Karl Friedrich Hieronymus, Freiherr von Münchhausen, hitherto known as the Baron, is Byron's lost progeny. Historical inaccuracy and the relative non-linearity of time come to my rescue afore critics even unhinge their mouths and unfasten their minds. As the Baron never once said, "It's much more than a fact. That's how it really happened!"1
Though the Baron's blood may not belong to Byron, they do share one ink-pot. The Baron is a Byronic hero disguised by humour, but familial features manifest clearly in the traces of Raspe's plume: his rebellion against the crude rules of reality, fuelled by intellectual and creative passions that bear oft-destructive aftermaths.
But the distant nephew becomes a bastard son when Grigori Gorin (Григорий Горин) Olivetti's claws scraped out the paper a darker, melancholy, and vitally, more human Baron. From the ashes of Gorin's nigh-forgotten play "The most truthful" (Самый правдивый) rose the tragi-comic film "That very Münchhausen" (Тот самый Мюнхгаузен), which profited from Oleg Yankovsky (Олег Янковский), whose brilliant acting gave this Baron the compelling charisma, magnetic charm and keenness of a true Byronic hero.
This forgotten classic turns the concept of Münchhausen on its very head, since here "Baron Münchhausen is famous not because he flew [to the moon] or not, but because he never lies"
2, therein lies his greatest strength and fatal flaw. He lives isolated from a society that regards him first as a deceiver and later as a madman, estranged from people who eagerly shift from living one lie to the next, collectively as a herd of cattle. Our Baron simply knows that one cannot hide from truth by closing one's eyes, as children do, he "can't do anything secretly, [...] only openly"
3; his maturity is even more evident in his courage, since he does not "fear appearing funny. It's not something anyone can afford."
4 But he exists not merely in exile from the rest of the human race, but also in disdain of all hierarchies and ranks. He acts not merely like a king, when he threatens war against England lest it declare the Americas independent, but as a God, dispelling inclement weather, defying time and brandishing the power of death and life (over a duck). He openly rejects and ridicules the relationship of master and servant, whose orders and mandates he regards as arbitrary. As a guard is about to arrest the Baron under the Duke's orders of "using force in case of resistance", he replies "who is to use force - you or I? [...] Let us both carry out the orders. Logical?"
5 and goes on to theatrically caricature their execution. When he finally arrives to the plaza where the Duke has assembled his entourage, he does so unbound and followed by a band of music. For Münchhausen, society's ways and laws are incomprehensible, as someone remarks: "First we were planning the festivities, then the arrests. Finally we decided to combine them"
6 
But it is the very creative and destructive passion that fuels Münchhausen that also leads to his demise when he is forced to compromise for the sake of love. Like Samson, he is rendered powerless, chained by love between two pillars when on the one hand his beloved mistress Martha, bent on marriage, threatens to leave him, and on the other hand his divorce with Jacobine won't be approved lest he declare in writing that he is a liar and his stories fabrications. Reluctantly, he concedes to the request, but the weight of the columns tears his soul in twain, and though even Galileo abjured, Münchhausen "always preferred Giordano Bruno."
7 His persona humiliated and destroyed, Münchhausen finally turns unstable and, revolted by his own actions, mutinies against himself and Life, murdering the Baron and turning into a common gardener - Müller...
Yet later it is that same energy leads his rebellion against Death, his resurrection three years (not days) later, when he realises that denying his nature is futile as Martha is unable to love his empty carcass: "To return her, I'll have to return myself"
8. More tragic still, is that his absence sires a cult of personality whose profiteers are those who wrought his downfall. These very leeches try to thwart his return by imprisoning him, labelling him an insane impersonator and setting up a fraudulent court hearing and a sham test of his identity. The Baron easily sees through the ploy, realising that the cannon that is meant to loft him to the Moon is filled with damp gunpowder meant to result in his public ridicule, and recharges it with dry black powder. Ironically the Duke, afraid of killing the Baron, declares his identity restored and his trip to the Moon "accomplished", launching the general merriment and urging: "Join us, Baron. Join us."
9 But the Baron is "too tired of dying"
10 to forfeit again, a promise is a promise, he will fly to the Moon... His last, exhausted words burst out thus: "A smart face is not a sign of intellect, gentlemen! All foolishness on earth is made with precisely this expression. Smile, gentlemen. Smile..."
11 I'll leave you with a mind- and tongue-twister: Is the Baron a Byronic hero, or is Byron a Baronic villain?
Footnotes (the original Russian citations): 1) Это гораздо больше, чем факт. Так оно и было на самом деле. 2) Барон Мюнхгаузен славен не тем что он летал или не летал, а тем, что никогда не врёт. 3) Я не могу в тайне. Я могу только открыто. 4) Я не боялся казаться смешным. Это не каждый может себе позволить. 5) Кому применять силу — мне или вам? [...] Тогда оба будем выполнять приказ. Логично? 6) Сначала намечались торжества, потом аресты. Потом решили совместить. 7) Я всегда больше любил Джордано Бруно… 8) Чтобы вернуть её, придётся вернуть себя 9) Присоединяйтесь, барон. Присоединяйтесь. 10) Господи, как умирать надоело! 11) Умное лицо — ещё не признак ума, господа! Все глупости на земле совершались именно с этим выражением лица. Улыбайтесь, господа. Улыбайтесь…
