N. Nekrasov as a publisher. Editorial activity of N. Nekrasov. Journal staff: V. Belinsky, N. Chernyshevsky, I. Turgenev, L. Tolstoy, N. Dobrolyubov. Interaction of N. Nekrasov with censors. A split in the journal due to ideological differences. Reasons for the closure of the journal "Domestic Notes".
Nikolay Alekseevich Nekrasov(1821, 1877) - Russian poet, writer and publicist, revolutionary democrat. From 1847 to 1866 he was the head of the literary and socio-political journal Sovremennik, from 1868 he was the editor of the journal Domestic Notes.
In the early 1840s, Nekrasov became an employee "Domestic Notes" starting work in the bibliographic department. In 1842, Nekrasov came close to Belinsky's circle, who got to know him closely and highly appreciated the merits of his mind. Belinsky believed that in the field of prose, nothing more than an ordinary magazine employee would come out of Nekrasov. It was Belinsky who had a strong ideological influence on Nekrasov.
Soon Nekrasov began to actively engage in publishing activities. He published a number of almanacs: "Articles in verse without pictures" (1843), "Physiology of Petersburg" (1845), "April 1" (1846), "Petersburg Collection" (1846),
Nekrasov's publishing business was so successful that at the end of 1846 year - January In 1847, together with the writer and journalist Ivan Panaev, he leased from P. A. Pletnev the Sovremennik magazine, founded by Alexander Pushkin. The literary youth, who created the main force of the Notes of the Fatherland, left Kraevsky and joined Nekrasov. Belinsky also moved to Sovremennik.
Nekrasov, like Belinsky, became a successful discoverer of new talents. Ivan Turgenev, Ivan Goncharov, Alexander Herzen, Nikolai Ogaryov, Dmitry Grigorovich found their fame and recognition on the pages of the Sovremennik magazine. Nikolai Nekrasov introduced Fyodor Dostoevsky and Leo Tolstoy into Russian literature. Also published in the magazine Nikolai Chernyshevsky and Nikolai Dobrolyubov, who soon became the ideological leaders of Sovremennik.
From the first years of publishing the magazine under his leadership, Nekrasov was not only its inspirer and editor, but also one of the main authors. His poems, prose, and criticism were published here. During the "Gloomy Seven Years" of 1848-1855, the government of Nicholas I, frightened by the French Revolution, began to persecute advanced journalism and literature. Nekrasov, as the editor of Sovremennik, in this difficult time for free-thinking in literature, succeeded at the cost of enormous efforts, despite the constant struggle censored, save the magazine's reputation.
Printing begins of the long adventure novels "Three Countries of the World" and "Dead Lake", written by Nikolai Nekrasov in collaboration with Stanitsky. With the chapters of these long novels, Nekrasov covered up the gaps that formed in the magazine due to censorship bans.
Around the mid-1850s, Nekrasov became seriously ill with a sore throat, but his stay in Italy eased his condition. Nekrasov's recovery coincided with the beginning of a new period in Russian life. A happy time has also come in his work - he is put forward in the front ranks of Russian literature.
However, this period was not easy. The class contradictions that escalated at that time were also reflected in the journal: the editorial board of Sovremennik was split into two groups, one of which, led by Ivan Turgenev, Leo Tolstoy and Vasily Botkin, who advocated moderate realism and the aesthetic "Pushkin" beginning in literature, represented the liberal nobility. They were counterbalanced by adherents of the satirical "Gogolian" literature promoted by the democratic part of the Russian "natural school" of the 1840s. In the early 1860s, the confrontation between these two currents in the journal reached its peak. In the split that occurred, Nekrasov supported the "revolutionary commoners", the ideologists of peasant democracy.
In the early 1860s, Dobrolyubov died, Chernyshevsky and Mikhailov were exiled to Siberia. All this was a blow to Nekrasov. The era of student unrest, riots "liberated from the land" of peasants and the Polish uprising began. During this period, the "first warning" was announced to Nekrasov's journal. The publication of Sovremennik was suspended, and in 1866, after Dmitry Karakozov shot at Russian emperor Alexander II, the magazine was closed forever. Nekrasov, over the years of his leadership of the journal, managed to transform it into a major literary journal and a profitable enterprise, despite constant harassment by censors.
After the closure of the journal, Nekrasov became close to the publisher Andrei Kraevsky and two years after the closure of Sovremennik, in 1868, he rented the Notes of the Fatherland from Kraevsky, making them the militant organ of revolutionary populism and turning them, together with M.E. Saltykov-Shchedrin, into organ of advanced democratic thought.
Love a book, it will make your life easier, it will help you sort out the colorful and stormy confusion of thoughts, feelings, events, it will teach you to respect a person and yourself, it inspires the mind and heart with a feeling of love for the world, for a person.
Maxim Gorky
Nekrasov and the Sovremennik magazine
As you know, the activities of the Russian poet N.A. Nekrasov are not limited to his own work: the poet showed himself as an active revolutionary democrat, as well as a publicist.
It is customary to associate Nekrasov's journalistic activity with the publication of the Sovremennik magazine, which for a long time was considered a conductor of culture and advanced thought in the public consciousness. It is known that the first issue of Sovremennik was published under the direction of A.S. Pushkin in 1836. Since that time, the management of the journal has formulated its main task - not only to publish the latest works of art talented authors (among the writers whose works were published in the early issues of the magazine: I. Turgenev, F. Tyutchev, A. Koltsov, etc.), but also to acquaint the masses with prominent representatives of the socio-political life of that time.
Oddly enough, the first issues of the magazine did not have reader success, and it was decided to suspend the magazine's activities for some time. A further milestone in the development of the journal is associated with the name of N. Nekrasov. It was during his leadership that the popularity of the publication reached the highest level. The poet attracted I. Turgenev and I. Goncharov to work. With their light hand, the magazine began to publish not only new domestic literature, but also translations of Western classics.
Soon, as a result of an ideological split, Turgenev and Goncharov left the editorial office of the magazine, giving way to the no less talented M. Saltykov-Shchedrin and M. Antonovich. Active leader and creative person how Nekrasov achieved public recognition of his publication and made him a conductor of culture to the masses, however, in 1866, at the personal insistence of Alexander II, the magazine was closed.
Nekrasov's publishing business was so successful that at the end of 1846 - January 1847, he, together with the writer and journalist Ivan Panaev, leased the Sovremennik magazine from Pletnev, founded by Alexander Pushkin. The literary youth, who created the main strength of the Notes of the Fatherland, left Kraevsky and joined Nekrasov. Belinsky also moved to Sovremennik, he handed over to Nekrasov part of the material that he collected for the Leviathan collection he had conceived. Nevertheless, Belinsky was at Sovremennik at the level of the same ordinary journalist as Kraevsky was. And this was subsequently reproached to Nekrasov, since it was Belinsky who most of all contributed to the fact that the main representatives of the literary movement of the 1840s moved from Otechestvennye Zapiski to Sovremennik.
Nekrasov, like Belinsky, became a successful discoverer of new talents. Ivan Turgenev, Ivan Goncharov, Alexander Herzen, Nikolai Ogaryov, Grigorovich found their fame and recognition on the pages of the Sovremennik magazine. The magazine published Alexander Ostrovsky, Nikolai Shchedrin, Gleb Uspensky. Nikolai Nekrasov introduced Fyodor Dostoyevsky and Leo Tolstoy into Russian literature. Nikolai Chernyshevsky and Nikolai Dobrolyubov also published in the magazine, who soon became the ideological leaders of Sovremennik.
From the very first years of publishing the magazine under the leadership of Nekrasov, he was not only its inspirer and editor, but also one of the main authors. His poems, prose, criticism are published here. In the years 1848-1855 of the "Gloomy Seven Years", the government of Nicholas I, being frightened by the French Revolution, began to persecute advanced journalism and literature. Nekrasov, the editor of Sovremennik, in this difficult time for freethinking in literature, managed at the cost of enormous efforts, despite the constant struggle against censorship, to maintain the reputation of the magazine, although it should be noted that the content of the magazine has noticeably faded.
The printing of very long adventure novels "Three Countries of the World" and "Dead Lake", written by Nikolai Nekrasov in collaboration with Stanitsky (pseudonym Golovacheva-Panaeva), begins. With the chapters of these long novels, Nekrasov covered the gaps that formed in the magazine due to censorship prohibitions.
Around the mid-1850s, Nekrasov became seriously ill with a sore throat, but his stay in Italy eased his condition. Nekrasov's recovery coincided with the beginning new era Russian life. A happy period also began in his work - he is put forward in the front ranks of literature.
But this period was not easy. Noticeably at that time, the aggravated class contradictions were also reflected in the journal: the editors of Sovremennik were split into two groups, one of which represented the liberal nobility, headed by Ivan Turgenev, Leo Tolstoy and Vasily Botkin, who advocated moderate realism, and the aesthetic "Pushkin » beginning in literature. They were counterbalanced by adherents of the satirical "Gogolian" literature, which was promoted by the democratic part of the Russian "natural school" of the 1840s. In the early 1860s, the confrontation between these two currents in the journal reached its peak. In the split that occurred, Nekrasov supported the "revolutionary commoners", the ideologists of peasant democracy. During this difficult period of the highest political upsurge in the country, the poet creates such works as "The Poet and the Citizen" (1856), "Reflections at the Front Door" (1858) and "Railway" (1864).
In the early 1860s, Dobrolyubov died, Chernyshevsky and Mikhailov were exiled to Siberia. All this was a blow to Nekrasov. The era of student unrest, riots of peasants liberated from the land and the Polish uprising began. During this period, the "first warning" was announced to Nekrasov's journal. The publication of Sovremennik was suspended, and in 1866, after Dmitry Karakozov shot at the Russian Emperor Alexander II, the magazine closed forever.
After the closure of the magazine, Nekrasov converged with the publisher Andrei Kraevsky, and two years after the closure of Sovremennik, in 1868, he rented the Notes of the Fatherland from Kraevsky, making them the militant organ of revolutionary populism.
One of the largest editors of his time was N.A. Nekrasov. Of greatest interest is his work in Sovremennik, at the head of which he stood for twenty years - from 1847 to 1866. As already mentioned, it was one of the best domestic magazines. During the rise of the revolutionary movement, its circulation reached ten thousand copies - a huge figure for that time. The pages of the magazine reflected the program of the peasant revolution.
Nekrasov's merit is that he managed to rally a team of like-minded people around the editorial office - writers, publicists. The journal was an ideological organ; it embodied the program outlined by Belinsky. All the materials of Sovremennik expressed a single direction.
Nekrasov strove for collective editorial work. At the end of the 50s, an editorial board was created consisting of Nekrasov, Panaev, Chernyshevsky, Dobrolyubov. N.K. Mikhailovsky characterized the activities of the editorial board of the journal in the following way: "Due to the collegiality, individual characteristics were not reflected in any way in the general literary work, which was not based on temperaments and characters, but on convictions.
Nekrasov was not only involved in organizing the work of publications. He corrected articles, read proofs. He wrote to Turgenev in 1850: "... I assure you with honor that in order to compile the first book, I read up to 800 written sheets of various articles, read 60 proof sheets (of which only 35 went into work), two once revised a novel (not mine), once in manuscript and another time already in typesetting, reworked a few more articles in proofs, finally wrote fifty letters ... ".
Nekrasov characterizes his work in Sovremennik as follows: "... All, so to speak, rough work on the journal: reading, correcting manuscripts, as well as obtaining them, reading proofs, explaining with censors, restoring meaning and connection in articles after their pencils lay on me, and I also wrote reviews and feuilletons ... "(From a letter to M.E. Saltykov).
Analyzing the materials proposed for publication, Nekrasov singled out the main aspects in them that are important for this particular topic, formulating clearly and definitely his comments to the author. So, the author of the article "Research on the complete network of railway communications in Russia" A.N. He writes to Erakov: "... There are many proofreading errors in your article that need to be corrected; but I did not check the figures, I think that there are errors there too; if they turn out, then the article will lose a lot; I advise you to let someone else check the numbers with the original, for a rare author can himself be a proofreader of his work - this is verified by experience ... ". The given fragment of the letter is interesting from two points of view. Firstly, Nekrasov emphasizes the importance of the accuracy of the factual material for an article that gives quantitative characteristics. railways. Secondly, he shows the specifics of the editorial preparation of the publication, rightly noting that proofreading is an independent stage and it is advisable to do this work not for the author, but for another person.
Nekrasov began his work as an editor in the journal F.A. Koni "Pantheon of Russian theaters".
In 1845, the collection "Physiology of Petersburg" compiled by him was published in two parts, which included 12 articles. Among the authors of the collection V.G. Belinsky, D.V. Grigorovich, N.A. Nekrasov, A.Ya. Panaev.
The collection brought together materials of a heterogeneous nature according to the principle of ideological orientation. "All articles, in addition to literary dignity, also have the dignity of truth, which is very important and most important in writings of this kind," Nekrasov wrote.
The duties of the editor of the collection were determined by V.G. Belinsky: "... Mr. Nekrasov did not consider himself entitled to touch on a single article published in the collection. The editor of the collection is not like the editor of the journal. According to the general opinion, to be the editor of the collection means to collect articles, make a choice for them and arrange them , and then look after the publication. Mr. Nekrasov did just that. "
Nekrasov's editorial work on the collection revealed new opportunities for such a publication and its quality as integrity.
As we can see from Belinsky’s judgment above, at this time the work and duties of the editor take public opinion. The features of preparing publications of various types and types, the duties of an editor and the criteria for evaluating a work, the formation of an author's asset are considered.
Nekrasov possessed the ability necessary for an editor to create conditions for the manifestation of a writer's gift. “It was only thanks to his great mind, high nobility and intrepid firmness of character that I had the opportunity to write as I wrote. I served my homeland well and have the right to her gratitude, but all my merits to her are his merits,” wrote N.G. . Chernyshevsky.
Two lines can be traced at the basis of the selection of materials in Nekrasov's Sovremennik: taking into account the reader's interest and the general direction of the journal. Given that the magazine is less actively distributed in the summer, it published important program materials in other periods of the year. I tried to give in the journal materials written in line with its general direction, or at least not contradicting it.
Nekrasov pays great attention to the language of the works. This is especially evident in the evaluation of translations. For example, he writes to N. Satin regarding the translation of Shakespeare's drama "The Tempest": "We would like you to review and correct this translation, made by you 25 years ago ... Sometimes, changing one word or even making only permutation in words, you see that the verse wins; this is understandable, because at the age of 25 the Russian language and verse made progress.
In this fragment of the letter, two points appear to be important for the issue under consideration. First of all, attention is drawn to the poet's remark about how sensitive language is. fiction, especially poetry, to each word of the text. The poet himself, Nekrasov, however, does not correct the translation, but prefers that the translator himself finalize it. Thus, he achieves the integrity of the transmission of perception by the translator of the author's text. In addition, Nekrasov emphasizes that the Russian language is constantly evolving. These processes were especially active in the 19th century, as we have already mentioned earlier. And Nekrasov, acting in this case as an editor, emphasizes the use of modern vocabulary in translation.
“Contemporary”- after the“ gloomy seven years ”, the journal edited by Nekrasov noticeably perked up. I.S. Turgenev, I.A. Goncharov, L.N. Tolstoy began to publish here. A humorous section “Yeralash” appears on its pages - and it contains aphorisms and maxims of the parody character Kozma Prutkov.
In the magazine, the reader found Nekrasov's bright poems saturated with revolutionary pathos, in 1857 Shchedrin's story "The Bridegroom" was published here, and the following year Beecher Stowe's novel "Uncle Tom's Cabin" appeared, dedicated to the theme of slavery of American blacks. The fiction of the magazine as a whole served more and more to promote emancipatory ideas.
The editors did a great job aimed at changing the nature of the magazine under the conditions of a cruel censorship regime. Back in the summer of 1856, it was decided to create a new department - "Modern chronicle of political events in our country and other countries." The publishers of the magazine, Panaev and Nekrasov, wrote a letter to the Minister of Public Education. And although the liberal bodies - "Russkiy vestnik", "Russian conversation" - were allowed to have a department "Review of current political events", the request of the editors of "Sovremennik" was rejected.
To answer the demands of the day, to offer a practical solution to this or that problem connected with the liberation of the peasants, could best be done in a journalistic work. And it is no coincidence that Sovremennik as a socio-political journal finally took shape in the middle of 1858, when it became possible, albeit with great restrictions, to openly discuss the peasant question. An important role was played by the new section of the magazine - "The arrangement of the life of the landlord peasants." Its authors exposed the attempts of the landowners to preserve serfdom, consistently defended the interests of the peasantry. The articles covering the conditions for the abolition of serfdom succeeded in expounding the program of revolutionary democracy on the peasant question.
Sovremennik, under the leadership of Nekrasov, Chernyshevsky, and Dobrolyubov, became a pronounced political journal, and this made it impossible for a liberal group of collaborators to participate in it. In 1858 L. Tolstoy left Sovremennik, in 1859 A. Maikov and Fet left, in 1860 - Grigorovich and Turgenev.
The most important, striking and significant in terms of content, influence on society was the democratic journal Sovremennik, the editor of which was still N. Nekrasov. Having gone through the years of the "gloomy seven years" (1848-1855), a cruel political reaction that hampered the development of advanced Russian journalism after the European revolution of 1848, Nekrasov already in the mid-50s took a number of measures to revive the journal, attracted prominent writers: I.S. Turgenev, I.A. Goncharova, L.N. Tolstoy, etc., opens the humorous department "Yeralash" (where the literary parody character Kozma Prutkov first appears), seeks and finds new employees.
The best articles of Russian journalism, many of Nekrasov's poems, Chernyshevsky's novel What Is to Be Done? were printed here, the satirical activity of the great Russian writer M.E. began here. Saltykov-Shchedrin.
All the years of the publication of Sovremennik, the censorship vigilantly followed him, in 1862 the magazine was suspended for a revolutionary direction for six months, and in 1866, after the death of Dobrolyubov and the arrest of Chernyshevsky, it was completely closed in violation of the legislation on the press on personal grounds. the order of the king.
The leaders of the magazine - Nekrasov, Chernyshevsky, Dobrolyubov had exceptional authority and influence on contemporaries. The articles of Chernyshevsky, Dobrolyubov, Nekrasov's poems were read with enthusiasm by leading figures of other peoples who inhabited Russia and the Slavic countries.
6. Herzen and Ogarev. "Polar Star", "Bell"
"Bell"
In 1856, Herzen's friend N.P. arrived in London. Ogarev to take part in the activities of the Free Russian Printing House. Given the revival of the democratic movement after the end of Crimean War, together they decide to publish a periodical organ, which will be published much more often " polar star", and give it the name "Bell". The Bell began to appear from July 1857. It was a newspaper that was printed once or twice a month, but sometimes the frequency was changed, “Vivo voco!”, i.e. "I call the living!" proclaimed Herzen and Ogarev in the epigraph of their newspaper. Later, another one joined him: "Land and Freedom", which expressed the main demand of the "Bell" on the peasant question. The program of the publication put forward three main requirements:
“Freeing the word from censorship!
The liberation of the peasants from the landowners!
Liberation of the taxable estate<т.е. крестьян>- from beatings!
Herzen, from the very first issues, launched criticism of the feudal landlords, the entire state system in Kolokol tsarist Russia. He especially sharply criticizes the landowners, their cruel attitude towards the peasants, the royal dignitaries, embezzlers of treasury, who are deaf to the suffering of the masses. At the same time, Herzen still hopes to find among the advanced nobility, following the example of the Decembrists, people capable of forcing the government to abandon its cruel policy towards its own people.
Herzen did a lot for the development of newspaper and magazine genres of revolutionary publication. He had a prototype of an editorial. He introduced many headings: “On trial”, “Is it true?”, “Under a bushel”, made the department of small critical correspondence called “Mixture” very bright, successfully used a pamphlet, masterfully commented on messages from Russia. Ardent patriotism was the basis of all Herzen's revelations and his criticism.
However, Herzen also had certain illusions at that time. He still believed in the good intentions of the noble tsar Alexander II, he still believed that the country could progress through the good will of the nobles, he hoped for the abolition of serfdom "from above". In the late 1850s, Herzen handled a number of open letters to the tsar, where he expresses his hope that the tsar will not allow himself to be further deceived and will give freedom to the peasants. It must be said that the very fact that a private individual, a journalist, turned to the Tsar-Autocrat of All Rus' as an equal citizen was unprecedented insolence. Such an appeal by Herzen carried a revolutionary charge, a charge of disrespect. But still, this was Herzen's weakness, which was a manifestation of liberal hesitations, hopes for the goodwill of the tsar. This position of Herzen provoked a protest from consistent Russian democrats, such as Chernyshevsky and Dobrolyubov. But, of course, these liberal notes by Herzen were only a departure from the democratic line, and not an expression of the essence of his publication. The main reason for these fluctuations was explained by V.I. Lenin in the article "In Memory of Herzen". Herzen, who left Russia in 1847, could not yet see it as a revolutionary people: the people were sleeping, crushed by centuries of feudal oppression. But as soon as Herzen saw the revolutionary people in the sixties, he firmly stood up for the revolution.
The reform of 1861, which the tsarist government was nevertheless forced to carry out and abolish serfdom, at first delighted Herzen, but the analysis of the conditions for liberation once again opened Herzen's eyes to the anti-people policy in peasant question government. The uprisings of the peasants against the conditions of liberation, which once again enslaved them, dispossessed them of their land, compelled Herzen to conduct more resolute propaganda of the revolutionary struggle for freedom and land.
Herzen, and especially Ogarev, criticize the peasant reform of 1861. “The people have been deceived by the tsar,” writes Kolokol in July 1861. Herzen gives extensive information and commentary on the uprisings in Russia against the reform. “Russian blood is shed,” Herzen writes about the punitive measures of the tsarist government. He was especially shocked by the uprising in the village of Bezdna, where the peasants were shot and their leader Anton Petrov was killed.
Now Herzen and Ogarev are directly addressing the Russian people and revolutionary youth with a call for an uprising against the autocracy. Herzen condemns the government for the arrest and exile of the leader of Russian democracy - N.G. Chernyshevsky. Ogarev writes a number of proclamations addressed to the army and youth. “Start up printing houses!” they advise revolutionaries in Russia. Herzen decisively breaks with the liberals (Turgenev and others), who sided with the government.
The revolutionary convictions of Herzen and Ogarev manifested themselves especially clearly in connection with the Polish uprising of 1863. Russian society, including the liberal, was embraced by patriotic chauvinism, the tsarist troops brutally cracked down on the rebels.
Under these conditions, Herzen took the side of the rebels. He attracted V. Hugo to the Bell to support the Polish uprising. V. Hugo wrote fiery words addressed to the Russian troops: "Before you is not an enemy, but an example." He sharply condemned Kolokol, the leader of conservative Russian journalism, Katkov, who demanded reprisal against the rebellious Poles. Katkov, in turn, began to publicly discredit Herzen's ideas.
The success of "The Bell" throughout the years of publication was extraordinary. Russia, according to contemporaries, was flooded with this revolutionary newspaper.
However, in Russia the revolutionary situation of the late 1950s and early 1960s did not develop into a revolution - spontaneous peasant revolts could not lead to success. Tsarism managed to cope with the crisis, to isolate the leader of the Russian revolutionary democracy, Chernyshevsky, exiling him to distant Siberia.
In connection with this situation in the country, The Bell began to appear less frequently, and in 1867 it ceased to be published at all. Feeling regret that the revolution in Russia did not materialize, Herzen Last year The publication of Kolokol begins to turn more and more often to the facts of the revolutionary struggle of the European proletariat, the activities of the First International, organized by K. Marx. Particularly interesting in this regard are Letters to an Old Comrade, written after the closure of Kolokol. This appeal towards the end of his life (Herzen died in 1870) to the First International emphasizes the sensitivity of the Russian journalist to all new facts. revolutionary activity in the West. But Herzen's main pain was in Russia: neither freedom nor democracy was realized in it.
It should be noted that the ideas of Belinsky and Herzen had a great impact on many public and literary figures of the peoples of Russia and the Slavic countries of subsequent decades.
