English Language, Literature & Culture 2016; 1(4): 53-57 http://www.sciencepublishinggroup.com/j/ellc doi: 10.11648/j.ellc.20160104.13 ISSN: 2575-2367 (Print); ISSN: 2575-2413 (Online) Mo Yan and Chinese Pastoral Literature Eyup Saritas Department of Chinese Language and Literature, Istanbul University, Istanbul, Turkey Email address: [email protected] To cite this article: Eyup Saritas. Mo Yan and Chinese Pastoral Literature. English Language, Literature & Culture. Vol. 1, No. 4, 2016, pp. 53-57. doi: 10.11648/j.ellc.20160104.13 Received: September 1, 2016; Accepted: November 3, 2016; Published: January 5, 2017 Abstract: Novel laureate in literature since 2012, the prominent Chinese novelist Mo Yan was born and raised in a village in the province of Shandong. His works are often themed on rural life. Contrary to the case in Turkey, researches on rural life in China have advanced on a continuous basis since the 20s of the 20th century in China. This can be explained with the fact that primarily Mo Yan and Jia Pingwa, as prominent novelists in China, never stopped writing on villages, villagers and inner world of peasants that endeavoured to lead the life in the city as they did back in the village. In this brief research study, we try to discuss in what way Mo Yan touched on the pastoral literature in his works. Keywords: Mo Yan, Pastoral Literature, Red Sorghum, China that were born and studied in the village. 1. Introduction Pastoral Literature in China has a very special place in In the long history of agricultural civilization, literature has Chinese literature. Originated from a grand history, the genre always been in close connection with the rural countryside nearly has a history of a century whereas it holds a special with its villages and towns. Economic and social place in the history of China and is quite in demand as far as demographics of villagers and their relationship to one another, its reverberations re concerned. Pastoral literature, as the their personal opinions on and approach to village life name suggests, relies on agricultural elements in addition to undoubtedly formed the basis of pastoral literature. The the natural geographical characteristics, cultural landscapes, concept 'pastoral literature' as is used in this study means and national traditions and social psychology it represents. refers to pastoral literature. Consequently what is meant by Novelists that are interested in pastoral literature in and "Pastoral Literature" is way of living in rural areas as far as outside China create topics in the literature genre of their geographical surroundings and motifs are concerned. These interest and achieve in reflecting it to the reader because they stories are often loaded with longing and yearning as village substantially master on the constituents of the village community they have been observing for a while, as well as represents the roots. Nostalgia is inevitable wherever village is 2 talked of. On taking a closer look at the works of Pastoral their dialect and traditions. Literature in China, it will be seen that narrations and texts Upon the Open Door Policy of the early 80's in China, related to pastoral literature are composed of author's yearning Chinese villagers that had stagnant lives for centuries for his or her homeland in well-depicted images and in an recovered economically as the system that dominated all artistic manner.1 Source of art cannot be isolated from tangible Chinese villagers got flexible and agricultural production and intangible factors in life. In the same manner, literature swiftly increased. Working for peanuts until then, Chinese cannot be alienated from them, either. Of course pastoral texts villagers solved the fundamental vital issue, and reached the and literary works have been created not by people that lead golden phase in the history of development of villages in mundane lives in villages but by novelists that have an interest China. Undoubtedly, such great acquisitions in economic life in pastoral life and lead their life in urban areas and by those were followed by social spheres of life, and eventually all 2 Ren Xiangyun, “Xiangtu Wenxue Sanlun (An Essay on Pastoral Literature)”, 1 Chun Rong, Xin Shiqi de Xiangtu Wenxue (New Period Pastoral Literature), Gansu Lianhe Daxue Xuebao (Gansu Lianhe Daxue Xuebao: Lianhe University Liaoning University Press, Shenyang 1986, p. 3. Journal), 2004, Issue 3, p. 22. English Language, Literature & Culture 2016; 1(4): 53-57 54 these advancements and progress was profoundly reflected in literary motifs, the novelist sets the scene against the literature, which, as a result began to examine the Chinese sorghum fields in the Red Sorghum and adds resistance villages and villagers. Quite a number of authors that were against the Japan and love stories in shifts. The novelist born in a village and lived in cities showed, with the effect of resorts to nature for similes that go beyond the plot of the the open door policy, more tendencies to pen stories and novels novel. The sun reaches the length of two bamboos; six sisters concentrating on the village life and problems of villagers, embrace each other tightly as if cloves of garlic. River Mo is which, in turn, paved the ground for a vivid recovery in rural the main motif in the Red Sorghum while The Flood Dragon literature. As it will be expressed later, the most important River is the main motif in Big Breasts & Wide Hips. factor encouraging village-born authors to produce pastoral Grandmother is the main character in the Red Sorghum and literature works are their rich-content memories back in the the mother character created by Shangguan Lu comes to the rural area. Mo Yan is the best reference to this.3 fore in the Big Breasts & Wide Hips. In this context, both works of Mo Yan have historical qualities on the one hand 2. About Red Sorghum and concentrate on gradually devastated rural nature and traditions, as well as on the commoditised village women that Mo Yan reflects as follows in the foreword of Red went through unfavourable effects of poverty on the other Sorghum, which brought him the Nobel Prize in Literature: hand. Tying the feet of Chinese young women in order for “Red Sorghum is based on a real story in a neighbour village receiving appreciation of men, marrying them off to leprous to where I was born. The guerrilla forces of the village laid men in return for a mule, being humiliated and looked down an ambush by the bridge over the River Jiaolai, and clashed on by their husband unless they give birth to a boy and with a modest number of Japanese forces, set fire on a threatened for being returned to family home and even military vehicle, and gained a remarkable victory under then- having to have repeated deliveries until they eventually give current circumstances. Before long, the Japanese brigades birth to a boy are the shared themes in both novels. Women came back for retaliation, killed over a hundred villagers and raped by the occupying forces pay for the warfare not only vandalised all the houses in the village when they found no with their honour and dignity but also with interrupted traces of the guerrilla forces in charge.”4 integrity of their body and soul. What they go though is The novel, which brought the Nobel Prize in Literature to narrated indirectly sometimes with forced traditions or Mo Yan, is Red Sorghum. The novel tells the life story of a circumstances and at times with resistance.5 family’s three generations from Shandong Province between the years of 1923 and 1976. But course of the novel does not follow a chronological order. Jumps between the pieces of 3. On Mo Yan's Approach the Pastoral epic events create a unique fluency: Chinese revolution has Literature in China not yet taken place. A resistance war was starts in China where Japan occupation has been faced. Gaomi Southeast Novels of Mo Yan, who is the most famous writer of District is chosen as the place in the novel. Because the land Modern Chinese Literature, give the best examples of typical consists of small villages apart from each other that are pastoral literature. In his works, he approaches a realistic style dispersed around River Mo is the most suitable area for a to reflect villagers. Texts that translate his narration reflect the guerrilla war. The narrator of the novel is Mo Yan but events language of the community. Reader will absolutely find a clue are gone through by his grand grandfather, his grandfather in his or her life in the world narrated by Mo Yan in his novels and his father. He starts telling while his grandfather and and this guarantees an enjoyable reading session. Unlike many father are laying an ambush to the occupying Japanese Army Turkish novelists that write on rural literature, Mo Yan does in Gaomi Northeast District and he forms up the family not employ the dialect spoken by the villager with a view to history with series of stories on his grandfather; the rendering his works more interesting. What is interesting rests legendary Yu Zhan, who moves up to a commander from in the essence of narration, detailed and elaborative being a bandit, how his grandfather and grandmother met, observations and masterful combination of traditions and murders his grandfather committed, his grandmother’s work historical phenomena. All heroes and heroines of his works are at the distillery, his father’s birth and the banditry days of his peasants and well-educated ones are only a few in number. grandfather, war between gangs, Japanese Occupation and It will be beneficial to present a brief evaluation for some Chinese rural life in those years..