The work of A. N. Tolstoy "The Hyperboloid of Engineer Garin" is known to many who have found the extracurricular reading program in the Soviet Union. At that time, the "adult" version of this work was specially adapted into a special book for senior school age. For younger children, another work by this author was intended - "The Adventures of Buratino." And both of these works also existed in film versions, and both even more than once. Actually, the whole story below will be about the first to some extent.
But at the beginning, a few words about the author of these works, most famous in the Russian-speaking segment of readers.
Alexey Nikolaevich Tolstoy (January 10, 1883 (* let's pay attention to the date), Nikolaevsk, Samara province - February 23, 1945, Moscow) - a famous Soviet writer … etc., but now we will be interested in something completely different from what is written in Wikipedia … What else do we know about this person? We must pay tribute, all critics unanimously say that in Soviet Russia the first two decades, Bulgakov and Tolstoy wrote prose works best of all, and they were remembered for this through the years. There was nothing to argue with, there were enough writers at that time, but they all disappeared into history and sank into oblivion along with the Soviet Union.
Much is also known about Tolstoy's personality. From what is not written about in official sources, it is known that he was a great lover of drinking, “walking on swans” and in some of his works he used foul language (but not on the same scale as his contemporary Yesenin did). He called himself a workers 'and peasants' count. At the same time, many of his contemporaries, moreover of noble birth, assured that Tolstoy had nothing to do with the noble family and until the age of 16 bore a completely different surname. Perhaps it was so, but there are other interesting facts in his biography. For example, at the beginning of the 20th century, Tolstoy studied at the St. Petersburg Institute of Technology, but abandoned his studies before defending his diploma and went into writing. In 1918-1923, he, like many, was in exile,but at the invitation of Gorky himself, he returned to Russia and lived there until his death, not being repressed, but rather the opposite, with Stalin he was in good standing. What caused such a good attitude?
The answer to this question is quite simple. Tolstoy began his famous work "Walking through the agony" for health (singing hatred of Bolshevism), and finished for the repose (exactly the opposite). In other words, he successfully adapted to new trends and realized his talent to the fullest. He also remained known to his contemporaries for the fact that he very often changed his works for the sake of political conjuncture, and he could do this several times in different directions. For this many writers did not like him. The famous Mandelstam publicly slapped Tolstoy in the face (the motives are still unknown), but for some unknown reason he was soon exiled. But … back to our topic.
As you know, the story about Buratino was copied by the worker and peasant count from a foreign colleague, slightly changing the names of the characters and the storyline. At a time when there were no 21st century capabilities in terms of transferring and storing information, as well as checking for plagiarism, in general, he practically did not risk anything. Well, it is unlikely that he himself would have come up with a story about engineer Garin. Only where could he get it? There were no foreign analogues of such a work. The fact that Tolstoy studied at a technological institute, most likely, does not say anything, he could have “picked up the vershoks” there, but he hardly managed to come up with a concept of such a device as a hyperboloid. In addition, many critics noted Tolstoy as a master of description, but not a master of philosophy in their works. Another interesting point - he officially wrote this work in the period 1925-1927, already in the USSR. In the country there was devastation, hunger and the Bolshevik revelry. For what audience did he do it and why? Moreover, this work contained a wonderful mix of faces and events, with a geographical scope from Siberia to Western Europe and with an admixture of popular science essays. If he did his previous work "Aelita" explicitly for agitation purposes and on state order, then what happened in this case? Has the muse visited?
The muse visited this author, it should be noted, in a very peculiar way. This writer wrote his works in a very easy-to-understand language, really very high-quality in its descriptive part. If only it were not for these strange phrases - "Dog-man's friend" ©, which are found in places in his works and which you begin to pay attention only now, in the 21st century.
These are not fairy tales for children, but a quote from the story "The Old Tower" about the Nevyansk tower, the clock on it and the dam around the plant of the same name in the Urals, where the author had the honor to visit in practice from the Institute of Technology. What event does he mention in passing here? The story was first published in the magazine "Niva" in 1908. I wonder if the author came up with this paragraph himself or retold someone's recent memories? However, the Nevyanskaya Tower deserves a separate story. Or here's another:
This is already from the work "The Hyperboloid of Engineer Garin". Who does not know - the Battle of Sedan decided the outcome of the Franco-Prussian War of 1870. What second war are we talking about, where millions of corpses were in the swamp? This is not at all like the First World War, and the time interval between them is too large. We will consider this the author's fantasies, but nevertheless it is known for certain that all his works were significantly reduced by him in the 30s of the last century. Many of these writer's thoughts have gone forever. Modern writers sometimes give away their finds from the works of Tolstoy, but this is more the exception than the rule. Did the content of such insignificant episodes about some unknown big war or catastrophe run counter to the general line of the Party? Obviously yes.
As you know, for the first time the first book of the fantastic novel "The Hyperboloid of Engineer Garin" was first published in the magazine "Krasnaya Nov" in 1925. This book was called "Pyramids of Coal". Ironically, it was not possible to find Krasnaya Nov 'magazines with this publication. They simply are not in the public domain, for what reason it is difficult to say, we will assume that this is an annoying accident. Next, let's see a quote from Wikipedia:
As you can see, everything is in the best traditions - changing the ending to suit the requirements of the time. And it is quite unusual that a writer in 1924 planned to describe the war and the European revolution after 1930. Or maybe the roadmap for the development of Europe was already known at that time to a narrow circle, and Tolstoy, ironically, became its mouthpiece?
Indeed, Garin the dictator using his invention for world domination looks quite attractive. The conquest of the whole world with such weapons does not look fantastic at all. Well, and as it should be according to the rules of socialist realism, Revkom captures the island along with the hyperboloid, Garin disappears, and so on. Was the third book not written? History is silent.
According to some unverified data, the idea of the hyperboloid itself arose in Tolstoy thanks to the little-known works of the Russian scientist Mikhail Mikhailovich Filippov, who died under mysterious circumstances in 1903.
Let's leave this letter without comment, especially at the end, where there is a link to explosives and poisonous substances. It is difficult to say whether it is genuine, let's just take it as information. One more detail - no one has ever seen the drawings of this very weapon from Filippov, even the agents of the tsarist secret police who conducted the search. Where could Tolstoy get the very drawings of the hyperboloid that were cited in all Soviet publications and whose authorship was attributed to Tolstoy himself?
People who understand physics immediately confirm the amateurish technical level of the author of this figure. For example, in this diagram there are porcelain cups for laying those same pyramids (there are 12 of them, but not 7 and not 19, why?), But how did they fit there and what were they supported on? According to the text, Garin simply laid the pyramids in these places, without fixing, and if so, then they would simply fall. It is unlikely that Tolstoy, who almost graduated from a technological institute, would have made such a blunder. You can list other imperfections of this design, but let's not waste time.
As you know, Garin designed his hyperboloid in order to use it to make underground mines deep into the earth in an accelerated and simplified way. The ray of its hyperboloid with its energy simply cut the soil with complete splitting of the rock at its atomic level. The idea in engineering terms is very bold then and now, and looks fantastic. Only quite recently this … was not a fantasy.
These are tunnels, which are usually called ancient and they are located abroad. But there are a lot of such tunnels all over the world, and even in Russia they are. One Medveditskaya ridge is worth something. And in all large ancient cities such tunnels are present. There were even rumors that the first metro lines were launched in such tunnels. Since "ancient" times we got such tunnels in different forms - some with brick walls, some without. The perfection of their tracing in all planes states that modern surveyors are not able to perform such work. Did the prototype of Garin in some 19th century descend with his hyperboloid and made tunnels there? Of course not. All this was done by ordinary people who do not have supernatural abilities and have equipment, the remains of which are under everyone's nose. Don't believe me? Here, in fact,and this equipment:
well, or the Indian analogue:
Of course, the topic of guns in research is not at all new, only there are a great many versions of their real work. Well, we will try to understand how Tolstoy transformed them into hyperboloids.
As everyone knows, the cannons fired cannonballs. And with the appearance of such copies at the auction of antiques:
you begin to realize that something is wrong here. The firing hole here was obviously made quite recently, and the gun itself was called a signal cannon. In some place, there were still photos of guns, in which the barrel exit was made in an oval or even hexagonal shape. What nuclei can we talk about here? To understand all this, you need to delve into the history of guns.
I wonder how a 700-pound cannonball could be rotated so that it could be pushed into the barrel in combat conditions? He has no pens-). Or, for example, why shoot with cannonballs? There are a lot of questions, but that's not all.
To push a cannonball into a serious enough bombard, the powder charge must be decent. How would the bombarda behave in this case, if it is assembled from stripes and hoops? That's right, it would have burst, since any inhomogeneity in its rigidity is completely unsuitable for loads of this kind. What was really there? To answer this question, you need to take a closer look at the old engravings.
As you can see in one of the old engravings, the army not only transports weapons, but also carries some strange cubic objects.
On closer inspection, these cube-shaped objects turn out to be nothing more than a forest of spears above the formation, some of which are higher and have flags. How strange it all looks - people fight with cannons, and at the same time they have spears with them, which with such a length in close combat bring more problems than success. Of course, the spear could be used as the last argument, but there was clearly some other purpose here. We look further.
And here the army is marching not only with spears and halberds, but also with cannons and, oddly enough, rifles. And moreover, in knightly armor. And one more interesting detail - there are tents in some places. What are they for if they cannot be called a means of protection or strengthening, even in the first approximation?
This is the background of one of the prints. The interesting thing here is that the tents are located very close to the cannons. What are they for?
This is not an isolated incident. Despite the fact that there is a quite solid building nearby, the tents are still standing next to the cannons.
This is the siege of Moscow during the times of Boris Godunov (if you believe the annotations). As you can see, the same cannons are used, but there are a great many tents next to them, and they are more like temples of a modular design, easily erected in the field. How to understand this fact? It's very simple - all these tents, spears, and even halberds were analogs of the structures of temples, only erected in the field, and it was they who somehow ensured the operation of the cannons. How exactly - more on that later.
But these were prints released (officially) earlier than the 19th century. And what begins to happen in the 19th century, in particular with the guns according to the engravings?
Looking at these popular prints, you begin to understand that something in military affairs has radically changed in a very short period of time (and also listening to news bulletins, you understand that that philosopher was right when he claimed that everything goes in a spiral). But propaganda at all times was propaganda and always shifted the emphasis in the right direction. But in terms of technical details, nothing seems to have changed. Where did those bombs and red-hot nuclei that are mentioned in the first picture suddenly appear from? And where have the tents, spears and knightly armor gone?
With bombs, everything is clear - these are cores filled with explosives. They were lighter than conventional nuclei and flew farther than them. In the Russian tabloid press of the late 19th century, feuilletons circulated about the dispute of ordinary people - "which flies better, a bonba or a cannonball." Obviously, in the memory of the people, all the wars of the 19th century settled very firmly. It is the bombs that are shown in the two lower pictures.
All bombs and grenades (grenades) looked something like this, they were even depicted on cockades. But there were still a lot of unusual weapons at that time, for example:
It is difficult to explain its purpose, but antiques auctions abound with such artifacts. What is good about such auctions is that they give out what was found there, without any censorship, as, for example, in digital libraries. Thanks to this, very interesting works of artists suddenly come out, such as this:
John Wilson Carmichael, Bombing of the Russian fortress of Sveaborg in the Baltic Sea, August 9, 1855.
What is it? It is clearly seen that the French (seemingly) battery emits toroidal vortices with ordinary cannons towards the Sveaborg fortress, and the vis-a-vis give them something unimaginable at all in the form of plasma bunches. And there is a huge fire in the background. Stop. We start to think.
Experienced smokers will do this trick quite easily. To do this, it is enough to fix the lips and sharply move the tongue so that the volume in the mouth with smoke decreases. The escaping smoke will cling to the still air near the lips and wrap itself in a ring, which will begin to move in the direction of the escaping smoke. This is aerodynamics in its purest form, the smoke here only makes the experience clear. The same can be done with clean air. But what if the cannon is the very model of the mouth, just not for air, but for some invisible substance around it? And this substance can transmit energy over a distance, which was invented by the very M. M. Filippov, and after him by Tesla? To do this, you just need to twist this substance in a ring and send it in the right direction. And the energy in this case will not fade in space, but will be delivered there,where sent.
As you can see, all this was invented long ago, and even forgotten quite recently. Scientists can only be reconstructing this physical process to be forgotten immediately. Apparently there were reasons for that. But when, after all, were such guns banned or simply withdrawn from circulation?
It is impossible to answer this question precisely, but in the second half of the 19th century, this weapon was still in full use. And the same Franco-Prussian war is a confirmation of this, just look at the photos of the destruction of Paris or Strasbourg. Even in the picture, the bombing of Strasbourg looks quite realistic.
And perhaps after this war in the 19th century in Europe there was some other similar war, which no one knows now and which Tolstoy described in his writings. It was after this war that the cities remained empty and all vegetation disappeared, but more on that later.
Let's return to that very Crimean War, the popular prints from which were given above. Looking at the photos of this war, you begin to have no doubt that it was not possible to destroy the entire territory and structures of Sevastopol with simple cannonballs.
Sevastopol was a well-fortified fortress.
But everything radically changes the matter if cannons that shoot toroidal vortices were used. They were quite capable of causing destruction and fires of this magnitude in an area with such a spread. But how did it look technically? To do this, you need to take a closer look at one of the engravings of that time.
Obviously, the engraving does not depict the deck of a ship, but the top of one of the captured towers of some of the forts of Sevastopol. This is evidenced by stone ledges. Why do thick metal parts 1 run along the tops of the stone ledges? As a railing, they are clearly not needed there, but as conductors of electric current they look very good there. Why does a thick rope 2 pass through the gun and is it a rope at all? If its purpose is to suppress the recoil of the weapon, then it clearly cannot cope with it. But if this is a cable that locks the cannon to this steel railing, everything becomes clear. This is indirectly confirmed by the presence of insulator 3, which electrically unties the ropes (cables) coming from above from a domed structure or spire. In total, we get the body of the gun, connected to the metal frame of the structure. So, what is next? Look at the three people on the left side of the print. They unwind nothing more than an aiguillette.
This is what he is now, but in those days he was made of metal threads. Those who used a multimeter, looking at the tips of the aiguillette, will never be mistaken for what it was intended for (I do not pretend to be the author of the study of such an attribute of military uniform, some colleagues in the shop have a detailed description on this topic).
At one end, the aiguillette was inserted into the circled hole on the handle (sabers, swords, no matter, on really antique copies this part of the handle was cut down without exception), and with the other it was connected to the same cables that went from above and approached the gun itself on insulators, which is also seen in the engraving. Then it was necessary to simply touch the gun with a sword (or saber), and the same toroidal whirlwind flew out. Naturally, he himself did not take off, it was created by an escaping core, which in this case served as a consumable rather than the main ammunition. The departure of the nucleus was carried out approximately on the same principle as the ring flies off the core of an electromagnet when current is applied to its windings, many of them probably did such experiments at school. Sabers and swords, of course, could be used in close combat as the last argument, but like spears,their main purpose was not this. Looking at this weapon in some museums, it was rather difficult to assume that it was used in hand-to-hand combat, since there were absolutely no traces of sharpening even on the end. And knightly armor was nothing more than an ordinary protective ground. To use it or not to use it was everyone's personal business.
The photo shows a Russian battery in Sevastopol, on the Malakhov Kurgan immediately after it was captured by the British. Why was the Malakhov Kurgan defended with such stubbornness, although it was far beyond the line of Sevastopol within those borders? Let's bring some fragments of this photo closer for detailed consideration.
As you can see, in the upper photo the cable from the gun is tied to the protruding metal structures very poorly, apparently, everything was done in a hurry (rural welders will understand especially well what this is about). And the cable in the second photo (as well as in the first one) is tied to the trunk. If instead of a cable there was a rope, then why?
As you can see, the attack took place at a difficult moment for the defenders, they were forced to hastily make temporary fortifications, which, in general, is not hidden by the official history. But what was the strategic value of the Malakhov Kurgan? The answer is generally simple - there was some kind of structure that supplied electricity for the guns. Possessing this outpost, it was possible to pour ether toroids over the entire space around, which was also convenient due to the height of this object. It is no coincidence that he got the most.
In general, the principle of operation was on the ship's guns. The role of electricity generators was played by special structures on masts, but this is a different story. Iron ships at that time did not do it for a reason. They became iron only when the need for such electric guns disappeared. But what about cannons for mounted shooting?
The principle was the same, only the toroidal vortex emitted from such a gun had a larger diameter and fell flat on the ground, causing large area (carpet) damage. Most likely, these are the very clots of plasma that are depicted in the picture of the bombing of the Sveaborg fortress. With the size of such cannons, for example, the inverted king-bell (which is real), the effect was quite serious. The explosion could easily make those craters that are now attributed to the nuclear war of the past.
Royal photographer James Robertson shot only the necessary, namely only the guns, but not the devices that gave them life. Or maybe he photographed everything, only the photos not intended for the public were then destroyed. And these photos must have had a lot of interesting things. There were all the technical secrets of the time on those military field installations that allowed the guns to work as they should have always worked.
But what happened to the cannons and what has to do with the worker-peasant Count Tolstoy?
As you probably already understood, the cannons were the very prototypes of the hyperboloid that entered the novel as the central plot. They were used for both military and peaceful purposes, such as construction. These devices made it possible to concentrate energy and transmit it over distances, but they had one property - they destroyed with that energy everything that came in their way. At the same time, the guns had a kind of environmental hazard. Their massive use caused indignation of the etheric shell of the planet, which could lead to disasters of various scales. This is, apparently, what happened at the beginning of the 19th century, when the first wars for the redivision of the world began.
There were several disasters, they are all well described by researchers and there is no point in repeating them. And what caused these catastrophes, or, in other words, the traces of which wars they hid forever, no one really knows. One can only assume that the Sahara, Kara-Kum and Gobi deserts, all of Siberia and many other territories of the planet have recently been flourishing corners. The wars of 1812, 1855 and others known to us were most likely aftershocks aimed at cleaning up what was left. And these wars were fought with the same dangerous weapons.
At one point, the belligerents realized that the use of such weapons would lead to the complete destruction of the planet, and a certain analogue of the INF Treaty was born, which is still in effect. The last time Tesla fired such a weapon, setting up the Tunguska meteorite, and that's all. No one dares to violate this agreement to this day. A huge amount of falsification was thrown into the historical materials, thanks to which guns, spears, swords, etc. became those tools that we are used to seeing in paintings, films, books and other works (those same popular prints of the war of 1855 from the same series). And the real purpose of that ancient weapon is deeply secret. The whole world switched to cannonballs, buckshot, shrapnel and so on, which even now is not always a museum piece. To paraphrase more clearly, someone took checkers,taught the whole world to play Chapay with them and convinced that there was no way to play except in Chapay. Well, the real rules of the game of checkers were simply forgotten over time.
Count Tolstoy, as we remember, was born in 1883. From the end of the Franco-Prussian War (in which Russia also participated indirectly) to his adulthood, only about 30 years passed. He simply could not not know about the properties of guns of that time, and nevertheless he is writing a novel about the invention of the hyperboloid. How can this fact be interpreted? It's very simple - there was also a state order here. His task was to popularize a new doctrine for the development of the world, aimed at burning hydrocarbons and using this energy. Well, he crossed this idea as best he could with what had been earlier - guns powered by atmospheric energy. That's why he is a science fiction writer. It is difficult to say whether it worked well or badly, but according to some information, the laser was invented in the 20th century due to the fact that its creator read Tolstoy's novel. And Tolstoy himself, apparently oppressed by his memory,periodically in his works he allowed descriptions of many events undesirable for the perception of the Soviet citizen before 1917, which he himself later deleted. Or maybe not just himself, but by order of the Party, but this is no longer important.
Many modern researchers write and cite gigabytes of information about bombarded cities. You don't have to go far for examples. But for some reason no one pays attention to the countryside, and the Russian countryside in particular. From what I was able to see personally, I can safely say that in 99% of cases the houses in the Russian village were not filled up in any way, although they clearly stood for more than a dozen years. Even if there is a buried old temple nearby (or its ruins). There are examples where wooden houses are really sunk into the ground by the windows of the first floor. This suggests that the age of these houses is no more than 150 years (the tree does not last longer), but their introduction by the earth was even later. And the rest of the Russian village arose spontaneously on the vast expanses covered by the catastrophe, and this was at the end of the 19th century. It is difficult to say whether serfdom was or not,but all of these settlements arose more thanks to than in spite of this catastrophe. Was Count Tolstoy wrong when talking about some unknown war? The people had to somehow survive and the land, albeit barren, was the only opportunity. This can explain the empty cities captured in numerous photos. In the 20th century, this village naturally began to self-destruct and the cities filled up again. Those same unknown people with non-German eyes, about whom Tolstoy mentioned in the above quote, returned. The planet comes back to the form when the very wars began, and is recovering from the blows inflicted on it. Is it spiraling too?albeit infertile, that was the only possibility. This can explain the empty cities captured in numerous photos. In the 20th century, this village naturally began to self-destruct and the cities filled up again. Those same unknown people with non-German eyes, about whom Tolstoy mentioned in the above quote, returned. The planet comes back to the form when the very wars began, and is recovering from the blows inflicted on it. Is it spiraling too?albeit infertile, that was the only possibility. This can explain the empty cities captured in numerous photos. In the 20th century, this village naturally began to self-destruct and the cities filled up again. Those same unknown people with non-German eyes, about whom Tolstoy mentioned in the above quote, returned. The planet comes back to the form when the very wars began, and is recovering from the blows inflicted on it. Is it spiraling too?when the beginning of those wars began, and is recovering from the blows inflicted on her. Is it spiraling too?when the beginning of those wars began, and is recovering from the blows inflicted on her. Is it spiraling too?
PS Many thanks to reader Yuri for another painting by John Wilson Carmichael.
Judging by the name, this is the bombing of Sevastopol, but there is another painting by this artist with the bombing of the same Sveaborg:
The latter, by the way, walks on the network in a smeared version in part of the rings. If you look closely at both pictures, then the opinion clearly arises that one is a copy of the other. Everyone has probably heard about how in the 20th and 21st centuries they learned to fake paintings. Nevertheless, close attention must be paid to the work of this artist.
Author: tech_dancer
