<p></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-family:Helvetica, sans-serif;font-size:11.5pt;">8vo. f. [1] (blank), pp. xii, 257, [1] (blank). Original printed boards, boxed in protective case. Contains engraved frontispiece portrait of Hyacinthe Maglanonvić.</span></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-family:Helvetica, sans-serif;font-size:11.5pt;"><br /></span></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-family:Helvetica, sans-serif;font-size:11.5pt;">A pastiche of translated Serbo-Croatian folk ballads by one ‘Hyacinthe Maglanonvić’, composed by Prosper Mérimée, with the title being an anagram of ‘Gazul,’ that fooled Goethe, Pushkin, Lermontov, and Adam Mickiević into believing that the pieces were literal translations of Slavic songs. Mickiević was later to forge Pushkin, incidentally, and fool Mérimée therewith. Goethe trustingly reprinted nearly all of La Guzla, and Pushkin translated many of the poems backward into Russian in his Songs of the Western Slavs (1834), which also contains his own imitations/inventions of such largely imaginary verse. See J.-F. Jeandillou, Supercheries littéraires: la vie et l’oeuvre des auteurs supposés. Nouvelle édition revue et augmentée; préface de Michel Arrivé. Geneva, 2001, pp. 172ff.</span><br /></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-size:11.5pt;font-family:Helvetica, sans-serif;"><br /></span></p><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-size:11.5pt;font-family:Helvetica, sans-serif;"><span style="font-size:11.5pt;font-family:Helvetica, sans-serif;"><a href="https://catalyst.library.jhu.edu/catalog/bib_4102986" rel="ugc nofollow">Click here to view the Johns Hopkins University catalog record.</a></span></span></p>

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