Top 5 Essays Analyzing the Satirical Art in the Work 'The Farce or Va-ren and Phan Bội Châu' (Literature 7) - Mytour.vn

Ho Chi Minh is renowned not only for his simple yet profound poetry but also for his powerful works written in French during his time abroad, especially in France. One such work is 'The Farce or Va-ren and Phan Bội Châu.' This piece highlights the noble qualities and character of the revolutionary hero Phan Bội Châu while exposing the deceitful nature of Va-ren. The work was published in 'Người cùng khổ' magazine in September and October 1925. The third section of the text describes a dramatic confrontation between Va-ren and Phan Bội Châu, showcasing Nguyễn Ái Quốc's sharp satirical pen. The story begins with a tense scenario: the meeting between revolutionary leader Phan Bội Châu and Va-ren, the new French governor-general of Indochina. Although the two never met in reality, this fictional encounter serves to reveal Va-ren's fraudulent and cowardly nature, in stark contrast to the noble character of Phan Bội Châu. From the outset, the author exposes Va-ren's true nature. Under public pressure, he promises to 'half-heartedly' care for Phan Bội Châu's case, only intending to do so when it suits him. The sarcastic and mocking language guides readers toward understanding Va-ren's character.

The short story "Va-ren and Phan Boi Chau’s Farce" is a brilliant and unique piece written by Nguyen Ai Quoc in 1925, inspired by the event where the revolutionary leader Phan Boi Chau was kidnapped by the French colonialists from China, brought back to Vietnam, and sentenced to life imprisonment. In response to the nationwide movement demanding his release, the French had to order a pardon and kept him under house arrest in Ben Nguy, Hue, until his death in 1940. Va-ren, originally a member of the French Socialist Party, had betrayed the party and was appointed as the Governor-General of Indochina after the failed assassination attempt on the former governor, Méc-lanh. Just before heading to Indochina for his new post, Va-ren publicly stated he would show concern for Phan Boi Chau. This prompted Nguyen Ai Quoc to write "Va-ren and Phan Boi Chau's Farce" to expose his absurd and corrupt nature. The story reads like a journalistic account, but it is, in fact, a fictional short story (imagined based on real events). The real characters are Va-ren, the new Governor-General of French Indochina, and Phan Boi Chau, the nationalist leader imprisoned by the French colonial government in Hanoi. The real event is the ongoing, widespread public campaign demanding Phan Boi Chau's release. The fictional elements include the narrative being written before Va-ren took office as Governor-General of Indochina, and the meeting between Va-ren and Phan Boi Chau in the Hoa Lo prison, which did not actually happen. Through the characters of Va-ren and Phan Boi Chau, the author expresses his hatred for the invaders and his deep patriotism. The phrase "Va-ren's Farce" in the title clearly signals the author’s intent to expose Va-ren's deceitful and ridiculous behavior. The story unfolds in a chronological sequence: starting from Paris, Va-ren boards a ship to Vietnam, and eventually reaches Hoa Lo prison to meet Phan Boi Chau. The journey is divided into four stages: Stage 1: Va-ren spends four weeks on a ship traveling from Marseille to Saigon. Stage 2: Upon arrival in Saigon, he is warmly welcomed by the local authorities. Stage 3: Va-ren arrives in Hue, is greeted by the royal court, attends a banquet, and is awarded a medal. Stage 4: Va-ren reaches Hanoi and meets Phan Boi Chau in prison, where his absurd actions unfold. The excerpt in the textbook covers stages 1 and 4. Through the author’s narrative style and vivid descriptions, the readers can clearly imagine the drawn-out journey and the farcical acts (laughable and deceitful) of Governor Va-ren.

In the early 20th century, Vietnamese literature underwent a shift, transitioning from medieval literature rooted in feudal society to modern literature formed in the colonial semi-feudal society. However, by the 1920s, the number of prose works (short stories, novels, essays, etc.) was still limited, and none had reached a high artistic standard. Amidst this backdrop, the collection *Stories and Writings* by Nguyễn Ái Quốc, written in France between 1922 and 1925, stands out as an exceptional piece, imbued with the distinct style of modern European short stories. The collection, born from the author’s fervent patriotism and revolutionary ideals, showcases his modern and refined artistic talent. Among the short stories in this collection, one cannot forget the rather unique tale titled *The Farce or Va-ren and Phan Bội Châu*. Written in 1925 to support the nationwide movement demanding the French colonial government release the national hero Phan Bội Châu, the charm of this story lies largely in its sharp satirical art. So what is satire? Satire is an artistic technique that uses contrasting situations and details to create humor. The humor in satire often targets those with “vices and flaws” or highlights the contrast between inner reality and outward appearance. In *The Farce or Va-ren and Phan Bội Châu*, the subject of the author's satire is the Governor-General Va-ren. However, Va-ren's absurdity and humor are only exposed when compared to the character in the opposite camp: the revolutionary prisoner Phan Bội Châu. First, the satirical humor arises from the contrasting portraits of Phan Bội Châu and Va-ren, particularly in the “comedy” that unfolds inside the prison cell where Phan Bội Châu is detained. As for their characters, Va-ren is the Governor-General of Indochina, but in order to attain this position, he was willing to “betray the working class in France,” becoming a “politician ousted from his group, one who has abandoned his past, his faith, and his class.” Even Va-ren’s “semi-official” promise to “care for Phan Bội Châu” is merely a public relations ploy to secure his position as Governor-General. Thus, while Va-ren traveled from Marseilles to Saigon over the course of four weeks, the national hero Phan Bội Châu remained imprisoned, contrary to Va-ren’s empty promises of independence, freedom, and democracy. In stark contrast to Va-ren's reactionary stance is Phan Bội Châu, a man who “sacrificed his family and wealth to distance himself from the colonial oppressors, lived far from his homeland, always pursued by these people, ensnared in countless traps, condemned to death in absentia, and now, still, suffering imprisonment, day and night haunted by the specter of the guillotine”; a “hero, a saint who gave his life for independence, revered by twenty million people living in slavery.” These two men, on opposite sides, confront each other in the Hoa Lo prison. In terms of social standing, while Va-ren is the Governor-General with the power to determine the fate of others, Phan Bội Châu is a death row prisoner, awaiting trial... In terms of actions and speech, in this encounter, almost only one character expresses gestures, actions, and speeches. The meeting begins with Va-ren's “sweet” words: “I bring freedom to you.” While saying this, Va-ren “extends his right hand to shake Phan Bội Châu's hand, while his left hand grips the large, heavy chain that tightens around Phan Bội Châu in the gloomy prison.” This is indeed a sharp caricature! The contradiction between Va-ren’s words and actions vividly reveals his deceptive nature. Following that, Va-ren presents a series of arguments to persuade Phan Bội Châu to collaborate with the French. From requests and suggestions to flattering comments about Phan’s “sacrificing life” and his “noble ideas,” to promises of personal and national benefits, and examples of traitors from the past, including himself, Va-ren inadvertently exposes his treacherous and reactionary character. The author inserts passionate exclamations in Va-ren's language, praising the grandeur of the French homeland: "...Alas, why must we keep arguing when you and I, hand in hand, could do so much good for Indochina? Together we could make your country a great modern nation, a self-governing land, a French nation in Asia!" Or: "Our democracy, thank God! It’s truly wonderful! Indeed, the proud democracy of France, which I now represent before you, is tolerant of those like me who have renounced the mistakes of youth." Here, the author does not confront Va-ren directly but uses the art of “turning the tables,” allowing the character to unmask his own moral hypocrisy. The real actions of the French colonialists and the Governor-General of Indochina toward the Vietnamese people are the most vivid evidence of the undemocratic and inhumane regime they imposed on our country. Thus, in Va-ren’s grandiose, empty statements, we can detect the author’s deeper satirical intent. The target of the satire is not only Va-ren but also the “Motherland of France,” the colonial government of France in Indochina, whose words and actions are entirely contradictory. One can say that the author’s satirical artistry is sharp and refined! Facing Va-ren's grand speeches and persuasive tactics, how does Phan Bội Châu react? His response is one of “silence and indifference” throughout the meeting, which causes Va-ren to be “astonished.” The author comments on Phan's silence: “It wasn’t because one spoke in southern Vietnamese and the other in French—there was an interpreter. It was simply because Phan Bội Châu did not understand Va-ren, just as Va-ren did not understand Phan Bội Châu.” Thus, the lack of understanding between Phan and Va-ren is not due to a language barrier but to the fact that these two people, from two opposing forces, could not find common ground. Phan's silence is, in essence, an expression of contempt, unable to communicate with such a despicable man as Va-ren. The story’s conclusion and its postscript are a unique creation by Nguyễn Ái Quốc, showcasing modern and sophisticated satirical artistry. In the final part, the author introduces a soldier’s definitive statement about Phan Bội Châu’s “smirk” when hearing Va-ren speak. This gesture further reinforces Phan's noble and defiant stance in front of the enemy. That smile turned Va-ren into a ridiculous clown on the stage he himself created. Moreover, this could be seen as a subtle, ironic smirk from the author at Va-ren’s expense. Moreover, in the postscript (as an addendum), another witness affirms Phan Bội Châu's action of “spitting in Va-ren’s face,” and the author comments: “That could certainly be true.” This can be seen as a direct blow to Va-ren from the author—satirist Nguyễn Ái Quốc. Thus, it can be affirmed that the satirical art is one of the key techniques that made *The Farce or Va-ren and Phan Bội Châu* by Nguyễn Ái Quốc so captivating and successful. Thanks to its sharp satire, the story effectively portrays two characters who embody two entirely opposing social forces in Vietnam during the French colonial period: Va-ren, a deceitful and ridiculous figure representing the reactionary French colonial regime in Indochina; and Phan Bội Châu, courageous and unyielding, symbolizing the spirit of the Vietnamese nation. This satirical technique also brings both witty, sharp, and deep humor to the story. That laughter is both a continuation of the satirical humor in traditional Vietnamese literature (from folk tales to Nguyễn Khuyến, Tú Xương, etc.) and an absorption of modern Western literary influences (the “humour”—a subtle, intellectual wit). With this short story, Nguyễn Ái Quốc not only demonstrated his deep patriotism but also displayed his extraordinary and sophisticated artistic talent. This short story deserves to be one of the key works that laid the foundation for the modernization of Vietnamese literature in the first half of the 20th century.

Nguyen Ai Quoc, during his time in France, wrote several stories in French such as 'Vi Hanh,' 'The Lament of Queen Trưng Trắc,' and 'The Farce of Varen and Phan Boi Chau.' These works were rich in intellectual depth and modernity, embodying the concept of using literature to serve politics and nationalism.

'The Farce of Varen and Phan Boi Chau' was published in the 'Người Cùng Khổ' newspaper in issues 36-37 in September and October of 1925. The story contains three scenes: Scene 1, Varen arrives in Saigon where he is warmly welcomed by the colonial forces; Scene 2, Varen stops in Hue, treated by puppet leaders with a feast and a Nam Long medal of honor; Scene 3, Varen arrives in Hanoi and meets Phan Boi Chau, who is imprisoned by the French colonialists, sentenced to death.

The confrontation between Varen and Phan Boi Chau reveals the sharp satirical pen of Nguyen Ai Quoc. The author uses the technique of contrast to create a strong combative tone.

Varen enters the “cell” where Phan Boi Chau “groans.” Varen is depicted as a man who has betrayed his class, a politician ostracized by his comrades, having abandoned his past, his beliefs, and his class... Phan Boi Chau, on the other hand, is portrayed as a man who sacrificed his family and wealth, who lives far from his homeland to fight for national independence, and is sentenced to death in absentia by the colonialists, awaiting execution.

The two characters stand in stark contrast: one is a “disgraced traitor,” while the other is a “hero, a martyr, a savior of independence, revered by twenty million enslaved people.” The author's pen clearly expresses love, contempt, respect, and disdain in a decisive manner.

With a brilliant imagination, the author exposes the deceitful and hypocritical nature of the colonial master, Varen, who offers false promises of collaboration, urging Phan Boi Chau to “stay loyal,” “cooperate,” and “unite” with France in the name of “civilization and justice.” He brags about the “excellent” democracy in Indochina and tries to convince the Vietnamese revolutionaries not to incite rebellion against the French...

Ultimately, Varen's true nature as a betrayer and opportunist is revealed: “Look at me, Phan Boi Chau! I was once a Socialist Party member, and now I’m the Governor-General!”

In contrast, Phan Boi Chau remains calm and composed, “silent and indifferent,” with a subtle smile... Notably, the author adds that a witness swears that Phan Boi Chau spat in Varen's face, an act of profound contempt. The “honorable” Governor-General is humiliated!

Nguyen Ai Quoc wrote this story not only to praise Phan Boi Chau, “a legendary figure,” but also to demand clemency for him while exposing the wickedness of Governor-General Varen and, by extension, the entire French colonial system.

The tone of the writing is one of sharp critique and disdain. The succinct writing creates a unique scenario, illustrating the confrontation between Varen and Phan Boi Chau. Nguyen Ai Quoc’s words became a sharp sword against colonialism and imperialism! Highly incisive!

Flowing through the current of Vietnamese literary history, the short story 'Les Farces or Varen and Phan Boi Chau' by Nguyen Ai Quoc, set in the early 20th century until the August Revolution of 1945, has a distinctive tone and rhythm: written in French, first published in France, it is 'highly combative with a modern, skilled narrative style.' While writers in Vietnam were criticizing the feudal forces for causing poverty and suffering (like Pham Duy Ton, Nguyen Ba Hoc), or subtly expressing national love and vague concerns (like Tan Da, Tran Tuan Khai), Nguyen Ai Quoc directly attacked the colonialists, exposing their deceitful and brutal nature, showing his deep love for the country and fierce hatred for the enemy. The heart of the writer is clear in its affection and hatred. Although published abroad, 'Les Farces or Varen and Phan Boi Chau,' along with other works by Nguyen Ai Quoc, still holds the value of a true Vietnamese literary work, contributing to the vibrancy of the nation's literature. In this story, two contrasting characters emerge: the cunning colonialist and the heroic patriot. 1. Varen, the deceptive colonial official, a shameful traitor. From the first lines, Varen is introduced as a figure with vague words and actions: 'half-officially promised... tried... if he can keep his word, when will the Governor-General Varen 'take care' of the case?' These phrases are ironic and sarcastic, yet profound. From the outset, the writer sets the stage for Varen’s actions and the qualities he embodies, defining the time and character of the events. Regarding time, Governor-General Varen only intended to attend to Phan Boi Chau's case 'once things are settled properly on that side.' In other words, his priority was to solidify his rule. Varen wanted to showcase his colonial authority to the public in Indochina first. As for Phan Boi Chau, that could wait. After leaving France with a 'half-official' promise to address Phan Boi Chau's case, Varen made a leisurely journey, savoring fine food and the praise of his sycophants. The author uses a storytelling style with alternating descriptions, repetitions, and extended sentences to break Varen’s journey into three phases: the first in Saigon, the second in Hue, and the third in Hanoi, where his farce would officially unfold. Thus, Varen is revealed as a man who only made empty promises, his true interest in Phan Boi Chau’s fate was non-existent, and he was not the responsible official he portrayed. Upon reaching Hanoi, the most significant part of his trip, the farce of Varen was fully displayed, exposing his deceitful, treacherous nature. Using the wings of imagination, the author leads the reader into 'the main prison gate, into the solitary confinement, where our esteemed comrade is groaning...' 'Oh, what a tragedy!' the author exclaims, urging the reader to reflect deeply. What is depicted here is both a farce and a tragedy. The author introduces a short, lyrical passage to summarize Varen's infamous background while praising Phan Boi Chau’s heroic qualities. As for Varen, we read harsh descriptions: 'A man who betrayed [...] a politician rejected by his peers [...], a person who abandoned his past, his faith, his class...'. His disgraceful actions play out as a farce during his encounter with Phan Boi Chau. In this confrontation, Varen tries to appear as a noble figure, claiming, 'I bring freedom to you!' He gestures to shake hands with Phan Boi Chau, lifting the heavy chains around the prisoner’s neck. In that moment, Varen dangles the illusion of freedom before his opponent and proceeds to 'attack' with a flood of hollow words, mixing sincerity and sarcasm, shifting tones and using exaggerated rhetoric. This is the voice of a clown. What did Varen say? First, he bargained with Phan Boi Chau over the term 'freedom.' He promised 'to give Phan Boi Chau his freedom' while subtly coercing Phan to abandon his resistance and 'collaborate with the French.' Thus, Varen never truly 'respected' Phan as he claimed. In reality, he was trying to convince the resolute and unyielding patriot to betray his lifelong ideals. Varen's words are sweet, but they are laced with the poison of betrayal. He also cited various famous traitors, from Nguyen Ba Trac to various French politicians, praising betrayal as a virtue. Finally, he boasted of his own career success: 'I was once a Socialist party member, and now I am the Governor-General!' How shameless, how absurd for a colonial leader to glorify betrayal, using it as a benchmark to praise despicable character. As a result, all of Varen’s words fell on deaf ears, like 'water flowing off a lotus leaf,' meaning they were ignored. All the 'enthusiastic, sincere' attitudes of the traitor were met with Phan Boi Chau’s indifference, or 'he just raised his moustache a little' and 'spat in Varen’s face.' As the story progresses, Varen’s true nature becomes clearer, his farce exposing the face of a treacherous politician. The author’s cold, witty, and sharp writing style effectively reveals Varen’s deceitful nature. The more we read, the more profound it becomes. Through three vivid descriptions of Phan Boi Chau’s reactions to Varen’s absurdities, the author strikes back at the enemy with lethal precision. It is a sharp sword wielded by the young patriot, Nguyen Ai Quoc, in his early fight against foreign invaders for the nation’s independence and freedom. 2. Phan Boi Chau – The Hero. With the enemy, represented by Varen, the author’s pen is fiercely combative. However, with the national hero, Phan Boi Chau, the pen becomes soft, tender, and respectful. Though not extensively detailed, the character of Phan Boi Chau stands out in contrast to Varen, like two opposing colors in a painting. When describing Phan Boi Chau, the author uses the most respectful terms, calling him 'our esteemed comrade' and a person who 'sacrificed his family and wealth,' elevating him to the stature of a 'heroic figure, a celestial being, a martyr.' These titles are not for ordinary people. They are divinely inspired, highlighting his extraordinary qualities. As the story progresses, the divine quality of Phan Boi Chau’s character becomes even more apparent. During the entire meeting, while Varen is delivering his speech, Phan remains 'silent and indifferent.' His face shows no emotion, and he sits 'still like a statue,' making Varen feel completely stunned. This is the steadfast, unyielding character of the warrior who remains vigilant and alert in the face of the enemy’s deception. This is also the way to fight back against the invaders, rejecting all their tricks and false promises. When Phan’s moustache 'twitches a little,' or when he 'spits in Varen’s face,' as the second witness confirms, the struggle reaches its climax. The hero has triumphed. To Phan Boi Chau, all of Varen’s words and actions are nothing but a 'farce,' a performance of ridicule. In this short story, Phan Boi Chau’s image is portrayed with a few masterful brushstrokes, in the Eastern style of writing. Just a few light touches, a little description, yet his figure emerges clearly with posture, demeanor, and virtue. Phan Boi Chau is the unwavering warrior, steadfast against the enemy’s deceitful, sinister tricks. He is the 'hero, the celestial being, the martyr' revered by Nguyen Ai Quoc and by us – the readers today. 'Les Farces or Varen and Phan Boi Chau' was originally written in French over half a century ago. The characters, events, and even the author have passed into eternity. Initially, the translation may seem unfamiliar. However, as we read and reflect, we understand that through imagination and fiction, Nguyen Ai Quoc – the young Ho Chi Minh – has drawn two characters with opposing qualities representing two completely different forces: Varen, the traitor to ideals, playing farces to represent French colonialism in Indochina; Phan Boi Chau, 'the hero, the celestial being, the martyr for independence,' symbolizing the resilient spirit of the Vietnamese nation. Behind these two figures, both in the story (Phan Boi Chau’s character) and in the author (Nguyen Ai Quoc), lies a heart filled with both a hatred for colonial invaders and a deep love for the country. This heart, combined with a refined talent, creates a sharp, unique pen that captures life vividly, uses words with flexibility, and brings a sense of natural irony, especially in creating characters and surprising situations. Nguyen Ai Quoc – our beloved Ho Chi Minh – was worthy of being a patriot and a writer with the highest ideals of this term, even from his early days of writing.