Ssu-ma Ch'ien depicts how was a ruler (Shan-yii) of the Hsiung-nu and captured a throne
[Лидай 1958: 15–16], however, in this story, the echos of real historical events and elements of
the fancifully mixed up. This story more resembles a ‰c€on than a truth as it contains much
incredible: (1) Poli€cal revolu€ons are prepared in secret. In this case, all the preparatory
measures have been carried out at great concourse and it is not likely that Shan-yii Touman had
no knowledge of them; (2) Why a murder by Мао-tun of the 'loved'(!) wife went unpunished?
How did he explained a such cruel ac€on to his father and rela€ves of wife? Why a custom
of'blood feud' did not infringe on him? (3) The number of the 'loved' wife's was very great.
There are three ones in a story;
(4) Why did not Shan-yii and his retainers not only stop a terror that wasunleashed
by Мао-tun in his district but had no knowledge of repression's?
(5) how did Мао-tun make bold to kill before the father's eyes his 'loved' horse?All
know what value has the horse for a nomad and striking a blow to another'srunner implies a
striking a blow to its owner; (6) the fact of the fathers murderitself is a very double¨ul. In the
history of the nomadic world, the events ofmurders in the struggle for the throne were o¦en
noted. But I don't know therulers of the nomadic empires of the fathers' killers.
However, the existence of Shan-yii Touman as a real historical person can be called in
ques€on. F. Hirth [1910] and K. Shiratori [1902] have noted a consonance of this name with a
world 'tuman' meaning 'ten thousand warriors'. Thus, it is possible that Touman is a some
collec€ve image but not real father of Mao-tun.
On the whole, a story of advent of Мао-tun to power closely resembles a tale or epic
work. A subject has a clear composi€on structure and is divided into two parts. In the ‰rst one,
a sequence of events of Мао-tun advent to power is depicted while, in the second, an account
of his diploma€c rela€ons with the Tung-hu ruler and war against him gives that comes to a
happy end as o¦en happens in the literature works. All of events in both parts run on the
principle of chain, and the tension grows gradually un€l, ‰nally, ends with any ac€on. Such a
way of the subject construc€on called an e•ect of cumula€vity by V.Ya. Propp was widely used
in di•erent forms of the folklore works [Пропп 1976].
The second fundamental likeness of a story of Мао-tun rise with the folklore works
consists in a principle of triplicity. All events of the chain are repeated three €mes (as in a tale)
but every €me with cumula€ve increase in tension. Ini€ally, Мао-tun shoots at his horse (I omit
here a ‰rst event of using by Мао-tun the singing arrows), then at the wife and the horse of his
father. Only for the third €me, he has won the unanimous support on the part of his ‰gh€ng
men. In the second part, he gives up horse, wife and only for the third €me mounts a horse and
takes the ‰eld against Tung-hu.
The third likeness with the folklore works is present in the composi€on structure. In the
folklore, the horse and wife are tradi€onal elements and the
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