Империя Хунну

As a whole, a history of the Hsiung-nu power's formation fits in the general picture of origin of the nomadic empires of the Eurasia. Of four possible identified variants of origin of steppe polities: (1) Mongolian way through usurpation of the power; (2) Turkic one — in the process of struggle for independence; (3) Hunnish one — by migration to the territory of the agricultural state; (4) Khazar one — in the course of sedenterization of the great 'world' steppe empire). The Hsiung-nu fit classically into the first and most widespread model of which an appearance among the nomads of a talented or successful leader was characteristic who has been able to consolidate all tribes and khanates 'living behing the felt walls' into the united steppe power. Such a talented political and military leader of the Hsiung-nu was Mao-tun, 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 fiction than a truth as it contains much incredible: (1) Political revolutions 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 action to his father and relatives 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 doubletful. In the history of the nomadic world, the events ofmurders in the struggle for the throne were often 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 question. 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 collective 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 composition structure and is divided into two parts. In the first one, a sequence of events of Мао-tun advent to power is depicted while, in the second, an account of his diplomatic relations with the Tung-hu ruler and war against him gives that comes to a happy end as often happens in the literature works. All of events in both parts run on the principle of chain, and the tension grows gradually until, finally, ends with any action. Such a way of the subject construction called an effect of cumulativity by V.Ya. Propp was widely used in different 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 times (as in a tale) but every time with cumulative increase in tension. Initially, Мао-tun shoots at his horse (I omit here a first event of using by Мао-tun the singing arrows), then at the wife and the horse of his father. Only for the third time, he has won the unanimous support on the part of his fighting men. In the second part, he gives up horse, wife and only for the third time mounts a horse and takes the field against Tung-hu.

The third likeness with the folklore works is present in the composition structure. In the folklore, the horse and wife are traditional elements and the enemies threaten to capture them from the main hero (see, for example, «Jangar», «Geser» or tales). Twice, Мао-tun was forced to leave the 'loved' wife's and 'loved' runners.

The fourth likeness of a story of Мао-tun rise with the folklore works was in a description of main personages. In the epos and tales, all of main characters are positive, they express, as a rale, the ideas of the ethnic or mass consciousness. Even if a main hero (character) is forced in the course of events to accomplish the actions which are condemned in real situations, it is in no way reflected on his folklore image. In case of Мао-tun, we see an absolute analogy with aforesaid. By logic of the legend, everybody must ferociously hate him. He is an usurper, patricial and tyrant. However, in the legend and reality, Мао-tun don't look as a dictator (here, a certain parallel comes to mind with the literature image of Chinggis Khan and his real role in the history of the Mongol empire).