Note literary hoaxes. Research work "the art of literary hoaxes"

Vitaly Vulf, Serafima Chebotar

. . .

First, we should clarify what literary hoax is. This is usually the name given to literary works whose authorship is deliberately attributed to a person (real or fictitious) or is presented as folk art. At the same time, literary hoax seeks to preserve the author’s stylistic style, to recreate—or create from scratch—his creative image. Hoaxes can be carried out with complete different purposes- for the sake of profit, to shame critics or in the interests of literary struggle, from the author’s lack of confidence in his abilities or for certain ethical reasons. The main difference between a hoax and, for example, a pseudonym is the fundamental self-delimitation of the real author from his own work.

Many researchers call Homer's poems the first literary hoax - the personality of Homer was, in their opinion, invented, and the works attributed to him were the fruit collective work, which may have lasted for more than a decade. It is certainly a hoax - the parody epic "Batrachomyomachy", or "The War of Mice and Frogs", attributed in turn to Homer, the ancient Greek philosopher Pigret and a number of other, less notable poets.

In the Middle Ages, the appearance of hoaxers was “facilitated” by the attitude of the people of that time towards literature: the text was sacred, and God directly transmitted it to man, who, thus, was not the author, but only a “conductor” of the Divine will. Other people's texts could be borrowed, altered and modified quite easily. It is not surprising that almost all the works that were popular at that time - both secular and ecclesiastical in nature - were completed and supplemented by copyists. During the Renaissance, when interest in ancient authors and their texts was especially high, numerous forgeries began to appear along with previously unknown genuine works of ancient authors. They added historians - Xenophon and Plutarch. The lost poems of Catullus, the speeches of Cicero, and the satires of Juvenal were “found.” They “looked for” the writings of the church fathers and scrolls with biblical texts. Such forgeries were often arranged very inventively: manuscripts were made, which were given an “antique” appearance, and then under mysterious circumstances they were “discovered” in old monasteries, castle ruins, excavated crypts and similar places. Many of these forgeries were only exposed several centuries later.

The real explosion of literary hoaxes occurred in the second half XVIII century. The so-called imaginary translations were especially popular. In 1729, Charles Montesquieu published a “translation from Greek” of the poem “The Temple of Cnidus”; in 1764, the English writer Horace Walpole passed off his novel “The Castle of Otranto” - by the way, the first “Gothic” novel - as a translation of an Italian manuscript. For greater authenticity, Walpole also invented the author - a certain Onofrio Muralto. Daniel Defoe was a true master of passing off his texts as someone else's - out of the five hundred books he wrote, only four were published under his real name, and the rest were attributed to various historical and fictional figures. Defoe himself acted only as a publisher. So, for example, three volumes of “The Adventures of Robinson Crusoe” were written by a “sailor from York”, “The History of the Wars of Charles XII, King of Sweden” - by a certain “Scottish officer in Swedish service”, “Notes of a Cavalier” were given to him as the memoirs of a nobleman , who lived in the 17th century, during the Great Rebellion, and “The Narrative of All the Robberies, Escapes and Other Affairs of John Sheppard” - for the suicide notes of the real-life famous robber John Sheppard, written by him in prison.

But the most famous literary hoax of that time was, of course, “The Songs of Ossian,” created by the talented English poet and literary critic George Macpherson in 1760-1763 on behalf of the Scottish bard Ossian, who supposedly lived in the 3rd century. Ossian's works were a huge success among the public, were translated into many languages and, before their exposure, managed to leave a deep mark in world literature.

Macpherson published Ossian at a time when the Scots and Irish, united by common historical roots and equally secondary position in relation to the British, they began to actively revive their culture, language, historical identity. In this situation, pro-Gaelic critics were ready to defend the authenticity of the poems even in the face of obvious evidence to the contrary, and even after Macpherson's final exposure and admission of falsification, they assigned him a prominent place in the pantheon of figures of the Gaelic Renaissance. The Czech philologist Vaclav Hanka found himself in a similar situation. In 1819, he published the Kralovedvor Manuscript, which he allegedly found in the church of the city of Kralev Dvor. The manuscript was recognized as a monument from the 13th century, proving the antiquity of Czech literature, which actually did not exist at the time. early XIX century. A few years later, Ganka published another manuscript - “Zelenogorsk”, called “The Court of Libushe”, dating back to the 9th century - to those times when the rest of the Slavs did not have not only literature, but even writing. The falsity of the manuscripts was finally proven only in 1886, but even after that the name of Vaclav Hanka enjoys great respect - as a patriot who has done a lot to raise the prestige of Czech literature.

Unfortunately, not all hoaxers survived exposure so successfully. Known tragic fate brilliant English poet Thomas Chatterton. In addition to those published under his own name satirical works, Chatterton created a number of poems that he attributed to the 15th-century monk Thomas Rowley and some of his contemporaries. Moreover, Chatterton, who from an early age was distinguished by his love for old books, approached his deception with all seriousness: he fabricated manuscripts on genuine parchment of that time, written in Old English in an ancient, difficult-to-read handwriting. Chatterton sent some of his “finds” to the already mentioned Horace Walpole - he, in Chatterton’s opinion, should have responded favorably to the fictitious work of a medieval monk. At first everything was like this, but then Walpole realized it was a fake. In 1770, Chatterton committed suicide - he was not yet eighteen years old. English literary scholars call him one of the most brilliant poets in Great Britain. Unfortunately, having played with someone else's fictional life, Thomas Chatterton lost his...

Among the most famous hoaxers, Prosper Merimee should also be mentioned. First, he published a collection of plays under the name of the fictitious Spanish actress Clara Gazul, then a collection of peculiar prose ballads “Guzla”, attributed to the equally unrealistic Serbian storyteller Iakinfu Maglanovic. Although Merimee was not particularly hiding - in the collection of plays there was even a portrait of Gazul printed, which was a portrait of Merimee himself in women's dress: Anyone who knew the writer by sight would easily recognize him. However, Alexander Sergeevich Pushkin himself succumbed to the hoax, translating 11 songs from “Guzla” for his collection “Songs of the Western Slavs.”

Pushkin, by the way, was no stranger to hoaxes: when publishing the famous “Belkin’s Tales,” the poet himself acted only as a publisher. And in 1837, Pushkin published the article “The Last of the Relatives of Joan of Arc,” where he quoted Voltaire’s letters, written by the poet himself. He also resorted to “imaginary translations” - for censorship reasons, many of his “free-thinking” poems were accompanied by postscripts: “from Latin”, “from Andrei Chenier”, “from French”... Lermontov, Nekrasov, and other authors did the same. There were many outright fakes: fake novels by Walter Scott, Anna Radcliffe and Balzac, plays by Moliere and even Shakespeare. Let us modestly put aside the question of whether Shakespeare himself was not the greatest literary hoax.

In Russia over the last two hundred yearsliterary hoaxesand there were a lot of hoaxes. For example, Kozma Prutkov is a smug graphomaniac whose literary activity occurred in the 50s and 60s of the 19th century. Only after some time it became clear that Prutkov was created by the Zhemchuzhnikov brothers and A.K. Tolstoy. The image of Prutkov was so overgrown with flesh and blood that it was published full meeting his works, his portrait was painted, and his relatives began to appear in literature - for example, in 1913, the non-existent publishing house "Green Island" published a collection of the first poems of his "niece" Angelika Safyanova - a literary hoax of the writer L.V. Nikulina.

Another similar case is a beautiful and sad story Cherubins de Gabriac. The image created by Maximilian Voloshin and Elizaveta Dmitrieva (in Vasilyeva’s marriage) struck the imagination of contemporaries with its tragic beauty, and the exposure of the deception led to a duel between Voloshin and Gumilev and Vasilyeva’s almost complete departure from literature. Only many years later she released another one poetry collection, “The House Under the Pear Tree” - again under someone else’s name, this time by the Chinese poet Li Xiangzi.

Most known hoax The twentieth century was the image of the novelist Emile Azhar, brought to life by the famous French writer Romain Gary, laureate of the Goncourt Prize. Tired of his established literary reputation, Gary published Azhar's first novel, Fat Man, in 1974, which immediately won love and recognition. Azhar's very next novel was awarded the Prix Goncourt - thus Romain Gary (or rather, Roman Katsev - the writer's real name) became the only two-time winner in the world of this award, which is never awarded twice. Azhar, however, refused the prize - and as it turned out, Paul Pavlovich, Gary’s nephew, who later ended up in a psychiatric clinic, was hiding under this name. And it soon became known that Pavlovich only played, at his uncle’s request, the role of Azhar, which he wrote about in his book “The Man Who Was Believed.” In 1980, Romain Gary - and at the same time Emile Azhar - committed suicide.

What made all these - and many other - people, undoubtedly talented, often even brilliant, hide their faces behind someone else's mask, giving up the rights to their own works? Apart from the obvious cases where the reason was the thirst for profit or other, much more noble, but also completely understandable reasons (as, for example, in the story of Vaclav Hanka), the motives for such behavior, which often leads to the most tragic consequences, are unclear. For example, many of Chatterton’s acquaintances were perplexed: if he had published his works under his own name, he would have won universal recognition. But Chatterton felt much more confident in the role of “Rowley” than when he was himself. Macpherson did the same - while remaining himself, he wrote much weaker than when he transformed into Ossian. Such a “mask,” which often completely replaces the face, is a necessary element of the hoax. Play, an unconditional condition for any creativity, takes on exaggerated proportions among hoaxers. The creator of a hoax can often create only by dissolving his true self in a mask he has invented, creating not only his own world, but also the demiurge of the only inhabitant of this world. An invented mask helps the writer move away from the restrictions imposed on him (or by himself) - class, stylistic, historical... He gets the opportunity, by rejecting his own “I,” to gain creative freedom in return - and thus build himself anew. Since the era of modernism, the idea of the game, the split personality, the “hidden” author has dominated literature itself. Authors build themselves, their biography, according to the laws of the texts they write - the text, thus, is much more real than its author. The boundaries between literature and life are shifting: the figure of the author becomes an element of the artistic structure of the text, and the result is a unique complex work, consisting of the actual text (or texts) and the constructed author.

From this point of view a virtual reality, which has settled on the Internet, provides simply unlimited opportunities for various kinds of hoaxes, placing initially equal conditions existing people and fictional characters. Both those and others only have email address and the ability to generate text. All the dangers that beset their predecessors have now disappeared: there is no need to present manuscripts, appear in person at various events, monitor linguistic features, or track allusions and borrowings in their own and others' works. Anyone who enters the vastness of the World Wide Web with his literary - or creative work claiming to be so - becomes real at the moment of his appearance, and it should be taken into account that if he leaves the virtual space, his existence will have to be proven again. Because what was generated by the Internet must live in it.

In the end, famous phrase“The whole world is a stage, and the people in it are actors” applies to any world, regardless of its reality.

"The Prince's Joke"
About the book "Ommer de Gell, letters and notes", which was published by the Academy publishing house in 1933. These are unknown documentary materials of a French traveler, in which she describes her voyage across Russia in late XIX century. The sensational content of the book lies in a number of “new” facts from the biography of the classics of Russian literature. For example, a secret romance and French poems by Mikhail Lermontov. The most prominent researchers and literary scholars accepted this hoax, which was created back in the 19th century by Prince Pavel Petrovich Vyazemsky, at face value.

"Beloved son"
According to the rules of the most prestigious literary prize, the Goncourt Prize, it cannot be won twice. But there is a case in history when a writer circumvented this law, however, thanks to a scandalous hoax. This is the son of a Russian emigrant, who became a classic of French literature - Romain Gary. But the main hoaxer in the writer’s family was not he, but his mother.

"The Evil Sonnets of Guillaume du Ventre"
The sonnets of the 16th century French poet 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 prison. Stalin's camps. About amazing life and the creativity of these people who resisted the vicissitudes of fate - a story in the program.

"Botanical Hoaxes"
At a literary evening in Paris, Vladislav Khodasevich gave a report in which he spoke about the unknown poet of Derzhavin’s circle, Vasily Travnikov. The story about the difficult fate of Travnikov and the analysis of his poems, discovered by a happy accident by Khodasevich, evoked an enthusiastic reaction from critics, especially from Georgy Adamovich. A few years later, Vladimir Nabokov published poems and a story about meeting his contemporary, Vasily Shishkov. And again Adamovich was in the forefront of those deceived by the hoax. This brilliant critic, who constantly made claims to the work of Khodasevich and Nabokov, was conducted by them both times, under botanical pseudonyms.

Regional scientific – practical conference schoolchildren

Research on literature

Artliterary hoaxes.

Work completed:

student of class 10 "A"

Municipal educational institution "Rudnogorskaya Sosh"

Parilova Ekaterina

and literature

Municipal educational institution "Rudnogorskaya Sosh"

Zheleznogorsk 2013

1. Introduction.

1.1. Hoax - what is it?................................................. 3

1.2. Goal and tasks. ……………………………………. 4

1.3. Hypothesis…………………………………………...4

1.4. Object of study. ……………………………....4

1.5. Subject of study. ……………………………..4

1.6. Research methods. ……………………………...4

2. Main part.

I. Literary hoax as art.

2.1.1. Why is literary hoax still not described as independent species art?......5

2.1.2. Literary hoax is a synthetic art form. .......6

II. General principles of the art of literary mystification.

2.2.1. Reasons for hoaxes. ………………………7

2.2.2. Special techniques of literary hoax...8

2.2.3. Exposing hoaxes…………………....9

III. Literary Hoaxes Revealed……….9

3. Conclusion.

4. List of used literature.

Introduction.

Hoax - what is it?

In one of the newspapers I read an article dedicated to Ilya Fonyakov’s book “Poets who were not there.” From the article I realized that this book is about literary hoaxes, the existence of which many of us do not even suspect. My previous work in literature was devoted to the Cherubina de Gabriac hoax. And since hoaxes are interesting to me, I decided to continue working on this topic.

It is necessary to clarify what literary hoax is. This is usually the name given to literary works whose authorship is deliberately attributed to a person, real or fictitious, or is presented as folk art. At the same time, literary hoaxes strive to preserve the stylistic style of the author, to recreate - or create from scratch - his creative image. Hoaxes can be carried out for completely different purposes: for the sake of profit, to shame critics or in the interests of literary struggle, from the author’s lack of confidence in his abilities or for certain ethical reasons. The main difference between a hoax and, for example, a pseudonym is the fundamental self-delimitation of the real author from his own work.

Mystification has always been, to one degree or another, characteristic of literature. Strictly speaking, what is a literary work if not an attempt to convince someone - a reader, a critic, oneself - of the existence of a reality invented by the writer? Therefore, it is not surprising that not only worlds invented by someone have appeared, but also fake works and invented writers. Everyone who was guided by the desire to attribute to the author a work that was not written by him stopped at creating the work and putting on it not their own names, but the name of the mentioned author. Others did not attempt to publish poems under their own name, but always signed the names of fictitious characters. Still others called their poems “translations” from foreign authors. Some authors went further, becoming “foreigners” writing in Russian. I wanted to learn more about the art of literary hoaxes, I went to the library, but did not find detailed material. Then I went online and found little-known and even unique publications, on the basis of which I wrote my scientific work.

Purpose my work is: to identify the general patterns of the art of literary hoax

Tasks:

1. Find out as much information as possible about literary hoaxes.

2. Reveal the features of the art of literary hoaxes.

3. Describe the features of the art of literary hoaxes.

4. Prove that literary hoax is a synthetic art form.

5. Identify as much as possible more reasons the emergence of literary hoaxes.

6. Establish how a hoax is exposed.

7. Find as many literary hoaxes as possible.

8. Systematize the collected material.

Research hypothesis: The art of literary hoaxes is a synthetic art that has existed for a very long time and has its own laws and canons.

Object of study:Literary hoaxes.

Subject of study: Literary hoaxes as art.

Research methods:

1. Complex analysis - consideration of an object from different points of view.

2. Imperial method - collection of data and information about the subject of research.

3. Data processing method.

4. The induction method is a method in which general conclusion is based on partial premises

5. Generalization method - a method in which general properties subject.

Main part.

I.Literary hoax as art.

Why is literary hoax still not described as an independent art form?

“Literary hoaxes have been around as long as literature itself.” Almost every article about literary hoaxes begins with this phrase, and it is impossible to disagree with it. As soon as books began to be published, writers appeared who wanted to play pranks on their contemporaries, and more often, on their descendants. There seems to be some kind of attractive force in “fooling” as many people as possible at the same time. “Reader, ... laugh: the height of earthly joys is to laugh at everyone from around the corner,” Pushkin wrote frankly. Of course, the reasons that pushed writers to commit hoaxes were, as a rule, more serious and deeper, but the love of humor cannot be discounted.

And here the question involuntarily comes to mind: why is literary mystification, having existed for thousands of years, still not described as an independent form of art (after all, for example, the art of war has been described - and quite thoroughly - which, like the art of mystification, is largely relies on intuition)? Most articles only tell the stories of one or another long-solved literary hoax, in best case scenario their classification is proposed based on to whom the literary work is attributed: the writer, historical figure or a fictional author. Meanwhile, literary hoaxes have their own general limitations and special possibilities, their own rules and their own techniques - their own laws of the genre. Suffice it to say that in a literary hoax the work of art itself becomes an enlarged sign with which the hoaxer operates in life - in the game, and the general opinion about this work of art is the same subject of the game as the work itself. In other words, in the “table of ranks” of this game, literary hoax is higher than work of art. And this game has its own masters and losers, its own masters and even geniuses. Of course, literature is not the only art form that has misled many people; There have been hoaxers in painting and music, in archeology and cinema, and even in science. But my interests are primarily related to literature.

Literary hoax is a synthetic art form.

Is literary hoax a synthetic art form? First you need to find out what a synthetic art form is. Synthetic arts are those types of artistic creativity that represent an organic fusion or a relatively free combination of different types of arts, forming a qualitatively new and unified aesthetic whole. Indeed, if in order to write a significant literary work, talent and a pen are enough ( goose feather, pencil, typewriter, computer keyboard), then the hoaxer must also have the ability to mislead a large number of people outside the creation process itself literary work. If a writer masters the art of playing in the Word, then the hoaxer must also possess the art of playing in Life, since literary hoax is a collective game played simultaneously in both life and literature. Moreover, not only those who take the hoax offered by him at face value, but also those who are “on the side” of the hoaxer, initiated into the hoax, involuntarily take part in the game. There may be few of them, one or two people, or, as in Shakespeare’s hoax, dozens, but, with rare exceptions, they
always take place.

Thus, in Pushkin’s hoax with the fairy tale “The Little Humpbacked Horse,” he took a direct part, who not only brought 18-year-old Ershov to Pushkin, but also explained to the student that Pushkin, they say, did not want to put his name under “The Little Humpbacked Horse” because of an unfriendly relationship literary criticism to the genre itself literary fairy tale, which actually took place.

Moreover, hoaxers can play tricks even on those initiated into the hoax. Pletnev was deceived by Pushkin: he saw the powerful political subtext of “The Little Humpbacked Horse.” The “sovereign whale,” which blocked the “Sea-Okiyan,” obviously recalled the role of Russia in Europe, and the “thirty ships,” which he swallowed 10 years ago and does not release, clearly meant the Decembrists. Pletnev would never have taken part in this matter of bypassing the tsarist censorship, since he was a coward. Indeed, in this fairy tale, Pushkin went farther than ever, publicly declaring through the “mouths” of a hunchbacked horse that this “sovereign” state is doomed until the Decembrists are released: “If he gives them freedom, God will remove the misfortune from him.” Probably, together with Pushkin’s closest friends, there would not have been even a dozen who learned about his authorship of the fairy tale, and all subsequent generations of Russian readers, right up to our time, turned out to be misled, in addition to other contemporaries, counting in the hundreds of millions.

II.General principles of the art of literary mystification.

Reasons for hoaxes:

The reasons for hoaxes are as diverse as life itself.

2. Hoaxes made by young writers in order to quickly become famous, for example, Prosper Merimee, who staged hoaxes with “Guzla and the Clara Gazul Theater.”

3. Many hoaxers were motivated by political or ideological considerations, for example, the reason for hiding the names of the true authors who wrote under the pseudonym “Shakespeare” was concern for state security, since the participants in the pseudonym were the secret children of Queen Elizabeth.

4.Literary mystification is often used as a means of literary struggle to expose and ridicule literary opponents. For example, a group of writers - the Zhemchuzhnikov brothers and others - in the 60s of the 19th century. published the works of Kozma Prutkov, a stupid, narcissistic official they invented, allegedly writing pompous, funny poems and aphorisms that pretend to be especially profound. In the pompous work of Kozma Prutkov, it was easy to discern ridicule of adherents of the antisocial theory of “art for art’s sake” and parodies of the literary works of some modern writers.

5. One of main reasons hoaxes most often there were turning points for literature and social thought era. In 1817-23 to support the idea national revival under the guise folk epic The “Kraledvor Manuscript” and “Libushin’s Court”, lists of which the philologist V. Ganka allegedly discovered, were published.

6. Reason to take literature out of the narrow channel of traditional motifs and forms

7. Personal motives. For example, one of the reasons that pushed Pushkin to immediately publish “The Little Hunchback” and to give away his the best fairy tale, there was an attempt to force the tsar to leave Natalya Nikolaevna alone, whom he openly courted: it was warning shot. As soon as Pushkin realized that the fairy tale under the name of Ershov went unnoticed and his “personal warning” did not reach the addressee. He writes another fairy tale - “About the Golden Cockerel”, with political point neutral vision, but with hints: of a girl who “is not afraid to know sin,” and of a king whose desire to marry to a young girl, as in “The Little Hunchback,” it turned out to be a backfire.

8. Finally, last but not least, is the reason for basic profit. There are so many examples that they need not be cited.

Special techniques of literary hoax

The study of literary hoaxes requires a special approach, not only due to the lack of documentary evidence, but also because hoaxers also use special, non-generally accepted literary - and not only - techniques; Here are the most used:

1. By publishing hoax works under a pseudonym, they can substitute the authorship of an existing, living person - be it the semi-literate moneylender Shakespeare, the 18-year-old student Ershov or the 17-year-old youth Rimbaud - which at first misleads readers, but over time becomes one of clues to unravel the hoax.

2. One of the common methods of hoaxing is changing the date of writing of the work; So Pushkin put “reference” dates under some poems, and changing the date of Chester’s collection delayed for a long time its solution as dedicated to the death of the true Shakespeare.

3. Hoaxers often use wordplay as a hoax technique, playing with ambiguities both in a literary work that mystifies the public and in life. This is especially true for Shakespeare and Pushkin.

4. Hoaxers often use the transfer of the role of narrator to the characters of their works, and thereby radically change their meaning, which turns out to be understood only many years later.

5. Hoaxers often use all kinds of ciphers; To one degree or another, Shakespeare, Cervantes and Pushkin resorted to various types of encryption in their texts.

6. Finally, hoaxers use all sorts of tricks to support the hoax in life; Pushkin staged such a mystifying game around Eugene Onegin. But the hoax around Shakespeare’s pseudonym was especially powerful, in which, in addition to Stratfordian William Shakspere, dozens of poets and playwrights of the Elizabethan era took part - which led to the fact that this hoax has still not been fully resolved.

Unmasking hoaxes.

If the hoax is done skillfully, then its exposure presents enormous difficulties and, as a rule, if the hoaxer himself does not confess, then this happens purely by accident. Since history tends to forget its hoaxes, exposure becomes increasingly difficult as time passes. Therefore, there is no doubt that many hoaxes still remain unexposed. In this regard, information about the circumstances of the disclosure of certain hoaxes is of particular interest. Opening l literary hoax produced by means of textual criticism of the text. Social genesis and bias in l literary hoax expressed, as a rule, more frankly than in ordinary works; often give out anachronisms, linguistic inconsistencies, etc. Mn. l iterative hoaxes are not only of historical interest, but also of aesthetic value.

III.Literary hoaxes revealed.

Conclusion.

James ARKWRIGHT (Gennady Fish)

The leader of the Leningrad Bolsheviks, Sergei Mironovich Kirov, mentioned him in one of his speeches and wished to get to know the author better. Editor of the Stroika magazine, where as just as the next publication was being prepared, I turned to the writer Gennady Fish, in whose translations Arkwright’s works were published, and after some confusion he admitted that no Arkwright existed in nature, that he was born “at the tip of the pen” of Gennady Fish himself, a photograph of an “American” was taken from the pre-revolutionary "Niva"... The editor grabbed his head: having learned about the prank, "Mironych" could have been angry - the people's solidarity of the working people is not a reason for jokes. But Kirov reasoned differently: whether Arkwright exists or not - it is important that he works on us! And the book “Arkwright’s Notebook” was published in 1933. This story was told in his book “The Path of Conscience” by the old St. Petersburg critic Anatoly Gorelov, in the past the same editor of that same magazine “Stroyka”...
Despite all the fantastic nature, Arkwright’s story is not without a basis in reality. “Class brothers” from Western countries really came in the twenties and thirties to help build the world’s first socialist country. In Siberia, in Kuzbass, an entire American Industrial Colony (AIC) was created. The fate of its leaders turned out to be tragic: they were repressed. James Arkwright, as a fictitious person, escaped this fate. And today we reread his poems with special feeling.

Irina DONSKAYA

(Andrey Shiroglazov)

The book of poems by Irina Donskaya, published in 2001 by the Vologda publishing house “Palisad” with a circulation of 150 copies, is one of the brightest and most mysterious poetic hoaxes recent years. Although, it would seem, what is mysterious here? On the very first page of the “personal author’s copy” sent to me, even before the “title”, it is printed in black and white: “Andrei Gennadievich Shiroglazov (literary pseudonym Irina Donskaya).” So, strictly speaking, there is no hoax: all the cards are revealed at once. But there are also poems. And in poetry - biography, fate, character (purely feminine and purely modern). Student of the Faculty of Journalism of the Ural University N. Demyankova writes about this very accurately in the preface ( real face or also a mask?), contrasting, among other things, the Cherepovets poetic school with the “official Vologda” - regional center. It is in Cherepovets (referred to, by the way, in the text of the preface as “northern Athens”) that Irina Donskaya “lives”. However, quotation marks for the verb “lives” are perhaps unnecessary. He just lives. Because, despite everything, you believe in its existence.

Cherubina de Gabriak (Elizaveta Ivanovna Dmitrieva, marriedVasiliev).

Born in poverty noble family; father is a penmanship teacher, mother is a midwife. Her father died early from tuberculosis, and E. Dmitrieva suffered from the same disease in childhood, leaving her lame for the rest of her life. After graduating from the Vasileostrovskaya gymnasium, she studied at the St. Petersburg Women's College pedagogical institute(was studying medieval history and French literature), attended lectures at St. Petersburg University and the Sorbonne. She taught history at the gymnasium and did translations from Spanish. She wrote mystical poems, but was not published. In the summer of 1909 in the Crimea, her friend M. Voloshin advised her to send poems to the newly opened Apollo magazine under a magnificent pseudonym (which they came up with together). He contributed to the spread of rumors about a mysterious Spanish beauty from a noble family - Cherubina de Gabriac. The entire editorial staff of Apollo was intrigued by the beautiful reclusive poetess; editor S. Makovsky, who had fallen in love with Cherubina in absentia, published her poems in two large cycles.

The hoax was roughly exposed by N. Gumilyov and translator I. von Ponter, also an employee of the magazine. Defending the honor of the poetess, M. Voloshin challenged N. Gumilev to a duel; E. Dmitrieva perceived everything that happened as a tragedy. She left literature for several years, then began to write poems with a different sound - mystical-anthroposophical ones, but little was published

(I never used Cherubina’s pseudonym again).

“When the snow falls!..” - you said and touched it anxiously
My lips, muffling the words with a kiss.
This means that happiness is not a dream. It's here. It will be possible.
When it snows.
When it snows! In the meantime, let in the languid gaze
He'll hide. The unnecessary impulse will be silenced!
My favorite! Everything will be pearl-shiny,
When it snows.
When the snow falls and seems to sink lower
Blue edges of blue clouds, -
And I will become, perhaps, both dearer and closer to you,
When the snow falls...

https://pandia.ru/text/78/143/images/image008_0.png" alt="Romain" align="left" width="250" height="349 src=">С начала 1960-х годов в русскоязычных зарубежных изданиях стали появляться произведения, подписанные неким Абрамом Терцем. Одной из самых известных стала повесть «Любимов» - о маленьком советском городке, в котором велосипедный мастер захватил власть, стал диктатором и начал строить настоящий коммунизм. Тот же автор опубликовал ироническую и едкую статью о !} socialist realism. In the USSR, Tertz’s texts were considered anti-Soviet and defamatory of the “Soviet state and social order", after which the KGB began searching for the author. How exactly Sinyavsky’s authorship was established is not known exactly - perhaps we're talking about about someone's betrayal or about a graphological examination. In 1965–1966, a high-profile trial took place against Andrei Sinyavsky and Yuli Daniel (he also published in the West under a pseudonym). And although collective letters were received in defense of the writers, both from abroad and from many of their Soviet colleagues, nevertheless, the court found them guilty. Sinyavsky received seven years for anti-Soviet agitation and propaganda. In 1991, the case was reviewed and the verdict was overturned. But there remains a letter from Mikhail Sholokhov, in which he calls the books of Sinyavsky and Daniel “dirt from a puddle.” To publish in the West, and even with texts that censorship would never have allowed in the USSR, under one’s own name was pure suicide. By publishing under pseudonyms, the authors tried to protect themselves and their loved ones. However, Sinyavsky continued to publish prose under the name of Abram Tertz even after his release from the camp and departure to emigrate. According to the version voiced by his wife Maria Rozanova after the writer’s death, the pseudonym was taken in honor of the hero of an Odessa criminal song - a pickpocket. By this, Sinyavsky seemed to admit that he was playing a dangerous game. And having become famous under this name, he no longer wanted to give it up: the fictional writer’s biography turned out to be more glorious and exciting than that of the real one.

Max Fry Russian writer and artist Svetlana Martynchik.

Since 1996, the St. Petersburg publishing house "Azbuka" began publishing books by the writer Max Frei. Genre: fantasy with elements of parody. The novels gradually gained popularity, and by 2001 Max Fry had become one of the most published Russian science fiction writers. Eventually, the author's popularity grew to such an extent that it became necessary to present it to the public: Fry became a real star. Max Fry is not listed among foreign authors; for Russia such a first and last name is atypical - that means it is a pseudonym, everyone decided. The publisher joked that Max Fry was a blue-eyed black man. This continued until the fall of 2001, when on Dmitry Dibrov’s television program the host introduced Svetlana Martynchik to the audience as the real author of Max Frei’s books. And then a scandal broke out: Martynchik accused ABC of trying to register “Max Fry” as a trademark and get literary blacks to write for her. In the 1990s, against the backdrop of the flow of foreign science fiction pouring into the domestic market, Russian authors became somewhat lost. As a result, books of domestic origin began to appear, but under foreign names. Dmitry Gromov and Oleg Ladyzhensky wrote on behalf of Henry Lyon Oldie, and Elena Khaetskaya became Madeline Simons. For the same reason, the pseudonym “Max Fry” was born. By the way, Fry’s books always bear the copyright of Martynchik herself. In fact, we are talking about a publishing, not a writer's, hoax: the figure of the author is carefully mythologized, and at the moment the pseudonym is revealed, if the author is still popular by that time, you can make good money.

Misha Defonseca a American-Belgian writer Monique de Vel.

Autobiography" href="/text/category/avtobiografiya/" rel="bookmark">autobiographical: Misha tells how at the very beginning of the war she, then a very little girl, lived in Belgium. Her Jewish parents were deported by the Germans and sent to a concentration camp , she herself managed to escape, after which she wandered around Europe throughout the war, slept in the forests, ate what she could get, and for a long time generally lived with wolves, like Mowgli. In the USA, the book was not successful, but in Europe the text quickly became bestseller. In France, by 2005, it was one of the twenty best-selling books in the non-fiction genre. The author himself was never hiding: the subject of the hoax here was not the writer, but the book itself. The physical embodiment of Micha Defonseca existed and gave interviews. But the public had questions about the story itself. One of those who believed that Defonseca’s book was a fake was the Frenchman Serge Harol, the author of several works on the relationship between people and wolves. Gradually, inconsistencies between the events described in the book and real ones began to emerge historical facts: For example, the deportation of Jews did not take place at the time indicated by Defonseca. But Defonseca's opponents invariably received accusations of anti-Semitism. At the same time, a conflict developed between the American publisher and Defonseca - they were suing over the terms of the contract. Then the journalists rummaged through the archives and discovered that the writer was not Jewish at all, but Belgian, Monique de Vel, and Defonseca was her husband’s last name. Monique's father was actually a Gestapo agent, thanks to whom the Germans were able to defeat a group of Belgian underground fighters. Finally, in February 2008, Defonseca admitted that her text was not a memoir, but fiction. The book caused quite a stir stormy scandal in Belgium: Jewish organizations that had long defended Defonseca were shocked after her final exposure. The writer herself justified herself by saying that the fictional life of a girl named Misha was so close to her that she herself no longer knew what her childhood was really like. After all, she really grew up without parents. It’s not clear what it was - a cunning fraud or a split personality. Perhaps both at the same time. It is interesting that in Russia the book was published in 2009, that is, after the author was exposed, but it was positioned as the true memoirs of a Jewish girl. “This book, this story, is really about me. This is not what happened in reality, but this is my reality.” (From an interview with Monique de Vel)

Boris , Japanese translator and writer.

In 1998, the detective novel “Azazel” was published about the adventures of the young St. Petersburg detective Erast Fandorin. The author is listed on the cover - Boris Akunin. The genre - “intelligent historical detective story” - turned out to be in demand, although not immediately. At the beginning of the 2000s, Akunin's books became bestsellers, and conversations began about film adaptations, which meant much more money for the author than just royalties for novels. As Akunin's books became more popular and their audience wider, a variety of assumptions were put forward, including that the author was actually Vladimir Zhirinovsky or Tatyana Tolstaya. However, already in 2000 it became known that under this pseudonym was hiding a Japanese translator, deputy editor-in-chief of the magazine “Foreign Literature” Grigory Chkhartishvili. He himself admitted this, giving several interviews and beginning to appear in public not only as Chkhartishvili, but also as Akunin. Throughout the 1990s, writing popular books of the “low genre,” that is, detective stories and thrillers, was considered an activity unworthy of an intelligent person: the author should not be smarter than his works. Moreover, as the writer himself admitted in an interview, bookstore merchandisers would never have pronounced Chkhartishvili’s name anyway. And B. Akunin speaks easily and immediately sets the school-graduated reader up for the classics of the 19th century.

Holm van Zaitchik orientalists and writers Vyacheslav Rybakov and Igor Alimov.

Since 2000, novels by a certain Dutch writer and humanist Holm van Zaichik about a utopian-cute parallel world have been published in Russian. historical reality, in which China, the Mongol Empire and Rus' are united into one superpower. In just six years, seven novels were published under the pseudonym Holm van Zaitchik. The mystery of Van Zaitchik was an open secret from the very beginning, although parody interviews were published in the name of the “humanist.” The fact that two St. Petersburg authors were hiding behind this pseudonym, which refers to the name of the Dutchman Robert van Gulik (one of the largest orientalists of the twentieth century, whose works were quite actively published at that time), became known a year later, when they began to receive money for their project. literary prizes at science fiction festivals, and then honestly admit in interviews that it’s them. The frankly ironic content of the work (a utopia parodying Russian history, and even many characters have real prototypes among friends and acquaintances of the authors) encouraged the co-authors to continue the game. At the same time, the serious science fiction writer Rybakov and the serious historian Alimov would look bad as authors on the cover of such a book. But the openly bantering van Zaychik is very good. At the turn of the millennium, literature gravitated towards dystopias, no one wrote utopias, and additional literary play was required to justify positive prose.

Nathan Dubovitsky r Russian statesman Vladislav Surkov.

In 2009, the novel “Near Zero” was published in the supplement to the magazine “Russian Pioneer”. The hitherto unknown Nathan Dubovitsky is stated as the author. The hero of the novel is a cynic who changes professions: he is now a publisher, now a merchant, now a political PR specialist. The novel contains oppositionists, caricatured, to whom the experienced protagonist teaches life: “It’s not the government that you hate, but life. Generally. She’s not what you would like.” Based on the novel, Kirill Serebrennikov staged Small stage Art Theater play "I killed my grandmother." The assumption that the author of the novel was the then deputy head of the presidential administration, Vladislav Surkov, appeared almost immediately. Surkov has published his texts more than once in the Russian Pioneer magazine, he writes articles and stories, and is the author of lyrics for several songs by the Agatha Christie group. The main ideas of the book - that the government is corrupt, but the opposition is no better, and even worse - coincide with the ideas of Surkov himself, which he voiced more than once. Viktor Yerofeyev said in his interview that it was Surkov who was the author of “Okolonol”, referring to a personal conversation with the official. Finally, commonplace In articles about the novel “Okolonolya,” the idea began to emerge that the pseudonym may be associated with the surname of Surkov’s wife, Dubovitskaya. It’s interesting that at one time Surkov was also called possible author novels written under the pseudonym Anna Borisova. Almost all over the world, current politicians and officials do not publish books under their own names. Especially if they talk about their work in these books. Surkov for our political and public life that same semi-mythical figure of the “author” who “either died or not.” It is he who is considered the fatal gray eminence who tightened the screws, strangled freedoms, turned elections into a farce, and television into a propaganda machine. This picture of the world is especially popular among residents of large cities with higher education, among the intelligentsia of the 2000s. This category of citizens believes that “Surkov’s propaganda” has no effect on them; It is impossible to seriously speak to this reader on behalf of Vladislav Surkov, the author of a novel about modern life. But Dubovitsky can talk to him in his own language and try to explain that this same reader, with his pathological hatred of power, must be ridiculous even to himself.

Conclusion.

Literary hoaxes are now being studied from different angles; as evidence of this phenomenon, one can cite a program on the Culture channel.

Literary hoaxes on the channel "Culture" On the channel "Russia-K" on May 2 the series "Literary hoaxes" will begin. The author of this project is a cultural expert, researcher various archives in the country and abroad Ivan Tolstoy. A brilliant storyteller will show and analyze the most important events artistic sphere, will tell about cultural celebrities through the prism of literary hoaxes. During my research, I came to a paradoxical conclusion: one of the main tasks of literary hoaxes is to hide its cause.

Hoaxes are always directed to the future, which automatically removes the question of the ethical responsibility of the hoaxer. Yes, the hoaxer deceives his contemporaries - or, to put it mildly, misleads them - but they will not know about it, and, therefore, no one becomes an object of ridicule. Laughter is heard only at the moment of the solution, but by this time there are so many people who are mistaken that the individual feeling of deception dissolves into the collective one and only causes a smile: “They played a great joke on us!” But literary scholars, living at the moment of the solution, have to decide what to do with their works, which the hoaxer “framed” in one way or another.

Another conclusion follows from this: hoaxes, as a rule, are intended to solve them - otherwise they are meaningless (a hoax intended only to deceive has no future). That is why hoaxers, destroying any documentary evidence of a hoax, leave ambiguous hints and “clues” for descendants. The better the hoax is organized, the longer it remains unsolved, the more contemporaries and descendants are misled - and the stronger the effect of solving it. In other words, a literary hoax becomes more significant the longer it remains unsolved.

From all that has been said above, it is not difficult to conclude that the subject of a successful literary hoax can only be an outstanding work of art. In fact, only such a work can arouse long-lasting, over decades and centuries, persistent reader interest, which, in fact, leads to a flash of general attention when it is solved. “Hamlet”, “Don Quixote”, “Eugene Onegin”, “The Master and Margarita”, which have been solved most recently, literally before our eyes, are precisely such works. Such a work is Pushkin’s “The Little Humpbacked Horse” - undoubtedly the most beloved Russian poetic fairy tale of our ancestors, us and our children and grandchildren.

It also follows that a literary hoax is considered to have taken place when it is solved.

Bibliography:

1. “Poets that never existed” Ilya Fonyakov.

2. “House in Kolomna” Pushkin A.

3. Article by Vladimir Kozarovetsky “Time to collect stones I”

4. Article by Vladimir Kozarovetsky “Time to collect stones II”

5. “Famous Hoaxes.”

6. Literary encyclopedia 1929-1939.

7. "Literary hoax."

8. Dmitriev his name: From the history of pseudonyms and anonyms / Dmitriev, Valentin Grigorievich, Dmitriev, V.G. - M.: Nauka, 19с

9. “Alexander Pushkin. The Little Humpbacked Horse”, 3rd edition; M., ID KAZAROV, 2011

11. Gililov about William Shakespeare, or the Mystery of the Great Phoenix (2nd edition). M.: Intl. Relationships, 2000.

12. Encyclopedia of pseudonyms of Russian poets.

13. Kozlov falsification: A manual for teachers and university students. 2nd ed. M.: Aspect Press, 1996.

REVIEW

For the research work of Ekaterina Yurievna Parilova, a 10th grade student at the Rudnogorsk Secondary School.

Topic: “The art of literary hoaxes.”

Ekaterina Parilova's work is dedicated to the art of literary hoaxes.

There is no comprehensive survey of literary forgeries in any language. The reason is not difficult to establish: the science of literature is powerless to verify its entire archive. It is powerless because this verification presupposes the presence of primary sources, that is, manuscripts that do not raise doubts about authenticity. But what an immeasurable number of such manuscripts have been lost forever! And, as a result, the history of world literature, knowing about the falsification of many monuments, tries to forget about it.

Purpose of the study: to identify general patterns of the art of literary mystification.

Research objectives: find out as much data as possible about literary hoaxes; reveal the features of the art of literary hoaxes; describe the features of the art of literary hoaxes; prove that literary hoax is a synthetic art form; identify as many reasons as possible for the appearance of literary hoaxes; establish how a hoax is exposed; find as many literary hoaxes as possible; systematize the collected material.

When writing a research paper, the student used the following methods: 1) Complex analysis; 2) Imperial method; 3) Data processing method; 4) Method of induction; 5) Generalization method.

The work provides a justification for the relevance of the topic under study, put forward goals, set tasks, and formulate a hypothesis; the methods, object and subject of the research are determined; a review of the literature on the topic is given. The material in the work is presented in compliance with internal logic; there is a logical relationship between sections. The author's erudition in the area under consideration is traced. In my opinion, the work has no shortcomings. I have not found any errors or inaccuracies in it. I recommend that teachers of Russian language and literature use the material from this research work.

Reviewer: , teacher of Russian language and literature, Municipal Educational Institution “Rudnogorskaya Secondary School”

Pushkin A. “House in Kolomna” XVII verse.

Article by Vladimir Kozarovetsky “Time to collect stones I”.

Wikipedia site data.

Gililov about William Shakespeare, or the Mystery of the Great Phoenix (2nd edition). M.: Intl. Relationships, 2000.

Encyclopedia of pseudonyms of Russian poets.

Kozlov falsification: A manual for university teachers and students. 2nd ed. M.: Aspect Press, 1996.

"Alexander Pushkin. The Little Humpbacked Horse”, 3rd edition; M., ID KAZAROV, 2011.

Nesterov A. Shakespeare and the “language of birds” / Context 9. Literary and philosophical almanac. No. C.

Textual criticism of the text is a branch philological sciences, the study of works of writing and literature in order to reconstruct the history, critically examine and establish their texts, then used for further research, interpretation, publication and other purposes.

Origin, emergence; process of education, formation.

Biased or one-sided disclosure (interpretation) of the theme of the work.

“Poets who were not” Ilya Fonyakov.

Municipal Educational Budgetary Institution

« high school No. 54"

Orenburg

Research topic:

« Art literary hoaxes »

Ibragimova Olga

Place of study: student of class 8A

MOBU "Secondary School No. 54"

Orenburg

Supervisor:

Kalinina Irina Borisovna

teacher of Russian language

and literature

2015-2016 academic year year

1. Introduction.

1.1. Hoax - what is it?................................................. 3

1.2. Goal and tasks. ……………………………………. 4

1.3. Hypothesis…………………………………………...4

1.4. Object of study. ……………………………....4

1.5. Subject of study. ……………………………..4

1.6. Research methods. ……………………………...4

2. Main part.

2.1.1. Why literary hoaxhas not yet been describedas an independent form of art?......5

2.1.2.Literary hoax is a synthetic art form. .......6

General principles of the art of literary mystification.

2.2.1. Reasons for hoaxes. ………………………7

2.2.2. Special techniques of literary hoax...8

2.2.3. Exposing hoaxes…………………....9

Literary Hoaxes Revealed……….9

3. Conclusion.

4. List of used literature.

Introduction.

Hoax - what is it?

Once in a literature lesson, when we were studying life and creative path A.S. Pushkin, literature teacher Irina Borisovna, mentioning the poet’s uncle, Vasily Lvovich Pushkin, who at one time himself was famous poet, said that he was the owner of the manuscript of the monument of ancient Russian literature “The Tale of Igor’s Campaign,” which burned during the fire of Moscow in 1812, and that there is a version that the author of “The Tale of Igor’s Campaign” was Vasily Lvovich himself. During this period, there were many literary forgeries or literary hoaxes in Russian and European literature. And since hoaxes are interesting to me, I decided to continue working on this topic.

Mystification has always been, to one degree or another, characteristic of literature. Strictly speaking, what is a literary work if not an attempt to convince someone - a reader, a critic, oneself - of the existence of a reality invented by the writer? Therefore, it is not surprising that not only worlds invented by someone have appeared, but also fake works and invented writers. Everyone who was guided by the desire to attribute to the author a work that was not written by him stopped at creating the work and putting on it not their own names, but the name of the mentioned author. Others did not attempt to publish poems under their own name, but always signed the names of fictitious characters. Still others called their poems “translations” from foreign authors. Some authors went further, becoming “foreigners” writing in Russian. I wanted to learn more about the art of literary hoaxes. I turned to the Internet and found little-known and even unique publications, on the basis of which I wrote my scientific work.

Purpose my work is: to identify the general patterns of the art of literary hoax

Tasks:

Find out as much information as possible about literary hoaxes.

Reveal the features of the art of literary hoaxes.

Describe the features of the art of literary hoaxes.

Prove that literary hoax is a synthetic art form.

Identify as many reasons as possible for the emergence of literary hoaxes.

Determine how a hoax is exposed.

Find as many literary hoaxes as possible.

Systematize the collected material.

Research hypothesis: The art of literary hoaxes is a synthetic art that has existed for a very long time and has its own laws and canons.

Object of study: Literary hoaxes.

Subject of study: Literary hoaxes as art.

Research methods:

Complex analysis - consideration of an object from different points of view.

The imperial method is the collection of data and information about the subject of research.

Data processing method.

The induction method is a method in which a general conclusion is built on the basis of partial premises

The generalization method is a method in which the general properties of an object are established.

Main part.

Literary hoax as art.

Why is literary hoax still not described as an independent art form?

“Literary hoaxes have been around as long as literature itself.” Almost every article about literary hoaxes begins with this phrase, and it is impossible to disagree with it. As soon as books began to be published, writers appeared who wanted to play pranks on their contemporaries, and more often, on their descendants. There seems to be some kind of attractive force in “fooling” as many people as possible at the same time. "Reader, … laugh: the height of earthly pleasures, laughing at everyone from around the corner"- Pushkin wrote frankly. Of course, the reasons that pushed writers to commit hoaxes were, as a rule, more serious and deeper, but the love of humor cannot be discounted.

And here the question involuntarily comes to mind: why is literary mystification, having existed for thousands of years, still not described as an independent form of art (after all, for example, the art of war has been described - and quite thoroughly - which, like the art of mystification, is largely relies on intuition)? Most articles only tell the stories of one or another long-solved literary hoax; at best, they propose a classification based on who the literary work is attributed to: a writer, a historical figure, or a fictional author. Meanwhile, literary hoaxes have their own general limitations and special possibilities, their own rules and their own techniques - their own laws of the genre. Suffice it to say that in a literary hoax the work of art itself becomes an enlarged sign with which the hoaxer operates in life - in the game, and the general opinion about this work of art is the same subject of the game as the work itself. In other words, in the “table of ranks” of this game, literary hoax is higher than the work of art itself. And this game has its own masters and losers, its own masters and even geniuses. Of course, literature is not the only art form that has misled many people; There have been hoaxers in painting and music, in archeology and cinema, and even in science. But my interests are primarily related to literature.

Literary hoax is a synthetic art form.

Is literary hoax a synthetic art form? First you need to find out what a synthetic art form is. Synthetic arts are those types of artistic creativity that represent an organic fusion or a relatively free combination of different types of arts, forming a qualitatively new and unified aesthetic whole. In fact, if in order to write a significant literary work, talent and a pen (quill pen, pencil, typewriter, computer keyboard) are enough, then the hoaxer must also have the ability to mislead a large number of people outside the very process of creating a literary work . If a writer masters the art of playing in the Word, then the hoaxer must also possess the art of playing in Life, since literary hoax is a collective game played simultaneously in both life and literature. Moreover, not only those who take the hoax offered by him at face value, but also those who are “on the side” of the hoaxer, initiated into the hoax, involuntarily take part in the game. There may be few of them, one or two people, or, as in Shakespeare’s hoax, dozens, but, with rare exceptions, they always take place.

Lann E. L. "Literary mystification."

Dmitriev V.G. Those who hid their name: From the history of pseudonyms and anonyms / Dmitriev, Valentin Grigorievich, Dmitriev, V.G. - M.: Nauka, 1970. - 255s

"Alexander Pushkin. The Little Humpbacked Horse”, 3rd edition; M., ID KAZAROV, 2011

Gililov I.M. The Game of William Shakespeare, or the Mystery of the Great Phoenix (2nd edition). M.: Intl. Relationships, 2000.

Encyclopedia of pseudonyms of Russian poets.

Kozlov V.P. Secrets of falsification: A manual for university teachers and students. 2nd ed. M.: Aspect Press, 1996.

REVIEW

For the research work of Ekaterina Yurievna Parilova, a 10th grade student at the Rudnogorsk Secondary School.

Topic: “The art of literary hoaxes.”

Ekaterina Parilova's work is dedicated to the art of literary hoaxes.

Purpose of the study: to identify general patterns of the art of literary mystification.

When writing a research paper, the student used the following methods: 1) Complex analysis; 2) Imperial method; 3) Data processing method; 4) Method of induction; 5) Generalization method.

Reviewer: Tatyana Aleksandrovna Ziatdinova, teacher of Russian language and literature, Municipal Educational Institution “Rudnogorskaya Secondary School”

textual criticism of a text is a branch of philological sciences that studies works of writing and literature in order to restore history, critically verify and establish their texts, which are then used for further research, interpretation, publication and other purposes.

— years of the 19th century.

A fictional “portrait” of Prutkov, created by Lev Zhemchuzhnikov, Alexander Beideman and Lev Lagorio

The authors of this hoax are also well known: poets Alexey Tolstoy (the largest contribution in quantitative terms), brothers Alexey, Vladimir and Alexander Zhemchuzhnikov. They approached the implementation of their idea seriously, even created a detailed biography of their hero, from which we learn that Kozma Petrovich Prutkov (1803 -1863) spent his entire life, except for childhood and early adolescence, in public service: first in the military department, and then in civil. He had an estate in the village “Pustynka” near the Sablino railway station, etc.

Prutkov’s aphorisms became the most popular:

If you have a fountain, shut it up; give the fountain a rest.

If you want to be happy, be it.

Drive love through the door, it will fly out the window, etc.

Prutkov’s poems turned out to be no less interesting.

My portrait

When you meet a person in the crowd,

Which is naked;*

Whose forehead is darker than the foggy Kazbek,

The step is uneven;

Whose hair is raised in disorder;

Who, crying out,

Always trembling in a nervous fit, -

Know: it's me!

Whom they sneer with ever-new anger,

From generation to generation;

From whom the crowd wears his laurel crown

Vomits madly;

Who doesn’t bow his flexible back to anyone,

Know: it's me!..

There is a calm smile on my lips,

There's a snake in my chest!

(* Option: “Which tailcoat is he wearing.” (Note by K. Prutkov

First publication - in Sovremennik, 1860, No. 3)
The experience of this literary hoax turned out to be so successful that the works of Kozma Prutkov are still published, which cannot be said about another literary hoax, whose name is Charubina de Gabriak. And how amazingly beautiful it all started!

Anastasia Tsvetaeva in her “Memoirs” described this story as follows: “Her name was Elizaveta Ivanovna Dmitrieva. She was a teacher. Very modest, ugly, homely. Max ( poet Maximilian Voloshin - Approx. V.G.) became interested in her poems, invented a way for her to become famous, created a myth about (Spanish woman?) Charubina de Gabriac, and in the radiance of this name, foreignness, imaginary beauty, her poems rose over Russia - like a new moon. And then, then people desecrated everything, destroyed everything, and she no longer began to write poetry. It was a cruel day when - at the station - a group of poets was waiting for a beautiful poetess with a fiery name. An inconspicuous little woman came out of the carriage - and one of those waiting, a poet! - behaved unworthily, impermissibly. Max challenged him to a duel."

Another touch to her portrait - until the age of seven, Dmitrieva suffered from consumption, was bedridden, and remained lame for the rest of her life.

Elizaveta Dmitrieva spent the summer of 1909 in Koktebel, at Voloshin’s dacha, where the joint idea of a literary hoax was born, the sonorous pseudonym Cherubina de Gabriak and the literary mask of a mysterious Catholic beauty were invented.

Cherubina de Gabriac's success was brief and dizzying. And it’s not surprising, because she actually wrote wonderful poetry.

“In the deep furrows of the palm...”

In the deep grooves of the palm

I read life's letters:

They contain the path to the Mystic Crown

And the depths of dead flesh.

In the ring of ominous Saturn

Love is intertwined with my destiny...

Which lot will the urn fall?

Which arrow will ignite blood?

Will it fall like scarlet dew?

Having burned your lips with earthly fire?

Or it will lie as a white stripe

Under the sign of the Rose and Cross?

But she was soon exposed. Cherubina’s exposure took place at the end of 1909. The poet Mikhail Kuzmin was the first to learn the truth, who managed to find out Dmitrieva’s phone number. The translator von Gunther got Dmitrieva to confess to deception, and the secret became known in the editorial office of Apollo, where it was constantly published. And then, as we already know, Gumilyov’s offensive attack against Dmitrieva followed, which led to Voloshin challenging Gumilyov to a duel.

All this turned into a severe creative crisis for the poetess.

Elizaveta Dmitrieva (1887-1928), poetess, playwright, translator, still wrote poetry after this ill-fated story, but she never managed to achieve fame under her own name.

There is another case in the history of literature that can be called differently - either a hoax or plagiarism. This started strange story in Georgia, was associated with the name of the Azerbaijani poet Mirza Shafi Vazekh (or -), and ended in distant Germany.

In 1844 in Tiflis (Tbilisi), at that time it was the capital of the Tiflis province of the Great Russian Empire, the German writer and Orientalist Friedrich Bodenstedt arrived, who soon met Mirza Shafi Vazekh, who worked as a teacher here.

Returning to Germany, in 1850 Bodenstedt published a voluminous book “1001 days in the East” (“Tausend und ein Tag im Orient”), part of which is dedicated to Mirza Shafi Vazeh. And in 1851, the book “Songs of Mirza-Shafi” (“Die Lieder des Mirza-Schaffy”) was published, translated by F. Bodenstedt. The book unexpectedly became extremely popular. So popular that it was reprinted annually and translated into many European languages.

The most interesting thing began to happen then. Twenty years after the death of Mirza Shafi, Vazeha Bodenstedt published the book “From the Legacy of Mirza Shafi,” in which he announced that the songs of Mirza Shafi were not translations of the poems of the Azerbaijani poet, who wrote other than his own native language also in Persian, and his, Friedrich Bodenstedt’s, his own works.

Let's finish our short essay on the most famous literary hoaxes tragic story about a story called "Emile Azhar". Hoax. In 1974, writer Emile Azhar published his debut novel, “Darling.” Critics receive it enthusiastically, and then the author who writes under this pseudonym is announced - this is the young writer Paul Pavlovich, nephew famous writer Romain Gary (1914-1980). His second novel, The Whole Life Ahead, received the Prix Goncourt, France's top literary award. In total, Azhar has four novels coming out.

It is impossible not to say at least a few words about Gary himself, how interesting and amazing his life was. Real name - Roman Katsev) was born in Vilna in the then Russian Empire. There was a legend that his real father was Ivan Mozzhukhin, a Russian silent film star. In 1928, mother and son moved to France, to Nice. Roman studied law in Aix-en-Provence and Paris. He also studied flying to become a military pilot. During the war he fought in Europe and Africa. After the war he was in the diplomatic service. His first novel was published in 1945. He soon becomes one of the most prolific and talented French writers. But let's return to the topic of our story. Namely, literary hoaxes.

However, critics soon became suspicious. Some of them considered the same Gary to be the author of the novels. Some, but by no means all. The fact is that by the mid-1970s, Romain Gary, winner of the Goncourt Prize, was considered worn out and exhausted.

Everything finally became clear after the publication in 1981 of the essay “The Life and Death of Emile Azhar,” which Gary wrote a few days before his death.

The reason for the deep mental crisis that led Gary to suicide was that in the end all the glory went not to the real Gary, but to the fictional Azhar. Although, in essence, Romain Gary is the only writer who received the Goncourt Prize twice - in 1956 under the name of Romain Gary for the novel “The Roots of Heaven” and in 1975 under the name of Emile Azhar for the novel “The Whole Life Ahead”... As time has shown, Emile’s life Azhara turned out to be short-lived.