Magazine Satyricon Biography

I carefully knock: and about the important - I will say nothing. Doroshevich in Satire-fantasia “Premier” cited the words of Stolypin, who hypocritically assuring the Russian society that he introduced laws on the press-“the most liberal throughout Europe”. In the archives of the St. Petersburg Censorship Committee and the Main Directorate for Press Affairs there are many things.

The author avoided arrest only because he went abroad in time - to Germany. In the city of the Censor of the St. Petersburg Committee on Press Fedorov, setting out the contents of the fairy tale, reported that the author had the intention to “present in a perverted and distorted form political events that took place in Russia in the City Code. At the same time, the image of King Berendei, his wife and mother obviously expressed the insulting attitude of the author to the emperor, the Empress and the Dowager Empress ...

Taking into account that, according to the author, the only way out for peasants and workers from their difficult modern position is the armed uprising and overthrow of the tsarist power, it should be concluded that in the considered. The brochure also contains signs of a crime under paragraph. The collection of Censor was dedicated to the revolutionary fighters of the GG. Explaining the title, he wrote in the preface: “This book is dedicated to the time when we, inspired, rushed to the sun.

Now we are broken. The wings are broken. Censorship terror was one of the parties to the general offensive of tsarism on advanced Russia. He created extremely unfavorable conditions for the existence and development of satire. Starting with G., the editors now and then reported that the best works were not allowed to print or mercilessly disfigured. Here is a list of those numbers of the magazine that caused the complaints of censorship in one year: - “blind” by A.

Dmitriev; “As I helped in a confusing business with Illiodor,” A. Stolypin spoke by the phone A. Even a cheap library published by Satyricon was carefully visible in censorship. The famous Russian story processed by Satyricon was also arrested. Often the magazine was released with white spots in the place of “stabed” censorship of works or drawings. Satyricon people skillfully used this to create an original system of omissions, a kind of shootout with officials of the censorship department.

More precisely, the drawing was placed alone, a white spot and an explanation were in the place of the other: “It was removed from the circumstances that are beyond the editorial office.” However, the meaning of the drawings remained completely clear to the reader. The point is the GOM that, under the first, depicting a miserable beggar, was a signature: "Grace Empire." Consequently, another “idiocy of the Russian language” was to be a “gracious sovereign” - the bloody strangor Nicholas II.

According to V. Botsanovsky, “it would be completely unthinkable to work if it had not been established between the reader and satirick that special understanding, that special ability to read between the lines, understanding at a glance that developed with special force during these years. The revolutionary reader sometimes turned out to be more visionarily more than censorship, but also the editorial office itself.

This partly explains the enormous success of the Satyricon - the reader speculated and made conclusions himself - the editorial office remained only skillfully directing him. Sometimes there were curves, such as the story with the drawing “Women from the Sea”. Once, a caricature was urgently needed for a magazine that suffered from censorship. The editor in reserve had a harmless pattern from the French weekly, depicting two ladies on the seashore.

There was no time to come up with some original signature: the number went to the set, and the editor reluctantly wrote: "Women from the sea." In the X years of the XIX century. Upon learning of this, Satyricon solemnly reproduced the reproduction, and even provided it with the caricature of A. Radakov, explaining, "who sees what in the picture." The caricature, like everything in the Satyricon, had a double meaning: in addition to the direct denunciation of the “critics” of Semiradsky, it was about the censorship of the 10ths of the XX century.

Instead of the image, I will hang let the lamp burn before him, the poem says. The censor was indignant: “In view of the foregoing and taking into account: 1 what is the image and lamps! Commenting on this resolution, Vl. Botsyanovsky exclaimed: “Does this prohibition smell of times of Censor Krasovsky, when did not dare to call the eyes of his beloved“ heaven ”?

It is no accident that on one of the covers of the Satyricon, the artist P. Troyanovsky portrayed the New Year as a soldier in the form of the times of Nicholas I, and the departing - in the form of a Nikolaev soldier of his time. A constant hero of the magazine becomes a censor. His little butter figure, armed with a huge red pencil, wanders from one Satyricon number to another.

Censorship and the Russian press are dedicated to the “Special” 11th issue of the magazine for the year. On his cover is a triumphant censor, masterfully drawn by re-mi. It is not surprising that the Satyricon squeezed by c imperial slingshots was smalled day by day. Averchenko wrote: "Do not forget that we do not bathe in the warm body, vodka, but cook in steep boiling water."And he explained: “I will list only what we are strictly forbidden to touch.

Monks even the most bad; 4. The ministers are even the most mediocre. And in the last issue, even a caricature ridiculed “New Time” is not missed. Benois was only surprised, watching the satirikons dodging to "give free rein to his laughter and his malice." In response to the system of “forced silence”, the satirikon invented a complex system of omissions and reservations, encrypting their performances.

The stump is thoroughly hidden ”censorship persecution of“ satirikon ”, and later the“ New Satyricon ”will not seem so significant if we recall that at the same time the main censorship forces were abandoned to fight the working bodies of the press-“ Star ”,“ Truth ”, underground social democratic publications. This was recognized by the employees of liberal publications themselves.

When in G. But this is exactly our sadness. Because - it’s scary to think - freedom of speech to us. Satyricon people also understood the inferiority of their “truth”. To the city of disputes and ideological discrepancies of Satyricon people can be guessed, starting from the year. In the New Year's issue of the magazine, drawing a ceremonial parade of cooperation, A. Radakov, on the sidelines, depicted Sasha Cherny, "sometimes rushing even at his own" with the departure of Sasha Black contradictions became even more aggravated.

Crushed by the severity of censorship repressions, exhausted and in order to assign, "satiricon" in the city of In the collection "Decade of the restaurant" Vienna "St. Petersburg. The satirical company immediately occupies three or four tables and the incessant "brawl" immediately begins. Sharp, epigrams, puns are pouring like a huge bag. One trifling remark, hand movement, pose - everything gives a topic for wit - light, free, not stretched.

Satyrikonets say poems like prose. Someone dropped the clock under the table, raised them and began to consider them. Red seriously gives a rhyme advice: now excess “oh” and “ah”. It is possible to stand on the clock, but you should not step on them. Knyazev reports that in his days a book about folk poetry is coming out-a diral. The Old Man is complacently encouraging: your creation, dear friend, not without reason everyone shouting around, that this is a whole of theft.

The noise around the table is unimaginable. Radakov’s voice is heard almost before the exit. Meanwhile, artists are discussing the topics and drawings for the next number in balagurism and idle words, poets and prose writers listen to the “leprosy” of the Old Man ... completely imperceptibly, jokingly, it is compiled. Everyone knows that he needs to cook for Thursday "" The decade of the Vienna restaurant.

Literary and artistic collection. The writer Taffy also recalls the sweat, which was constantly surrounded by A. She writes: “In the retinue of Averchenko there were friends who cut the truth-uterus and borrowed money, there were jesters, as in a medieval court, there were simply idiots. And all this company, like a flock of monkeys, spoke him in a tone, with its gestures and without ceasing to cut it ...

Svita played a bad role in Averchenko’s life.

The bohemian atmosphere of creativity, the pursuit of cheap success played a fatal role not only for Averchenko, but for the entire Satyricon. It must be sneaking up on his pages, imperceptibly for the editorial office, the same mother-murmur, which he previously carefully avoided. Satyricon humor degenerates into harmless and sometimes causeless geeks. Meanwhile, liberal critics enthusiastically welcomed the turn of the “satirikon” to the humor.

In their opinion, the main merit of the magazine was that he was able to entertain Russian society, which had depressed after G. So, P. Ryss wrote: “In the revolutionary years, they laughed with bloody tears. There was a satire, but there was no laughter. The appearance of a "satirikon" meant the birth of laughter. Along with the satire of political, there were lovely works created by the genius of harmless laughter.

There were undoubtedly grounds for this characteristic. The ideological inspirer of the magazine A. Averchenko jokingly and seriously preached the idea of ​​the "healing" properties of cheerful humor. He called one of the collections of his stories: "Stories for the recovery."