Influence of the Cycle "Don Stories" by M. A. Sholokhov on Mo Yan

Lin Tsze Postgraduate student; Department of Russian and Foreign Literature ; Peoples' Friendship University of Russia 150000, Russia, Moscow, Miklukho-Maklaya str., 15 lj3046013268@gmail.com

M. A. Sholokhov is a recognized classic of literature on a global scale. His work influenced both Western and Eastern literature, in particular Chinese ^[14]. The appeal to Sholokhov is extensive and multifaceted; chronologically it goes beyond the twentieth century. In different periods, Chinese writers and literary critics interpreted and adopted its traditions in different ways. This was influenced by social changes in the country, the clash of progressive and conservative social movements.

Sholokhov's work has always been the object of constant and close attention of researchers ^{[15, p.106]}. "Don Stories", in particular, in I. G. Lezhnev's monographic work on Sholokhov, as well as in V. V. Gura's article, they were considered as the ideological and artistic background of the novel "The Quiet Don" ^[16] — the central work of the writer's entire heritage.

Since the 30s of the last century, the works of M. A. Sholokhov have been translated and distributed in China. In 1933, the Shanghai printing house "Lianyu" published one story from the series — "The Family Man", translated from German by the Chinese writer Lu Xin, as "the story of a proletarian writer", and included in the book "Day Labor". The book also told about Sholokhov's life and emphasized the tragic nature of his works ^{[20. p. 95]}.

In 1959, the Shanghai Publishing House of Literature and Art published the cycle "Don Stories" in a literary translation by Cao Ying ^[21]. The 1960s and 1970s can be called a period of stagnation for research activities related to Sholokhov's work. Due to the deterioration of Sino-Soviet relations, Sholokhov was criticized, and his works were distorted and misinterpreted. Critical articles reflected, among other things, the subjective attitude of researchers and the political trends of that time. Summing up, we can say that at this stage of the research of the cycle "Don Stories" did not delve into the essence of the author's work, they were superficial ^[22].

By the end of the 20th century, the situation began to change. After the 1980s, many monographs and articles on Sholokhov's early novels appeared. In total, 8 monographs, 7 articles and 5 master's theses have been published, most of which are devoted to the artistic, aesthetic and thematic features of his novels.

Since its appearance in China, Russian literature has had a significant influence on the work of Chinese writers. Including Sholokhov, as a Nobel laureate, became an example for many Chinese authors ^{[1, p. 86]}. His works touch on deep moral and social themes that inspire Chinese writers to create their own literary masterpieces that reflect the unique cultural context of China.

M.A. Sholokhov and Mo Yan are key representatives of Russian and Chinese literature, respectively ^{[12, p. 56]}. In Mo Yan's novel "Red Gaolian" and in the cycle "Don Stories" by M. A. Sholokhov, one can find many common features in their creative approaches.

Comparative literature, or comparative literature, is one of the leading areas of modern philological science ^[2]. The center of comparative research is the identification of inter-literary contacts and interactions, the analysis of the influence of one writer on another, as well as schools and trends. V. M. Zhirmunsky, as the founder of the theory of comparative literature, drew attention to the importance of studying folklore as the foundation of literary creativity ^[3]. He considered folklore as a living reflection of national culture and historical memory, emphasizing its role in the formation of literary genres and themes. This approach helped to identify the interrelationships between oral folk traditions and literary creativity, which expanded the understanding of cultural contexts in works of art.

The study of the role of folklore in the formation of an aesthetic attitude to the reality of writers, its influence on the artistic system (language, plot, imagery, genre) is one of the priorities of Russian literary studies. Oral folk art is characterized as the basis of the poetics of the work of masters of artistic literature, as an inexhaustible source of national identity, folk worldview ^[4]. Proverbs are an important part of any oral folk art. A proverb is a genre of folklore, an aphoristically concise, figuratively, grammatically and logically complete saying with an instructive meaning in a rhythmic form ^[5].

As soon as the cycle "Don Stories" was published, it immediately attracted the attention of both writers, readers, and researchers, since the cycle is rich in folk songs, proverbs, sayings and descriptions of Cossack customs. These elements of folklore enrich the cycle, giving it a cultural context and deepening the understanding of characters and situations.

Here are examples of the most expressive proverbs found in the stories of the cycle:

1. "The devil with two will catch up" ("The fate of man") ^[10.p.127].

In the story "The Fate of Man" by Mikhail Sholokhov, one of the key folklore motifs is the motif of man's opposition to fate and adversity. The expression "the devil will catch up with you" reflects a fatalistic attitude to fate, where a person does not give up in the face of difficulties and retains his dignity even when he finds himself in a desperate situation. This motif can also be interpreted as a metaphor for the struggle for survival and preservation of human appearance in the harsh realities of war and deprivation.

2. "Whoever does not listen to the world is an opponent of God" ("Mortal enemy") ^[10.p.230].

The folklore motif in this statement is associated with the conflict between spiritual and secular values. The image of an opponent to God can symbolize the lack of harmony with the surrounding world and disregard for its laws. This concept also reflects the idea that it is important to realize the value of a peaceful and peaceful time in order to avoid contradictions with higher powers and not deserve punishment for ingratitude.

3. "You can't drink water from your face" ("Crooked stitch") ^[10.p.204].

The expression "you can't drink water from your face" from "Crooked Stitch" contains a folklore motif associated with the theme of appearance and inner world. It emphasizes that the true value of a person is not determined by his external beauty. Moral qualities and the level of intellectual development are more important than an attractive appearance. Therefore, no matter how repulsive a person's appearance is, you always need to remember that an opinion about a person as a whole should be based on his actions and attitude towards others.

4. "To dress naked — only to gird" ("Alyosha's heart") ^[10.p.137].

The expression "to dress naked — only to gird" from "Alyosha's Heart" is a folklore motif that indicates, on the one hand, the extreme degree of poverty of the character, and on the other hand describes him as an easy-going man, ready for any adventure. In the case of Alyosha, this also highlights the rashness of his decisions, which led to him becoming an employee of the cruel Ivan Alekseev. For such a poor person, there is no point in thinking about his actions for too long, because in any case he has nothing to lose. This characterization of the character emphasizes the cruelty of the system in which a person becomes a victim of circumstances.

5. "Who is happy, and who is happy." ("Two-married") ^[10.p.211].

The expression "who is happy, and who is happy" from "Two-married" reflects a folklore motif associated with the inequality of perception of happiness. It emphasizes that happiness can be represented in different forms for different people. This expression focuses on the individuality of human experiences and shows that each person perceives happiness in their own way, depending on their circumstances, goals in life and character traits.

For a proverb, as a genre of folklore, not only the literary form is important, but also that part of folk culture, the means of transmission of which this proverb serves ^[6].

In Mo Yan's novel "Red Millet", you can find many folk proverbs and expressions saturated with local flavor ^[7]. These proverbs not only enrich the text culturally, but also reflect the customs and values of the region in which the events unfold. Here are some common examples:

1. "As they say, the hen follows the rooster, and the bitch follows the male" ^[11.p.456].

The motif of subordination and following in folklore often expresses the hierarchical relations of men and women in society. This expression highlights the traditional dynamics in couples where one side follows the other, which may reflect old social norms and gender roles.

2. "People die for wealth, like birds for food." ^[11.p.142]

The proverb reflects the widespread motif of human greed in folklore. The comparison of people and birds is ironic, since bird fights are perceived as something petty, quarrelsome and a little comic, and therefore people fighting for wealth appear as something pathetic in the popular consciousness. In addition, it is no coincidence that "wealth" and "food" are opposed: birds die for what they need, and people become like them not even for money, but precisely for wealth, i.e. something obviously excessive, which can be dispensed with.

3. "If you hurry, you won't taste the hot porridge!" ^[11.p.8]

The folklore motif of this proverb is a warning against haste and rash actions. If you strive for a quick reward or result, you may miss something important and never achieve the goal. Folk wisdom often emphasizes the need for patience and a thoughtful approach to business in order to achieve a successful result.

4. "It is easy to invite a deity, but it is difficult to send him away." ^[11.p.188]

The folklore motif of this proverb concerns the dangers and consequences of careless actions. It shows that it is easy to start something without thinking, but it is much more difficult to get rid of the undesirable consequences of your actions. As we can see, folk culture often turns to the theme of reason, the need to be careful and circumspect.

5. "Even among bastards, braves are born, and nine out of ten are good for nothing." ^[11.p.12]

The folklore motif of this proverb focuses on the fact that even in unfavorable conditions or among not the most worthy people, there may be exceptions — special and talented individuals. The wisdom in this proverb is that one should not underestimate the capabilities of individuals. Even if they come from social groups that are usually viewed with disdain, you should not jump to conclusions.

The proverbs and sayings in the novel "Red Gaolian" are not just wise sayings, but an important element of the plot that allows you to understand the mentality of the characters and the culture of the Shandong village. They reflect the traditional values, moral principles and practical skills of the Chinese peasantry.

A folk song, as a phenomenon of folk culture, can be perceived as a document of the epoch. According to V. L. Goshovsky and others, oral poetry for M. A. Sholokhov is a source of creativity [8.p.94]. Its presence is one of the signs of expressive means of folklore, as well as literary aesthetics. Cossack songs really play an important role in the work of Mikhail Sholokhov, especially in his "Don Stories".

Oh, Mikhail, Mikhal, Mikhalyatko, you are mine!

Don't go to war, don't go to war,

My father is an old man, he's profited from the sweety...

And you're young, you're not getting married ... ("Impudent") ^[10.p.177].

This story describes the difficult times of the civil war. That is why sad songs about the war, about losses, about separation from relatives, about heavy thoughts sound in it. The song conveys the feelings of a mother for her son and her anxiety for his fate, increasing the emotional burden of the text. It is through songs that the author reveals the peculiarities of the Don culture, demonstrating the transmission of music and words from generation to generation. The song reflects family values and social expectations, showing the impact of the war on the lives of ordinary people.

The Cossacks were riding

Yes, home from work.

And the voices, roughened by the wind and cold, picked up:

On the shoulders of a pony,

There are crosses on the breasts ... ("Offense") ^[10.p.246].

This song reflects the lifestyle of the Cossacks, their traditions, trials and friendships. The description of "voices roughened by wind and cold" emphasizes the difficult conditions of service, their physical and emotional state. The shoulder straps and crosses mentioned in the song symbolize honor, service and loyalty to one's duty, as well as connection with spiritual traditions. Music and singing in this context emphasize the unity and cohesion of the Cossacks, their common experiences and memories.

And we fight, we don't spoil the order of battle.

We are listening to one order.

And what will our commanding fathers order us to do,

We're going there – chopping, stabbing, hitting!.. ("Someone else's blood") ^[10.p.286].

This story describes a story of love and betrayal. The lines again emphasize Cossack culture, traditions and national identity, which helps to preserve the historical memory and collective identity of the nation.

Military songs have long served to raise the mood and motivation of soldiers. They create an atmosphere of unity and raise morale. They express feelings related to the war, such as pride, patriotism and willingness to fight, which is important for the formation of an emotional background among warriors. A song is a poetic representation of a person about the world around them ^[13]. In it, the socio-historical conditions of the formation of the Cossacks are reflected in the figurative national memory, a kind of historicism and realism is manifested ^[9.p.5].

In Mo Yan's novel "Red Gaolian", songs play an important role, not only as an element of the plot, but also as a reflection of cultural values, emotions and destinies of the characters.

A long cry in the Gaolian field was interspersed with words through hesitation: "The sky is clean, the sky is blue, the sky is mottled, my dear brother, my bad brother, has passed away, the sky has collapsed for my sister." ^{[11. p.35.]}

The song shows the contradictory nature of loss. On the one hand, it is a tragedy that destroys the world and leaves a deep wound in the soul. On the other hand, this is a moment of realizing the value of life and saying goodbye to those who were dear. In general, this is a song about love, grief, about the hard way of saying goodbye to a departed person and about the power that helps to live on, despite the pain.

Ren taught the soldiers a song: "Gaolian blushed, Gaolian blushed, Japanese dogs are right there, and they are creating lawlessness, and they are tearing up the country, our relatives are dying in droves! You, comrade, get up, we will beat the enemies, protect our native land!" [11.p.43] This song is an example of anti—war and patriotic creativity characteristic of a certain historical period. She calls for resistance to the enemy and protection of her native land. In this context, "Gaolian" can be understood as a symbol of beauty and peace, which is desecrated by the enemy, and "Japanese dogs" is a disparaging designation of enemy soldiers acting cruelly and lawlessly.

Hey little sister, don't be afraid (ah), go ahead boldly! (Ah)

My teeth are iron, my bones are steel! (Ah)

A nine thousand li road leads to the sky. Don't be afraid, walk boldly into the distance! (Ah)

From a tall scarlet tower,

Throw the embroidered red ball,

Hey, aim right at my head,

And then you and I will dissolve Into Gaolian scarlet wine! ^{[11.p. 118]}

The singing not only uses the local Shandong operas Liuqi and Maoqi, but also adds the performance methods of Qingjiang and Huachan. The melody also includes material from the songs "da hang". The words using the inserted words "hey", "a" are clearly borrowed from elements of folk opera music.

It should be noted that the Gaomi folk song appears many times in the novel. The translator literally translates a folk song, preserves its shape and rhyme, which conveys its sophistication.

Thanks to borrowings from Russian literature, Chinese literature has become a unique phenomenon in the history of literary criticism ^{[18, p. 23]}. The spread of Russian literature in China had an unprecedented impact on the development of Chinese literature, not only serving as an instructive example for Chinese writers, but also influencing the formation of values of the Chinese reader ^{[19, p. 21]}.

Mikhail Sholokhov and Mo Yan, two outstanding writers, despite differences in culture and era, show many similarities in their work. Both use folk songs, proverbs and sayings, which gives their works a bright national coloring. The writers focus on rural life, deeply exploring peasant life, their feelings and their role in social change.

Thus, a deep understanding of native culture led to the inclusion of folklore in the literary works of Mo Yan and Sholokhov, which led to the creation of works saturated with folklore motifs and deep ideological and aesthetic meaning.