The Golden Fleece. Silver Age. International literary almanac "golden fleece" Golden fleece literary almanac

"THE GOLDEN FLEECE"

Immediately after the termination of the "World of Art", in January 1905 in Moscow began to publish "an artistic and artistic-critical" - "Art". Its editor-publisher was a young artist N. Ya. Tarovaty. Though new magazine he diligently tried to resemble his predecessor outwardly and to develop the artistic principles laid down in the "World of Art", he did not enjoy the support of the "elders" and evoked mostly disgusting and derogatory reviews. The principle of succession seemed to the founders of the closed magazine to be too daring and arrogant for the Moscow artistic youth, who had not yet shown themselves to be anything serious; The primary interest of the new magazine in folk and decorative-applied art, in the French impressionists and post-impressionists, reliance on the Moscow Association of Artists also could not fail to cause a jealous and wary attitude among the “world of art”. And in the literary environment "Art" did not have reliable support. The literary (more precisely, the critical-bibliographic) section of Art was, in comparison with the simultaneously published Libra and Questions of Life, very skinny. The young symbolist poet V. Hoffman, a student of Balmont and Bryusov, who then retired from the circle of "Scorpio" and "Libra" and managed to attract only a few beginning literary men to work in "Art", participated in the organization of the magazine and at first its secretary was modernists. The few articles, newsreels and reviews in the first issues of the journal were signed mainly by M.I. Pantyukhov (Mikh. Pan-v), MI Sizov (Mikh. S.), V.F. Hoffmann, various pseudonyms, of course, hiding mostly the same names.

In the summer of 1905, S. A. Sokolov (his literary pseudonym Sergei Krechetov) joined the editorial office of Iskusstvo. In No. 5/7 of the magazine it was announced that Sokolov was closely involved in editing the literary department; in No. 8 he was already named along with Tarovaty as an equal editor. The head of the Symbolist publishing house "Grif", the second most important after "Scorpion", the publisher of the almanacs of the same name, Sokolov was connected with all the most significant representatives of the "new" art and could provide the Tarovaty magazine with a quite representative literary department. “I decided to help Art and I am attracting a number of people there, starting with Balmont,” Sokolov informed V.F. Khodasevich on May 11, 1905. employees, among which now, by the way, are: Merezhkovsky, Balmont, Minsky, Gippius, Sologub, A. Blok and Bely. "

Sokolov's efforts gave a definite result: the 8th issue of the magazine was already presented with the names of Balmont, Bryusov, Blok. However, the activity of the magazine ceased at that time due to the then usual reason of financial insolvency. Nevertheless, the publication of Iskusstvo and the union of Tarovaty and Sokolov - the heads of its artistic and literary departments, respectively - became a kind of springboard for the activities of a new Moscow modernist publication, the Golden Fleece magazine. “Art as such no longer exists and the 8th issue that has been released is the last,” reported Tarovaty Konst. Erberg in October 1905 - But from "Art" a new magazine "Golden Fleece" emerged, which is supposed to be published monthly starting from January 1906. Staff, with a few additions<…>the same one as in "Art", but I was invited to head the art department there. " Sokolov became the head of the literary department of the magazine.

The money for the publication of the Golden Fleece was given by Nikolai Pavlovich Ryabushinsky (1876–1951), a representative of a large family of Moscow capitalist millionaires, a generous philanthropist, a remarkable and extravagant figure in his own way. As MD Bakhrushin recalls, “he did not deal with the affairs of the family banking firm (or rather, he was not allowed to see them), was married several times and only spent money, both his own and his wives ... He built a villa in Petrovsky Park in Moscow. Swan “, where he gave fantastic receptions to the golden youth. Nevertheless, he was a very capable and even talented person. " Sincerely devoted to the "new" art, Ryabushinsky tried own strength in painting and literature (under the pseudonym "N. Shinsky"), however, in these experiments he was not able to go beyond the bounds of amateurism. This is evidenced by his paintings, which were repeatedly reproduced in the "Golden Fleece", and poems, and with particular evidence the story "Confession", released under the "Golden Fleece" as a separate edition in 1906, - an ultradecadent work in the spirit of Przybyshevsky and D ' Annunzio, written on behalf of the artist and with typical epigonic zeal, develops the themes of individualism and immoralism, free creativity and free passion.

From the very beginning, "Golden Fleece" was conceived as a magazine close in literary and aesthetic attitudes to "Libra". The desire to take into account and adopt the editorial experience of Bryusov characterizes the first steps of Ryabushinsky and Sokolov on the path of organizing a new publication. Bryusov, however, reacted to Ryabushinsky's publishing venture with a certain caution, prudently taking a wait-and-see attitude, although he willingly joined the ranks of the magazine's closest collaborators. This suspicion was partly dictated by the fact that the literary affairs of the Golden Fleece were run by S. Sokolov, the leader of the "Grifovskaya" group of Symbolists, which Bryusov regarded as a hotbed of epigonism and in relation to which he cultivated "some rivalry and a kind of antagonism." While welcoming the "Golden Fleece" in general as a significant symptom of the development and spread of "new" art, Bryusov, nevertheless, could not fail to point out possible vulnerable parties, and above all on the threat of the deliberately secondary nature of this enterprise, organized on a large scale and far-reaching claims. Such fears were voiced even in Bryusov's speech, prepared for a gala dinner on the occasion of the publication of the first issue of the Golden Fleece (January 31, 1906); the leader of symbolism drew attention to the urgent need for fundamentally new searches and daring for the further fruitful development of the literary school he defended:

“Thirteen years ago, in the fall of 1893, I was working on the publication of a thin, tiny book bearing the impotent and daring title Russian Symbolists. I called this name powerless because it is colorless, does not say anything by itself, refers to something alien. But it was also impudent, because it openly exposed its authors as defenders of the movement in literature, which up to that time in our country was subjected only to the most fierce attacks and ridicule, except for its very ambiguous defense on the pages of Sev<ерного>Bulletin ". A struggle began, at first imperceptible, then noticed only in order to also be subjected to all kinds of attacks. And it lasted for 13 years, growing more and more, capturing more and more vast areas, attracting an ever more significant number of supporters. Today, at last, I am present at the launching of the newly equipped, richly decorated, luxurious ship Argo, which Jason hands over to us, political<еским>, philosophical<им>and religious<ым>, but united under the banner of the new art. And seeing this miracle of building art in front of me, its golden sails, its beautiful flags, I finally realize that the struggle in which I had the honor to participate with my companions was not fruitless, was not hopeless. But, stepping aboard this ship, I ask myself the question: where will our helmsman lead us. What Golden Fleece are we driving for? If for the one that we drove for 13 years ago in a fragile boat, then it has already been plucked from the evil dragon in Colchis, has already become the property home country... Is it really the task of the new Argo only to deliver strands of evil to the harbors and marinas?<отого>rune and distribute it on hands. Is it really the job of the new publication only to disseminate ideas previously expressed by others? Oh, then your Argo will not be winged<м>by ship - and the masses<ным>crypt, marble<ым>a sarcophagus, which, like the Pergamon tombs, will be surprised at in museums, but in which new poetry will be magnificently buried. I raise a glass to<ы>this was not the case, I raise a glass against everyone who wants to rest, celebrating victory, and for everyone who wants a new struggle, in the name of new ideals in art, who are waiting for new failures and new ridicule. "

Bryusov's description of the "Golden Fleece" as a "miracle of building art" was not only a tribute to the solemn and festive style. Ryabushinsky did his best to attract the best symbolist and near-symbolist literary forces to his journal, and the artistic department of the journal was organized on a grand scale, following the example of Mir Iskusstva. Huge funds were invested in the publication. The design was distinguished by the defiant high cost of execution. The focus was initially on the loudest, most prestigious names of their kind: the first issue opened with a whole album of reproductions from the works of M. Vrubel (subsequent issues were respectively dedicated to the works of K. Somov, V. Borisov-Musatov, L. Bakst), literary department it was represented by the names of D. Merezhkovsky, K. Balmont, V. Bryusov, A. Blok, Andrey Bely, F. Sologub. The entire text of the journal was printed in parallel in two languages ​​- Russian and French. And at the same time, from the very beginning, fears arose, similar to those of Bryusov's, and suspicions that "the Golden Fleece seems to have a lot of money and few ideas."

Arrogantly becoming the editor-publisher of the Golden Fleece, Ryabushinsky put himself in the curious position of a "philistine in the nobility" among the refined representatives of the "new" art. “... It seemed as though he on purpose appears to be a caricature of a typical dear merchant from Ostrovsky's plays ", - recalled Ryabushinsky Benoit, noting the founder of the magazine at the same time touching desire" to crawl out of the state that was determined for him by the class, environment, upbringing, and to penetrate into a certain "spiritual zone "Which seemed to him incomparably more sublime and brighter." The same Benoit, at the time of the publication of the Golden Fleece, concluded that Ryabushinsky was “a true boor, although he was“ decorated ”with brocade, gold, and maybe even flowers. DV Filosofov echoed him: “Zolotoe Fleece is a boorish magazine, but the only one where you can work,” he meant, first of all, the financial security of the publication, which he also admitted with ironic frankness: “We had N. Riabouchinsky. I am silent about the impression. When finances are cracking, la Toison d'or is of great importance for the intelligent proletarians! " Still not too sophisticated in the capital's literary affairs, L. Shestov was sincerely perplexed after meeting Ryabushinsky in the editorial office of the Golden Fleece: “He told me that he was both a publisher and an editor. But when I tried to talk to him about literature, it turned out that he had nothing to do with it. Not only did he not hear anything about me, but he knows no one except Bryusov, Balmont and Merezhkovsky. And he knows those he knows only by name. That's the editor! " However, the editor himself was full of confidence that he was able to brilliantly establish a literary business. "A mixture of naivety and boasting" stated in Ryabushinsky E. Lancer, citing some of his assurances: "Everything talented works for me", "My magazine will be everywhere - in Japan, and in America, and in Europe."

Everything in Ryabushinsky's magazine - starting with the title chosen under the deliberate influence of the famous poem by Andrei Bely "The Golden Fleece" and the figurative symbolism of the circle of Moscow "Argonauts" - was focused on ready samples and persistently claimed only the completeness and completeness of their expression. Taking over the experience of "World of Art" and "Libra", published at a high polygraphic level, in an exquisite and strictly deliberate design, Ryabushinsky sought to overshadow and suppress his predecessors with excessive, excessive luxury, pretentiousness, which constantly threatened to develop into triumphant bad taste. The determination to follow the aesthetic precepts of symbolism gave rise to the editorial manifesto, which opened the first issue of the journal; in it, with disarming naivety, filled with an almost parody sound, it proclaimed that in the "mad whirlpool" modern life, in the "roar of the struggle" "it is impossible to live without Beauty", that "it is necessary to win for our descendants a free, bright, sunlit creativity", and the program mottos were proclaimed:

« Art is forever for it is based on the imperishable, on that which cannot be rejected.

Art is one for its only source is the soul.

Art is symbolic for it bears within itself a symbol - a reflection of the Eternal in the temporal.

Art is free for it is created by a free creative impulse ”(1906, No. 1. P. 4).

Behind the eloquence and pathos of the manifesto, we can clearly distinguish the imprint of the personality of S. Sokolov (Krechetov), ​​who in the first months of the Golden Fleece's activity became its ideologist and de facto leader. He himself considered Golden Fleece to be a publication “very amazing in scope and breadth of tasks”, emphasizing in every possible way his leading position in it, but he could not tell the magazine anything except the “lexicon of common truths” of symbolist aesthetics in its specifically “decadent” refraction.

The situation was saved to a certain extent by Ryabushinsky's money. Thanks to this important factor, "Golden Fleece" had the appearance of a solid, reliably organized monthly. In terms of the volume and level of the literary department, the numbers of the Golden Fleece were not inferior to those of Libra. K. Balmont, V. Bryusov, Andrey Bely, Vyach have become permanent employees of the magazine. Ivanov, F. Sologub, A. Blok, Z. Gippius, D. Merezhkovsky - virtually all symbolists "with a name" who published poetry, prose, articles in the "Golden Fleece". The first, "debut" issue of the magazine was extremely indicative in this respect: it contained Merezhkovsky's poem "Ancient Octaves", Sologub's story "Summoning the Beast", a dramatic excerpt by Andrei Bely "The Mouth of the Night", poems by Balmont, Bryusov, Blok, Bely; the same Balmont, Merezhkovsky, Blok took part in the critical department. Second-tier symbolist and novice writers also found a safe haven in the Golden Fleece, although in general they were published in a smaller proportion than the “masters”. The leading artists of the epoch, for the most part "World of Art", who had already gained fame (L. Bakst, E. Lansere, K. Somov, A. Benois, S. Yaremich, M. Dobuzhinsky) and who were just beginning to gain public recognition (N . Sapunov, P. Kuznetsov, N. Feofilaktov, V. Milioti and others).

The newsreel and critical-bibliographic departments made a serious impression. They were in charge of a noticeable desire to solve somewhat different tasks than those posed by the editors of "Libra": in the Bryusov magazine much attention was paid to novelties of foreign literature and events in the cultural life of the West, in the "Golden Fleece" the main emphasis was on the Russian literary and an artistic chronicle. The selection and assessment of the material was carried out from aesthetic positions close to "Libra". In particular, Ryabushinsky's magazine has fully adopted the tone of "Libra" in relation to the writers-realists. In the "Golden Fleece" were published scornful reviews about the collections of "Knowledge", about the poems of Bunin (S. Soloviev - 1907, No. 1. P. 89), about the works of secondary authors of the realistic school. It should be noted, however, that, in comparison with "Libra", "Golden Fleece" paid little attention to the fight against realism and did not try to withstand polemical one-liner. Thus, A. Kursinsky, calling M. Gorky "an artist who has already exhausted himself," at the same time highly appreciated L. Andreev's "Savva" (1906, No. 10. pp. 90–91), and V. Khodasevich, who works of the 7th collection of "Knowledge" only "a monotonous gray mass", focused all attention on "Children of the Sun" Gorky, as a "truly remarkable" drama (1906. No. 1. P. 154-155). The main interest of the "Golden Fleece" was shown in the phenomena of art, directly or indirectly associated with modernism. N. Tarovaty was engaged in the artistic chronicle of Moscow in the magazine, reviews "The artistic life of Petersburg" were prepared by D. V. Filosofov, and then (after the departure of Filosofov with the Merezhkovskys to France on February 25, 1906) Konst. Erberg. The famous music critic V. Karatygin (signed with the kryptonym V.K.) kept the "Musical Chronicle of St. Petersburg" from issue to issue; Popov (Misgir). Reports on the events of theatrical life in Moscow were published by N. Petrovskaya and A. Kursinsky, in Petersburg - by O. Dymov. Reviews by S. Makovsky, A. Rostislavov, A. Vorotnikov, and the Paris correspondences of M. Voloshin, A. Benois, A. Shervashidze appeared sporadically.

In general, there were no fundamental, programmatic differences from "Libra" in the "Golden Fleece" at the beginning of the publication. Only one more, richer journal of a similar direction and subject matter appeared, relying on the same authors and practically dubbing Vesy, distracting collaborators from the Bryusov journal and ultimately preventing it from maintaining its former monopoly position. Bryusov's fears that the "Golden Fleece" would become a "marble sarcophagus" crowning the long-conquered values ​​received eloquent confirmation with each issue. His article “Links. II. Golden Fleece ", published on March 27, 1906 in a literary supplement to the newspaper" Slovo ". “Golden Fleece” was regarded in it as a publication focused on yesterday and proclaiming elementary truths that no one else cares about: “This whole“ new ”magazine tells me about something old, the past, and the“ golden fleece ”that he offers to the readers what was obtained not by him, but by others, long before he was equipped for the journey. " “What is the Golden Fleece? - Bryusov asks. - These are interesting and artistically published collections that do not give anything new, but allow a group of artists to finish the speeches they have begun. It is a beautiful edition, executed with love, but similar, however, to an alien plant, to a beautiful orchid that feeds on juices not extracted from the earth. This is a luxurious palace in which those of the former “decadents” who are tired of the rebellion of their youth and are ready to rest on drying laurels can peacefully calm down, clattering their usual hand on the strings and waving a brush ”.

If Bryusov blamed the Golden Fleece primarily for the lack of search and independent initiative, then Z. Gippius's criticism was directed along a slightly different channel: she exposed Ryabushinsky's journal as an anti-cultural phenomenon. The concept of culture in general was the main weapon used by the Libra employees for polemical purposes, and in the case of the Golden Fleece it turned out to be especially convenient. Hiding under the pseudonym "Comrade German", Gippius placed in "Libra" a note "Golden Fleece", in which she ridiculed the appearance of the first issue of Ryabushinsky's magazine ("pump" of "the richest Moscow wedding"), his ideological credo ("decayed decadence") and the editorial manifesto (“there is not a single reader of the Golden Fleece who would not have heard that there is beauty, that there is art, that beauty is eternal, and art too”), sarcastically touched upon the bilingualism of the magazine (“Obviously, the time has come for the French too learn that you cannot live without beauty and it is eternal ”). The accusations of bad taste and lack of culture contained in this review were imbued with arrogance towards the founders of the magazine and were expressed, in contrast to Bryusov's article, in a very harsh, even offensive form. “The Golden Fleece is unreliable, but not hopeless,” concluded Gippius. - Only he would not teach, but learn beauty. Goddess-culture is incorruptible and gives the rights of teaching only to those who really passed her long school. You cannot write "beauty" like a dress from Paris. And luxury is not beauty yet. "

S. Sokolov (Krechetov) made a response in the pages of the Golden Fleece. In the note "Apologists for Culture" (1906. No. 3. P. 131-132), refusing to polemize on the merits ("We will not answer abuse with abuse"), he again insisted on the unshakable significance of the ideological and aesthetic slogans of the "Golden Fleece" and returned back to "Comrade Herman" accusations of lack of culture. Sokolov also pointed out the underlying reason for the discontent of the "Veseovites": "... the note of offended monopoly sounds too unequivocally in their words."

"Libra" did not forgive this performance. Another note from "Comrade Herman" followed to the "Golden Fleece"; this time its author was Bryusov. The direct object of ironic criticism in this case turned out to be the pompous and pathetic style of S. Krechetov's answer, especially absurd because it is intended to defend uncontested truisms: vital novelty for those who are important to inform Europe that art is eternal. "

At this point, the direct printed polemics between "Libra" and "Golden Fleece" temporarily died out. Taking a pose of offended nobility, Sokolov only composed a memorandum for Libra, which was not published:

“In No. 5 of Libra, an article again appeared under the title“ Golden Fleece ”and signed“ Comrade Herman ”. In it, the magazine again resorts to the indecent method of literary polemic - to open and harsh abuse. Along with reproaches to us for being “uncivilized,” the new trick of “Libra” is a suicidal spearhead.

This time article T<оварища>G<ермана>has nothing to do with "З<олотому>R<уну>“Like a magazine. These shouts of petty irritated pride are directed at me personally.

I declare to "Libra" that, not wanting to analyze in detail narrow-personal and base motives last article, henceforth I consider it beneath my dignity not only to object to something in essence (for Libra it is very desirable!) to the works of pseudonymous and poorly meeting their purpose masks from Libra, but in general somehow understand them.

Angry abuse, where the sense of decency and proportion has been lost, is a sign of clearly conscious powerlessness, and the one who hides his face at the same time shows caution, close to the quality, whose name is cowardice. "

Indeed, it is difficult to deny a share of the bias of "Libra", and Bryusov in the first place, in relation to Sokolov, a longtime competitor of "Scorpion". However, in both of his replies to Libra - both in the published and sent to the editorial office of the journal - attention is drawn to the insensitivity to the very essence of the critical speeches of Bryusov and Gippius, the willingness to explain all conceptual arguments exclusively by external, even basely personal considerations. Sokolov was clearly unable to understand the literary, ideological and aesthetic orientation of the "weight" criticism, and therefore, he could not listen to it and make any efforts to get rid of the stereotypes in the appearance of the journal he led. “The Golden Fleece seems to me hopeless,” Bryusov summed up in April 1906 in a letter to Merezhkovsky. - No brilliant guest performers will save the theater without a director, without their own troupe, without a person who would be able to evaluate plays. But it’s a shame, it’s endlessly insulting that large, even enormous money (a year will cost over 100,000 rubles), which would make it possible for a completely exceptional publication to exist and exert its influence, result in such a mediocre, banal “monthly, art magazine "". In almost the same terms, the reproaches to the "Golden Fleece" were expressed in the anonymous "weight" note "Questions", written by Bryusov. Bryusov also sees confirmation that Ryabushinsky's magazine is not an organ of like-minded artists, but a "storage place for poems, articles and drawings", that it does not contain "literary and artistically educated leaders," in the colorless appearance of the newsreel and bibliographic department, and in the poor quality of reproduction of paintings, and in the artisanal nature of French translations, representing Russian writers "devoid of any individual style of style, some kind of impersonal crowd, writing in an invariably correct and invariably boring language."

Within the Golden Fleece, however, conflicts were also brewing. Sokolov and Ryabushinsky clashed with the intention to play a leading role in the magazine. Sokolov more than once complained about Ryabushinsky's nagging, whims, dictatorial habits, about his helpless attempts to carry out his own literary ideas. Sokolov's proposals to streamline the conduct of business (in particular, his desire to assign secretarial duties to V. Khodasevich) were met with hostility by the owner of the magazine. It came to a scandalous rupture, which Sokolov tried to give maximum publicity, exposing Ryabushinsky as a "brazen capitalist" and "semi-literate person", "absolutely ignorant in matters of literature. " On July 4, 1906, he sent Ryabushinsky a lengthy statement announcing his departure from the Golden Fleece; it was essentially an open letter, since Sokolov sent copies of it to many writers. “'Fleece' can have the right to further existence only on the condition, - wrote Sokolov to Ryabushinsky, - that by inviting my deputy a person with sufficient literary experience, you will give him unlimited authority, and you yourself will become only a student, and, moreover, for a long time. "

The break between Sokolov and Ryabushinsky produced a “bomb” effect in the Symbolist environment, in the words of the Libra secretary MF Likiardopulo. Sokolov even hoped that eminent employees would leave the Golden Fleece after him; this did not happen, but the reputation of the magazine suffered a lot. Ryabushinsky announced that from now on he intended to personally edit the literary department, but in reality he was not able to do without outside help and first of all turned for her to Bryusov, the very next day after breaking up with Sokolov: “... I am writing to you, kindly asking you Your advice and opinion. I myself will now lead the literature. The unidentified direction in the magazine torments me very much<…>Don't forget the Golden Fleece<…>respond and give me, please, one of your things. " Again about the "unidentified direction" of the "Golden Fleece" was an indirect acknowledgment of the correctness of Bryusov's criticism; the leader of "Libra" was given the opportunity to take control of yet another magazine, and he did not fail to take advantage of it, all the more since he was pleased with the loss of Sokolov's leading role. “In Sweden I found out that SA Sokolov had left the Golden Fleece,” Bryusov wrote in his diary, “and this gave me hope to enter this magazine closer. Since the fall, I began to visit the editorial office often and “help with advice”. "

In terms of such "advice" should be considered attraction to active work in the literary department of the "Golden Fleece" by AA Kursinsky, a minor poet and prose writer from the circle of early Symbolists, a friend of Bryusov from his youth. “Old comrade Bryusov helped Kursinsky get a job as an editor in the“ Golden Fleece ””, - B. Sadovskaya recalled. Kursinsky was a member of the magazine even under Sokolov, and after his departure he became responsible for maintaining the literary department. Sokolov announced after a break with Ryabushinsky that “in fact, in some parts, acquired the influence of Kursinsky, but he has neither rights nor powers and generally is under Ryab<ушинском>almost without a voice "," on the<ении>"Half-ladies" ". With the growth of Bryusov's influence, the role of Kursinsky also increased. On October 8, 1906, Bryusov stated with satisfaction in a letter to Z. N. Gippius: “Our common friend A. A. Kursinsky occupies an increasingly decisive position in the Rune ...”.

In terms of editorial skills and talents, Kursinsky would hardly be; more capable than Sokolov. A writer of more than modest and dependent talent, relying on "decadent" samples in stylistics and problems, Kursinsky by himself could not have a life-giving effect on the "Golden Fleece" and general outline remained quite similar to the former head of the literary department. However, through him, Bryusov opened up the prospect of influencing the "Golden Fleece" without taking on all the burdens of the editorial and publishing process. Kursinsky proved to be a convenient intermediary between Golden Fleece and Libra. At the end of 1906, S. Sokolov noted that these two journals "are now in the closest friendship," and Bryusov subsequently clarified the nature of this "friendship": reading manuscripts and drafting announcements. "

However, this union did not give independence and novelty to the "Golden Fleece". For a short time - several months at the end of 1906 - beginning of 1907 - Ryabushinsky's magazine became, in fact, a satellite, a branch of Libra. Notable and even outstanding works continued to appear in it - "Posolon" by A. Remizov (1906. No. 7/9, 10), "Eleazar" by L. Andreev and "The Story of Eleusippus" by M. Kuzmin (1906. No. 11/12) , "The Gift of the Wise Bees" by F. Sologub (1907, No. 2, 3), "The King on the Square" by A. Blok (1907. No. 4), poems by Bryusov, Andrey Bely, M. Voloshin, Vyach. Ivanov, articles by Bely and Blok, etc. But as before, the "Golden Fleece" on a grand scale - and even sometimes brilliantly - promoted and crowned what had been achieved, and did not discover new things, and in this sense, Bryusov's reproaches remained effective at that time when he himself was involved in the keeping of the journal. Moreover: Bryusov's temporary "one-man command" was by no means the last reason that Ryabushinsky's journal, actively promoting the assertion of symbolism and the dissemination of the ideological and aesthetic principles of the "new" art, was unable to create a new, independent in relation to "Libra" creative laboratory uniting literary forces.

The initiatives of the Golden Fleece were carried out only in the direction where they could be supported by generous funding, and often had an advertising, propaganda character. It was decided to supplement the parade of major literary names with a gallery of portraits commissioned by the Golden Fleece by the best artists; this is how the famous portraits were born - Bryusov by M. Vrubel (1906. No. 7/9), Andrei Bely by L. Bakst (1907. No. 1), Viach. Ivanov works by K. Somov (1907. No. 3), A. Remizov (1907. No. 7/9) and F. Sologub (1907. No. 11/12) by B. Kustodiev, A. Blok by K. Somov (1908. No. 1). As if to compensate for the magazine program, it was decided to hold contests for the "Golden Fleece" on a given topic. The first competition was announced on the theme "The Devil" in literature and fine arts, for its conduct in December 1906 a representative jury was assembled (for the literary department A. Blok, V. Bryusov, Viach. Ivanov, A. Kursinsky, N. Ryabushinsky ); the works awarded at the competition were published in the first issue of the "Golden Fleece" for 1907. Bryusov summed up the ironic result of the competition: "It became clear that neither the authors nor their judges (including myself) have any idea of ​​the devil." The second of the announced competitions (on the theme “Life and Art of the Future”) did not take place at all. Following the example of "Libra", published by the Symbolist publishing house "Scorpio", Ryabushinsky also tried to establish book publishing activities under the "Golden Fleece", but this enterprise did not reach a solid scale: a few books were published in the "Golden Fleece" edition.

The work of the art department of the "Golden Fleece" was carried out with greater originality. Its head N. Ya. Tarovaty died on October 6, 1906, and was replaced by the artist Vasily Milioti. Under the leadership of Milioti, the Golden Fleece has already decisively completed the reorientation from the masters of the World of Art to the latest artistic trends. With the support of Ryabushinsky, the exhibition "Blue Rose" was organized, its review with many reproductions appeared in the "Golden Fleece" (1907. No. 5). The Blue Rose artists (P. Kuznetsov, N. Milioti, N. Sapunov, S. Sudeikin, M. Saryan, A. Arapov, N. Krymov and others) then made up the asset of the exhibitions of the Golden Fleece in 1908 and 1909. , from issue to issue participated in the design of the magazine. The "Golden Fleece" also deserves credit for acquainting the Russian public with the newest aspirations of French painting: 94 photographs from the works of French artists were placed in No. 7/9 for 1908, a significant number of reproductions in No. 2/3 for 1909, some issues of the magazine were specially devoted to sculpture by P. Gauguin (1909. No. 1) and paintings by A. Matisse (1909. No. 6). All these publications were accompanied by articles interpreting the work of selected artists and the nature of the search for new art schools.

Already at the beginning of 1907, the fragility of the alliance of the Bryusov group with the Golden Fleece was revealed. Cooperation between Ryabushinsky and Kursinsky developed in the same direction as earlier with Sokolov. In mid-March 1907, Kursinsky complained to S. A. Polyakov about "a very strange and difficult-to-motivate relationship" with Ryabushinsky, about the insulting behavior of the owner of the magazine. Not wishing, according to Bryusov, to be “a submissive performer<…>absurd whims ", Kursinsky brought the conflict to the press, announcing his break with the" Golden Fleece ", and demanded from the editorial board of" Libra "an arbitration court between him and Ryabushinsky. Formally, Ryabushinsky was forced to apologize, but then, with insulting frankness and cynicism, he spoke about both Kursinsky and the custody of Libra: “Can't I really refuse his to the cook, without Libra interfering in this matter? " - and: "I am fully convinced that writers are the same as prostitutes: they give themselves to the one who pays, and if they pay more, they allow them to do whatever they want." Andrei Bely (who was followed by a proposal to edit the literary department of the "Golden Fleece" after Kursinsky) reports on the following: “... I wrote to Ryabushinsky with a challenge: he had enough honor to subsidize the magazine; he, a tyrant and mediocrity, should not participate in the magazine; consequence - my way out<…>". “Boris Nikolaevich“ officially ”left the Golden Fleece, - wrote Z. N. Gippius Bryusov in mid-April 1907 - After a rather bad“ story ”with Kursinsky, I would gladly do the same<…>But it seems to me that it is a shame to refuse when the abolition of the literary department has already been decided. It's too cheap heroism, they'll say. "

Rumors about the termination of the literary department in the "Golden Fleece" in the spring of 1907 were rather persistent. In fact, there was only some internal reorganization of the journal; it was decided to abandon the voluminous critical-bibliographic department, which required methodical and laborious organizational and editorial work; “In place of the bibliographic department, which was abolished from No. 3, the editorial board of the Golden Fleece from the next No. introduces critical reviews giving a systematic assessment of literary phenomena. To conduct these reviews, the editorial board secured the consent of its employee A. Blok<…>"(" From the Editor "// 1907. No. 4. P. 74). This message included a statement by Blok, which outlined a thematic program for future "critical reviews of current literature."

The planned reform was definitely a consequence of the fact that his secretary Genrikh Edmundovich Tasteven, a “Moscow Frenchman”, a philologist by education, author of articles on philosophical and aesthetic issues, joined the direct management of the Golden Fleece. In the first months of the publication of the magazine, Tasteven's duties were mainly to provide French translation of prose materials. In 1907, his actual powers were transferred beyond the secretarial work, and in fact, editorial activity was concentrated in the hands of Tasteven. G.I. Chulkov, who knew Tasteven well from school years, characterized him: “An amateur in the good sense of the word, Tasteven responded with extraordinary sensitivity to all cultural phenomena of our time: he knew Kant and German philosophy in general, and this allowed him to freely orient himself in all the latest ideological trends; he could also be a competent judge in the field of plastic arts and devoted a lot of time to organizing exhibitions of the "Golden Fleece"<…>". The influence of Tasteven largely explains the changes in the ideological and aesthetic position of the Golden Fleece, which were clearly visible by the middle of 1907: “The magazine, until that time eclectic, is acquiring a certain face. A number of significant articles on general aesthetics and the theory of symbolism appear on its pages, as well as a decisive and firm polemic against decadence.<…>» .

"Antidecadental" pathos manifested itself already in the first big article by Tasteven, which appeared in the Golden Fleece, - a "philosophical study" "Nichshe and the modern crisis". It pointed out the futility of "modern abstract individualism", which "transformed the symbol from living force, from the focus of our psychic energies, into a dead mummy, a hieratic sign gravitating over life", and affirmed the need to overcome individualism, establish a connection "between" I " and “space”, the great element of life ”(1907, No. 7/9, p. 115). The idea of ​​"overcoming individualism" was for Tasteven, according to G. Chulkov, "not only a literary formula, but also a question of life" the former "decadent" -individualist course of the "Golden Fleece". It is natural at the same time that in their new ideological inclinations the editorial board of the "Golden Fleece" - in the person of Tasteven in the first place - approached "mystical anarchism" - a philosophical and aesthetic theory put forward in 1906 by Chulkov and supported by Vyach. Ivanov, who prioritized striving for "conciliarity" and overcoming the old, individualistic symbolism. Having received resonance primarily in the circle of St. Petersburg Symbolists, "mystical anarchism" was sharply criticized by "Libra", who defended the precepts of "classical" symbolism.

It is characteristic that earlier, in his criticism of the activities of the Golden Fleece, Bryusov called for new searches precisely along anti-individualistic paths. However, the path of the "mystical-anarchic" revision of symbolism and the direction of "overcoming individualism" associated with it, which the "Golden Fleece" chose, was considered unacceptable by the "Veseovites". This rejection was not slow to show itself in the renewed printed polemics of the two journals, as a result of which their ideological and tactical delimitation was actually sanctioned.

The first polemical attacks were resumed by "Libra" immediately after the termination of the editorial activities of Kursinsky. In two notes, placed in the March 1907 issue, Bryusov pointed out the editorial negligence and undemandingness of the Golden Fleece and even an irrefutable example of plagiarism, noting that Ryabushinsky's journal "is again turning into some sort of barn for random materials." In response, the April issue of The Golden Fleece (published late at the beginning of summer) was followed by an article entitled “The Causes of a Literary Metamorphosis,” in which the tactics of attack rather than defense were already used. Its author was hidden behind the signature "Empiricus", but in the critical arguments cited, Tasteven's handwriting was quite recognizable, who by that time had taken a leading position in the magazine. The note stated that “the ideological physiognomy of Libra has become very dim”, that the magazine has lost its former militant character and is becoming a conservative organ, “entrenched in the stronghold of aesthetic individualism”, that “now that the moment comes to give an organic synthesis of elements of a new world outlook engage in endless summing up ”(1907, No. 4. P. 79–80). The arguments, which earlier "Libra" condemned the "Golden Fleece", were now sent to their own address. Bryusov, in a response (to the Golden Fleece), rejected accusations that Libra allegedly "feeds on someone else's", as deliberately false.

The attacks were continued in the next article by Empiricist "On Cultural Criticism", in which the Libra's rejection of the latest ideological and literary trends was regarded as "monstrous self-righteousness, ideological narrowness, a spirit of heaviness and the desire to gain a foothold in occupied positions" (1907, no. 75). Finally, the change in the ideological guidelines of the "Golden Fleece" was announced in a special notice "From the Editor" (1907, No. 6. P. 68). Following the recognition that “decadence, which was an integral and artistically complete worldview, has already been experienced by modern consciousness”, a new direction of the journal’s activities was announced: “The editorial board of the Golden Fleece will devote the main attention to the issues of criticism, bearing in mind two kinds of tasks: with one parties - revision of theoretical and practical issues aesthetic worldview, on the other - it is possible objective analysis art of recent years and new phenomena in painting and literature in order to find out the prospects for the future. Of particular importance The editorial board gives consideration to the issues of the national element in art and the "new realism". " It was also reported about the planned change in the composition of the staff, caused by "the gradual involvement of a number of writers associated with new young searches in art."

It would seem that the "Golden Fleece" has finally heeded the constant advice of the "Libra" to self-determine in relation to other Symbolist associations. However, according to the outlined program, such self-determination turned out to be underlined "anti-weight", including all specific points: "Libra" united most of the leading figures of symbolism - "Golden Fleece" decided to rely on young forces, "Libra" defended the "classic", "autonomous" symbolism - "Golden Fleece" announced its gravitation towards "new realism" and towards "synthetic" tendencies in general; finally, attention to the "national element" in art was to a large extent a counterargument to Europeanism, the cosmopolitanism of Libra, which was even threatened by the reputation of the Franco-Russe magazine. But the main “anti-weight” point of the new program of the “Golden Fleece” was, of course, in solidarity with the ideas of renewing symbolism on a “mystical-anarchist” basis. In a mocking polemic response to the announcement of new program of the magazine - “We got into a fight. New coup d '? Tat in the Golden Fleece "- Z. Gippius (" Comrade Herman ") noticed behind this installation one more eloquent evidence of the availability of the" Golden Fleece "" for all kinds of ignorance. " “... I cannot, however, rejoice,” concludes Gippius, “that the reproaches of the Golden Fleece are fair, that the advice of Empiricus is in vain and that the Libra still adheres to its calm general cultural direction: they do not notice a bias towards collegiality. ".

From the book "For some reason I have to tell you about ...": Selected the author Gershelman Karl Karlovich

“The gold did not burn in vain ...” It was not in vain that the gold, the Golden, which we call life, has caught fire: These pines, refreshed by the dawn, This is a cloud with a pink edge. These buckets by the well, with a light splash, With a soft splash, sprinkling water, The rumble of a tram behind the neighboring

From the book Russian Symbolists: Studies and Research the author Lavrov Alexander Vasilievich

"GOLDEN RUNO" Immediately after the termination of the "World of Art", in January 1905 in Moscow began to come out "an artistic and artistic-critical" - "Art". Its editor-publisher was a young artist N. Ya. Tarovaty. Although the new magazine tried diligently

From the book Universal Reader. Grade 3 the author Team of authors

The golden word Autumn promised: "I will make you rich." And Winter said: "As I want." And Vesna said: "Well, well, Winter." And Spring has come. There is confusion everywhere. The sun is golden. Buttercup is golden. The river is silvery and plays with water. Born free, flooded the meadows, flooded the field, erased the banks. There,

In we talked about the literary and journalistic "thick magazines" of the XIX century, presented at the exhibition in ours. And we will devote today's post to such an interesting phenomenon as magazines about art of the early XX century, which are also kept in the collections of the library. Krupskaya.


The beginning of the 20th century is usually called the Silver Age of Russian culture. The inhabitants of the entire immense country, including the Orenburg province, learned about the novelties of poetry and prose, painting and graphics, music and theater from numerous magazines. Often the magazines had not only thematic (musical, poetic, theatrical), but also stylistic orientation, representing one of the many art trends in those years, be it symbolism, acmeism or futurism. Therefore, readers of that time had the opportunity to choose a publication to their liking, or read several at once, in order to create for themselves a complete picture of cultural life.

The magazine "Golden Fleece" attracts attention with its pretentious cover, which betrays its belonging to the Symbolist movement. The "Golden Fleece" published the works of K. Balmont, F. Sologub, L. Andreev, M. Voloshin and many other poets, mainly belonging to the Symbolists and considering creativity as a religious and mystical action.

The predecessor and sometimes opponent of the Golden Fleece was another Symbolist magazine called Libra. Its actual leader was Bryusov, and among the authors we can see the names of A. Blok, D. Merezhkovsky, Z. Gippius, V. Rozanov.

The magazine "World of Art" consisted of two "departments" - artistic and literary. The art department presented works of the best Russian artists, including I. Repin, V. Vasnetsov, I. Levitan and many others. The literary department of the World of Art was the fiefdom of the Symbolists. It published all the same V. Balmont, D. Merezhkovsky, V. Rozanov and other representatives of this trend.

The monthly illustrated magazine "Art and Art Industry", published in St. Petersburg from 1898 to 1902, was devoted to the fine arts in all its manifestations.

The magazine "Artist", despite its quite unambiguous name, was not only theatrical - it also published stories, articles on music and visual arts... At the moment, it is the magazine "Artist" that is the main source for studying theatrical art in Russia at the end of the 19th century.

From 1892 to 1915, the management of the imperial theaters published the "Yearbook", which was a kind of theatrical reference book, in which all connoisseurs of art could find out the list of plays staged in the imperial theaters, full information about the performances and the actors involved in them. Due to the incomparable role that theater art played then in the life of society, theater magazines were very popular.

The Musical Contemporary, headed by Rimsky-Korsakov, was one of the leading music magazines of the early 20th century. He gave primary importance to the work of Russian composers. Separate issues of the magazine were published, entirely devoted to Scriabin, Taneev, Mussorgsky and other famous composers.

Of course, at the beginning of the 20th century, not everyone was sophisticated aesthetes and read exclusively poetry, theater and music magazines. There were publications designed for a wider audience as well. Among such publications, the magazine "Niva" is especially noteworthy.

"Niva" is the most popular magazine of the early 20th century among the middle class and bourgeois public. Positioned itself as a "journal of literature, politics and modern life." Its circulation reached incredible sizes for that time - up to 275 thousand copies, while until the end of the 19th century, 1000 copies were considered a decent magazine circulation. Its popularity was based on a wide coverage of topics (literature, history, popular science essays, politics) and an abundance of illustrations, which not every magazine could afford in those years. Social and political materials were presented in a "well-meaning" spirit, which allowed radical supporters of progress to accuse the magazine of inertia and philistinism. However, at the same time, such authors as A.K. Tolstoy, L.N. Tolstoy, F.I. Tyutchev, A.P. Chekhov and many other great writers.

Finally, we note that any publications at all times could not live without advertising:

In the next publication you will find the most interesting - Orenburg satirical magazines of the early XX century, do not switch :))

Poems. Vitaly Grigorov. “Towards Moscow. Symphony ”,“ Someday my son will become a grandfather ”,“ My blue-eyed Tajik ”,“ At the Bolshoi on Teatralnaya ”. Literary anthology "Golden Fleece". No. 3, M., 2016. P.212-216.

TO MOSCOW
Symphony.

At your crossroads, like I'm on the stage
And I read poetry to the people!
And I boldly deal with the Uzbek woman skillfully,
And I whisper her name - Zulhi!

Let them pass lonely aside and far
Hundreds and hundreds of centuries more, -
I'll pour it in glasses and walk through the ditches
And in the stomach - paternal pilaf!

Along your alleys, how long have you been a pilgrim,
I go and breathe deeply!
So old age wanders side by side gloomily,
Soon with a stick, apparently, I will!

I am with you forever, I am your man.
"The Moscow distances are blooming!" -
It's all romanticism, it's all communism
We read this to the holes!

I go on the internet and sit on the planet
Actually, I'm lounging in bed:
I'm not in a hurry, even though it's a night star
Carries my soul beyond the equator!

Every pebble is your witness alive
Collisions and confusion and discord!
Along your avenues, along your boulevards
Both workers and thieves drink!

Hello tribe of bronze, you are alive like the sun,
We comprehend all your works:
And poetry, and science, your happiness and torment, -
All kinds of fruit of the spirit!

And crazy rains, and evil frosts
I am sheltered and healthy and saved;
There will still be victories, as our grandfathers prophesy to us,
And our two-headed eagle soars!

Glory, glory, worker, to the constellations eager,
You have built all our palaces:
And in the subway, in factories, on land and on the waters
Our glorious specialists are everywhere!

Glory, glory, peasant, Siberian and Tatar,
And the Chuvash, and the Mordvin, and the Kalmyk!
I throw a glorious cry - there will be every Muscovite,
If you penetrate the capital with your heart!

I love you hail! Your peace and parade!
The majesty of your bell towers!
I praise in thousands of epochs, I praise our Russian God,
I glorify the will of the first throne! ..

Someday my son will become a grandfather,
And there will be grandchildren and, perhaps, great-grandchildren.
Well, in the meantime, I'm on the subway myself,
Sucking beer on the holidays.

Well, in the meantime, I'm not a grandfather at all,
I do not bend like grass in the wind in a field.
I sit and eat myself a rye bread,
By purchasing a plane ticket to Peru.

My blue-eyed Tajik,
You are an excellent Russian man.
Sweep the Moscow courtyard.
We are both like that Yorick.

Your eyes are like the ripples of a river.
And you smile with longing.
I love you like a brother
Our fairy tales are similar.

Where does the blue of your eyes come from?
Let me guess, barmaley.
Really Macedonian
He left his horse trail.

Incest of people.
The adultery of kings.
And later you understand
You don't know a damn thing ...

You don't know the wildness of the grass
You do not know the herbal nature of fate.
And now: gloves, boots,
And there are people give-help.

I love you blue-eyed
As a girl, I give rhinestones
And I'm waiting for the reciprocity of the hand
We are both from the same torment.

Wonderful action of the times:
There are sparks on all sides.
I bow a hundredfold
Stories of gambling! .. *

* Free (eastern).

THE BIG ON THE THEATER

Neon fountain!
Neon fountain!
You replaced the living, but I'm in love and drunk!
Is leaving Old year!
And it will burst New Year!
On the bench there are chocolate, brandy and a sandwich!

Four horses!
Quadriga, how is it, hey!
From the theater you fly to the square as soon as possible!
We will rush forward!
We will rush forward!
Goodbye, Old Year! Let there be New Year!

Girlfriend, pour it!
Girlfriend, pour!
And sing a song from the heart about life!
Short skirt!
Short skirt!
And the legs are so soft, and the sponges are fragrant!

We are happy together!
We are two suns!
And again, pour the cups to the brim!
And let's drink for love!
And in a fell swoop for love!
I will smooth out your dashing eyebrow with my finger ...

Quadriga, how is it, hey!
Four horses!
Don't come to us, please - forget it!
Let's take the subway!
Take the subway home!
The boulevards and the avenue were covered with snow!

Neon fountain!
Neon fountain!
With water in the spring you will be drunk again!
And with a song from the heart,
And with a song for the soul
They will find shelter in you - dear drunks! ..

Reviews

The daily audience of the Poetry.ru portal is about 200 thousand visitors, who in total view more than two million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.

Circulation - 34 issues, price - 5 rubles 10 kopecks, "office" - at the villa of Nikolai Ryabushinsky "Black Swan", income - 12 thousand rubles, expenses - 84 thousand rubles. The Golden Fleece magazine is a story of grandiose ambitions, fame and talent.

Maecenas

Nikolay Ryabushinsky

The editor-publisher of the "Golden Fleece" magazine was the philanthropist Nikolai ("Nikolasha") Ryabushinsky. According to the memoirs of the collector Sergei Shcherbatov, he “played the role of an“ esthete ”, published a luxurious art magazine, established an exhibition of paintings of the latest trends“ Blue Rose ”and built himself a villa in Petrovsky Park“ Black Swan ”, but despite this“ could pass for an ordinary "dear merchant", a reveler who dined daily at the Hermitage.

Office

The interiors of the villa "Black Swan"

The editorial office of the "Golden Fleece" was located in the most prestigious places of the city: first on Novinsky Boulevard, later on Sadovaya-Kudrinskaya, and in 1909 - in Petrovsky Park in Ryabushinsky's own villa "Black Swan".

Name

Cover of the magazine "Golden Fleece", 1908

The magazine got its name thanks to the story “The Argonauts” by the symbolist Andrei Bely, whose protagonist “a great writer who went after the Sun like an Argonaut following a rune,” says: “I will publish the magazine“ Golden Fleece. ”Argonauts will be my employees, and the Sun will be my banner. With a popular exposition of the basics of sunshine, I will light my hearts. I will bring gilding to the whole world. Let us drown in the liquid sun. "

Media plan

Cover of the magazine "Golden Fleece", 1906

In the first issue of the magazine, published in 1906, a manifesto was published in the spirit of the revolutionary time: "In a formidable time we set out on the road. Renewing life is seething with a frantic whirlpool. We sympathize with all who work to renew life, we do not deny any of tasks of our time, but we firmly believe that it is impossible to live without Beauty ... And in the name of ... the new life to come, we, the seekers of the golden fleece, unfold our banner:

Art is eternal, because it is based on the imperishable, on what cannot be denied.
Art is one, for its only source is the soul.
Art is symbolic, for it carries a symbol in itself, a reflection of the Eternal in the temporal.
Art is free, because it is created by a free creative impulse. "

Employees

Prophet, sketch from a painting, 1906

The best of the best collaborated with the magazine - Konstantin Balmont, Leonid Andreev, Alexander Blok, Valery Bryusov, Andrey Bely, Maksimillian Voloshin, Zinaida Gippius, Dmitry Merezhkovsky, Fedor Sologub, Ivan Bunin ...

Spreading

The emblem of the magazine "Golden Fleece" according to the sketch by NP Feofilaktov. 1906

The plans of the editorial board were ambitious: the publishers wanted to enter the European market, so it was possible to subscribe to the magazine not only in Moscow and St. Petersburg, but also in Paris, Berlin, Leipzig, London, Vienna, Rome, Madrid, Copenhagen, New York .. The cost of the magazine varied depending on the country: from 1 rubles 70 kopecks to 5 rubles 10 kopecks.

From magazine pages

Illustration by Lev Bakst

The title page of the publication of the exhibition "Blue Rose" in the magazine "Golden Fleece" based on the sketch of P.S. Utkin. 1907

 

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