The history of world literature, knowing about the falsification of many of its monuments, tries to forget about it. There is hardly at least one researcher who would argue that the classics of Greece and Rome that have come down to us are not mutilated by scribes.
Erasmus bitterly complained as early as the 16th century that there was not a single text of the "fathers of the church" (i.e., the first four centuries of Christianity) that could be unconditionally recognized as authentic. The fate of literary monuments is perhaps just as unenviable. In the very late XVI I century scholar Jesuit Arduin argued that ancient world belong only to Homer, Herodotus, Cicero, Pliny, Horace's "Satyrs" and Virgil's "Georgics". As for the rest of the works of antiquity ... they were all created in the XIII century AD.
It is enough to raise this question about the authenticity of the manuscripts of the classics in order to recognize the complete impossibility of establishing where in the past the “genuine” classic ends and the falsified one begins. In essence, the true Sophocles and Titus Livius are unknown... The most subtle and strict criticism of the texts is powerless to detect later distortions of the classics. The traces that would lead to the original texts are cut off.
It is also worth adding that historians are extremely reluctant to part even with works whose apocryphal nature has been proven by themselves. They number them according to the category of the so-called pseudo-epigraphic literature (pseudo-Clement, pseudo-Justus, etc.) and do not hesitate to use them. This position is absolutely understandable and is only logical development general attitude towards "ancient" monuments: there are so few of them that it is a pity to exclude even the dubious ones from circulation.
No sooner had the first printing press been made in Italy in 1465 than a few years later the history of literature registered a forgery of Latin authors.
In 1519, the French scholar de Boulogne forged two books by V. Flaccus, and in 1583 one of the remarkable humanist scholars Sigonius published passages from Cicero unknown to him before. This simulation was done with such skill that it was discovered only two centuries later, and even then by chance: a letter was found by Sigonius, in which he confessed to falsification.
In the same century, one of the first German humanists who introduced Germany to the Roman classics, Prolucius wrote the seventh book of Ovid's Calendar Mythology. This hoax was partly caused by a scholarly dispute about how many books this work of Ovid was divided into; despite indications on behalf of the author that he has six books, some Renaissance scholars, based on compositional features, insisted that there should be twelve books.
At the end of the 16th century, the question of the spread of Christianity in Spain was little covered. To fill the unfortunate gap, the Spanish monk Higera after a big and hard work wrote the chronicle on behalf of the never-existing Roman historian Flavius Dexter.
In the 18th century, the Dutch scholar Hirkens published a tragedy under the name of Lucius Varus, supposedly a tragic poet of the Augustan era. Quite by accident, it was possible to establish that the Venetian Corrario published it in the 16th century on his own behalf, without trying to mislead anyone.
In 1800, the Spaniard Marhena amused himself by writing pornographic discourses in Latin. Of these, he fabricated a whole story and connected it with the text of the XXII chapter of Petroniev's Satyricon. It is impossible to tell where Petronius ends and Markhena begins. He published his passage with the Petronian text, indicating in the preface the imaginary place of the find.
This is not the only forgery of Petronius' satires. A century before Marchen, the French officer Nodo published the “complete” Satyricon, allegedly “based on a thousand-year-old manuscript that he bought during the siege of Belgrade from a Greek,” but no one has seen either this or the older manuscripts of Petronius.
Catullus was also reprinted, forged in the 18th century by the Venetian poet Corradino, who allegedly found a copy of Catullus in Rome.
19th-century German student Wagenfeld allegedly translated from Greek into german history Phoenicia, written by the Phoenician historian Sanchoniaton and translated into Greek by Philo of Byblos. The find made a huge impression, one of the professors gave a preface to the book, after which it was published, and when Wagenfeld was asked for a Greek manuscript, he refused to submit it.
In 1498, in Rome, Eusebius Silber published on behalf of Berosus, "a Babylonian priest who lived 250 years before the birth of Christ", but "who wrote in Greek", an essay in Latin "Five books of antiquities with comments by John Anni". The book withstood several editions, and then turned out to be a fake of the Dominican monk Giovanni Nanni from Viterboro. However, despite this, the legend of the existence of Beroz did not disappear, and in 1825 Richter in Leipzig published the book “The Chaldean stories of Beroz that have come down to us”, allegedly compiled from “mentions” to Beroz in the works of other authors. It is surprising that, for example, Acad. Turaev has no doubts about the existence of Beroz and believes that his work "for us in high degree valuable."
In the twenties of our century, the German Sheinis sold to the Leipzig Library several fragments from classical texts. Among the others was a page from the writings of Plautus, written in purple ink, the curators of the Cabinet of Manuscripts of the Berlin Academy of Sciences, quite confident in the authenticity of their purchase, praised it: “The fine handwriting bears all the features characteristic of a very old period. It can be seen that this is a fragment of a luxurious book; the use of purple ink indicates that the book was in the library of a wealthy Roman, perhaps in the imperial library. We are sure that our fragment is part of a book created in Rome itself.” However, two years later, a scandalous exposure of all the manuscripts submitted by Sheinis followed.
Scientists of the Renaissance (and later times) were not content with the “finds” of manuscripts by writers already known to them, they informed each other about the “discoveries” by them and new, hitherto unknown authors, as Murea did in the 16th century, who sent Scaliger his own poems under the name of the forgotten Latin poets Attius and Trobeus. Even the historian J. Balzac created a fictional Latin poet. He included in an edition of Latin poems published in 1665 one that praised Nero and allegedly found by him on half-decayed parchment and attributed to an unknown contemporary of Nero. This poem was even included in the anthologies of Latin poets until a fake was discovered.
In 1729 Montesquieu published in a French translation Greek poem in the spirit of Sappho, saying in the preface that these seven songs were written by an unknown poet who lived after Sappho, and found by him in the library of a Greek bishop. Montesquieu later confessed to the hoax.
In 1826, the Italian poet Leopardi forged two Greek odes in the style of Anacreon, written by hitherto unknown poets. He also published his second forgery - a translation of the Latin retelling of the Greek chronicle dedicated to the history of the Church Fathers and the description of Mount Sinai.
The famous forgery of the ancient classics is the hoax of Pierre Louis, who invented the poetess Bilitis. He published her songs in Mercure de France, and in 1894 he released them separate edition. In the preface, Louis outlined the circumstances of his "discovery" of the songs of an unknown Greek poetess of the 6th century BC. and reported that a certain Dr. Heim even sought out her grave. Two German scientists - Ernst and Willowitz-Mullendorf - immediately devoted articles to the newly discovered poetess, and her name was included in the "Dictionary of Writers" by Lolier and Zhidel. In the next edition of the Songs, Louis placed her portrait, for which the sculptor Laurent copied one of the terracottas of the Louvre. The success was huge. Back in 1908, not everyone was aware of the hoax, since that year he received a letter from an Athenian professor asking him to indicate where the original songs of Bilitis were kept.
Let us note that almost all the exposed hoaxes of this kind belong to the new time. This is understandable, because it is almost impossible to catch the hand of a Renaissance humanist who invented a new author. By all accounts, therefore, it must be expected that at least some of the "ancient" authors were invented by humanists.
Fakes of the new time
Closer to modern times, not only ancient authors were inventing. One of the most famous falsifications of this kind are the Ossian poems composed by MacPherson (1736-1796) and the poems of Rowley Chatterton, although these forgeries were rather quickly exposed, their artistic merit ensures their prominent place in the history of literature.
Forgeries of Lafontaine, letters of Byron, Shelley, Keats, novels by W. Scott, F. Cooper and plays by Shakespeare are known.
A special group among the forgeries of modern times are writings (mostly letters and memoirs) attributed to some celebrity. There are several dozen of them (only the most famous ones).
In the 19th century, fakes "antique" continued, but, as a rule, they were not associated with antiquity. Yes, in late XIX century, a sensation was caused by a manuscript allegedly “found” by the Jerusalem merchant Shapiro, allegedly of the 1st millennium, which tells about the wandering of the Jews in the desert after the Exodus from Egypt.
In 1817 the philologist Václav Ganka (1791 -1861) in the church small town Kralev Dvor on the Elbe allegedly found a parchment on which old letters epic poems and lyric songs of the 13th-14th centuries were written. Subsequently, he "discovered" many other texts, for example old translation Gospels. In 1819 he became the curator of the literary collections, and from 1823 he was the librarian of the National Czech Museum in Prague. There was not a single manuscript left in the library that Ganka did not put his hand to. He changed the text, inserted words, pasted sheets, crossed out paragraphs. He came up with a whole "school" of ancient artists, whose names he entered into the original old manuscripts that fell into his hands. The exposure of this incredible falsification was accompanied by a deafening scandal.
The famous Winckelmann, the founder of modern archeology, was the victim of a hoax by the artist Casanova (brother of the famous adventurer), who illustrated his book " ancient monuments”(But Winckelman was an archaeologist - a professional!).
Casanova supplied Winckelmann with three "ancient" paintings, which, he assured, were taken directly from the walls in Pompeii. Two paintings (with dancers) were made by Casanova himself, and the painting, which depicted Jupiter and Ganymede, was made by the painter Raphael Menges. For persuasiveness, Kazakova composed an absolutely incredible romantic story about a certain officer who allegedly secretly stole these paintings from the excavations at night. Winckelmann believed not only in the authenticity of the "relics", but also in all of Casanova's fables and described these paintings in his book, noting that "Jupiter's favorite is undoubtedly one of the most striking figures that we have inherited from the art of antiquity ...".
Kazakova's falsification has the character of mischief, caused by the desire to play a trick on Winckelmann.
It has a similar character famous hoax Merimee, who conceived, being carried away by the Slavs, to go to the East to describe them. But this required money. “And I thought,” he himself admits, “first to describe our journey, sell the book, and then spend the fee to check how right I am in my description.” And so, in 1827, he released a collection of songs called "Gusli" under the guise of translations from the Balkan languages. The book was a great success, in particular, Pushkin in 1835 made a pseudo-reverse translation of the book into Russian, turning out to be more gullible than Goethe, who immediately felt the hoax. Mérimée prefaced the second edition with an ironic preface, mentioning those whom he managed to fool. Pushkin later wrote: "The poet Mickiewicz, a sharp-sighted and subtle connoisseur of Slavic poetry, did not doubt the authenticity of these songs, and some German wrote a lengthy dissertation about them." In the latter, Pushkin is absolutely right: greatest success these ballads were owned by specialists who had no doubts about their authenticity.
Other falsifications
Examples of fakes, hoaxes, apocrypha, etc. etc. can be multiplied indefinitely. We have only mentioned the most famous ones. Let's look at a few more disparate examples.
In the history of the development of Kabbalah, the book "Zohar" ("Radiance"), attributed to Tanai Simon ben Yochai, whose life is shrouded in a thick fog of legend, is well known. M.S. Belenky writes: “However, it has been established that the mystic Moses de Leon (1250-1305) was its author. About him, the historian Gren said: “One can only doubt whether he was a mercenary or a pious deceiver ...” Moses de Leon wrote several works of a Kabbalistic nature, but they did not bring either fame or money. Then the unlucky writer came up with the right means for wide disclosure of hearts and wallets. He set about writing under a false but authoritative name. A clever forger passed off his Zohar as the work of Simon ben Jochai... The forgery of Moses de Leon was successful and produced strong impression on believers. The Zohar has been deified for centuries by the defenders of mysticism as a heavenly revelation.
One of the most famous Hebraists of modern times is L. Goldschmidt, who spent more than twenty years on the critical publication of the first complete translation into Russian. German Babylonian Talmud. In 1896 (when he was 25 years old) Goldschmidt published an allegedly newly discovered Talmudic work in Aramaic, The Book of Peace. However, almost immediately it was proved that this book is a translation of Goldschmidt's Ethiopian work "Hexameron" pseudo-Epiphanius.
Voltaire found in Paris National Library manuscript commenting on the Vedas. He had no doubt that the manuscript was written by the Brahmins before Alexander the Great went to India. The authority of Voltaire helped to publish in 1778 a French translation of this work. However, it soon became clear that Voltaire fell victim to a hoax.
In India, in the library of missionaries, forged commentaries of the same religious and political nature were found on other parts of the Vedas, also attributed to the Brahmins. By a similar forgery, the English Sanskrit scholar Joyce was misled, who translated the verses he discovered from the Purana, outlining the story of Noah and written by some Hindu in the form of an old Sanskrit manuscript.
A great sensation was caused at the time by the discovery of the Italian antiquary Curzio. In 1637, he published Fragments of Etruscan Antiquity, allegedly based on manuscripts he found buried in the ground. The forgery was quickly exposed: Curzio himself buried the parchment he had written to give it an old look.
In 1762, the chaplain of the Order of Malta Vella, escorting to Palermo Arab Ambassador, decided to "help" the historians of Sicily find materials to cover its Arab period. After the ambassador's departure, Vella spread the rumor that this diplomat had given him an ancient Arabic manuscript containing correspondence between the Arabian authorities and the Arab governors of Sicily. In 1789 an Italian "translation" of this manuscript was published.
Three Indias. In 1165, a Letter from Prester John to Emperor Emmanuel Comnenus appeared in Europe (according to Gumilyov, this happened in 1145). The letter was allegedly written in Arabic and then translated into Latin. The letter made such an impression that dad Alexander III in 1177 he sent his envoy to the presbyter, who was lost somewhere in the vastness of the east. The letter described the kingdom of Nestorian Christians somewhere in India, its miracles and untold riches. During the second crusade Serious hopes were placed on the military assistance of this kingdom of Christians; no one thought to doubt the existence of such a powerful ally.
Soon the letter was forgotten, several times to search magical kingdom returned again (In the 15th century it was searched for in Ethiopia, then in China). So it was only in the 19th century that scientists came up with the idea to deal with this fake.
However, to understand that this is a fake - it is not necessary to be a specialist. The letter is full of details typical of European medieval fantasy. Here is a list of animals found in the Three Indies:
“Elephants, dromedaries, camels, Meta collinarum (?), Cametennus (?), Tinserete (?), panthers, forest donkeys, white and red lions, polar bears, white whiting (?), cicadas, eagle griffins, ... horned people , one-eyed, people with eyes in front and behind, centaurs, fauns, satyrs, pygmies, giants, cyclops, a phoenix bird and almost all breeds of animals living on earth ... "
(cited by Gumilyov, “In Search of a Fictional Kingdom)
Modern content analysis has shown that the letter was composed in the second quarter of the 12th century in Languedoc or Northern Italy.
Protocols Elders of Zion . "Protocols of the Elders of Zion" - a collection of texts that appeared in Russia at the beginning of the 20th century and became widely distributed in the world, presented by publishers as documents of a worldwide Jewish conspiracy. Some of them claimed that these were the protocols of the reports of the participants of the Zionist congress held in Basel, Switzerland in 1897. The texts outlined plans for the conquest of world domination by the Jews, penetration into the structures of state government, taking non-Jews under control, eradication of other religions. Although it has long been proven that the Protocols are anti-Semitic hoaxes, there are still many supporters of their authenticity. This point of view is especially widespread in the Islamic world. In some countries, the study of the "Protocols" is even included in the school curriculum.
The document that split the church.
For 600 years, the leaders of the Roman Church used the Donation of Constantine (Constitutum Constantinini) to maintain their authority as stewards of Christendom.
Constantine the Great was the first Roman emperor (306-337) to convert to Christianity. He was said to have donated half of his empire in 315 CE. e. in gratitude for getting new faith and miraculous healing from leprosy. The deed of gift - a document in which the fact of donation was evidenced - gave the Roman diocese spiritual authority over all churches and temporary authority over Rome, all of Italy and the West. Those who try to prevent this, it is written in the Donation, "will burn in hell and perish with the devil and all the wicked."
The donation, 3000 words long, first appeared in the 9th century and became powerful weapon in a dispute between the Eastern and Western churches. The dispute culminated in the split of the church in 1054 into the Eastern Orthodox Church and the Roman Church.
Ten popes quoted the document, and its authenticity was not in doubt until the 15th century, when Nicola of Cuza (1401-1464), the greatest theologian of his time, pointed out that the Bishop of Eusebia, a contemporary and biographer of Constantine, does not even mention this gift .
The document is now virtually universally recognized as a forgery, most likely fabricated by Rome around 760. Moreover, the falsification was not well thought out. For example, the document gives the Roman diocese power over Constantinople - a city that as such did not yet exist!
No wonder that French philosopher Voltaire called it "the most shameless and amazing falsification that has dominated the world for many centuries."
The hoaxer and prankster Leo Taxil
In 1895, Taxil's essay "The Secrets of Gehenna, or Miss Diana Vaughan*, her exposure of Freemasonry, the cult and the manifestations of the devil" caused a particularly great stir. Taxil under fictitious surname Germanus reported that Diana Vaughan, daughter of the supreme devil Bitra, was engaged for ten years to the commander of 14 demonic regiments, voluptuous Asmodeus, committed with him honeymoon trip to Mars. Dr. Hux soon demonstrated Diana Vaughan to a large clerical audience.
Repentant of "delusion" and returned to the womb catholic church, "the devil's wife" Vaughan corresponded with major church leaders, received letters from Cardinal Parocha, who gave her the blessing of the pope.
On September 25, 1896, in the Italian city of Triente, on the initiative of Taxil, an international congress of the anti-Masonic union, created by Leo XIII, was held. There were 36 bishops and 61 journalists at the congress. The portrait of Taxil hung on the podium among the images of the saints. Diana Vaughan spoke at the convention as living proof Masonic Lucifernism.
However, articles have already appeared in the press ridiculing the "wife of the devil." In July 1896, Margiotti broke off relations with his comrades, threatening to expose them.
A few months later, an article by Hux, who turned out to be the author of the anti-religious essay The Gesture, appeared in German and French newspapers, in which it was reported that "all exposures of Freemasonry were pure blackmail." “When the papal message came out against the Freemasons as allies of the devil,” Hux wrote, “I thought it would help extort money from the gullible. I consulted with Leo Taxil and a few friends, and together we conceived the Devil of the 19th century.
"When I thought incredible stories, for example, about the devil, who in the morning turned into a young lady who dreamed of marrying a freemason, and in the evening turned into a crocodile playing the piano, my employees, laughing to tears, said: “You are going too far! You'll blow the whole joke!" I answered them: “It will do!”. And it really did." Hux ended the article by stating that he was now ceasing all myth-making about Satan and Freemasons, and with the proceeds from the spread of anti-Masonic fables, he was opening a restaurant in Paris where he would feed sausages and sausages as plentifully as he fed the gullible public with his fairy tales.
A few days later, Margiotti appeared in print and announced that his entire book, The Cult of Satan, was part of a hoax conceived by Taxil. April 14, 1897 in the huge hall of the Paris geographical society Taxil said that his anti-Masonic writings are the greatest hoax of modern times, which aimed to ridicule the gullible clergy. "The Devil's Wife" Diana Vaughan turned out to be Taxil's secretary.
The scandal was huge. Pope Leo XIII anathematized Taxil. In the same 1897, Taxil published a satire on the Old Testament - "The Funny Bible" (Russian translation: M., 1962), and soon its continuation - "The Funny Gospel" (Russian translation: M., 1963).
Reasons for fraud
The reasons for falsifications are as diverse as life itself.
Little is documented about the urge to forge in the Middle Ages. Therefore, we are forced to analyze this issue on the basis of the materials of modern times. However, there is no reason why the general conclusions drawn from this material are not applicable to more distant times.
1. An extensive class of fakes is made up of purely literary hoaxes and stylizations. As a rule, if a hoax was successful, its authors would quickly and proudly reveal their deception (the Mérimée hoax, as well as the Luis hoax, is a prime example).
The passages from Cicero apparently falsified by Sigonius belong to the same class.
If such a hoax is done skillfully, and for some reason the author has not confessed to it, it is very difficult to reveal it.
It is terrible to think how many such hoaxes were made during the Renaissance (on a bet, for fun, to test one's abilities, etc.), which were subsequently taken seriously. However, one might think that such "ancient" writings belonged only to "small-format" genres (poems, passages, letters, etc.).
2. Close to them are falsifications in which a young author tries to establish his "I" or test his strength in a genre that guarantees him protection in case of failure. To this class clearly belong, say, the forgeries of McPherson and Chatterton (in the latter case, a rare pathology of complete identification with adored ancient authors manifested itself). In response to the theater's inattention to his plays, Colonne responded with a forgery of Molière, and so on.
It should be noted that, as a rule, the most famous falsifiers of this type were not distinguished by anything special in the future. Ireland, who forged Shakespeare, became a mediocre writer.
3. Even more malicious are the falsifications made by a young philologist in order to quickly become famous (for example, Wagenfeld). More mature men of science falsified in order to prove this or that position (Prolucius) or to fill gaps in our knowledge (Higera).
4. "Filling" falsifications also include biographies of fantastic personalities like "Saint Veronica", etc.
5. Many falsifiers were motivated (in combination with other motives) by considerations of a political or ideological nature (Gank).
6. The monastic falsifications of the “fathers of the church”, the decrees of the popes, etc., must be considered a special case of the latest falsifications.
7. Very often a book was apocryphal in antiquity because of its accusatory, anti-clerical or free-thinking character, when its publication was under own name was fraught with dire consequences.
8. Finally, last but not least is the factor of elementary profit. There are so many examples that it is impossible to list them.
Exposure of falsifications
If the falsification is done skillfully, then its exposure presents enormous difficulties and, as a rule (if the falsifier himself does not confess), it happens purely by chance (an example is Sigonius). Since history tends to forget its falsifications, with the removal of time, it becomes more and more difficult to expose falsifications (an example is Tacitus). Therefore, there is no doubt that a lot of falsifications (especially humanistic ones) still remain unrevealed.
In this regard, information about the circumstances of the finds of certain manuscripts is of particular interest. As we have seen in the case of Tacitus and will see later in the case of many other works "discovered" in the Renaissance, this information is very scarce and contradictory. There are almost no names in it, and only “nameless monks” are reported, who brought “somewhere from the north” priceless manuscripts that had lain “in oblivion” for many centuries. Therefore, it is impossible to judge the authenticity of the manuscripts on its basis. On the contrary, the very inconsistency of this information leads (as in the case of Tacitus) to serious doubts.
It is very strange that, as a rule, there is no information about the circumstances of the finds of manuscripts even in the 19th century! Either unverifiable data is reported about them: “I bought it at the oriental bazaar”, “I found it in the basement of the monastery secretly (!) From the monks”, or they are generally silent. We will return to this more than once, but for now we will only quote the famous scientist Prof. Zelinsky:
“The past year 1891 will long remain memorable in the history of classical philology; he brought us, not to mention minor novelties, two large and precious gifts - Aristotle's book on the Athenian state and everyday scenes of Herodes. To what a happy accident we owe these two finds - this is observed by those who should know, stubborn and significant silence: only the very fact of an accident remains undoubted, and with the establishment of this fact, any need to ask oneself a question is eliminated ... ".
Ah, hey, it wouldn't hurt to ask "those who need to know" where they got these manuscripts from. After all, as examples show, neither high academic titles nor generally recognized honesty in everyday life still not guaranteed against fakes. However, as Engels noted, there are no people more gullible than scientists.
It should be noted that the above is only very brief an excursion into the history of fakes (besides, only literary ones, and there are also epigraphic, archaeological, anthropological and many, many others - further posts will be devoted to several of them), in which only some of them are presented. In reality, their much more and that's just the famous ones. And how many fakes have not yet been disclosed - no one knows. One thing is certain - many, very many.
"Prince's Joke"
About the book "Ommer de Gell, letters and notes", which was published by the publishing house "Academy" in 1933. These are unknown documentary materials of a French traveler, in which she describes her journey through Russia at the end of the 19th century. The sensational content of the book lies in a number of "new" biographical facts of the classics of Russian literature. For example, secret romance and French poetry by Mikhail Lermontov. The most prominent researchers and literary critics took at face value this hoax, which was created back in the 19th century by Prince Pavel Petrovich Vyazemsky.
"Beloved son"
According to the position of the most prestigious Goncourt literary prize, it cannot be obtained twice. But in history there is a case when a writer circumvented this law, however, thanks to a scandalous hoax. This is the son of a Russian emigrant who has become a classic French literature- Romain Gary. But the main hoaxer in the writer's family was not him, but his mother.
"The Evil Sonnets of Guillaume du Ventre"
Sonnets French poet XVI century by Guillaume du Ventre were published in the original language with translation in Komsomolsk-on-Amur in 1946. The real authors of this book were two prisoners who spent almost their entire lives in Stalin's camps. About amazing life and the work of these people who resisted the vicissitudes of fate - a story in the program.
"Botanical Hoaxes"
On the literary evening in Paris, Vladislav Khodasevich delivered a report in which he spoke about the unknown poet of Derzhavin's circle, Vasily Travnikov. Story about difficult fate Travnikov and the analysis of his poems, by a lucky chance discovered by Khodasevich, evoked an enthusiastic reaction from critics, especially Georgy Adamovich. A few years later, Vladimir Nabokov publishes poetry and a story about meeting his contemporary, Vasily Shishkov. And again, Adamovich became in the forefront of those deceived by the hoax. This brilliant critic, who constantly made claims about the work of Khodasevich and Nabokov, was carried out by them both times, under botanical pseudonyms.
The problem of literary hoax is one of the most urgent in contemporary literature. According to the classification proposed by E. Lann, all literary hoaxes are divided into two types: fake works of impersonal creativity; forgeries of author's works, attributed to: a) writers, b) historical figures, c) fictitious authors (Lani E. Literary hoax. M.. 1930, p. 67).
A special place among hoaxes is occupied by the falsification of folklore texts. The most famous was the "Kraleddvor Manuscript" by the Czech philologist V. Ganka (1817). For about 50 years, it was considered one of the most valuable sources for reconstruction. Slavic mythology. An example of the literary mystification of Scottish folklore is the "Songs of Ossian" by J. MacPherson (1760-1763). Of the hoaxers of Russian folklore, I.P. Sakharov (1807-1863) gained the greatest popularity, his "Tales of the Russian people" are still being reprinted and cited by many researchers.
The most striking literary hoaxes of the 19th - early 20th centuries, created by Russian writers and poets, are as follows: "The Tales of the Late Ivan Petrovich Belkin" by A. Pushkin, "Letters and Notes of Ommer de Gel" by P. Vyazemsky, "Egyptian Nights" by A. Pushkin, completed by V. Bryusov (included in the collected works of Pushkin in 1919), Kozma Prutkov, but in fact A.K. Tolstoy and the Zhemchuzhnikov brothers, Cherubina de Gabriak, invented by M. Voloshin, the poet Vasily Shishkov, an "acquaintance" of V. Nabokov, poems by the poet of the 19th century. V. Travnikova from the archive "found" by Vl. Khodasevich, "A. Vyrubova's Diary", created by P. E. Shchegolev and A. N. Tolstoy, N. Nekrasov's poem "Lights", "discovered" by E. Vashkov.
Sensation of the 20th century became a hoax French writer Russian origin Romain Gary (Roman Kasev). In 1956 he received the Prix Goncourt for his novel The Roots of Heaven. In 1974, Gary publishes the novel "The Big Weasel" on behalf of the writer Emile Azhar. Azhar's second novel, Life Ahead, wins the Prix Goncourt. Thus, Gary became the sole owner of two Goncourt Prizes(it is not awarded twice).
Postmodernism builds literary mystification on new round, realizing in literature the statement: “nobody writes books”, since “all books are written by nobody” (Max Fry / Svetlana Martynchik). The realization that "can there be literature without hoaxes" gives rise to actual literary hoaxes ("the great Eurochinese humanist" Holm van Zaichik / writer Vyacheslav Rybakov and orientalist Igor Alimov) and literary projects based on hoaxes: Boris Akunin (individual project of Grigory Chkhartishvili), Marina Serova (publishing project carried out by a group of authors).
Mystification in a number of ways coincides with the concept of a pseudonym. The possibilities of using a pseudonym are undoubtedly wider, but the main specific difference between mystification and stylization is not inherent in it. Brilliant examples of stylization can serve as the works of Felix Salten - the author of "The Deer Bambi", who created memories on behalf of the famous Viennese prostitute Josephine Mutzenbacher and Norwegian writer and the philosopher Justin Gorder, who published a letter from Blessed Augustine's beloved Floria Emilia, allegedly discovered by the author in Argentina, in bookstores.
Literary hoax is text or fragment of text, the author of which attributes its creation to a figurehead, real or fictitious. Literary mystification is the opposite of plagiarism: the plagiarist borrows someone else's word without referring to the author, the mystifier, on the contrary, ascribes his own word to another. The main difference between literary hoax and ordinary text is the creation of the image of the author, within the imaginary boundaries of the mental, social and language world which the work arises. dummy author is embodied in the style of the text, so literary hoax always involves stylization, imitation literary language a specific author or imitation of the style of the era, within which the social and cultural idiolect of a fictional author is created. Literary mystification, therefore, is a convenient form for both experimentation in the field of style and for the inheritance of stylistic tradition. From the point of view of the type of false authorship, literary hoaxes are divided into three groups:
- Imitating ancient monuments, the name of the author of which has not been preserved or has not been named (“Kraledvorskaya Manuscript”);
- Attributed to historical or legendary persons ("Wortingern and Rowena", 1796, issued by W.G. Ireland for the newly found play by W. Shakespeare; continuation of Pushkin's "Mermaid", performed by D.P. Zuev; "Poems of Ossian", 1765, J. MacPherson );
- Forwarded to fictitious authors: "deceased" ("Tales of Belkin", 1830, A.S. Pushkin, "The Life of Vasily Travnikov", 1936, V.F. Khodasevich) or "living" (Cherubina de Gabriak, E. Azhar); the fictitious author is provided with a biography for persuasiveness, and the actual author can act as its publisher and/or executor.
Some of the works that subsequently received world fame, were performed in the form of a literary hoax ("Gulliver's Travels", 1726, J. Swift, "Robinson Crusoe", 1719, D. Defoe, "Don Quixote", 1605-15, M. Cervantes; "History of New York, 1809, V .Irving).
An important property of a literary hoax is the temporary appropriation by its author of someone else's name.. The mystifier literally creates the text on behalf of another; the name is the prototype of the language and the only reality of the imaginary author. From here increased attention to the name and its internal form. The name in literary hoax is connected, on the one hand, with the language and architectonics of the text (for example, the testimony of E.I. Dmitrieva about the rooting of the name Cherubina de Gabriak in the poetic fabric of the works written on her behalf), and on the other hand, with the name of the real author (anagram , cryptogram, effect double transfer etc.). The reader's delusion and the discovery of a forgery, two stages in the reception of a literary mystification, follow not from the reader's gullibility, but from the very nature of the name, which does not allow within the boundaries literary reality to distinguish between its real and imaginary carriers. The goal is an aesthetic and/or life-creative experiment. This is its difference from fakes, the authors of which are guided solely by mercantile considerations (for example, Gutenberg's companion I. Fust sold the first Mainz Bibles at exorbitant prices in Paris, passing them off as handwritten books), and deliberate distortions historical event or biographies historical person. fakes historical monuments(“A Tale of Two Embassies”, “Correspondence of Ivan the Terrible with Turkish sultan”- both 17th century) and biographical perjury (“Letters and notes by Ommer de Gell”, 1933, composed by P.P. Vyazemsky) are quasi-mystifications.
History of study literary hoaxes started with collecting. The first attempts at cataloging literary hoaxes date back to the period late Middle Ages- the beginning of the Renaissance and are associated with the need for attribution of ancient texts. Attribution experiments of ancient and medieval monuments laid scientific foundations textual criticism and text criticism both in Europe (criticism of the Konstantinov Gift) and in Russia, where partial examinations of manuscripts have been carried out since the 17th century. By the beginning of the 19th century, extensive material had been accumulated for compiling reference books and classifying the types of fictitious authorship: literary hoax, pseudonyms, plagiarism, fakes. At the same time, it became clear that compiling an exhaustive catalog of literary hoaxes was impossible, the science of literature was powerless to check its entire archive, and philological methods for determining the authenticity of a text, especially in the absence of an autograph, were extremely unreliable and capable of producing contradictory results. In the 20th century, the study of literary mystification ceased to be exclusively a problem of textual criticism and copyright, it began to be considered in the context of the history and theory of literature. In Russia about literary hoax as a subject theoretical research first said by E. L. Lann in 1930. Interest in literary mystification was stimulated by attention to the problem of dialogue, “one’s own” and “alien” words, which became one of the central philosophical and philological topics in the 1920s; it is no coincidence that in Lann's book one can feel the influence of the ideas of M. M. Bakhtin. Central problem literary mystification in its theoretical coverage becomes someone else's name and a word spoken on someone else's behalf. Literary mystification is subject not only to the change literary epochs and styles, but also to changing ideas about authorship and copyright, about the boundaries of literature and life, reality and fiction. From antiquity to the Renaissance, and in Russia until the early 19th century, the history of false authorship is dominated by forgeries of ancient handwritten monuments and literary hoaxes attributed to historical or legendary figures.
In Greece, from the 3rd century BC. known genre of fictitious letters created on behalf of famous authors past: "seven" Greek sages, philosophers and politicians(Thales, Solon, Pythagoras, Plato, Hippocrates, etc.). The purpose of the forgery was more often pragmatic: apologetic (giving actual political and philosophical ideas greater authority) or defamatory (for example, Diotima composed 50 letters of obscene content on behalf of Epicurus); less often didactic (exercises in rhetorical schools to acquire skills good style). Literary mystification had the same meaning in the literatures medieval Europe and in ancient Russian literature. During the Renaissance, its character changes significantly. Literary hoaxes ascribed to fictitious authors appear and begin to prevail, for which the mystifier composes not only the text, but also the author, his name, biography, sometimes a portrait. In modern times, the history of literary mystification consists of uneven bursts, the main of which fall on the eras of baroque, romanticism, modernism, which is associated with the sense of the world inherent in these eras as linguistic creativity. Literary hoaxes in modern times can be obviously playful, parodic in nature: the reader, according to the author's intention, should not believe in their authenticity (Kozma Prutkov).
