Satyricon magazine in Russian periodicals of the 20th century. Magazines "Satyricon" and "New Satyricon" and their employees. A. Averchenko. The beginning of the work of Arkady Averchenko
"New Satyricon"
In the spring of 1913, a scandal erupted in the Satyricon, which led to Averchenko and Co.'s break with Kornfeld. IN various sources various reasons are given.
The first version was presented by L. Evstigneeva (Spiridonova) in the monograph “The Journal Satyricon and the Satyricon Poets” (M., 1960). The researcher claims that “the immediate cause was monetary misunderstandings and a quarrel between the main shareholders of the journal: the publisher Kornfeld, on the one hand, and Averchenko, Radakov and Remizov, on the other. According to the agreement concluded between the publishers and employees, Averchenko, Radakov and Remizov had the right to control the economic part of the magazine, and Kornfeld undertook not to increase the subscription and retail fees for the magazine. However, from January 1, 1912, Kornfeld arbitrarily increased the retail fee, which subsequently caused a drop in circulation. Averchenko, Radakov, Remizov accused Kornfeld of having ceased to allow them to control business books, arbitrarily spent the amounts belonging to the magazine, and began to delay the payment of fees to employees. Kornfeld, in turn, complained about the desperate financial position magazine, forcing him to do business in a new way. As a result of the quarrel, most of the leading employees left the magazine and founded a new one - on a cooperative basis.
We find the second version in Vasily Knyazev's article "Cement" Satyricon "" (Literaturny Leningrad. 1934. No. 31): Averchenko, Re-Mi and Radakov literally grabbed Kornfeld by the throat and secretly obtained from other employees the right to receive 50 percent of the profit, that is, they began shareholders. Then they allegedly decided to completely eliminate the publisher from business, developing a plan to ruin him by releasing unprofitable literature on expensive paper, with a luxurious cover, etc. In the end, guardianship was established over the affairs of M. G. Kornfeld in the person of Schoenfeld and Kugel, who, however, refused to hand over the magazine to the trio of friends in exchange for a certain monetary compensation, which led to the break.
Finally, the third, similar to the previous two, the motive for leaving Satyricon is cited in her memoirs by the second wife of Alexei Radakov, E. L. Galperina: “According to the condition concluded between the senior staff of Satyricon and the publisher, after increasing the circulation of the magazine to a certain figure these employees were to become shareholders of the magazine<…>Well, Alyosha (Radakov. - V. M.) said with his characteristic ease, one day I was sitting in the place where the tsar walks on foot, and I heard a conversation between our accountant and Kornfeld's uncle - a very nasty type who came from somewhere from Poland and intervened in all matters. The accountant told him that the magazine had long ago stepped over the circulation stipulated by the agreement. When I heard that, I jumped out like crazy. Well, then I raised such a terrible storm and persuaded Averchenko and others to leave the Satyricon and organize their own magazine.
The scandal at the Satyricon received extensive press coverage. On May 19, 1913, the Russian Rumor newspaper published the following statement by Averchenko: “In view of the rumors spread in literary circles by Mr. M. G. Kornfeld that the reason for my departure from the Satyricon is material disagreements and settlements with the publishing house, I hereby categorically declare that my departure from the magazine was caused mainly by the impossible working conditions in which I and my comrades were placed by Mr. Kornfeld, and also by a whole series of violations of elementary literary and publishing ethics.
Before that, on May 15, Averchenko, Radakov and Remizov appealed to the St. Petersburg Commercial Court with a claim to protect their material interests. On May 18, Kornfeld referred his conflict with former employees to the court of honor at the All-Russian Literary Society. They agreed to take part in the trial.
Two court sessions were held - on June 5 and 7 - under the chairmanship of Vladimir Dmitrievich Nabokov (father of the writer Vladimir Nabokov). Litigation further confused the situation.
Perfectly aware of the global nature of what happened, Kornfeld tried to bring back and reason with his former employees. “The path of a progressive art journal in Russia is so difficult and fraught with material, not to mention other, troubles, and it is so difficult, almost hopeless, to create a new literary and artistic organ, that it is deliberately and ruthlessly to break this long and successfully serving weapon against darkness, stagnation and violence is a direct crime against literature, against society ”(New Satyricon. 1913. No. 21)," he wrote, but ... in vain. On July 7, Kornfeld, through the Satyricon and other newspapers, said: “... seeing in a number of actions of the above-mentioned persons signs of such acts that are subject to the conduct of the crown court, after the refusal of gentlemen Averchenko, Radakov and Remizov from a professional court of honor, I am forced to turn to the defense crown court. I stop any further controversy ”(Satyricon. 1913. No. 28).
Already in the 1960s, Kornfeld wrote: “The closer I come to the end of my memoirs concerning the history of the Satyricon, the more incomprehensible and absurd its end seems, if we consider the end of my break with my closest collaborators: Arkady Averchenko, Radakov and Remizov ( Re-Mi), who left the editorial staff without warning.<…>When asked what the real reasons for the split were, I answered that I didn’t know - no one wanted to believe me ... When friends and well-wishers suggested that I take on the role of mediators and conciliators, I rejected these proposals that did not In fact, reconciliation presupposes a quarrel. We never quarreled.<…>After the editorial defeat that had taken place, I had a thankless and difficult task, in the order of involuntary improvisation, to re-arrange the release of the Satyricon with a new composition of employees ”(Kornfeld M. G. Memoirs).
Of course, what happened created a lot of problems for Kornfeld, but the position of Averchenko, Radakov and Re-Mi was not easy either. They, too, had to start a new publishing venture from scratch. Thinking about this, they left, taking with them a book of addresses of old subscribers of the magazine. There was one more "but", the most significant - the lack of money to open their own business. A friend of Re-Mi, artist Nikolai Radlov, came to the rescue and borrowed five thousand rubles. According to Radakov, they returned this amount a year later, and a couple of years later they were able to buy their own printing house and had a large publishing house. Radlov was thanked: since 1913 he became a permanent employee of the New Satyricon.
In a record short time, Averchenko, Radakov and Re-Mi created the New Satyricon partnership (they didn’t think about the name for a long time), in which all three became owners on equal shares. Together with them in new magazine passed: P. Potemkin, Teffi, V. Azov, O. L. D'Or, G. Landau, A. Benois, M. Dobuzhinsky, K. Antipov, A. Yakovlev, V. Voinov and others. Ark later joined them. Bukhov.
The following remained in the old Satyricon: V. Knyazev, B. Geyer, V. Tikhonov, as well as young poets V. Goryansky, S. Marshak (Dr. Friken), V. Winkert, N. Agnivtsev, D. Aktil and others . Vasily Knyazev, who immediately became the "star" of Kornfeld's "Satyricon", wrote the evil poem "Arkady Leikin" after the departed Averchenko. It began with the glorification of the "king":
He was like a whirlwind. In love with life and the sun
Healthy in body, strong, young,
He drunk us, bursting into our window,
And blinded, shining between us like a star.
Burning in the fire of immeasurable success
Charmingly fooling around and shalya,
He laughed, and the whole country, like an echo,
Rejoicing, echoed the fun of the king.
And it ended like this:
His animal laughter, so dear to us at first,
Bored, having lost the piquancy of novelty;
And it is in vain to look for inscriptions of sadness in it,
Spiritual value, ideological whiteness.
Cheerful, rude laughter. Clown laugh...
Arkady Timofeevich once again praised Knyazev for his talent, very soon forgave him and took him to his new magazine.
The first issue of the New Satyricon was published on June 6, 1913, that is, literally a month after the scandal and in the midst of the trial! The picture on the cover hinted that in the new edition the reader would find all the traditional headings of the Satyricon. He portrayed a cab: Averchenko on the box, holding the reins, on the seat - Radakov, Re-Mi, littered with suitcases-departments. Signed under the picture:
“The move of the Satyriconites to a new apartment.
Fat Satyricon (carefully): - Have you got everything?
Say everything.
Have you taken the Wolfberries?
Feathers from the tail, a mailbox - did you put it?
Here, here.
Haven't left anything?
Say nothing.
Well, okay, Arkady, touch with God - Nevsky, 65.
In the same issue of the magazine, an official statement appeared:
“We, the undersigned, employees of the New Satyricon, inform the readers that we no longer find an opportunity to cooperate in the Satyricon magazine published by M. G. Kornfeld and are leaving the editorial staff in corpore. For the further direction and content of this journal, published by M. G. Kornfeld, we decline all responsibility.
The first address of the editorial office is Nevsky, 65. Subsequently, it was located on Nevsky, 88, in the courtyard to the left, on the third floor. It was a big apartment. In one room - the editorial office, in the other office of the head of the office and publishing house, in the third - the office; two rooms were occupied by the expedition. The remaining three rooms were inhabited by people who had nothing to do with the New Satyricon. In the same apartment there was a warehouse of the publishing house.
Kornfeld made frantic attempts to save the Satyricon; the magazine was published until the end of 1913, a subscription was announced for 1914. For some time, the "Satyricon" and the "New Satyricon" existed simultaneously. However, very soon the first, deprived of the best authors, sunk into oblivion ... Averchenko, thus, became one of the owners and editor of the country's leading satirical and humorous publication.
Having adjusted the work of the journal, Averchenko, Radakov and Re-Mi no longer indulged the editorial office with their visits - the mechanism had already been launched and did not fail. Radakov did not even bother to bring drawings - they were sent for them to his home. Arkady Timofeevich also finally had the opportunity to take on work matters “at home”.
In 1913, he became so wealthy that he was able to rent a three-room apartment in a new tenement house Count M.P. Tolstoy on Troitskaya Street, 15/17 (now Rubinstein Street). This building, built in 1912 according to the project of the architect F. Lidval in the style of "northern modern", is to this day an architectural landmark of St. Petersburg. Here Arkady Averchenko for the first time in his life got his own corner! His childhood years were spent in cramped quarters; there is no need to talk about the amenities at the Bryansk mine or in Kharkov. In the early Petersburg years, the writer wandered around the furnished rooms. And finally, the first in my life (and, looking ahead, the last!) my permanent apartment.
Let's mentally visit Arkady Timofeevich. Let's turn off Rubinstein Street into a semicircular arch, decorated with a gothic wrought iron lantern. Before us is the courtyard of the Tolstoy House with magnificent arcades leading towards the Fontanka embankment. The writer lives in the first entrance on the right. He has already seen us, because the window of his office looks at front door front entrance. We need the second floor, apartment 203. But you won't have to climb up on foot - there is a steam elevator in the house.
The owner himself opens the door and invites us into the spacious hallway.
Well, this is my apartment, he says. - I'm happy with it. Central heating, hot water, telephone. What else do you need? .. The area is good - Five corners. Again, not far from work - the street overlooks Nevsky Prospekt, almost next to the editorial office of the New Satyricon.
Directly in front of us is the door to the office. Let's go. A large room, the walls lined with lilac cloth, a huge library. There is a desk by the window. Arkady Timofeevich laughs:
Here every day there is a deaf, secret, ferocious struggle between me and my maid Nadya. Every morning I look through the correspondence, bills ... I read and no longer need to throw on the floor. I'm going to the editor. Nadya comes, sweeps the floor, picks up all the papers from it, carefully smooths it out and puts it between the candlestick and the clock on the desk. In the evening I come, I throw this pack on the floor again. In the morning Nadya comes and puts it in again... We never talk about it, because the mortally warring armies do not negotiate with each other!
Of course, the owner is joking - he has an excellent relationship with Nadia.
From the study, a door leads to the bedroom. Here, on the walls, the cloth is of a calm blue color. Next to the bed, littered with books and newspapers, oddly enough, a gramophone and ... bars! Arkady Timofeevich smiles again:
The most boring thing for a person is to dress. I do it with music. You tie your shoes - and listen to Sobinov! And the barbells ... Do not be surprised - sometimes I like to exercise my muscles.
The third room is a dining room and a reception room at the same time. Fruits in vases, fresh flowers. Cream wallpaper, on the walls - paintings by Repin, Bilibin, Dobuzhinsky, Benoit, a close friend of Re-Mi ...
The windows of the office, bedroom and dining room overlook the courtyard. People are running downstairs. The question involuntarily arises: what other celebrities live here? Arkady Timofeevich willingly says:
I am proud that I live in the same house with Ludwig Chaplinsky - three-time champion of Russia in weightlifting. By the way, the house works gym Chaplinsky "Sanitas". Kuprin and I visit him when we have time. I often see Alexander Ivanovich Spiridovich. Well, you probably know who this is - the head of the imperial palace guard. Remember, he had big troubles in 1911, after the assassination of Stolypin? He was even under trial, but the case was dismissed at the emperor's insistence... The most remarkable person in our house is Prince Mikhail Mikhailovich Andronikov. Yes, yes, the same one - from the entourage of Grigory Rasputin! Sometimes Grigory Efimovich with a company comes here at night. Terribly noisy, waking up all the tenants. The owner of the house, Countess Tolstaya, they say, does not even know how to get rid of this Andronikov. He is filing lawsuits against him. And my maid, the prince's servant, was told that he arranged a semblance of a chapel behind a special screen in his bedroom. Imagine - with a crucifix, an lectern, a sprinkler, icons and even a crown of thorns! However, on the other side of the screen, the prince calmly indulges in the most vile depravity. The fact that he is a homosexual, everyone knows ... Yes! Not far from here, literally across the road, is the Trinity Theater of Miniatures, with which I collaborate. Very comfortably. I go to performances based on my plays. Sometimes I go to visit Levkiy Zheverzheev, he lives in the same house where the theater is. Zheverzheev is a collector, so he spends all his money on buying books and theatrical relics. He organized literary and artistic “Fridays” where Bakst, Altman, Khlebnikov, Mayakovsky, Malevich, Filonov, and the Burliuk brothers visit. I do too, but rarely. And Zheverzheev also started a “Friday album”, in which guests leave commemorative notes, drawings, impromptu. A good idea... Well, now let's have lunch. My cook is a great cook!
This is how Arkady Timofeevich lived on Troitskaya - comfortable and cozy. His apartment was remembered not only by the staff of the New Satyricon. We managed to talk to the nephew of the writer Igor Konstantinovich Gavrilov, who told that his mother for many years recalled her trip from Sevastopol to Averchenko in St. Petersburg at that time. She was shocked by her brother's apartment. She admired everything she saw with him, especially the vacuum cleaner and the home telephone, which seemed to her signs of a different, "foreign" use.
Several sketches "from life on Troitskaya" were left to us by Arkady Averchenko's colleagues. Efim Zozulya recalled: “The door was opened for me by the maid Nadya, a small blonde with smart, keen eyes. Before my arrival, she spoke on the phone, and, letting me into the dining room without any questions, she hurried to continue the conversation. The phone was on Averchenko's desk, and in order to hold the phone to an outsider, that is, not sitting at the table, he had to bend down. Somehow the device was so inconveniently located. And Nadia spoke, bending over Averchenko's shoulder. The conversation was not businesslike. It was about Nadia's relatives, about bows to some godfather, about someone's arrival. In my further visits to Averchenko<…>I have seen Nadya more than once in such a position, which did not prevent Averchenko from working. Nadia, a simple girl, but very tactful and intelligent, behaved freely, with dignity, felt at home, and maintained a surprisingly warm tone in the apartment and in dealing with numerous and varied visitors. This was typical for Averchenko, because the source of this tone was, of course, the owner ”(Zozulya E. D. Satirikontsy).
And here is a fragment of Nikolai Karpov's memoirs "In the Literary Swamp", stored in the RGALI funds and posted on the Internet. Once Karpov met the poet Yevgeny Vensky on the street and said that he was going to the editorial office of the New Satyricon with a fairy tale in verse "Father Frost".
“- Poems with you? Vensky inquired in a businesslike tone. - So we're going now to Averchenko's apartment. He is at home.
It's embarrassing. I hardly know him.
Here's the weirdo! He's going to eat you, right? He hasn't bitten in a long time. Abandoned this manner. And if you don't know me, I'll introduce you. Stomp!
At that time, Averchenko rented two furnished rooms, with a separate entrance on Troitskaya. He himself opened the door. Tall, clean-shaven, dressed in a well-tailored suit from the famous Teleska, Averchenko looked like a prosperous, prosperous entrepreneur.
Here, Arkady Timofeevich,” Vensky began in a buffoonish tone, “allow me (he said so: “allow me”) to introduce you to a talented poet. An accident happened to him.
Averchenko looked at him in bewilderment, invited us to sit down and put a treat on the table - a box of chocolates.
Misfortune? he asked.
Misfortune, Arkady Timofeevich. He wrote a fairy tale and sleeps and sees it printed in the Satyricon.
Averchenko looked at me questioningly. I silently handed him the manuscript. He read the story and stated:
Okay. I will print it. Will go to the next room.
And he stood up, signaling that the audience was over.
Arkady Timofeevich,” Vensky unexpectedly cried out, “you are a god! By God, God! And even more than God! If, say, I now ask God for an advance, the old man will never give me. He is very angry with me, and he is stingy, like Harpagon. And you, Arkady Timofeevich, will give it without much displeasure. So you are above God.
How? Averchenko, who kept a serious face, inquired curtly.
I warn you, Arkady Timofeevich, - I do not take advances less than a ruble, - said Vensky.
Ruble? Averchenko was surprised.
Pyatishnitsa is required, dear Arkady Timofeevich, Pyatishnitsa. Now I am raising my standard, and in the Balabinsk hotel the lackeys are giving me an ovation, like some Hamlet, a Danish prince, - Vensky joked, - I began to give them a two-kopeck tip, like some Pierpont Morgan. Know ours! Yes, and drink to your health less than five, ashamed. I will only embarrass you!
Averchenko handed him five rubles, and Vensky was full of clownish gratitude.
The above fragment perfectly shows the professional editorial qualities of Averchenko: even the little-known author N. A. Karpov, even the beggar and drunk Yevgeny Vensky could count on his patronage if they brought talented manuscripts. Apparently, Arkady Timofeevich could forgive a lot for his talent: in 1914-1915, the works of Alexander Grin and Vladimir Mayakovsky appeared in the New Satyricon, which were notorious in Petrograd.
Alexander Stepanovich Green was known as an unbalanced, heavy drinker, prone to swearing and arguing in public places under the influence of wine vapors. According to Yefim Zozulya, Green could come to the New Satyricon at the end of the working day and go to bed on the editorial sofa. On one of these evenings, Zozulya tried to find him a place in a hotel, but no one wanted to accommodate the completely drunk Green. Finally, a place in one of the hotels was found. However, Alexander Stepanovich was extremist - right in the lobby, he stopped in front of a peaceful old woman in a dark mantilla and turned to her with extraordinary malice:
Do you require everyday stories from us? Are we supposed to describe your greasy hoods? So I declare to you: I will not describe your (epithets followed) hoods. Damn (it was said otherwise) mother! And do not think to demand. I spit on your whole vile, vile life together with your king (the definition followed)!
The old woman almost fainted, and Zozulya shuddered, because two officers were standing nearby and could hear the last words about the emperor. Already in the hotel room, sitting on the couch, Green continued to let out such abusive remarks at the old woman's address that Zozulya could not stand it and began to laugh.
What did this old woman do to you? - he asked. - Why do you think that she definitely needs everyday stories?
After some time, having sobered up and remembering the episode with the old woman, Green also began to laugh (Zozulya E.D. Satyriconites).
Despite the peculiarities of Green's behavior, Averchenko greatly appreciated his talent and treated him with human warmth. He often repeated, looking after Alexander Stepanovich: "A strange man, but an interesting and talented one." The first book published by the publishing house "New Satyricon" in 1915 was Green's story "The Incident on Dog Street". Here is what the writer Lev Gumilevsky recalled about this in his essay “Far and Near”:
“Somehow I brought a story, which seemed to me humorous, to the New Satyricon. Averchenko rarely visited the editorial office, his secretary Efim Davydovich Zozulya received visitors, then still young, not yet bald, but already important, getting fat, dressed in a black jacket and gray trousers. He took the manuscript and told me to call in a week or two. The story was accepted, and I went to the editor. At Zozulya's table, as a guest, sat a finely shaven, finely dressed gentleman, a little overweight, handsome and lazy. This was Averchenko. He greeted me and politely handed me the book, which he had just examined from the face, spine and edge.
This is our first book, - he said, - do you like it?
On the gray cover, stamped "Satyricon" in the upper corner was printed "A. S. Green" and the title of the first story, I think it was "The Incident on Dog Street".
I replied that the book was published beautifully.
The poetess of the "New Satyricon" Lydia Lesnaya in the book "Memories of Alexander Green" (M., 1972) left interesting evidence about the relationship between Averchenko and Green:
Petersburg. Nevsky Avenue. Thin tall man in a coat of an indeterminate color strides along the icy pavement. His hands are in his pockets, his head is pulled into his shoulders, his collar is turned up, and his hat is pulled down to his eyebrows.<…>... a man is in a hurry to finally enter the entrance of house No. 88. He goes up to the second floor. To the right is a door with the inscription "Yaghurt Prostokvasha", to the left - "The editorial office of the journal 'New Satyricon'". He enters. Pleasant warmth covers the man in the overcoat; he heads for the secretary's desk. I look up from the flagship issue of the magazine.
Hello Alexander Stepanovich. Did you bring something?
He holds out a folded sheet of writing paper.
Very good. Tomorrow I will hand it over to Arkady Timofeevich.
Tomorrow?!
The hope for advance collapsed. Small advance...
Tomorrow…
I'll call Averchenko and say that you brought the material. He will allow accounting. Come tomorrow at twelve. Good?
He looks at the table. Silent.<…>Green was considered a gloomy, gloomy person, they said: “He is strange.” He was deeply introverted...
Averchenko's attitude towards Green had the character of patronizing sympathy. He liked to wander with him after editorial meetings along the embankments. It was strange to see them together: a radiant, smiling man of athletic build, always elegant, and next to him was Green, in a dark coat with a turned up collar, pale and gloomy. However, when talking to Averchenko always in an undertone and somewhere far away from the mocking employees, Green began to smile.<…>
I remember such a case.
Alexander Fleet, a lawyer by education, served as a legal adviser in some institution, and suddenly - he wrote a poem! The young poet brought it to the New Satyricon. Came back a week later for an answer.
No, - Averchenko said good-naturedly, - this will not work for us.
Fleet decided never to write a line again.
But - wrote, brought - and the same result. And Fleet, as a sin, really liked the satirical and humorous atmosphere of the editorial office of the magazine. He began to drop in, got acquainted with everyone and became friends with the unsociable Green. Excited about the "returns" of a friend, Green decided to talk to the editor.
Arkady Timofeevich, it’s not for me, of course, to teach you, but Fleet is somehow being treated unfairly. Bukhov reads his poems and does not let him in. Are they so bad, these poems?
Bukhov says that Flit does not have a face, that he “scribbles”, but does not write.
Fleet has absolute literary taste. And you remember how the stories of Yefim Zozulya didn’t go and didn’t go, and Fleet came up with the title “Premature Stories”, and immediately the zest appeared. Remember?
Yes, yes ... Let him write a fable, I'll read it myself.
The battle was won - they liked the fables. Fleet became a permanent employee."
As you can see, no antics of Green could damage the respect that Averchenko had for him. However, Alexander Green could do something outrageous only while intoxicated. But for the young Vladimir Mayakovsky, scandal was a concept of everyday behavior. Literally a few days before the appearance in the editorial office of the New Satyricon, the poet caused an emergency in Stray Dog. On February 11, 1915, from the cafe stage, he read his poem “To you!”, The general pathos of which and obscene language at the end shocked the audience. Some of the ladies fainted. As a result of this speech, a police report was drawn up. Teffi and Alexey Radakov were also present. Nevertheless, two weeks later, on February 26, Mayakovsky's satirical "Hymn to the Judge" appears on the pages of Averchenko's magazine!
Averchenko gave Mayakovsky a job at a very difficult time for the poet, lack of money and even starvation. In search of at least some kind of income, he asked Chukovsky to introduce him to Vlas Doroshevich, however, Doroshevich wrote in a response telegram to Korney Ivanovich: “If you bring me your yellow jacket, I will call the policeman ...” “King of the feuilleton” Doroshevich, apparently, was afraid of Mayakovsky’s reputation . The “king of laughter” Averchenko turned out to be bolder, although we have already spoken about the general policy of rejecting futurism by the “Satyricon” and the “New Satyricon”. Angry and well-aimed criticism, cartoons ridiculing the leaders of this movement repeatedly appeared on the pages of magazines. Let us cite, for example, Vasily Knyazev's poem "Recognition of a Modernist" (1908):
For a new rhyme
We are ready for typhoid
Sing in verse
And deal with it
And get infected
And die!
Arkady Bukhov was especially radical: at the mention of the futurists, he literally began to shake. In 1913, his poem "The Legend of the Terrible Book" was published in the "New Satyricon":
He put on an iron boot
And they drove nails under the nails,
But the exhausted smog did not give out the secret:
The lips were proudly silent.
………………………………….
The convoy sobbed and thought the court,
Suddenly someone said eloquently:
“Oh, your Excellency! Let them bring
Poems of a Futurist.
…………………………………………..
Exhausted silently rose from the ground
In anticipation of a terrible moment.
"Enough! - he said. - Tortured by fire
Subjected to unnecessary insults ...
…………………………………………….
No: iron boots are better.
What secret do you need to know?
Please - be kind!"
Bukhov could not forget the Futurists even in 1921 in exile. “You have, of course, heard about the futurists,” he wrote in the feuilleton “They knock on the skull.” -<…>Once literary elders said: per aspera ad astra - through obstacles to the stars. The literary youth of the futuristic persuasion put it more clearly: through the bazaar - to the station! Other Futurists also worked and wandered along the same path. The futurist Goltzschmit traveled around the cities with lectures and publicly smashed boards on his head. The lecture was called “The way to beauty!”. What does beauty have to do with it - it remained a secret of Mr. Goltzschmit. In any case, it was only clear that the road to beauty had to be punched through oak planks with one's own skull. Futurist Burliuk also gave lectures, but without boards, but with a shoe that he put on the pulpit and said: “This is beauty - and Venus de Milo is a noseless doll.” Futurist Vasily Kamensky read his poem "Stenka Razin"<…>in the circus, sitting astride a horse, facing the horse's butt and holding on to the horse's tail. Will. There could be hundreds of such examples. Bukhov especially hated Mayakovsky and wrote that he "is noticeable only in a good publication, where everyone writes competently and talentedly, as noticeable as a boil on a healthy body."
However, not all satyricists disliked Mayakovsky. Alexey Radakov, for example, was under his great influence, although he was much older. It was he who brought the poet to Averchenko, who, according to some accounts, told Vladimir Vladimirovich: “You write as you like, it’s nothing that sounds strange, we have a humorous magazine.” It seems that Arkady Timofeevich guessed a great talent in Mayakovsky (at that time Maxim Gorky also drew attention to the poet) and was able to abstract himself from the tomfoolery and outrageous antics for which the young futurist was famous. Averchenko was able to very delicately make it clear to Mayakovsky that his talent imposes a certain responsibility on him.
Listen, Mayakovsky! he often said. - You are an intelligent and talented person, and it is clear that you will have fame, and a name, and an apartment, and everything that happens to all poets and writers who deserve it and achieve it. So why are you mad, walking on your head, clowning in this lousy cabaret "Comedians' Halt" and so on? Honestly, what is it for? You are a freak, right!
When Mayakovsky tried to answer something, Averchenko did not let him do this and turned to one of those present: “No, seriously, tell me, because a person is breaking through open doors! Well, what does he want? What the hell? The guy is young, healthy, talented ... "
Vasily Knyazev expressed his impression of the arrival of Mayakovsky in the magazine: “Mayakovsky is a huge cliff that has collapsed into a quiet pond. He in a short time ... put the entire "Satyricon" on his head ... overflowing the magazine with lyrics, to the detriment of satire and humor.<…>... one could be indignant, hoot, rage, but in the depths of their souls, sensitive (not me, of course) realized that this biologically necessary so that the hippopotamus would come to the china shop of the Satyricon and do Messinian atrocities there” (letter to Ark. Bukhov dated May 28, 1935). The very presence of Mayakovsky, his visits to the editorial office, the noisy discussions that accompanied them, the witty and by no means always harmless squabbles with the magazine's employees, with the authorities brought diversity and anxiety to the editorial life. Mayakovsky did not let them get bored, and Averchenko sometimes added fuel to the fire, provoking it. The writer Viktor Ardov recalled: when Mayakovsky was mobilized and his head was shaved, Averchenko remarked: “You always overfulfill everything twice,” hinting that the poet should have shaved only half his head, like a convict.
Mayakovsky took root in the "New Satyricon", in which he published 25 of the 31 poems written during this time and excerpts from the poem "A Cloud in Pants". He liked working with Radakov, who undertook to illustrate the poems “Hymn to the Judge”, “Hymn to the Bribe”, “Hymn to Health”, “Hymn to the Scientist”, realizing that Mayakovsky should be illustrated differently from other poets. Thus, a new creative union was born, which in a few years will still manifest itself in the Windows of Satire ROSTA. Radakov recalled that for a long time he could not succeed in drawing for the ironic Hymn to the Scientist (1915):
Sits all night. Sun from behind the house
again grinned at human ugliness,
and down the sidewalks again prepare
actively go to the gymnasium.
Pass red-eared, but he is not boring,
that a man is growing stupid and submissive;
after all, but he can every second
take the square root.
The illustration turned out to be somewhat unconvincing. Mayakovsky, who himself was an artist by training, looked at the drawing for a long time and said: “And you hide the scientist’s head in a book, let him go into the book with his head.” Radakov did just that. And the drawing won thematically.
Yefim Zozulya testified that Mayakovsky took the affairs of the editorial board of the New Satyricon very seriously, and in the presence of Averchenko behaved "like an obedient boy." At Friday meetings, the poet looked so decent that Pyotr Potemkin, famous for his innocence, even once remarked:
Vladimir Vladimirovich, you are absolutely not rude here.
If it torments you, I can separately go to your house and get nasty, - he answered.
Cooperation in the "New Satyricon" provided Mayakovsky with the opportunity to reach a wide readership, but later, when the magazine was closed by the Bolsheviks as anti-Soviet, the poet wrote that he worked in it "in the discussion of what to eat" ("I myself." 1922).
With the outbreak of World War I, the staff of the New Satyricon, headed by its editor, Arkady Averchenko, took an active patriotic stance. In the last July issue for 1914, an editorial reported:
“When all the people face one great task that unites all - to defend their fatherland, defend their independence, when tens of thousands of families see off their loved ones to the war, when soon people will appear in deep mourning and in churches they will commemorate the dear names of soldiers who fell in battle - then not only laughter, but even a faint smile is an insult to people's grief, people's sadness ... Then laughter is inappropriate - the very laughter that is so needed in peacetime, so loved by everyone.
And, however, we consider it our necessary task, our duty, to contribute at least a tiny share that increases the general enthusiasm, to contribute at least a drop to that huge wave of patriotism, to the elemental ninth wave, which will powerfully lift us all on its sparkling crest to heaven. , forcing to forget the party strife, scores and quarrels of peacetime.
In the terrible hour of trials, let internal strife be forgotten.<…>
At first we wanted to suspend our magazine for the duration of the war. Before the impending great events, in this terrible time for the whole world, our work seemed to us unnecessary to anyone, having no meaning and interest - we were too depressed, like everyone else, by the greatness of the events taking place. But then we said to ourselves:
May everyone in this terrible hour for the motherland benefit his fatherland, as he knows how and how he can ...
We would be happy if the New Satyricon managed to capture on its pages our great and terrible time. Capture our enemies and friends, heroism, suffering, horror, sadness, deceit, beauty and abomination of war.
From now on, the Satyriconists turned their critical talent against an external enemy - the Germans and their allies. The pages of the magazine were filled with feuilletons and caricatures ridiculing Emperor Wilhelm, the Austrians and Turks, and the Bulgarian Tsar Ferdinand. Thoughts about these figures did not leave Averchenko even during the rest. On August 8, 1914, while visiting Kuokkala, he left the following entry in the recently published Chukokkala almanac:
“Not because we are at war with Wilhelm, but in general - I find that Wilhelm is ridiculous. You can make a mistake in one case ... Well, in two! .. Well, in three!
1. I thought that England would be neutral... - I was wrong.
2. I thought that Japan would be against Russia. - Wrong.
3. I never thought that Japan would be for Russia. - Wrong.
4. Thought that Belgium would silently let the Germans through. - Wrong.
5. I thought that Italy would be for the Germans. - Wrong.
6. I thought probably that Italy would be neutral. - Wrong.
7. Hoped for the power of Austria. - Wrong.
Total - 7 errors. These are exactly those 7 troubles for which there is one answer ”(Chukokkala. Handwritten almanac of Korney Chukovsky. M., 2006).
Arkady Timofeevich was not subject to mobilization due to the state of his eyesight. In December 1916, he underwent a full medical examination, as a result of which he was declared "completely unfit" for military service and enlisted in the second-class militia. Two other owners of the "New Satyricon" - Radakov and Re-Mi - served in the rear military automobile school, which trained drivers and motorcyclists. In Chukokkala, Re-Mi's comic drawing of June 28, 1915, in which he depicted himself in a soldier's uniform, with a gun and a shoulder pack, has been preserved. In a comment to this cartoon, Chukovsky wrote: “The artist Re-Mi, while waiting for the call to the army, tried to imagine what he would be like in a soldier's uniform. It turned out to be a ridiculous scarecrow.<…>In fact, in a soldier's uniform, he turned out to be even uglier ”(Chukokkala. Handwritten almanac of Korney Chukovsky). Aleksey Radakov already in the 1920s liked to tell how he was a “military darling” and “ladies just fell, fell, I was such a handsome man!” Since September 1915, Vladimir Mayakovsky worked as a draftsman in the same automobile school, and Viktor Shklovsky taught beginners to drive cars on the Field of Mars. Radakov recalled how they had fun: “Our service was of a rather strange order, even somewhat humorous. We had to quarter the troops that had come from the front. Suppose some unit comes from the front. For example, military vehicles, cyclists come, we had to find the appropriate premises in the city and represent them. For this it was necessary to go to the Duma, to bother and the devil knows what ”(Radakov A. A. Memoirs. Recorded on April 26, 1939. Manuscript. BMM).
Sasha Cherny (he served in the 13th field hospital in the Warsaw region), Vasily Knyazev and Arkady Bukhov were also mobilized, who were immediately demobilized after being called up: the first due to illness, the second due to "unreliability".
In the first years of the war, a wave of patriotism swept through all sections of Russian society. The owner of "Vienna" removed the sign of the institution and replaced it with "Restaurant I. S. Sokolov"; Teffi in July 1916 was photographed for the magazine "The Sun of Russia" in the costume of a sister of mercy. The caption under the picture read: "The famous writer N. A. Teffi, who brought gifts to the lower ranks in the army." Averchenko, on the other hand, wrote about manifestations of heroism at the front, ridiculed rear everyday life: rampant speculation, theft and bribery. In one of the feuilletons of 1915, he argued that an unscrupulous merchant who raises the prices of essential goods should be approached with the question: “Where is your patriotism, which embraces all decent, decent Russia?”
« Editor (sadly). Hm... Mniszek. I think I understand you. Pedigree of the Kaiser?
Writer. Mmm... n-n-no.
Editor. Sorry, I'm very busy. Try to explain what's going on.
Writer (thoughtfully, with conviction). The original, bright character of this woman, the general flavor of her personal life ...
Editor (strictly). Why is there a war here?
Writer. I say it doesn't matter.
Editor. Dear, the reader demands military, topical stories.
Writer. Is it? I didn't hear. Where did you read about it?
Editor. Sorry, I don't have time...( Looks at the writer with hatred.) And where have you seen anyone now read other than stories about the war?
The writer, having failed to please the Editor, leaves with nothing. Following him, the novelist Byashko enters the office, writing according to all the requirements of the “current moment”:
« Byashko. <…>Stay satisfied. It's in the trenches. Mass of shots.
Editor. And are there guns?
Byashko. Everything, everything. Armored forts, machine guns, zeppelins and even land mines.
Editor (lovingly). God! God bless man! Pen luxury! A feast of colors! Life, blood and fire!
Byashko (misheard). BUT? Yes: the hero is bled and thrown into the fire.
Averchenko raised a similar problem, for example, in the feuilleton “Specialist in Military Affairs. From the life of the small press ”(1915), in which he ridiculed amateurs who write about the war and do not understand the meaning of many special terms. The conversation between the editor of the newspaper and the “military observer” described in the feuilleton raises a smile:
“- What a strange thing you wrote:“ The Austrians continuously fired at the Russians from dugouts, directing them at them. What does "them in them" mean?
What is incomprehensible here? Directing them at them means directing dugouts at the Russians!
Can the dugout be directed?
Why, - the military observer shrugged his shoulders, - after all, he is mobile. If you need to aim from it, then it turns in the necessary direction.
So you think that you can shoot out of the dugout?
Why, of course, who wants to - can shoot, and who does not want to - can not shoot.
Thanks. So, in your opinion, the dugout is something like a cannon?
Not in my opinion, but in a military way! the reviewer exploded. - What are you, mocking me, or what? In any newspaper you will find the phrases: “Russians fired from dugouts”, “Germans fired from dugouts” ... The donkey just does not understand what a dugout is!
Arkady Timofeevich also amused himself when he saw manifestations of an exalted attitude to the military theme, which had become fashionable. In his notebook of that time, we found the following sketch:
"- Who you are?
Military…
Thank God! The first military...
Oh no, I'm a military tailor."
Believing in the healing power of laughter, Averchenko often spoke to the wounded in hospitals. One day, in the water from the infirmaries, an interesting incident occurred to him, described in the story "Terrible Boy". However, before quoting from it, we ask the reader to recall the circumstances of the Sevastopol childhood of the writer, namely the hooligan Vanka Aptekarenko, who kept the boys of the Artillery Sloboda in fear. Remembered? Now let's give the floor to Arkady Timofeevich:
“On November 12, 1914, I was invited to the infirmary to read several of my stories to the wounded, who were bored to death in a peaceful infirmary environment.
I had just entered a large ward lined with beds, when behind me, from the bed, a voice was heard:
Hello fraer. What are you doing about pasta?
A tone native to my childish ear sounded in the words of this pale, wounded man overgrown with a beard.
Are you this to me?
How about not recognizing old friends? Wait, you will come across me on our street, you will find out what Vanka Aptekaryonok is!
The terrible boy lay in front of me, smiling weakly and kindly at me.
Childish fear of him for a second grew in me and made both me and him (later, when I confessed this to him) laugh.
Dear Apothecary? The officer?
Yes. - And in turn: - Writer?
Not injured?
That's it. Do you remember how I blew up Sasha Hannibatzer in your presence?
Still would! And why did you get to me then?
And for watermelons from the chestnut tree. You stole them, and it was not good.
Because I myself wanted to steal.
Right. And you had a terrible hand, something like an iron hammer. I wonder what she looks like now...
Yes brother, he laughed. And you can't imagine.
Yes, look.
And he showed a short stump from under the blanket.
Where is it you so?
They took the battery. There were fifty of them. And we, this ... less.
In the summer of 1915, Averchenko undertook a trip that was called "Caucasian Evenings" in the press. He spoke to the wounded in the Caucasian Mineralnye Vody and tried to distract these people from heavy thoughts, to cheer them up. The writer deliberately selected pre-war works for public performance, allowing him to defuse the disturbing atmosphere and thoughtlessly laugh. On June 15, 1915, the Pyatigorsk Echo newspaper wrote with gratitude: “This tall man with such a good-natured character and a mocking face came to us at a time when twilight became especially painful and gloomy, when it was so difficult to breathe in the stale air, and said just one word - laugh! We obediently laughed, and somehow it immediately became easier, more cheerful in our souls.
New military realities evoked new themes of creativity: by 1915, a comic plot, born of living conditions under the declared “dry law”, was firmly established in the “New Satyricon”. Since July 19, 1914, as a result of the royal decree on the prohibition of the production and sale of all types alcoholic products throughout Russia, the sale of alcoholic products was stopped. The protest "alcoholic" humor of the satyricon was friendly to the drinkers. They were so ironic about the "prohibition" that in 1915 they released a whole satirical and humorous collection "Aspen Stake on the Grave of the Green Serpent", in which they skeptically considered the prospect of universal sobriety. The content of this book cannot but cause a smile: Arkady Bukhov "The World History of Drunkenness", Isidor Gurevich "Alcoholism and Medicine", Alexander Roslavlev "Drunken Poems", etc.
Averchenko wrote four feuilletons for the collection: "Aspen stake", "Dry holiday (Neo-Christmas story)", "Hypnotism" (Essay) and "Incomprehensible". In the feuilleton "Aspen stake", which opens the collection, the satirist clearly defined his position:
“Let me cry, the reader is my intimate trusted friend, you know what? On the disappearance of drunkenness in Russia.<…>
Sounds like you should be happy?
This text is an introductory piece.NEW YEAR Twelve. The bottle slammed, The baby-year-old looks out the window, My frosty wine hissed fervently in the glass. New desires are alien to me, But will I grieve about When memories bloom About my past happiness? Here again I am a Moscow student, And you are with me, and again
FOR THE NEW YEAR New Year eve. Eternity is boundless. I believe the pensive stars, I believe you, lunar spots! I know whose secret you are moaning, Your sadness is understandable to your heart: The days that you are chasing after me Do not come back. I see bowed eyes. Frozen blissfully in their power
NEW HOUSE Once upon a time with a black cat (What Kipling "by itself") We lived together ... And our calm house was a little warm with a calm love for Vikings and books, and this cool light of spacious loneliness flickered for no one. In vain someone's hearts were caught, as if
NEW AGE Even if you muffle the old English clock with a pillow, loudly beating the last and first minutes of breaking time, and at the same time hide your head under the covers and say to yourself at 11 pm: “Sleep!” - You still can't sleep. The subconscious captures the event: not a year
Birth of Av. "Satyricon" I successfully entered ... M. Bulgakov. Ivan Vasilyevich Arkady Averchenko appeared in St. Petersburg on New Year's Eve, 1908, with eleven rubles in his pocket and hope for good luck. In one of his autobiographies, he even named the date of arrival - December 24th. However, in another
"New Satyricon" 1 In the spring of 1913, a scandal erupted in the Satyricon, which led to a break between Averchenko and Co. and Kornfeld. Various sources give different reasons for what happened. The first version was presented by L. Evstigneeva (Spiridonova) in the monograph “Journal
I. The New World On a cold winter's night - as the transition from the previous century to the new one - took place, a young man of twenty-six, sitting in a stuffy train car, wrote a letter addressed to a beautiful woman. From the window of the car, a view of the endless, snow-covered
NEW CHAIRMAN, NEW DEAL In March 1982, a year after I retired from Chase Bank, I became chairman of Rockefeller Center Inc. (RSI), which by that time owned not only the Rockefeller Center, but also other real estate. Framework,
New, well, very new I was sent to the village of Novy Gus-Khrustalny district to an old wooden orphanage. It's strange, I practically don't remember bright and beautiful orphanages. All of them were extremely miserable and old, as if the childhood of "such a" child could pass only in
The new century The 20th century has come. Alexandra Alekseevna Mayakovskaya: “In the spring of 1901, Luda finished seven classes. On the occasion of the completion of her course, we decided with the whole family to go to Sukhum, where acquaintances lived. ”In Sukhum, seven-year-old Volodya was interested in a tall tower that stood on
New Year Nikolai Markovich Emmanuel was a great connoisseur of female beauty. Only this can explain my presence with my wife in the company of academicians. I was the only one among them who did not receive this title. There were six academicians. We met New, 1956. We played
"SATYRICON FELLINI" While still studying at the Lyceum, Federico read an edition of the "Satyricon", equipped with rather nasty erotic illustrations. This version was not adapted for teenagers by removing obscene passages. The author of this, which has come down to us in the form
New Year On December 31, friends gathered at Serov's to celebrate the old year and welcome the new one. They remembered how they left Spain on New Year's Eve 1938. Yes, Spain is far away. And a whole year has passed. But how close she is, and how recently they were there, under her bright sky in scorched spaces.
- GOUVPO
- Department of Journalism
- The evolution of the magazine "Satyricon".
Completed by: Mukhametnurova O.U.
(FGV-201)
Checked: st. teacher Ratnikov K.V.
Chelyabinsk
-
2012
Introduction ___________________________________ ______________________________ 1
§1.1. History of the magazine "Satyricon" ____________________________3
§2.1. The evolution of the style of satire in the magazine "Satyricon" _______________ 5
Conclusion ____________________ ______________________________ __7
List of used literature ____________________ ___________8
Introduction
The revolutionary events that took place in the world and, in particular, in Russia at the beginning of the 20th century led to the fact that the Russian public became more liberated. She began to express her democratic aspirations more vividly, not immediately and not directly, but through feuilletons, epigrams and other ironic means. This could not but be noticed by the press, in which humorous and satirical publications began to develop. One of them is the humorous magazine Dragonfly (1875-1918), which, however, soon lost its popularity 1 . But he gave the basis to another equally bright St. Petersburg satirical magazine "Satyricon" (1908 - 1913). Named after the ancient novel of the same name by the Roman writer Petronius the Arbiter, he continued the best traditions of biting satire. Target work - to trace the history of development and evolution of the journal "Satyricon". Two tasks emerge from this: 1. Tracing the history of the Satyricon magazine. 2. Highlight the main development and evolution of the Satyricon magazine.
The history of the development of this printed edition is full of ups and downs. So the magazine was able to get on its feet after the First Russian Revolution (1905-1907) and by 1912 to flourish in full bloom (which was not a little promoted by the policy of P.A. Stolypin and other democratic reforms). Then he fell into the period of the crisis of 1913 and came out of it renewed, having survived the severe attacks of censorship. Already the "New Satyricon" survived until the beginning of 1918. Only after the October Revolution the journal was closed, and most of the authors ended up in exile.
The main reason for the high popularity of the magazine was that it combined both political satire (directed, for example, against German foreign policy before and during the First World War, against the Black Hundreds, and after October 1917 against the Bolsheviks) and harmless humor. . It was also important that figures of Russian culture of the Silver Age, who are generally called "satirikonists", took an active part in it. Arkady Timofeevich Averchenko became the editor-in-chief of the magazine, who attracted a whole galaxy of talented poets and prose writers: Sasha Cherny, Osip Dymov, Teffi, Arkady Bukhov, Leonid Andreev, S. Marshak, A. Kuprin, A.N. Tolstoy, S. Gorodetsky. And in 1915-1917. V.V. collaborated with the New Satyricon. Mayakovsky. Among the main employees were no less talented graphic artists A.A. Radakov, N.V. Remizov-Vasiliev (Remi), A.A. Junger (Bayan), A.V. Remizova (Miss). Their bold cartoons and caricatures also graced every issue of the bold magazine and were also subject to censorship.
The magazine "Satyricon" left a bright mark in the history of the periodical press, denouncing the political and social life of Russia at the beginning of the 20th century in the form of caustic satire.
§1.1. History of the magazine "Satyricon"
The eventful history of the Satyricon magazine began in the bowels of another satirical publication called Dragonfly. It was there in the fall of 1907 that the future editor-in-chief of the Satyricon, Arkady Timofeevich Averchenko, began working. In 1907, young artists Re-Mi (N.V. Remizov-Vasiliev), A. Radakov, A. Junger, A. Yakovlev, Miss (A.V. Remizova) and the poet Red (K .M. Antipov). All of them were dissatisfied with the colorless empty Dragonfly and persistently suggested that the publisher reform it. Oddly enough, the appearance of Averchenko seemed to be the final impetus for the cautious editor Kornfeld to agree.
At one of the regular meetings of the editorial board, it was decided to turn the Dragonfly from a humorous magazine into a satirical one, reflecting the topical events of social and political life in the country. They immediately came up with a different name for the magazine. It was proposed by Radakov. He remembered the famous ancient Roman novel by Gaius Petronius the Arbiter "Satyricon" - which tells about the nightmarish era of Nero, where life details are intricately mixed with grotesque images of a disgusting world.
Thus, the creative face of the new organ was determined. And from April 3, 1908, instead of the “Dragonfly”, which had bothered everyone, the satirical magazine “Satyricon” began to appear, which set itself the task of morally correcting society by satire on mores. And the Dragonfly soon completely ceased to exist. "Satyricon" chose the tactics of socio-political satire, the main object of which was political life. The "Satyriconists" were ironic about the State Dumas, political intrigues and parties. The satyriconists ingeniously ridiculed everyone who was a stronghold of government and public reaction. Very often and willingly they criticized the Cadet Party, primarily for its behavior in the First State Duma. The symbol of the helplessness of the Cadets was the "Vyborg pretzel". This meant the well-known Vyborg appeal of the Cadets, in which they urged the people "not to pay taxes and to carry out passive resistance tactics."
By the end of 1911, there was a clear decline in the political sharpness of the Satyricon. From a Fronder satirical organ, it gradually turns into a humorous one, differing less and less from the “Alarm Clock”, “Jester”, and “Shards” he ridiculed. However, this principle of “smiling satire” did not suit many. So in 1911 Satyricon left Sasha Cherny, not wanting to put up with the fact that the magazine was acquiring a "dance class direction." Such a decline in radicalism is partly due to the expectations that P.A. Stolypin and the events of the Trade Union coup, when Nicholas II made significant concessions.
In 1913, a split occurred in the editorial office of the journal, as a result of which the New Satyricon was formed. The immediate cause of the split was financial misunderstandings and a quarrel between the main shareholders of the journal: the publisher M.G. Kornfeld, on the one hand, and Averchenko, Radakov and Remizov, on the other. According to the agreement concluded between the publisher and employees, Averchenko, Radakov and Remizov had the right to control the economic part of the magazine, and Kornfeld undertook not to increase the subscription and retail fees for the magazine.
The New Satyricon continued to exist successfully (18 issues were published) until the summer of 1918, when it was banned by the Bolsheviks for its counter-revolutionary orientation.
- §2.1. The evolution of the style of satire in the magazine "Satyricon"
Octobrist: We, gentlemen, stand guard...
Peasant deputy (horrified): More guards? Oh, Rossey!!” 3
However, after the storms of the First Russian Revolution subsided, the laughter of the poets and prose writers of the Satyricon becomes more good-natured. In this regard, characteristic is the number 3 of the satirical publication for 1913, dedicated to the memory of the "unforgettable Kozma Prutkov." Celebrating the 50th anniversary of their predecessor, the satyriconists excel in witty parodies, but their public resonance is not great. Inflated paradoxicality and sentimental intimacy are increasingly beginning to replace socially significant satire. Naked female bodies flash across the pages of the magazine, stories about the “godless artist” and the milliner he seduced, Easter, oil, Christmas baubles 4 .
The central place in the magazine was occupied by caricatures of fashionable writers and artists. A special column appeared in this journal, "The Russian Garden on Parnassus," and the authors of stylized parodies P. Potemkin and S. Gorny 5 became the poetic leaders in the journal.
By 1912, disagreements began within the editorial office, which soon led to a split. This was evident from the very editors of the magazine. So in the New Year's issue of the magazine, drawing a solemn parade of employees, A. Radakov, on the sidelines, depicted Sasha Cherny, "sometimes even throwing himself at his own." In 1911, Sasha Cherny broke with the magazine, publicly declaring that he did not share its direction. Meanwhile, liberal critics enthusiastically welcomed the Satyricon's turn to humor. In their opinion, the main merit of the magazine was that it was able to entertain the Russian society, which was depressed after 1905, with thoughtless, frivolous laughter.
According to Averchenko, "Satyricon" was supposed to please that part of Russian society that felt the need to shake off the crushing nightmare of Stolypinism from the soul, breathe freely, and laugh merrily. The magazine offered laughter as a remedy for melancholy and despondency 6 . He sees a new function of the satire of those years in saving the intellectual, drowning in pessimism, and helping the "recovering" part of Russia to have a good time.
But, unfortunately, such a strategy was winning, since the litigation of the war and the devastation in the country gave little cause for fun. And the cardinal rearrangement of political forces after October 1918, when the Bolsheviks became the head of power, completed the logical end of this bright magazine.
- Conclusion
Tired of the faceless humor of "Dragonfly", "Alarm Clock" and "Shards", the young employees of the "Satyricon" began to famously criticize politics and the social system and customs in Russia. Only a short respite before the First World War gave liberal reforms to P.A. Stolypin gave them a reason to move on to a smiling and harmless satire. This could not but give rise to discontent among the radicals (and, above all, the Bolsheviks). They called such satire “toothless.” To this thematic confusion was added discord in the editorial team (especially between A.T. Averchenko and M.G. Kornfeld). And the coming to power of the radical Bolsheviks in October 1917 completed the outcome of this satirical publication.
Thus, the purpose of the work is fulfilled: the history of the creation and development of the journal "Satyricon" is traced and the main milestones of its development are highlighted.
However, in the XXI century. the traditions of the "Satyricon" are alive: in 2006, the electronic magazine "Satyricon - bis!" 7. Artist Aleksey Karakovsky deliberately chose the style of decoration in domestic and foreign retro postcards. The name of the magazine is symbolic: "bis", on the one hand, means continuity from the "New Satyricon" by Arkady Averchenko, and on the other hand, applause.
- List of used literature:
2. Poets of the Satyricon. [Foreword. G. E. Ryklina. Intro. Art. Evstigneeva L.A.], M. L., 1966
3. Cossack V. Lexicon of Russian literature of the XX century. M., 1996
4. URL: http://www.satirikon.biz/
Students 133 groups
Yakovleva Olga
Shadrinsk, 2008
Satyricon…………………………………………………………………..3
A.T. Averchenko ……………………………………………………..….5
“Two crimes of Mr. Vopyagin”……….7
Sasha Cherny…………………………………………………………………8
Poems…………………………………………………………………………….10
Taffy………………………………………………………………………..11
"Woman's Book"…………………………………………………………..14
Bibliography………………………………………………………….16
Satyricon
Speaking about the main directions of Russian poetry of the Silver Age, poetic schools and individual groups, one cannot fail to mention another association that entered the history of literature under the name "Satyricon".
The Satyricon was that outlet which is always lacking in a regime in the old sense of the word. The regime was royal, life was so-so, and there were plenty of characters and plots for ridicule. This is how the "Satyricon" appeared - a caustic and mocking magazine.
April 1, 1908 became a symbolic date. On this day, the first issue of the new weekly magazine "Satyricon" was published in St. Petersburg, which then had a noticeable impact on public consciousness for a whole decade. The first editor-in-chief of the magazine was the artist Aleksey Aleksandrovich Radakov (1877-1942), and from the ninth issue this post was transferred to the satirist, playwright and journalist Arkady Timofeevich Averchenko.
The editorial office of the magazine was located on Nevsky Prospekt, at number 9. The Satyricon was a cheerful and caustic publication, sarcastic and evil; it interspersed witty text with caustic caricatures, amusing anecdotes were replaced by political caricature. At the same time, the magazine differed from many other humorous publications of those years in its social content: here, without going beyond the bounds of decency, representatives of the authorities, obscurantists, and Black Hundreds were uncompromisingly ridiculed and scourged. The position of the magazine in the last paragraph was determined not so much by writers and journalists with Jewish roots - V. Azov, O. Dymov, O. L. D'Or, but by purebred Russians: A. Averchenko, A. Bukhov, Teffi and others who gave anti-Semites far more violent rebuff than their Jewish counterparts.
Such satirists as V. Knyazev, Sasha Cherny and A. Bukhov were published, L. Andreev, A. Tolstoy, V. Mayakovsky were printed, famous Russian artists B. Kustodiev, I. Bilibin, A. Benois performed with illustrations. In a relatively short period of time - from 1908 to 1918 - this satirical magazine (and its later version, The New Satyricon) created a whole trend in Russian literature and an era that was unforgettable in its history.
A special merit in such a loud popularity of the "Satyricon" largely belonged to the gifted poets - satirists and humorists who collaborated in the magazine.
The reader quickly appreciated everything that the satirists tried to convey to him. All of Russia was reading stories, poems, humoresques, epigrams, parodies, which complemented the brilliant caricatures, cartoons and drawings. The "Satyricon" attracted readers by the fact that its authors practically refused to denounce specific high-ranking persons. Nor did they have "compulsory love for the junior janitor." After all, stupidity remains stupidity everywhere, vulgarity remains vulgarity, and therefore the desire to show a person such situations when he himself can be ridiculous comes to the fore. Objective satire is being replaced by "lyrical satire", self-irony, which allows revealing the character "from the inside". This was especially pronounced in poetry, where the object of a satirical or humorous image is a lyrical hero.
The work of Sasha Cherny, Teffi, P. Potemkin, V. Goryansky, V. Knyazev, E. Vensky and other leading poets of the Satyricon was presented on its pages in various genres: poetic cartoons, pamphlets, humoresques, parodies, fables, epigrams.
During the heyday of the journal, in 1911, its publisher M. G. Kornfeld published in the journal library “The General History, processed by the Satyricon”. The authors of this brilliant parody-satirical work were Teffi, O. Dymov, Arkady Averchenko and O. L. D'Or; the book was illustrated by the satyric artists A. Radakov, A. Yakovlev, A. Junger and Re-Mi (N. Remizov).
The popularity of Teffi and Averchenko in those years is difficult to find analogues. Suffice it to say that Nicholas II himself read these authors with pleasure and bound their books into leather and satin. And it is no coincidence that the beginning of the “General History” was instructed to “process” Teffi, knowing whose favorite writer she was, one could not be afraid of censorship objections. Thus, speaking against the Duma, the government, officials, bureaucrats of all stripes, the Satyricon, with the highest goodwill, unexpectedly fell into the role of legal opposition; its authors managed to do much more in politics with their poetic and prose works than any politician.
However, in May 1913 the magazine split over financial issues. As a result, Averchenko and all the best literary forces left the editorial office and founded the New Satyricon magazine. The former "Satyricon" under the direction of Kornfeld continued to publish for some time, but lost the best authors and, as a result, closed in April 1914. And the "New Satyricon" continued to exist successfully (18 issues came out) until the summer of 1918, when it was banned by the Bolsheviks for its counter-revolutionary orientation.
Alas, the fate of the satyriconians was not happy. Someone left their homeland, someone was repressed and died ... An attempt to revive the magazine by Russian emigrants was not successful. But a considerable legacy remains, which must certainly find its reader.
BUT 
rkady
Timofeevich Averchenko
Born March 15, 1881 in Sevastopol in the family of a poor businessman Timofey Petrovich Averchenko.
Arkady Averchenko graduated from only two classes of the gymnasium, because, due to poor eyesight, he could not study for a long time, and besides, as a child, as a result of an accident, he severely injured his eye. But the lack of education was eventually compensated by the natural mind, according to the writer N. N. Breshkovsky.
Averchenko began to work early, at the age of 15, when he entered the service in a private transport office. He did not stay there for long, just over a year.
In 1897, Averchenko left to work as a clerk in the Donbass, at the Bryansk mine. He worked at the mine for three years, subsequently writing several stories about life there (“In the Evening”, “Lightning”, etc.).
In 1903, he moved to Kharkov, where on October 31 his first story appeared in the newspaper Yuzhny Krai.
In 1906-1907, he edited the satirical magazines "Bayonet" and "Sword", and in 1907 he was fired from his next job with the words: "You are a good person, but you are not good for anything." After that, in January 1908, A. T. Averchenko leaves for St. Petersburg, where in the future he will become widely known.
So, in 1908, Averchenko became the secretary of the satirical magazine "Dragonfly" (later renamed "Satyricon"), and in 1913 - its editor.
Averchenko has been successfully working for many years in the magazine's team with famous people - Teffi, Sasha Cherny, Osip Dymov, N.V. Remizov (Remi), and others. It was there that his most brilliant humorous stories appeared. During the work of Averchenko in the "Satyricon", this magazine became extremely popular, based on his stories, plays were staged in many theaters of the country.
In 1910-1912, Averchenko repeatedly traveled around Europe with his Satyricon friends. These travels served as Averchenko rich material for creativity, so that in 1912 his book “The Expedition of the Satyriconists to Western Europe” was published, which made a lot of noise in those days.
After the October Revolution, everything changed dramatically. In August 1918, the Bolsheviks considered the New Satyricon to be anti-Soviet and closed it down. Averchenko and the entire staff of the magazine took a negative position in relation to the Soviet government. To return to his native Sevastopol (in the Crimea, occupied by the whites), Averchenko had to get into numerous troubles, in particular, to make his way through the Ukraine occupied by the Germans.
Since June 1919, Averchenko worked in the newspaper "South" (later "South of Russia"), campaigning for help to the Volunteer Army.
November 15, 1920 Sevastopol was taken by the Reds. A few days before that, Averchenko managed to sail away on a steamer to Constantinople.
In Constantinople, Averchenko felt more or less comfortable, since there were at that time a huge number of Russian refugees, just like him.
In 1921, in Paris, he published a collection of pamphlets A Dozen Knives in the Back of the Revolution, which Lenin called "a highly talented book ... of a White Guard embittered to the point of insanity." It was followed by the collection "A Dozen Portraits in Boudoir Format".
Averchenko did not stay in any of these cities for a long time, but moved on June 17, 1922 to Prague for permanent residence.
In 1923, the Berlin publishing house Sever published his collection of émigré stories, Notes of the Innocent.
Life away from the Motherland, from the native language was very difficult for Averchenko; many of his works were devoted to this, in particular, the story "The Tragedy of the Russian Writer".
In the Czech Republic, Averchenko immediately gained popularity; his creative evenings were a resounding success, and many stories were translated into Czech.
On the eve of revolutionary upheavals and in the revolutionary era, satirical magazines gained particular popularity. The most famous magazines are "Alarm Clock", "Beach", "Guillotine", "New Satyricon", the pamphlet organ "Scaffold".
Weekly magazine "New Satyricon". In the foreground is a magazine page with V. Mayakovsky's poem "The Judge" ("Hymn to the Judge").
“For about two decades, this middle-class, boring couple ruled over us, smart, free people ... Who allowed it? And everyone was silent, endured and sometimes even sang at the top of their lungs “God save the Tsar.” Who allowed this disgrace and all-Russian mockery of us "Who allowed? Ay-ya-yay" 1 .
Arkady Averchenko
Into the revolution with satire
The well-deserved attention of readers was enjoyed by the St. Petersburg weekly satirical magazine "Satyricon", since 1913 bearing the name "New Satyricon". The magazine arose on the basis of the humorous weekly "Dragonfly". The editor and inspirer of the "New Satyricon" was Arkady Timofeevich Averchenko. The Satyriconists, headed by the editor-in-chief, were optimistic and enthusiastic about the revolutionary events of February 1917. The slogan "Long live the republic!" was placed on the cover of all issues. One of the main plots of satirical works was the royal couple, the favorite topics were the policies of the former Emperor Nicholas II and his ministers.
The article by Averchenko himself "What I think about it", published in April 1917 and representing the author's reflections on the state of the Russian state and society, is indicative.
The authors of satirical and humorous pamphlets were often summoned to court by those about whom they were written. So, Averchenko received a summons to Chelyabinsk to participate in the court session at the request of "some Chelyabinsk police officer." The receipt of the agenda and Averchenko's refusal to attend the meeting, as well as the further absence of any punishment, along with the awareness of complete freedom, prompted the editor of the New Satyricon to think about the state and society of post-revolutionary Russia bordering on anarchy: "The paper is completely fresh, "But what is she now? Where is she now 'by decree of His Majesty'? Where is that strict police officer now? Where are you, my dear?" 2. This thought was a harbinger of the magazine's lack of support for the Bolsheviks in the future.
"Missing a rag for a statesman"
Entirely welcoming the republic, Averchenko talked about the human nature of Nicholas II: “I’m somehow scared in hindsight that Nikolai Alexandrovich, sitting on the throne, was not a real emperor of all Russia, but an ordinary person, just like you and me ... Maybe his ideal is to play screw on a hundredth, plant flowers in the garden at the dacha, and, having arrived from the dacha to serve in Petrograd (he should serve as an assistant clerk in the department), go to Nevsky in the evening, find a night fairy there and invite to change her somewhere on Karavannaya, fearfully and timidly to change her grumpy and imperious, but already withered from worries and fuss with children to his wife. Maybe he - this former king - in character and all his warehouse - that's just such a person! In such an irreverent view of the emperor, the destruction of the myth of the anointing of the king, the sacredness and inviolability of his figure, the overthrow of himself and his entire family to the average representatives of the bourgeois class can be traced. However, Averchenko did not feel pity for the fate of the august person, he was genuinely surprised how such a person could get on the Russian throne: “Excuse me! But what’s the matter? something like that), how did they allow him to walk in an ermine robe and give audiences to the reigning persons and ambassadors", "And we are also good! Take an icicle, a rag for a statesman!" 3 .
The author pays much attention to his own assumptions about the reaction of Nicholas II to the current events. To enhance the effect, Averchenko primitiveized the emperor’s feelings, despite eyewitness accounts of the severity of the decision to abdicate: “Guchkov, worrying and stumbling, proves to him that he needs to abdicate the throne, and he? Has he shown at least some greatness of a tyrant , did he drop at least one historical phrase?.. They say he sat and stroked his mustache with a pencil.
Rigidity, exaggeration and bringing the situation to the point of absurdity became integral features of Arkady Averchenko's work during this period. The editor's accusatory articles set the general tone for the entire publication. In the April issue of the magazine, under the portraits of the imperial couple "In Concerns for the Good of the Loyal Subjects..." there are photos of weapons found in one of the former police dungeons "for twisting fingers, widening wounds and for tearing the eardrum during interrogations that are especially important for state purposes" 5 .
Caricature - not in the eyebrow, but in the eye
A favorite topic of satirical journalists of the revolutionary era was the relationship of the imperial family with Germany and, in particular, with Emperor Wilhelm II. The German origin of Empress Alexandra Feodorovna was the immediate reason for her portrayal as a spy, whose only desire was the collapse of Russia from within, which had nothing to do with reality. A vivid example of the development of this topic on the pages of the magazine were the published cartoons of Re-mi. The cover of the magazine depicted the empress behind a counter with a sign "Supplier of the court named after Wilhelm II. Latest news of the season" - she offers representatives of Germany, Austria-Hungary, the Ottoman Empire and Bulgaria a secret plan. Caption under the caricature: "Sale of Russia wholesale and retail. How did some of the "grand duchesses" live and work." - How, your majesty?! dear to me - our dear Russia ... "6
In the same issue, a caricature "How Russian people imagined German spies and what they really are" was printed, consisting of two drawings. The first shows a man in a black cloak running across a field with a small lantern in his hands, the second shows Alexandra Fedorovna in a royal phaeton near a military unit with a camera in her hands. The troops salute her, and the empress records the peculiarities of the structure of the fortress 7 .
"Protopopov wants to shoot himself on a walk"
Not only the imperial family was attacked, but also prominent dignitaries in the past. The favorite figures were the Chairman of the Council of Ministers P.A. Stolypin and Minister of Internal Affairs A.D. Protopopov. A. Radakov's caricature of the "Stolypin tie" called "The Last Consolation" is well-known, which became a response to the news that in Kyiv the monument to Stolypin was thrown off the pedestal, lifting it by the neck with a crane on iron chains: "Stolypin: - How fortunate it turned out, that I applied my "Stolypin" tie to others during my lifetime, but it was applied to me only a few years after my death ... "8
Sergey Mikheev's poems were awarded to the former minister Protopopov, in respect of whom there were rumors of a mental illness (in 1917, Protopov was indeed diagnosed with a bipolar affective disorder, characterized by frequent changes in the symptoms of mania and depression). Probably, this was the reason for adding the following lines:
Fortress alleys slumber
Hoarfrost is silver...
Protopopov for a walk
Wants to shoot...
- I'm tired of royal ethics,
Drama crushes the heart...
Oh, get a pistol -
Bang straight on the forehead ...
The soldier answered this
Looking somehow stricter:
- This is us without a gun
We can very easily...
Just take your breath
And, I will say without flattery,
Run if - like a fly
I'll put it on the spot.
There is also time to pray
Quiet everywhere...
But ... the suicide screams:
- Uncle! .. I won't ...
The alleys of the fortress are slumbering,
The evening began to descend...
Someone cried on a walk:
- I don't want to shoot! nine
"Did you get through? Did you become a minister?"
The post of minister itself was ridiculed, as evidenced by N. Radlov's caricature "Before, now." In contrast to the happy family of the tsarist era, which is experiencing joy and pride in the successes of the head of the family, at the bottom of the picture there is a man announcing his appointment to a new position with the corresponding caption: "Did you get knocked out? You made him a minister? You don't regret your family ... Don't cry, Petka , it won't get any easier anyway..." 10
In 1917, many publications divided the history of Russia into pre- and post-revolutionary. These two Russias are opposed to each other. February Revolution widely declared the equality of rights of all citizens of the Russian Empire, regardless of gender, nationality, religion. In turn, the "era of tsarism" became associated with inequality and favoritism. A. Radakov's caricature "People of First Necessity and Last" is proof of this. The first part of the caricature depicts Emperor Nicholas II, Empress Alexandra Feodorovna and Grigory Rasputin presenting gifts to the nobles, the highest Russian and foreign officials. The second part of the cartoon illustrates the indifference of the above mentioned soldiers to the needs of the soldiers dying on the fields of the First World War 11 .
P.S.
These are just some of the examples of the cruel trial of the journalists of the "New Satyricon" over the bygone era of old Russia. Despite the opposition to the tsarist regime, the constant development of topics discrediting and overthrowing the authority of the former "masters of life", the "New Satyricon" did not find a place in Soviet Russia. The October issue of the magazine is signed "With deep malice we dedicate to the Bolsheviks and internationalists," the first post-October issues were full of mocking attacks against the Bolsheviks, who were equated with street robbers. For the satyriconists, the new revolution seemed like chaos. It is not surprising that in July 1918 the "New Satyricon" was banned, its ideological inspirer Arkady Averchenko went over to the side of the Whites and ended his days in exile.
1. Averchenko A. What do I think about it // New Satyricon. 1917. April. No. 14. P. 2.
2. Ibid.
3. Ibid. C. 3.
4. Ibid.
5. Concerns about the welfare of loyal subjects // New Satyricon. 1917. April. No. 15. S. 2.
6. Sale of Russia wholesale and retail // New Satyricon. 1917. April. No. 14. S. 1.
7. About one Grand Duchess // Ibid. C.5.
8. Last consolation // New Satyricon. 1917. April. No. 14. S. 4.
9. Mikheev. S. Suicide // Ibid.
10. Before, now // New Satyricon. 1917. June. No. 22. S. 13.
11. People of the first necessity and the last // New Satyricon. 1917. April. No. 14. S. 9.
Speaking about the main directions of Russian poetry of the Silver Age, poetic schools and individual groups, one cannot fail to mention the association that entered the history of literature under the name "Satyricon".
The Satyricon was that outlet which is always lacking in a regime in the old sense of the word. The regime was royal, life was so-so, and there were plenty of characters and plots for ridicule. This is how the "Satyricon" appeared - a caustic and mocking magazine.
In the autumn of 1907, a young man appeared at the editorial office of the St. Petersburg comic magazine Dragonfly. He introduced himself as Arkady Timofeevich Averchenko and expressed a desire to work in the magazine. It was accepted by the publisher - M.G. Kornfeld, who had just inherited from his father a magazine known throughout Russia, but by that time had lost not only its former popularity, but also most of its subscribers. Having learned that Averchenko edited the Beach magazine in Kharkov, "" the circulation of which was slightly less than the circulation of the Dragonfly, Kornfeld invited the stranger to an editorial meeting.
Here is how Averchenko describes his first appearance in the editorial office of Dragonfly:
You had no right to invite any provincial crooks to the meeting! - roared like a storm, impulsive Radakov. - The southern trains bring hundreds of pounds of provincial meat every day - what's the point of dragging all of them here, right?
Yeah, - shook his head restrained Re-Mi. - Not good, not good. So I will invite someone from the street to the meeting - will you be pleased?
However, when at the second meeting I proposed a couple of topics for drawings, they listened to me, discussed the topics, accepted them - and the distressed Kornfeld raised his head again.
A week later, I was already invited as the secretary of the editorial office and solemnly entered into the performance of my duties Averchenko A.T. Favorites. - M .: Satyricon, 1913, No. 28, - 7 pages. .
In 1907, young artists Re-Mi (N.V. Remizov-Vasiliev), A. Radakov, A. Junger, A. Yakovlev, Miss (A.V. Remizova) and the poet Krasny (K. M. Antipov). All of them were dissatisfied with the colorless empty "Dragonfly" and persistently suggested that the publisher reform it. Oddly enough, the appearance of Averchenko seemed to be the last push for the cautious Kornfeld to agree.
At one of the regular meetings of the editorial board, it was decided to turn "Strekoza" from a humorous magazine into a satirical one, reflecting the topical events of social and political life in the country. They immediately came up with a different name for the magazine. It was proposed by Radakov. He recalled the famous ancient Roman novel "Satyricon" - a motley kaleidoscope of the nightmarish era of Nero, where the relief details of life are whimsically mixed with grotesque images of a dissolute disgusting world. Gaius Petronius the Arbiter is read as its author.
I liked Radakov's proposal. The free presentation of events in the "Satyricon" seemed to the editors a happy find: without constraining the author by any framework, it gave great freedom to his creative imagination. The young editors of the Dragonfly also found the author's position of the creator of the Satyricon to be appropriate: he treats the creepy and vulgar world as a calm observer, not alien to humor, and sometimes poisonous irony, but without a sense of sorrow or anger.
Thus, the creative face of the new organ was determined. From April 3, 1908, instead of the Dragonfly, which had bothered everyone, the satirical magazine Satyricon began to appear, which set itself the task of morally correcting society by satire on mores. And "Dragonfly" soon completely ceased to exist.
"Everyone who has recently followed the Dragonfly magazine has, of course, paid attention to those more or less noticeable reforms that have been gradually invested in the basis of our magazine," one of its last issues said. "And while steadily reforming "Strekoza", we simultaneously made an experiment in a broad sense - we founded a new magazine "Satyricon". At the present time, in view of the ever-growing success of "Satyricon", we decided to unite both editions from June 1.". Averchenko A.T. Feuilletons. - M .: Dragonfly, 1908, No. 21, - 2 pages.
Meanwhile, the time for the heyday of satire was the most inopportune. The first Russian revolution was suppressed. On June 3, 1907, Nicholas II, breaking the promises that he was forced to make to the people in the revolutionary days of 1905, dispersed the Second State Duma. A streak of gloomy reaction began, which went down in history under the name "Stolypin". Step by step, the "freedoms" won by blood were taken away.
“Those were the times,” Blok wrote, “when the tsarist government achieved what it wanted for the last time: Witte and Durnovo twisted the revolution with a rope; Stolypin tightly wrapped this rope around his nervous noble hand” Blok A.A. Sobr. compositions. - M.: Small book publishing house, 1962, - 9 pages.
And if, through the mouth of Gogol, Russia complained: "it's boring to live," and in the 80s it said after Chekhov: "it's sad to live," now it could only moan: "it's terrible to live."
Recalling the first days of the life of the magazine, one of its employees - V. Voinov - wrote:
That was at the time of Nicholas, In the time of royal undertakings, In the era of gallows, lashes, When from end to end Dumb lackeys are an evil flock.
Burning with the fire of the cause, Strangling the elders and children - It was here, in our capital, Where the cracks are devilishly tight, Where stone dreams freeze, Where - skinny, pale faces - Intelligent wood lice Wished the joys of the morning star And the political spring.
Among the frowning creatures, Dressed in a pink uniform, In the mute failures of dark buildings - A small Satyr was born. Voinov V. On the verge. - M .: Red laughter, 1917, No. 1, - 4 pages.
The "Satyricon" appeared at the moment when the satirical literature of the progressive direction was finally strangled by censorship terror. The experienced "veterans" of Russian humor dominated the book market: "Alarm clock", "Shards" and "Jester". Recalling this, A. Averchenko wrote:
“It was as if a blood-red rocket took off in 1905. It took off, burst and scattered into hundreds of blood-red satirical magazines, so unexpected, frightening with their unusualness and terrible courage. Everyone walked around with their heads up in admiration and winking at each other at this bright rocket. - That's where it is, freedom!... And when a foggy bad morning came - at the place where the rocket had taken off, they found only a half-burnt paper tube tied to a stick - a vivid symbol of every Russian step - whether forward or backward.
The last sparks of the rocket went out gradually back in 1906, and 1907 was already a year of complete darkness, gloom and despondency.
From the horizon represented by the newsboy's leather bag, such lush, invigorating names as "Machine Gun", "Dawn", "Zhupel", "Spectator", "Glow" disappeared - and still took pride of place driven into a corner - quiet , peaceful "Birzhevye Vedomosti" and "Slovo".
During this period, everyone who had already become accustomed to the laughter, irony and sarcastic audacity of the "Reds" in color and content of satirical magazines again remained with the four former old men, who were all about a hundred and fifty years old in complexity: with "Dragonfly", "Alarm Clock", " Shute" and "Shards".
“When I arrived in St. Petersburg (it was at the beginning of 1908), the sinister faces of the “mother-in-law” and “the merchant who got tipsy at the masquerade”, the “summer resident oppressed by the dacha”, etc., were already looking into the windows of the editorial offices of Russian humorous characters The feast was over. The guests, drunk on free speeches, were taken to the polling stations, to various "transit", "loners", and were left to sit at a table drenched in wine and littered with leftovers, only - meek: "country husband", "an evil mother-in-law" and "a merchant drunk at a masquerade".
What is called poor relatives. Thus, I arrived in the capital at the most unfortunate moment - not only to the hat analysis, but even towards the end of this hat analysis, when almost everyone received a hat. "Averchenko A.T. Selected stories. - M .: New Satyricon, 1913, No. 28, - 6 pages.
The period of Stolypin's reaction and the years that followed it are noteworthy precisely because they completed the process of delimitation of various groups within the Russian intelligentsia. A significant part of it openly or secretly went into the service of the bourgeoisie that had seized the dominance, an insignificant minority joined the movement of the proletariat. Finally, that part of it that wanted to remain "independent", stubbornly believing in its "superclass" existence and saving mission, began to slowly perish or decompose. By 1917, when the delimitation of political parties had reached the highest degree, the illusory nature of the "above-class" position became obvious. But until this happened, this part of the intelligentsia stubbornly believed that its position was the only correct one and in every way glorified its "non-partisanship".
All this should be remembered when speaking about the character and direction of the Satyricon. The disagreements that subsequently arose within the satyricon editorial board clearly reflected the process of the ideological demarcation of the Russian intelligentsia.
Nevertheless, in the beginning, "Satyricon" actively opposed two negative trends in the development of satire of that time: the wretched spitefulness of the Black Hundreds humor and the shameless scoffing of the street press. The editors of the new magazine set themselves the goal of cheering up the despondent Russian society with the help of "resisting evil with laughter" or giving it "magic alcohol" to drink.
The appearance of the "Satyricon" was an event in the literary life of Stolypin's Russia. The reader, who had just survived the era of "freedom of speech", urgently demanded from the satirists topical responses to all the questions that worried him. Meanwhile, the last of the magazines glorifying the "political spring" - "The Gray Wolf" - was banned in 1908 by order of the government. O. Dymov, S. Gorny, N. Verzhbitsky and other satyriconists collaborated in it.
The Satyriconists contrasted their work with the toothless humor of "Jester", "Alarm Clock" and "Shards". After the revolution of 1905-1907. the demand for these publications finally fell. The Russian public, who bought the forbidden numbers of "Machine-gun" and "Signal" from under the floor, could no longer be satisfied with empty, lightweight humor. Ridiculing his "neighbors" in satire, A. Averchenko defined their face as follows:
"Alarm clock": An old man with trembling hands, short-sighted, giggling with creaky causeless laughter. He comes out in an old dressing gown with bright stains, and if you open this dressing gown, then, like Plyushkin's, you can see that there is nothing under the dressing gown.
"Jester", which once shone against the backdrop of dreary colorless publications, has itself turned into a wretched clown, without the slightest sign of originality and a spark of wit. Now his decrepitude is premature, and his appearance is despondent to the extreme.
And finally, "Shards". Averchenko spoke about them even more angrily:
“There was an honest, pretty magazine in which Chekhov, Budischev and others worked under Leikin. Now it is a cocotte that fell on the decline of its days, painted with penny colors, joyless, with its primitive seduction with the help of a badly drawn leg or a famously bred female thigh.” Averchenko A.T. Selected stories. - M .: Satyricon, 1908, No. 34, - 5-6 pages.
Naturally, the satyriconists tried in every possible way to dissociate themselves from such literary brethren.
In the first issue of the Satyricon, the editors stated:
"We will scourgeously and mercilessly all the lawlessness, lies and vulgarity that reign in our political and public life. Laughter, terrible poisonous laughter, like the stings of scorpions, will be our weapon." Black S. Red and white. - M .: Satyricon, 1908, No. 1, - 2 p.
The first eight issues of the magazine were edited by A. Radakov, from the ninth issue A. Averchenko became the editor and soul of the magazine. Under his leadership, "Satyricon" has become a publication born of living modern life. The Russian reader found on the pages of the "Satyricon" an apt description of the political situation in Russia, a satirical depiction of social mores.
The magazine widely promoted foreign humor: English, French, German. "Satyricon" from issue to issue reprinted cartoons from German humorous magazines: "Simplicissimus", "Fliegende Blatter", "Meggendorfers Blatter", "Kladderadatsch", "Jugend", etc. Therefore, contemporaries perceived "Satyricon" as Russian "Simplicissimus".
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