboo varieties have thin stalks, are highly resistant to dry conditions, and grow on steep mountain slopes.
During the scorching summer heat, the bamboo stems become withered and frail, and the leaves turn yellow and brittle. However, with just a single rainfall, the bamboo springs back to lush greenery. As spring rains soak the forest for days, the aged bamboo absorbs the nutrients from the soil, awakening and pushing forth tender bamboo shoots, bursting with life and vitality.
[12]Actually, it was custard apples gliding on hanging pulleys. This unique method of transporting custard apples is now famous in present-day Lang Son. However, during the Tran dynasty, custard apples did not yet exist, so I had to replace them with oranges gliding on hanging pulleys.
[13]Clausena indica, also known as mountain wampee, monkey root, or Asian false sandalwood, is a flowering plant belonging to the Rutaceae family. The term 'Clausena indica' originates from the Tay-Nung language and can be translated as 'sweet fruit'.
The Clausena indica tree is a small woody plant, growing between 3 to 7 meters tall, typically found on limestone mountains. It blooms from March to June and bears fruit from July to September.
Uses:
The fruit and young leaves are used as spices.
The leaves and roots are utilized in traditional Eastern medicine.
The leaves are also used for essential oil extraction.
Cultivation:
The Clausena indica tree is resistant to pests.
If grown from seeds, it starts bearing fruit in 5 to 6 years.
If grown from grafted plants, it begins fruiting in 2 to 3 years.
Distribution in Vietnam:
The tree is mainly found in the northeastern mountainous regions, including Cao Bang, Bac Kan, Lang Son, Tuyen Quang, Thai Nguyen, Bac Giang, and Quang Ninh.
When grown in other provinces, the tree often struggles to survive. Even if it does survive, it may not bear fruit or lack the characteristic fragrance found in its native habitat. In some cases, the leaves may turn bitter and become unsuitable for cooking.
Culinary Uses:
Ripe Clausena indica fruits can be eaten fresh or used as a spice in Tay cuisine.
The fruit is also used to pickle bamboo shoots with chili.
Clausena indica leaves have a distinctive fragrance and are commonly used in traditional dishes of the Tày and Nùng ethnic groups, such as:
Grilled meat
Braised meat
Roast duck and roast pork, which are famous specialties of Cao Bang, Lang Son, and Bac Kan—these dishes cannot be made without this unique spice.