Cultural Universals in A.P. Chekhov and I. Temerken’s Short Stories: Genetics and Typology

For a long time Hungarian literature has been influenced by Russian literature. A.P. Chekhov’s works have been drawing a specific interest among Hungarian readers. In this regard, the question about genetic and typological ties between Russian and Hungarian literature arises. The issue in the article is considered on the example of the short story “Ferko” by the Hungarian writer, ethnographer and folklorist Istvan Temerken and the “steppe” works of A.P. Chekhov. For many Hungarian writers Chekhov’s literary works became a model which they relied on during the search of new art forms. I. Temerken grew up in a steppe region of Hungary and the “steppe” theme was especially close to him. The story “Ferko” is written in Chekhov’s manner. The place of the action is the steppe, the main character is a boy, as if separated from everyone who is next to him, the image of the road and a number of other elements of the art world of the short story allow you to notice strong similarities in the story “Ferko” and “steppe” works of Chekhov (especially in the story “Steppe”). However, Temerken could not read “Steppe” translated into Hungarian, since the story was translated after the writer’s death. It means that apart from a direct orientation to the Chekhov’s style and poetics, there should be something in the field of typological rapprochement of cultures, which explains this similarity. A.N. Veselovsky called this phenomenon “counter courses”. And modern researchers explain then as archetypes or cultural universals common to all cultures. In the works of Temerken and Chekhov such are the images of a child, steppe, sun, etc.