See what "Satyricon (magazine)" is in other dictionaries. Magazines "Satyricon" and "New Satyricon" and their employees. A. Averchenko What is satirical and humorous in the satiricon magazine
Among the satirical magazines, of which there were a great many in Russia at the beginning of the last century, "Satyricon" occupies a special place. Without a doubt, he was the most famous of them all, as he was the most prominent spokesman of his time: he was even quoted at meetings of the Duma.
Principal Authors
The Satyricon group took shape by 1908; the first issue of the magazine was published on April 3. On the pages of the new weekly magazine, humorous drawings and cartoons began to appear, signed by Radakov (1879-1942), Re-mi (the pseudonym of Remizov-Vasiliev), Benois, Dobuzhinsky. These drawings were often accompanied by small poems; in addition, the magazine devoted much space to satirical poetry. Among the permanent employees of "Satyricon" should be called Peter Potemkin (1886 - 1926), Vasily Knyazev (1877 - 1937 or 1938), the acmeist Sergei Gorodetsky (1884 - 1967), Vladimir Voinov (1878 - 1938), Evgeny Vensky (pseudonym Evgeny Pyatkin, 1885 - 1943), Krasny (pseudonym of Konstantin Antipov, 1883 - 1919), Samuil Marshak (1887 - 1964), Arkady Bukhov (1889 - 1946), Vladimir Likhachev (1849 - 1910), Dmitry Censor (1877 - 1947), Nikolai Shebuev (1874 - 1937).
Sasha Cherny, undoubtedly the most gifted of the group's authors, left the magazine in 1911, having managed to publish many works there.
Among the prose writers of the group, besides Averchenko, Teffi (the pseudonym of Nadezhda Lokhvitskaya, married Buchinskaya, 1872 - 1952), Osip Dymov (the pseudonym of Osip Perelman) should be named ...
"New Satyricon"
In 1913, a crisis occurred in the journal, most of its composition left Kornfeld and founded the New Satyricon, the first issue of which was published on June 6. Old magazine still continued to publish: Knyazev, Valentin Goryansky (pseudonym Valentin Ivanov, 1888 - 1944) and several other writers remained there, but in 1914, after the 16th issue, the magazine ceased to exist. "New Satyricon" prospered for some time and attracted a number of young writers, among whom were Alexei Budishchev (1867-1916), Georgy Vyatkin (1885-1941), Chuzh-Chuzhenin (pseudonym of Nikolai Faleev, 1873-30s) and Mayakovsky, who published poems of 1915-1916 and his "hymns" in it.
Content and focus of the journal
The Satyricon magazine was very diverse in content and focus: it reflected the tastes of the public and certain literary tendencies of its time. The audience wanted him to be satirical. In response to this wish, the magazine revived and became to strengthen the old tradition of Russian literature... He proclaimed Saltykov-Shchedrin as his teacher, which is proved by the issue specially dedicated to his memory ("New Satyricon", No. 17), published on the 25th anniversary of the writer's death in 1914. This is mentioned by Bukhov in his poem "Remember!", Placed in the issue:
... A lot of you ...
Picks up drops of acrid bile
Dropped by a clever old man.
However, after the 1905 revolution, this tradition took on a very special character in the world of the press. In the period 1905-1906, many satirical publications began to be published: "Hammer", "Machine Gun", "Bogey", "Masks", "Gadfly", "Zarnitsa", "Red Laughter", etc., in which they appear, alternating each other friend, cartoons and poems, often signed with illustrious names from the "World of Art" or from the Symbolist school. Satire was usually extremely harsh and harsh, excluding any humor, in most cases painted in tragic tones: this was the time when images of death, blood, murder filled both painting and literature.
The Satyrikon group, responding to the tastes of the time (close to Leonid Andreev), picked up this tradition and contributed to it. Many times the magazine has put in very gloomy tones hints of repression against the opposition, for example, under the guise of descriptions of executions by impaling in Persia.
Thus, on the one hand, "Satyricon" develops themes that a priori exclude laughter. Despair, both political and moral, sounds in his works, which sometimes really becomes common place... Some poems openly fall into revolutionary pathos. Knyazev is especially inclined towards him.
"Now," writes Averchenko, "the whole Great Russia writhes in a dream, immersed in mortal boredom." This phrase was calculated for a comic effect: boredom and vulgarity were considered shameful, and it was customary to constantly remind that they were opposed by ideals, enthusiasm, noble emotional impulses; but this almost obligatory recommendation has long become more of a rhetorical formula than a real source of inspiration.
About whom "Satyricon" wrote
In fact, the only social stratum that fill the pages of the "Satyricon" is precisely the petty bourgeoisie, the philistine, whose presence is felt among both readers and authors of the magazine. Krasny's poem, dated 1908, demonstrates, perhaps not entirely consciously for the author himself, that the old Russian myths are losing their power. The poem is built on the contrast between the themes of conversations in society (freedom, homeland, indignation, sacrifice) and their material basis- restaurant, party, etc. (No. 10, 1908):
Oh, what could be more charming
Than walking into the world of searches,
Where the path is glorious only as a sacrifice ...
But much more interesting
Read about that in the novel
And sigh over coffee ...
Perhaps the poet's intention was to ridicule the softness of the average intellectual, but the effect produced by the poem is completely different, for the polarity of these ideas is too ridiculous.
Parody in the magazine
The magazine's production was rich in both old and new techniques. The first place among them was occupied by parody - a genre that is satirical in itself. The authors of "Satyricon" did not neglect the opportunity to ridicule new literary movements, such as symbolism, futurism (for example, Bukhov's poem "The Legend of the Terrible Book" (1913) presents the poems of the futurists as the most terrible torture for the reader that one can imagine). Egofuturism (Igor Severyanin) has become a favorite target for parody. The archaic style was willingly used, with the help of which the most striking effect of the grotesque was created (for example, Shebuev's ode on universities, sustained in the style of the Russian XV111 century, no. 37, 1913).
Often, parody coexisted with a serious tone so hidden that contemporaries did not even always notice it. For example, Goryansky gave his collection "My Fools" the subtitle "Lyric Satires". Sasha Cherny uses this technique almost everywhere, and one of his letters to Kranichfeld proves that the poet used it quite deliberately. He writes: "In the same poem humor, satire and lyrics are combined ..."
Potemkin especially shone in this crafty genre. He was associated with the Symbolist environment, often attended the Stray Dog cabaret, staged some of his plays in the Crooked Mirror miniature theater. His collection Ridiculous Love (1908) also contains themes characteristic of Russian romantics and Symbolists - masks, dolls, and it is not clear whether here one should look for the funny in the serious or the serious in the funny. Later, namely in his collection of poems "Geranium" (1912), the poet will move away from this genre and come to a purely comic, more sincere and simpler.
Receptions of fairy tales and folk art in "Satyricon"
Another favorite device of the "Satyricon" is a fairy tale. Here its authors willingly followed Kozma Prutkov, in whom they recognized their predecessor. In 1913 a special issue (No. 3) was dedicated to his memory. One of the employees of "Satyricon", Boris Vladimirovich Zhikovich, signed himself with the name Ivan Kozmich Prutkov, as the son of a fictional writer. Nevertheless, his tales, as a rule, are satirical, there is no absurdity in them, like in Kozma Prutkov. Thus, the fable "Brains and Night" (1914) ridicules spiritualism, although it is written in Prutkov's style.
"Satyricon" willingly used the sources of folk art: fairground comic, quatrains in the style of ditties, which Potemkin and Knyazev collected in the villages. If Knyazev's ditties serve to "simplify" poetry, then Potemkin, especially in Geranium, introduces very lively comic motives with the help of the folk style in describing the life of the St. Petersburg common people ("The Bridegroom").
He did not drink booze,
But I drank a little
Copper in your ear
He wore an earring.
Here the comic is achieved by introducing the language and habits of the common people into verses: a clerk, artisan, worker, small merchant, etc. Such poetry, typically urban and comically good-natured, anticipates genres that will develop in the 1920s.
Pseudo-child poetry
And finally, the authors of "Satyricon" willingly used the form of pseudo-child poetry. For example, Chuzh-Chuzhenin's Children's Song (1913), written about the new restrictions on the press, portrayed the censors as obedient children:
Like Vanya-Vanyushka
Babysitters got in
Nurses are sad women
Strict bosses ...
But this literary device, created at first as a satirical one, gradually grows into a special genre, into a style that loses its original orientation. Subsequently, many of the poets of "Satyricon" write already specifically for children and have an influence on future authors of this genre (the most famous of them is Samuil Marshak). They often imitate English children's poems and songs, as, for example, Vyatkin, who wrote a poem about the python "The Fifth".
Style of English humor
Several authors adopted the style of English humor, and the first among them was Teffi, whose stylistic devices and turns are examples of a purely English manner. Such is, for example, "the captain who looked around with round eyes with the air of a man who had just been taken out of the water" ("Instead of politics"). Teffi's plots reproduce the technique of English humor, which achieves a comic effect by introducing absurdity into everyday situations - for example, a story about a petty official who won a horse in the lottery and found himself in a desperate situation, as she quickly brought him to complete ruin ("The Gift Horse" ). In addition, "Satyricon" often published foreign comedians, in particular Mark Twain.
Wordplay
However, the humor of "Satyricon" was not only borrowed. Its best authors were able to continue the Russian comic purely verbal direction, based not only on a pun, but also on a semantic collision of words, on a joke originating from a sound play on words, coming from Gogol.
Teffi's play on words is often made to the point of absurdity, it causes laughter, as it introduces a whole family of words that sound like nonsense. So, for example, a boy, coming home from school, asks adults: "Why do they say" anthem-Asia "and not say" anthem-Africa "?" ("Instead of Policy"). Kulikov picks up Kozma Prutkov's play on the sounds of "villa" and "pitchfork" in order to make a poem with a "social" sound on this material: the rich man's dream of "villa" is contrasted with the peasant's dream of a new pitchfork (Two Thoughts, 1908). But here the social content fades alongside the comic absurdity of the pun.
The group of "Satyricon", thus, in its work stands, as it were, on two piles, on two traditions - satirical and humorous, which at that time were not too sharply divided, since humor was often mistaken for satire. This confusion prevented the authors of the magazine, at least most of them, from reaching the heights of humor (in a metaphysical sense), while satire, in turn, lost its vividness, degraded, fell into didactics and lost its significance.
Nevertheless, "Satyricon" remained the legal heir of Kozma Prutkov and paved the way for the flourishing of humorous literature, which came later, in the 1920s.
Used materials of the book: History of Russian Literature: XX century: Silver Age / Ed. J. Niva, I. Serman and others - Moscow: Izd. group "Progress" - "Litera", 1995
>> Magazine "Satyricon"
Writers smile
Satyricon magazine
How many forgotten pages in history domestic literature! And how you want to delay the movement of time! Readers have such an opportunity. Of the general history processed by "Satyricon" ".
This is an amazing edition. The history of mankind - from ancient times to the beginning of the 19th century - is told not by learned men who draw knowledge from old books, studying letters and manuscripts, and funny and witty people - satirical writers.
The appeal to long-gone events and people for the authors was just an excuse to humor take a look at modern life. The solution itself was not original. In 1868, A. K. Tolstoy created a satirical work "History of the Russian State from Gostomysl to Timashev", where he told the reader that "Our land is rich, / There is just no order in it." True, the author did not manage to see the poem in print, apparently, such historical parallels were not to the liking of the publishers.
The creators of "General History ..." were more fortunate. Their brainchild was published in 1910. Book was released as a free supplement to the Satyricon magazine.
Despite its young, three-year age, "Satyricon" was famous and had its own reader. And it was not easy, since in Russia in the first decade of the 20th century, many humorous magazines appeared. "In that troubled, unstable, ruinous time," Satyricon "was a wonderful outlet from which fresh air poured," he recalled A. Kuprin.
The magazine has brought together young talented writers: Ark. Averchenko, Sasha Cherny, Teffi, O. Dymova, A. Bukhova and others. A. Kuprin, L. Andreev, A. N. Tolstoy were published in it ... In 1913, after the split of the editorial board, "Satyricon" ceased to exist. There was another of his birth - about Paris. To participate in the publications were attracted I. Bunin, Sasha Cherny. B. Zaitsev, A. Kuprin, artists A. Benois, M. Dobuzhinsky, K. Korovin. In the third "Satyricon" the novel "The Golden Calf" by L. Ilf and E. Petrov was reprinted, and this was noted by the readers. Soon, due to lack of funds and sharp satirical materials, the magazine ceased to be published. So one more page of the Russian literary chronicle was closed.
In 1911, the "General history, processed by" Satyricon "was published. It would seem that you can find funny in coups d'etat, in numerous wars, epidemics and similar events of the past, information about which has come down to us?
Get acquainted with an excerpt from the "General history, processed by" Satyricon "" prepared by Teffi (1372 -1952), nee Lokhvitskaya Nadezhda Alexandrovna, - prose writer, poet, playwright.
Peru Teffi owns the Ancient History section that opens the book. She enthusiastically joins in the general "clowning", creating a witty story Of the ancient world... Teffi ironically plays with the logical constructions of pseudoscientific works ("The upbringing of children was very harsh. Most often they were killed right away. This made them courageous and persistent"); exaggerates clichés ("Ancient history is such a story that happened a very long time ago") ...
Literature, grade 8. Textbook. for general education. institutions. 2 hours / auth.-comp. V. Ya. Korovin, 8th ed. - M .: Education, 2009 .-- 399 p. + 399 p .: ill.
On the eve of the revolutionary upheavals and in the revolutionary era, satirical magazines gained particular popularity. The most famous magazines are "Alarm", "Beach", "Guillotine", "New Satyricon", the organ of pamphlets "Scaffold".
Weekly magazine "New Satyricon". In the foreground is a page of the magazine with V. Mayakovsky's poem "The Judge" ("Hymn to the Judge").
"For about two decades, this bourgeois boring couple ruled over us, smart, free people ... Who allowed it? And everyone was silent, endured and even sang sometimes loudly," God Save the Tsar. " ? Who allowed it? Ay-ya-yay "1.
Arkady Averchenko
Into the revolution with satire
The Petersburg weekly satirical magazine "Satyricon", which since 1913 was called "New Satyricon", enjoyed the well-deserved attention of readers. The magazine was founded on the basis of the humorous weekly "Dragonfly". Arkady Timofeevich Averchenko became the editor and inspirer of the "New Satyricon". The Satirikonites, 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 covers of all issues. One of the main subjects of satirical works was the royal couple, the favorite topics were the politics of the former emperor Nicholas II and his ministers.
Indicative is the article by Averchenko himself "What do I think about it", published in April 1917 and representing the author's reflections on the state of the Russian state and society.
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 the refusal of Averchenko to attend the meeting, as well as the further absence of any punishment, along with the realization of complete freedom, prompted the editor of Novy Satyricon to think about the state and society in post-revolutionary Russia bordering on anarchy: What is she now? Where is now "by the order of His Majesty"? Where is this 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.
"Take a rag for a statesman"
Fully and completely welcoming the republic, Averchenko talked about the human nature of Nicholas II: "I am somehow scared in hindsight that Nikolai Alexandrovich, sitting on the throne, was not a real emperor of all Russia, but an ordinary person, like you and me ... Maybe his ideal is to play vint at a hundredth, to plant flowers in the garden at the dacha and, having arrived from the dacha to serve in Petrograd (he must serve as an assistant clerk in the department), go in the evening to Nevsky, find a night fairy there and invite her somewhere to Karavannaya, to change fearfully and timidly his quarrelsome and domineering wife, but already withered from worries and fiddling with children. Maybe he - this former king - in character and in all his makeup - is just such a person! " In such a disrespectful view of the emperor, one can trace the destruction of the myth about 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. However, Averchenko did not feel pity for the fate of the august person, felt sincere surprise how such a person could get on the Russian throne: “Excuse me! - something like that), how was he allowed to walk in an ermine mantle and give the reigning persons and ambassadors an audience "," And we are good too! 3.
The author pays much attention to his own assumptions about the reaction of Nicholas II to the events taking place. To enhance the effect, Averchenko primitivized the experiences of the emperor, despite the testimony of eyewitnesses about the severity of the decision to abdicate the throne: “Guchkov, worried and stumbling, proves that he needs to abdicate, but he? , did he drop at least one historical phrase? .. They say he sat and stroked his mustache with a pencil. And then, silently signed the renunciation and said after: "Well, okay, I'll go to Livadia, I'll plant flowers."
Rigidity, exaggeration and bringing the situation to the point of absurdity became integral features of the work of Arkady Averchenko during this period. The editor's incriminating articles set the general tone for the entire publication. In the April issue of the magazine, under the portraits of the imperial couple "In care for the welfare of 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, which are especially important for state purposes." ...
Caricature - not in the eyebrow, but in the eye
The 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 became the immediate reason for her portrayal as a spy, whose only aspiration was the collapse of Russia from within, which had nothing to do with reality. A striking example of the development of this theme on the pages of the magazine was the published cartoons of Re-mi. On the cover of the magazine, the Empress was pictured behind a counter with the sign "Supplier of the Wilhelm II Court. Latest News of the Season" - offering representatives of Germany, Austria-Hungary, the Ottoman Empire and Bulgaria a secret plan. The caption under the cartoon: "Selling Russia by wholesale and retail. How some" Grand Duchesses "lived and worked. - How, your Majesty ?! Do you find a million rubles for the plan of this fortress expensive? dear to me - our dear Russia ... "6
In the same issue, a cartoon "How Russian people imagined German spies and what they really are", consisting of two drawings, was printed. The first depicts a man in a black cloak running across a field with a small lantern in his hands, the second depicts Alexandra Feodorovna in the tsar's phaeton near a military unit with a camera in her hands. The troops salute her, and the empress records the features of the fortress structure 7.
"Protopopov wants to shoot himself while walking"
Not only the imperial family was attacked, but also prominent dignitaries in the past. Favorite figures were the chairman of the Council of Ministers P.A. Stolypin and Minister of Internal Affairs A.D. Protopopov. There is a well-known caricature of A. Radakov on the "Stolypin tie" called "The Last Consolation", which became a response to the news that a monument to Stolypin was thrown from a pedestal in Kiev, lifting it by the neck with a crane on iron chains: "Stolypin: - How well 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
The poem by Sergei Mikheev was awarded to the former minister Protopopov, in relation to whom there were rumors of mental illness (in 1917 Protopov was indeed diagnosed with bipolar affective disorder, characterized by a frequent change in symptoms of mania and depression). This is probably the reason for adding the following lines:
The fortresses slumber along the alleys
The frost is silver ...
Protopopov for a walk
He wants to shoot himself ...
- I'm tired of royal ethics,
The drama presses the heart ...
Eh, to get a pistol -
I'd like to bang right on the forehead ...
The soldier answered this,
Looking somehow stricter:
- This is us without a gun
Very simply we can ...
Just take heart
And, I will say without flattery,
Run kol - like a fly
I'll put it in place.
There is also a time to pray -
Quiet as everywhere ...
But ... the suicide screams:
- Uncle! .. I won't ...
The streets are slumbering fortresses,
The evening began to descend ...
Someone was crying on the walk:
- I don't want to shoot! nine
"Got it? Made a minister?"
The position of the minister was also ridiculed, as evidenced by N. Radlov's caricature "Before, now." In contrast to the happy family of the tsarist era, feeling joy and pride in the success of the head of the family, in the lower part of the picture is depicted a man announcing his appointment to a new position with the appropriate signature: "Did you get in? Made a minister? You don’t regret your family ... Don’t cry, Petka. , it won't be easier anyway ... "10
In 1917, many publications divided the history of Russia into pre- and post-revolutionary. These two Russia are opposed to each other. The February Revolution widely declared the equality of rights for 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 the First Necessity and the Last" confirms this. The first part of the caricature depicts Emperor Nicholas II, Empress Alexandra Feodorovna and Grigory Rasputin, presenting gifts to noblemen, the highest Russian and foreign officials. The second part of the cartoon illustrates the indifferent attitude of the above to the needs of the soldiers who died on the fields of the First World War 11.
P.S.
These are just a few examples of the brutal judgment of the New Satyricon journalists over the bygone era of old Russia. Despite the opposition to the tsarist regime, the incessant development of themes discrediting and overthrowing the authority of the former "masters of life", "New Satyricon" did not find a place in Soviet Russia. The October issue of the magazine was signed "With deep malice we dedicate to the Bolsheviks and internationalists", the first post-October issues were full of mocking attacks on the Bolsheviks, who were equated with street robbers. For satyrikonovtsy new revolution seemed like chaos. It is not surprising that in July 1918 "New Satyricon" was banned, its ideological inspirer Arkady Averchenko went over to the side of the whites and ended his days in emigration.
1. Averchenko A. What do I think about it // New Satyricon. 1917. April. N 14.C. 2.
2. Ibid.
3. Ibid. P. 3.
4. Ibid.
5. In concern for the welfare of loyal subjects // New Satyricon. 1917. April. N 15.C. 2.
6. Selling Russia wholesale and retail // New Satyricon. 1917. April. N 14.C. 1.
7. About a Grand Duchess // Ibid. C.5.
8. The last consolation // New Satyricon. 1917. April. N 14.C.4.
9. Mikheev. S. Suicide // Ibid.
10. Before, now // New Satyricon. 1917. June. N 22.S. 13.
11. People of the first necessity and the last // New Satyricon. 1917. April. N 14.P. 9.
Satyricon: "Satyricon (novel)" is a novel by the ancient Roman writer Petronius the Arbitrator. "Satyricon Fellini" is a film by Federico Fellini based on the novel by Petronius Arbitra. "Satyricon (magazine)" and "New Satyricon" Russian satirical magazines ... ... Wikipedia
- "SATIRIKON" weekly "thin" magazine of satire and humor. Published in St. Petersburg from 1908 to 1914 (No. 16 last) M. Kornfeld. The first 8 numbers "S." published under the editorship of A.A. Radakov, after which A.G. Averchenko became the permanent editor. "WITH."… … Literary encyclopedia
"Satyricon"- "Satyricon", a weekly satirical magazine. Published in 1908-14. Editorial office - at 9, Nevsky Prospect. Publisher MG Kornfeld; editors (in different time) A. A. Radakov, A. T. Averchenko, P. P. Potemkin, M. G. Kornfeld. "Satyricon" ... ... Encyclopedic reference book "St. Petersburg"
I weekly magazine of satire and humor, 1908 1914, St. Petersburg. Editor (from No. 9) A. T. Averchenko. Published works by S. Cherny, P. P. Potemkin, V. I. Goryansky. In 1913, 18 part of the staff published the "New Satyricon". II see Russian theater ... ... encyclopedic Dictionary
Weekly satirical magazine. Published in 1908 14. Editorial office at 9, Nevsky Prospect. Publisher MG Kornfeld; editors (at different times) A. A. Radakov, A. T. Averchenko, P. P. Potemkin, M. G. Kornfeld. "WITH." set himself the task ... ... Saint Petersburg (encyclopedia)
Weekly magazine of satire and humor, 1908 1914, St. Petersburg. Editor (p. 9) A. T. Averchenko. Printed by S. Cherny, P.P. Potemkin, V.I.Goryansky. In 1913, 18 part of the staff published the New Satyricon ... Big Encyclopedic Dictionary
"SATIRIKON"- "SATIRIKON", Russian weekly satirical magazine. Published in St. Petersburg in 1908 - 1914. Goes back to the humorous weekly "Strekoza". Editor A. A. Radakov, then A. T. Averchenko. Since 1913, under his editorship of ed. magazine… … Literary encyclopedic dictionary
- ("Satyricon",) Russian weekly satirical magazine, published in St. Petersburg in 1908 14. Since 1913, some of the authors of "S." began to publish the magazine "New S." (up to 1918). Editor "S." (from No. 9) and "New S." A. T. Averchenko. Among the main ... ... Great Soviet Encyclopedia
Weekly satirical magazine, published in St. Petersburg in 1908 14 Editor - cartoonist A. A. Radakov, then - writer satirist A. T. Averchenko (since 1913 editor of "New Satyricon"). Teffi (N.A. ... ... Literary encyclopedia
This term has other meanings, see Dragonfly (disambiguation). Dragonfly ... Wikipedia
Books
- New Satyricon, no. 49, December 1916,. Petrograd, 1916. Publication of the magazine "New Satyricon". Publishing binding. The preservation is good. The cover of this magazine is moving away. On several pages, some of the text has been cut. SATIRIKON - ...
- New Satyricon, no. 50, December 1916,. Petrograd, 1916. Working publishing house "Typo-lithography of the Publishing Association" Prosveshchenie "." Publishing of the magazine "New Satyricon". Publishing binding. The preservation is good. ...
Students 133 groups
Yakovleva Olga
Shadrinsk, 2008
Satyricon ……………………………………………………………… ..3
A.T. Averchenko …………………………………………………… ..… .5
“Two Crimes of Mr. Vopyagin” ……… .7
Sasha Cherny …………………………………………………………… 8
Poems ………………………………………………………………………… .10
Teffi ……………………………………………………………………… ..11
"Woman's Book" ……………………………………………………… ..14
Bibliography ………………………………………………………… .16
Satyricon
Speaking about the main directions of Russian poetry of the Silver Age, poetry schools and individual groups, one cannot fail to mention one more association that went down in the history of literature under the name "Satyricon".
"Satyricon" was that outlet that is always lacking under the 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 Satyricon, a caustic and mocking magazine, came into being.
April 1, 1908 became a symbolic date. On this day in St. Petersburg, the first issue of the new weekly magazine "Satyricon" was published, which then had a noticeable impact on public consciousness for a whole decade. The first editor-in-chief of the magazine was the artist Alexei Alexandrovich Radakov (1877-1942), and from the ninth issue this post passed to the satirist, playwright and journalist Arkady Timofeevich Averchenko.
The editorial office of the magazine was located on Nevsky Prospekt, house number 9. "Satyricon" was a funny and caustic, sarcastic and angry publication; in it, witty text was interspersed with caustic caricatures, funny anecdotes were replaced by political caricatures. At the same time, the magazine differed from many other humorous publications of those years by 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 a much fiercer rebuff than their Jewish counterparts.
Such satirists as V. Knyazev, Sasha Cherny and A. Bukhov were published, L. Andreev, A. Tolstoy, V. Mayakovsky were published, the famous Russian artists B. Kustodiev, I. Bilibin, A. Benois performed illustrations. For a relatively short term- from 1908 to 1918 - this satirical magazine (and its later version "New Satyricon") created a whole trend in Russian literature and an unforgettable era in its history.
Particular merit in such a resounding popularity of "Satyricon" largely belonged to the gifted poets - satirists and humorists who collaborated in the magazine.
The reader quickly appreciated everything that the satirists were trying to convey to him. All of Russia was read out with stories, poems, humoresques, epigrams, parodies, which were complemented by brilliant caricatures, caricatures and drawings. "Satyricon" attracted readers by the fact that its authors practically refused to denounce specific high-ranking officials. Nor did they have a "generally obligatory love for the junior janitor." After all, stupidity remains stupidity everywhere, vulgarity - vulgarity, and therefore the desire to show a person such situations when he himself is ridiculous comes to the fore. Objective satire is being replaced by "lyrical satire", self-irony, allowing to reveal the character "from the inside". This was especially clearly manifested in poetry, where the object of a satirical or humorous image is a lyrical hero.
The works of Sasha Cherny, Teffi, P. Potemkin, V. Goryansky, V. Knyazev, E. Vensky and other leading poets of "Satyricon" were presented on its pages in various genres: poetic caricatures, pamphlets, humoresques, parodies, fables, epigrams.
During the heyday of the magazine, in 1911, its publisher M. G. Kornfeld published in the magazine library "General history, processed by" 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 satiric 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 atlas. And it is no coincidence that the beginning of "General History" was commissioned to "process" Teffi, knowing whose favorite writer she was, the objections of the censorship could not be feared. Thus, speaking out against the Duma, the government, officials, bureaucrats of all stripes, "Satyricon" from the highest benevolence unexpectedly fell into the role of legal opposition; its authors contrived to do much more in politics with their poetic and prosaic creativity than any politician.
However, in May 1913, the magazine was 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 leadership of Kornfeld continued to be published for some time, but lost the best authors and, as a result, closed in April 1914. And "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.
Alas, the fate of the satyricons was not happy. Someone left their homeland, someone was repressed and died ... An attempt to revive the magazine by Russian emigrants was unsuccessful. But there is a considerable legacy left, which must certainly find its reader.
A 
rkadiy
Timofeevich Averchenko
Born March 15, 1881 in Sevastopol in the family of a poor businessman Timofey Petrovich Averchenko.
Arkady Averchenko graduated from only two grades of the gymnasium, because, due to poor eyesight, he could not study for a long time and, moreover, in childhood, as a result of an accident, he severely damaged his eye. But the lack of education was eventually compensated for by a natural mind, according to the testimony of the writer N.N.Breshkovsky.
Averchenko began working early, at the age of 15, when he entered the service in a private transport office. He did not last long there, 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, later 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 "Shtyk" and "Mech", and in 1907 he was fired from his next duty station with the words: "You good man but don't go to hell. " After that, in January 1908, A. T. Averchenko left for St. Petersburg, where he would become widely known in the future.
So, in 1908, Averchenko became the secretary of the satirical magazine "Strekoza" (later renamed "Satyricon"), and in 1913 - its editor.
For many years Averchenko has been successfully working in the magazine's team with famous people - Teffi, Sasha Cherny, Osip Dymov, NV Remizov (Remy), and others. It was there that his most brilliant humorous stories appeared. During Averchenko's work at 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 to Europe with his satyrician friends. These travels served Averchenko as a rich material for creativity, so in 1912 his book "The Expedition of the Satyricons 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 anti-Soviet and closed it down. Averchenko and the entire staff of the magazine took a negative stance towards Soviet power. To return to his native Sevastopol (in the Crimea, occupied by whites), Averchenko had to get into numerous troubles, in particular, to make his way through the Ukraine occupied by the Germans.
From June 1919, Averchenko worked for the newspaper "Yug" (later "South of Russia"), campaigning for help to the Volunteer Army.
On November 15, 1920, Sevastopol was taken by the Reds. A few days before this, Averchenko had managed to sail by steamer to Constantinople.
In Constantinople, Averchenko felt more or less comfortable, since at that time there were 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 Guards embittered to the point of madness." 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 emigre stories "Notes of the Simple-minded".
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 a Russian Writer."
In the Czech Republic, Averchenko immediately gained popularity; his recitals were a resounding success, and many of his stories were translated into Czech.