songs, first published in1765. This is thebook, cient EnglishPoetry",an anthologyofballadsand Percy, knownastheauthor of"ReliquesAn the greatestinfluenceon thewriterwasThomas was Macpherson’s“Ossian” [8,p.15]. mystification, themoststriking example of which time, aswellthephenomenonofpre-romantic at the which begantoemerge the MiddleAges, to theromanticperceptionof "fully corresponded his behalf.Themystery,authoredbyChatterton, on and wrotepoems century, lived inthefifteenth ing thepoet-monkThomasRowley,whoallegedly invent English poet,gainedpopularityby century resentation ofhiminhistory,biographyandart. system orfieldbutexpandsandturnstobearep This representationdoesnotlimititselftojustone terton, "thegreatestplagiaristorthepoet." far fromreachingadefiniteconclusion. The debatehaslongbeenestablishedanditisstill unavoidably aproblematicandquestionabletask. Far beitfrommetogiveadefinitionofliterature, lated tothestatusandnatureofliterature itself. in thearticle. ation of the presentLondon society weare offered pears tobeofthegreatestrelevanceinrecre method wewillstudyinmoredetaillateron mistifications. Keywords: Chatterton,mystification,forgery,problematization,parody. techniques whichresultindemystifyingthetext’smeaning-grantingprocess;hence,problematisationofreality. rature regardingtheoriesofforgeryinXVIIIcentury.Italsohighlightsthenovel’snarrativestrategies and This articlediscusseshowChatterton’smediaevalmystificationproblematisestherepresentationalviewof lite T "Many of Chatterton's scholars believethat "Many ofChatterton's Thomas Chatterton(1752–1770), the fourteenth The focusofrepresentation The questionofrepresentation ofthisgreat plagiarist, The "spectre" whose UDC 821.111–31’06.09 Chatterton biographyandhismediaeval he aimofthisarticle THOMAS CHATTERTON.MEDIAEVALMYSTIFICATION hereisThomasChat- isthestudyof isinherentlyre Dnipro O.HoncharNationalUniversity Timofieieva V.S. , ap------Thomas Rowley. Initially,Chatterton's audience work ofa fifteenth-century Bristolmonkandpoet, the were he claimed which manuscript poems It wasonsuchscrapsthat hebeganproducing abled himtoobtainscraps ofancientparchment. en church whichcontained historical documents the Romanticmovementannexedhim. later and ageneration and published, saved were novelist GeorgeMeredithasamodel.)Hisworks of theyouth,painterengaged thefuture ness a fraud.Withoutaccesstothesolesurvivinglike the coverofboththesebooks–turnsouttobe hanging in the Tate Gallery – and reproduced on the famousportraitofhimnewlydead enjoyed, dead thenextmorning.(Inanironyhemighthave boy swallowedarseniconenightandwasfound even thisstrategypaid. Despairing andbroke,the hero, anti-royalistreformerJohnWilkes.Butnot in themannerofhis and pornographicscreeds nalism and pamphleteering, turning out satirical a livingbyhispen.InLondonhestoopedtojour lible patronstolead him tothinkhemight make It alsofetchedhimjustenoughincomefromgul dow itsperpetratorwiththepatrimonyhelacked. to en canard served to Kaplan,this According of thatsamechurch. the actualbenefactor ge, Chatterton lineage,andlionizeSirWilliamCanyn- ems glorifyBristol'spast,considerablyelevatethe the po der Chattertonhadpilferedfromchurch, dieval sourcesandinditedonparchmenttheel Chatterton's pasticheofChaucerandotherme- ate amonkThomasRowley[2,p.188]. Couched in most likely,inspiredtheyoungChattertontocre- Chatterton's accesstoa chest inhisparish © Timofieieva V.S., 2018 ------­

ФІЛОЛОГІЧНІ НАУКИ 354 «Молодий вчений» • № 4 (56) • квітень, 2018 р. was limited to local antiquaries who were thrilled his supporters, however, and it was not until the to learn of the existence of this early Bristol poet. end of the nineteenth century that the controversy Soon, however, Chatterton became more ambi- over Chatterton ended and there was general ac- tious. He sent samples of his work, including some ceptance that he was the true author of the Row- of the Rowley poems, to Town and Country Mag- ley poems and the fifteenth-century Bristol monk azine. In an effort to gain patronage from Horace was merely his invention. Walpole, whose gothic novel The Castle of Otranto Throughout the controversy, Chatterton's (1765) had claimed to be a translation of a lost harshest critics and strongest doubters nearly all manuscript, Chatterton sent Walpole samples of held the opinion that he was a poet of great talent. his Rowley poems. But after initially encouraging He became an icon to the Romantic poets. Keats the young prodigy, Walpole subsequently changed dedicated "Endymion" to Chatterton's memory and his position and pronounced the Rowley poems Wordsworth dubbed him "the marvelous boy." Fas- forgeries, denouncing Chatterton in the process. cination with Chatterton continues today and he has Unlike Semyel Johnson, who for no second be- even been the subject of a novel, by Peter Ackroyd. lieved in the authenticity of Rowley's poetry, could Like James Macpherson's Ossian poems, Chatter- not help but wonder how "this puppy could write ton's Rowley poetry continues to be read and stud- like this [7, p. 30], Percy himself considered the ied as Chatterton's own imaginative creation. works of Chatterton as "originals, mutilated by an However, his posthumous glory, the attention of ignorant boy (originals, mutilated by an Ignorant romantics and the creation of the myth of a ro- Boy) [5, p. 202]. "But, at least as it was, the creation mantic poet Chatterton was made by "Rowleian" of forgery helped to manifest the genius of fabrica- texts. Written by Chatterton, he mislead many tion. In addition to pseudo-medieval poetry, Chat- prominent people of that time and gave impetus terton had time to write and a large number of to a long debate called "The Rowley Controversy." other works that were distinguished by their high Discussions around Chatterton and his work be- poetic qualities. At the age of 17, the poet com- gan almost immediately after his death and have mitted suicide for some unknown reason, taking not stopped until now. The "Rowley Dispute" led a mixture of arsenic and opium. The volume of the to the fact that for many years Chatterton's rep- creative heritage of Chatterton is so great that the utation fluctuated between a "fraudulent genius" full collection of works of the seventeen-year-old and a "honest ignoramus" [3, p. 229]. "The paradox poet occupies almost 700 pages (the Oxford edition is that only Chatterton-the author of fakes could of 1971), and this cannot but cause admiration. later become such a popular romantic hero. This Samuel Taylor Coleridge wrote a monody on fake is a false text, but in this case, at least, its au- Chatterton; Robert Southey edited his poems thor must be genuine. However, for several years (1803); John Keats dedicated Endymion (1817) to after Chatterson's death, the personality was "in- him; in “Adonais” (1821) Percy Bysshe Shelley visible". Only 7 years later, in 1777, Thomas­ Tyr- ranks Chatterton with Sir Philip Sidney as “inher- whitt felt obliged to provide readers with at least itors of unfulfilled renown”: information-a note on "the main circumstances Chatterton of his (Chatterton) short life." More complete bi- Rose pale, – his solemn agony had not ographical data about Chatterton appeared three Yet faded from him... years later in the form of a retreat in the epistolary Oblivion as they rose shrank like a thing re- novel by Gerbert Croft, "Love and Madness", al- proved. Alfred de Vigny, Robert Browning, Dante though this version of life cannot be called official. Gabriel Rossetti, and Francis Thompson wrote The full biography was published only in 1789, about him; George Meredith posed for Henry Wal- twenty years after the death of the poet, in the lis’s painting of his death. fourth volume the publication of "British biogra- Although one of the Rowley poems was pub- phies" (Biographia Britannica), performed by An- lished in Town and Country Magazine in May, drew Kippis. However, this biography was not in- 1769–making it the only Rowley poetry published cluded in the main text, but in the "Appendix to during Chatterton's lifetime–after his rebuke by the letter C", and in volume was not too much note. Walpole, Chatterton turned his pen to political sat- In parallel, the aforementioned "The Rowley Dis- ire and other writing he could sell to periodicals, pute", which was devoted to countless numbers of usually writing under pseudonyms. Chatterton various articles and treatises, gained momentum. achieved moderate success through his writing, Most of the researchers of Chatterton's crea- and developed a reputation of some note in lit- tivity at that time treated himself as a secondary erary circles. Despite his achievements, however, proof, no more. This explains almost complete lack Chatterton led the life of a pauper. He became of interest in Chatterton's biography at that time. severely depressed and experienced other health But the "Controversy" did its job and, in the end, and financial problems which he could not over- it was it who awakened from the romantics the come. In August 1770, Chatterton committed su- attention to the personality of Chatterton, the cir- icide by swallowing poison and was dead by the cumstances of his life and creativity. In addition age of seventeen [3, p. 300]. to the above-mentioned reasons, the emergence of ФІЛОЛОГІЧНІ НАУКИ The first published collection of the Rowley po- interest in the personality of Chatterton is large- ems appeared in 1777, seven years after Chatter- ly due to the central aesthetic issues of the late ton's death. It was greeted with both enthusiasm eighteenth and early nineteenth centuries: wheth- and skepticism. The poet Thomas Warton, in par- er the artistic gift is congenital or acquired; what ticular, questioned the authenticity of the Row- definition can give poetic personality and wheth- ley poems and pronounced them forgeries in his er it is the result of innate originality or study History of English Poetry (1778). Chatterton had within the literary tradition; how relations with 6. 5. 4. 3. 2. 1. References: floweret" and"childofsorrow"Keats,"spiritblest" the "marvelousboy"ofWordsworth,"ahalfblown of transformationsintheliterature.Chattertonis death, Chatterton'sfigurehasundergoneavariety cal andsentimental[3,p.248]”.For20yearsafter needs ofthebodyandspiritcombinedsatiri the lateeighteenthcentury,whichformulated that lastedintheframeworkofworldoutbreak He foundhisplaceinitas“partofthedialogue a romanticcultureastheonlymonolithicmyth. be amistaketoassumethatChattertonentered ception wasthesarcasticLordByron.Butitwould considered allromancetobehisduty.Theonlyex who broughtsuicidebypersecutorsfromliterature, as prophetic.TosupportthemythofChatterton, dressed toGoreesWalpoleandperceivedbythem mantics andthefamoussonnetofChatterton,ad image in"Adonis".Notremainedunnoticedbyro devoted Chatterton"Endymion",Shelleyusedhis also becamethesubjectof"Earl"Coleridge,Keats poet callsChatterton"marvelousboy".Hisfate Poem "ResolutionandIndependence",wherethe ly diedpoetboy.ThemostfamousisWordsworth's "romantics", consideredhisdutytosingpremature 5]. Virtuallyeachpoetbelongingtothecategoryof he "inspiredmoreworksthanhimselfwrote[4,p. writers andpoets.Hisuniquenessliesinthefactthat literature, atthesametime,hewaspopularamong were notactuallyinterestedinseriousscholarsof great authoroffakes[6,p.211–212]. the of the life of "forgery" of aromantic gence The resultwasthemostparadoxical–emer sire toearnmoremoney)andmostofhiswriting. facts ofChatterton'slife(suchashisintensede gic image,romanticpoetshadtoignorethereal oped publictaste.Inordertocreatesucha nostal patrons andpublishers,aswelltheunderdevel This povertywastheresult of an image from the as theprobablecauseofhisearlydeath. mentioned cational factors. Chatterton'smarginal poverty was ality whosetalentwastouchedbysocialandedu was transformedintoaparadigmofpoeticperson by Rowley, not anambitiousauthoroffakepoems of aromanticgenius.Aforgottenpoet-outsider, premature death, becametheprivileged prototype obliged to terton, thepoet,byhisveryexistence by anymaterialambitions.This"nostalgic"Chat whose tragicdevotiontohisartwasnottainted a uniquecreativeperson of as theidealmodel ton romantic poetscultivatedthefigureofChatter state whatatruepoetis, clearly to desire In his to theliterarybiographythatexistedattime. attitude was the literature. Aparticularproblem the patron,publishersand the public influence the Bridget Keegan//Thomas Chatterton andRomantic.–London:Macmillan,1999. – P.210–227. Identity andtheForging ofaSelf-TaughtTradition/ of Poetic Fictions Keegan Bridget.NostalgicChatterton: Romantic Culture.–London: Macmillan,1999.–P.188–209. Groom Nick.Fragments,Reliques &MSS:ChattertonandPersy/NickGroom // ThomasChattertonand 1999. –P.5–11. Macmillan, Groom Nick.Introduction/ NickGroom//ThomasChattertonandRomanticCulture. –London: Thomas ChattertonandRomantic Culture.–London:Macmillan,1999.P.228–252. «Monody» /DavidFrairer// Afterlife, 1770–1794: A ContextforColeridge's Poetic Fairer David.Chatterton's Ackroyd Peter.Chatterrton:[anovel]/PeterAckroyd. –London:HamishHamilton,1989.234p. Ankersmit F.(1996).CanWeExperiencethePast?KVHAA Konferenser37,p.47–76. For many years, Chatterton and his creativity For manyyears,Chattertonandhiscreativity ------

Horace Walpolealsodidnotfindanything"fragile" ber 1770,onlytwomonthsafterdeathofthepoet. the journal Town andCountryMagazine in Octo Peru's friendChatterton,ThomasCary,printedin such a"courageous"imageistheelegybelongingto works [8,p.96–100].Oneofthestrikingproofs 1770, Chatterton earnedenoughmoneytosellhis the timeofdeathinAugust by prevailing opinion, in a journalistic career.Inaddition,contrarytothe in Londonandmadehisfirst,butquitesure,steps dent ata lawyer's office.In1770, he already lived be avisitortotheschoolforpoor,andstu all, atthetimeofhisdeath,hehaslongceasedto in linewithwhatweknowaboutthepoet.After looked mucholderthanhisage.Thisimageismore form ofacourageousyoungmanwhogrewupand in theliterature,Chattertonoftenappeared in the dominance ofthesecondandthird[1,p.240]. satirical, lyricalanddramatic,withthegradual of Chattertonformedimmediatelyafterhisdeath: lights threetypesofpoeticperceptionthefigures as aContextforthe"Monarchy"ofColeridge,high "The DeathfulPoeticLifeofChatterton",1770–1794 ploited bywriters.DavidFairer,inhisarticle the future,thisimagewasnotonlyoneex [3, p.232]appearedfarfromimmediately.Andin of Wilde,this"gentlespiritthepoeticworld" Coleridge, (pontemaudit)deVigny,"Pure artist" nored bysocietyandactuallykilledpride. a youngartist,forgottenbythegovernment,ig terton-victim inapoliticalstruggle.Thefateof poets werereadytousetheimageofChat Some Revolution model. the French of events the tics. Itwastoostrongandevenhorrificinlightof ture andcourageous,stronglydidnotfitroman ton-satirist, withwell-formedpoliticalviews,ma of Chatterton".However,theimageChatter mature satiristcreatesinhisarticle1789 "The Life man [3,p.234].Theimage of a young, butquite so helookedlikeagrown was stillavirginboy, really was,shewouldneverhavethoughtthathe man hired,thatifshedidnotknowhowmuchhe owner ofonetheapartments,whichyoung es. So,hegivesthememoriesofniece thetic" byChattertonasevidenceofeyewitness image created byhimas"courageousand sympa Croft in"LoveandMadness"(1780) reinforces the his descriptionisprobablystillpresent.SirHerbert the truthin part of but some disappointment, ton's a Chatter was undoubtedlyinterestedincreating sal geniusthatcouldrisetounknownheights,"he after hisdeath,Walpole said that he was"acolos young man",dangerousandaggressive.Although in Chatterton.HedescribesChattertonas"brazen In theearlyyearsofhispost-mortemexistence 355 ------

ФІЛОЛОГІЧНІ НАУКИ 356 «Молодий вчений» • № 4 (56) • квітень, 2018 р. 7. Rawson Claude. Unparodying and Forgery: The Augustan Chatterton / Claude Rawson // Thomas Chatterton and Romantic. – London: Macmillan, 1999. – P. 15–31. 8. Shiller Dana. The Redemptive Past in the Neo-Victorian Novel / Dana Shiller // Studies in the Novel (SNNTS).

Тімофєєва В.С. Дніпровський національний університет імені Олеся Гончара

ТОМАС ЧАТТЕРТОН. СЕРЕДНЬОВІЧНА МІСТИФІКАЦІЯ

Анотація В цій статті обговорюється, як середньовічна мистифікація Чаттертона піднімає питання про репрезен- тативний погляд на літературу щодо теоретичних підроблень у XVIII столітті. Така проекція дозволяє простежити наративну стратегію та авторські принципи оповіді, які обумовлюють процес демістифіка- ції історії, про яку йдеться, а з тим – проблематизацію реальності. Ключові слова: Чаттертон, містифікація, підробка, проблематизація, пародія.

Тимофеева В.С. Днепровский национальный университет имени Олеся Гончара

ТОМАС ЧАТТЕРТОН. СРЕДНЕВЕКОВАЯ МИСТИФИКАЦИЯ

Аннотация В этой статье обсуждается, как средневековая мистификация Чаттертона поднимает вопрос о репре- зентативном взгляде на литературу касательно теорий подделки в XVIII веке. Такая проекция по- зволяет проследить нарративную стратегию и авторские принципы повествования, которые обуслов- ливают процесс демистификации истории, о которой идет речь, а вместе с этим – проблематизацию реальности. Ключевые слова: Чаттертон, мистификация, подделка, проблематизация, пародия. ФІЛОЛОГІЧНІ НАУКИ