Vlas Doroshevich stories. Biography of Doroshevich Vlas Mikhailovich. The fate of Doroshevich after the revolution

Doroshevich Vlas Mikhailovich (January 5, 1865, Moscow, Russian Empire - February 22, 1922, Petrograd, RSFSR) - Russian journalist, publicist, theater critic, one of the most prominent feuilletonists of the late 19th - early 20th centuries.

He studied at several Moscow gymnasiums, from which he was repeatedly expelled; I completed my high school course as an external student.

He began working in newspapers while still a student at a Moscow gymnasium. He was a reporter for Moskovsky Leaflet and Petersburg Newspaper, and wrote humorous articles in Alarm Clock. His fame began when he worked in Odessa newspapers in the 1890s. Doroshevich attracted attention with witty, biting feuilletons on local topics. An external feature of his articles was the “short line”. He introduced into the pre-revolutionary press the style of a short, aphoristic phrase without additional sentences. While attacking provincial authorities, Doroshevich never rose above moderate liberalism; in politics he was always a philistine. The biting phrase gave him a reputation as a bold exposer of provincial morals; the authorities looked at him as a dangerous publicist.

In 1897 Doroshevich undertook a trip to the East. Sketches of Sakhalin for the first time revealed to the reader a picture of hard labor prisons on this island. But Doroshevich’s observations were superficial, and the book, which was sensational at the time of its appearance (1st edition, Moscow, 1903; 3rd edition, Moscow, 1905), was soon forgotten. In 1899, Doroshevich, together with Amfitheatrov and Sazonov, undertook the publication of a large political newspaper, Rossiya, in St. Petersburg. Despite its outward noisiness, the newspaper combined unprincipled liberalism with nationalism and chauvinism.

Doroshevich's harsh feuilletons against individual ministers were not so much radical in essence as defiantly impudent. But already at this time Doroshevich’s weak side as a feuilletonist was evident: his verbosity. Some strong and apt lines were lost among the mass of empty phrases. Sometimes his feuilletons rose to the level of a pamphlet in terms of the power of denunciation. Most of it was witty chatter.

Doroshevich had many admirers among the bourgeois reading public and many followers among provincial feuilletonists. In the absence of wit and literary brilliance, the “short line” turned into unbearable chatter and opened the way to the newspaper for mediocre and illiterate people, who covered up their inability to speak with short lines. During this period, Doroshevich made a lot of noise with his campaign in the case of the Skitsky brothers, who were wrongly convicted by the Poltava court. By exposing the judicial practices of that time, Doroshevich achieved a review of the case and acquittal of the Skitskys.

In 1902, “Russia” was closed for Amfitheatrov’s feuilleton “The Deception Lords”. Doroshevich went to work for Sytin’s Moscow newspaper “Russkoye Slovo”, the editor of which he remained until the closure of this newspaper in 1918. Under Doroshevich, “Russkoye Slovo” received enormous distribution, and Doroshevich became the favorite feuilletonist of the Moscow merchants and philistines.

He was helped by his great worldly experience, knowledge of the merchant environment, and preserved powers of observation. Sometimes Doroshevich’s feuilletons flared up with their former wit and forced people to talk about themselves. As a general rule, they were already outside the large newspaper political literature.

Like “Russian Word”, Doroshevich had a right-wing Cadet appearance, but did not interfere in the struggle of parties. Therefore, his role in the press after 1905 is insignificant. His feuilletons were published in separate editions: “Papillotki” (Moscow, 1893); “Odessa, Odessans and Odessans” (2nd ed., Odessa, 1895); “Legends and Tales of the East” (Moscow, 1902); “East and War” (Moscow, 1905), etc.

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Ministry of Education and Science of the Russian Federation

Federal State Autonomous Educational Institution of Higher Professional Education

"Ural Federal University

named after the first President of Russia B.N. Yeltsin"

Institute of Humanities and Arts

Faculty of Journalism

“Specific features of Vlas Doroshevich’s feuilletons”

2nd year students

Zhdanova A.G.

Teacher:

Associate Professor of the Department of Print History,

Candidate of Philology,

Ivanova L. D.

Ekaterinburg

Introduction

Conclusion

Introduction

Vlas Mikhailovich Doroshevich (1864 -1920) - one of the most prominent feuilletonists in the pre-revolutionary press. The writer began working in newspapers quite early, while still a student at a Moscow gymnasium - at the age of 17.

His fame began when he worked in Odessa newspapers in the 90s. Doroshevich attracted attention with witty, biting feuilletons on local topics. Vlas Doroshevich attacked provincial authorities, but never rose above moderate liberalism. In politics, the author has always been a philistine. His love for biting phrases gave him a reputation as a bold denouncer of provincial morals. The authorities looked at him as a dangerous publicist.

When Doroshevich was 33 years old, in 1897, he undertook a trip to the East. Sketches of Sakhalin for the first time revealed to the reader a picture of hard labor prisons on this island. However, Doroshevich's observations were superficial, and the book, which was sensational at the time of its appearance (1st ed., M., 1903; 3rd ed., M., 1905), was soon forgotten. Two years later, in 1899, Doroshevich, together with Amfitheatrov and Sazonov, undertook the publication of a large political newspaper in St. Petersburg - “Russia”. Despite its outward noisiness, the newspaper combined unprincipled liberalism with nationalism and chauvinism. Doroshevich's harsh feuilletons against individual ministers were not so much radical in essence as defiantly impudent.

However, at this time it became clear that Doroshevich has a weak side, which in a certain way affects his work: his verbosity. Some strong and apt lines were lost among the mass of empty phrases. Sometimes his feuilletons rose to the level of a pamphlet in terms of their denunciation power. According to the compilers of the Big Electronic Library, most of it was witty chatter. The feuilletonist gained many fans and followers.

During this period, Doroshevich made a lot of noise with his campaign in the case of the Skitsky brothers, who were wrongly convicted by the Poltava court. By exposing the judicial practices of that time, Doroshevich achieved a review of the case and acquittal of the Skitskys. In 1902, “Russia” was closed, and Doroshevich went to work for Sytin’s Moscow newspaper “Russian Word”. He remained its editor until the closure of this newspaper in 1918. During this period, “Russkoe Slovo” gained enormous popularity, and Doroshevich became the favorite feuilletonist of the Moscow merchants and philistines.

From his travels in the East, Doroshevich brought back an abundant supply of traditions, legends and fairy tales and filled the basement of the “Russian Word” with them. The radical phrase gradually faded away. Accurate, strong phrases are found less and less often here. He was helped by his great worldly experience, knowledge of the merchant environment, and preserved powers of observation. Sometimes Doroshevich’s feuilletons flared up with their former wit and forced people to talk about themselves. As a general rule, they were already outside the large newspaper political literature. His feuilletons were published in separate editions: “Papillotki” (Moscow, 1893); “Odessa, Odessans and Odessans” (2nd ed., Odessa, 1895); “Legends and Tales of the East” (Moscow, 1902); “East and War” (M., 1905), etc. Doroshevich. FEB: Literary encyclopedia [Electronic resource].

In the 1910s, Doroshevich's creative activity declined. Before the October Revolution, he published a series of articles “In Dissenting Opinion.”

From August 1918 to May 1921 he lived in Sevastopol and refused to collaborate with counter-revolutionary newspapers. At the end Civil War In Crimea, the already ill Doroshevich made a statement about full accession to Soviet power.

Doroshevich entered the history of literature under the name of “king of feuilletons.” His feuilleton combined elements of journalism, satirical and lyrical reporting. Doroshevich gave the mass newspaper genre an artistic touch. M. A. Vealnik. Chronos. [Electronic resource]

Chapter 1. Characteristic features of feuilletons by Vlas Doroshevich

Vlas Doroshevich himself gave a definition of the genre in which he worked: “Feuilleton is simpler, more understandable, more accessible to everyone, more entertaining and easier to digest! A feuilleton should not be distinguished by “wit” at all. If it exists, if there is a reason for it, good. A sharp word never hurts. But, God, save us from the “indispensable wit”! There is nothing more difficult and annoying than the indispensable desire to make jokes at any cost. “Wit” is not at all a necessary component of a feuilleton. This is just a seasoning... An indispensable condition for a feuilleton is wit of thought. The thought itself, not the words. Its production is very deft, bright, and convex.” The great feuilletonist declares that wit of thought is not only the fundamental principle of this genre, but also its leading feature.

A feature of Doroshevich’s style is the so-called “short line” - a manner of writing in short, chopped sentences, each of which began with a red line, and almost the only punctuation mark was a period. This manner of uttering aphorisms could be justified if there was a thought behind each of them, but it was precisely the thought that Doroshevich’s feuilletons and his numerous imitators lacked.

“Flat liberal judgments, attacks against individual bureaucrats, even if they sometimes occupied high positions, even ministerial ones - the “kings” of the bourgeois feuilleton could not go further than this and did not want to. But within their limits they acted bravely and not without a twinkle.” Bychkov M.N. Russian feuilleton. To help print workers. M., Political Literature, 1958.

Doroshevich had many admirers among the bourgeois reading public and many followers among provincial feuilletonists. The latter, however, did not bring much glory to Russian literature with their works. In the absence of wit and literary brilliance, the “short line” turned into unbearable chatter and opened the way to the newspaper for mediocre and illiterate people, who covered up their inability to speak with short lines.

Doroshevich introduced into the pre-revolutionary press the style of a short, aphoristic phrase without additional sentences. Vlas Mikhailovich Doroshevich drew a great many ideas for these same aphorisms from the above-mentioned trip to the East.

Chapter 2. Analysis of the feuilletons “Reporter” and “Old Executioner”

feuilleton Doroshevich reporter

"The reporter".

The author bitterly tells us about the neglect of such an important and extremely necessary profession as a reporter. This feuilleton begins with the so-called “short line”. This emphasizes the drama of the current situation and the meaning that it has for the author, and which he wants to convey to the reader.

Doroshevich gives us the reasons why such an opinion was formed about these newspaper workers: indeed there were reporters who, even in the editorial offices, were not allowed further than the front, illiterate, ready to eavesdrop while sitting under the table. But then the author breaks down these arguments, saying that people have become extinct as a species. He says that a reporter is an incredibly important profession, without which newspapers would not be possible in principle. He cites the example of his comrade, V. O. Klepatsky, and regrets that he could not proudly declare his position.

The author touches on a topical topic for people in his profession. Any journalist will be interested in her, and not only journalists. The topic can be considered much broader. Doroshevich is trying to convey to readers the idea that prejudices, unfortunately, live much longer than the people who give rise to them. The main idea of the feuilletonist: to change and correct the attitude of society towards reporters that has developed due to some of their representatives, who, at the time the feuilleton was written, had long since disappeared.

There are no clear accusations against anyone in particular. The entire feuilleton is saturated with bitterness. A red thread running through him is the hope that such an erroneous opinion will soon change, hidden under undeniable arguments in favor of the importance of the reporters’ work.

"The Old Executioner"

In 1897, Doroshevich, following A.P. Chekhov, managed to get to the “convict island” of Sakhalin and then published a book of Sakhalin impressions. These impressions were used in the highly famous feuilleton “The Old Executioner”, the “hero” of which was the notorious employee of A.S. Suvorin’s newspaper “New Time” V. Burenin, who published Sunday feuilletons in which he mocked Russian literature and writers.

Here, in contrast to the feuilleton discussed above, we see biting, accusatory statements. The entire feuilleton is one big metaphor. Moreover, the metaphor is evil, building the most disgusting image of the main character.

V. Burenin appears before us in the image of an executioner who, without any remorse, mercilessly tortures his victims with a dirty, blood-soaked whip. And often it doesn’t even matter to him whether his victim is alive or no longer alive. Prominent literary figures find themselves in shackles, and Doroshevich, through the mouth of the executioner, says that the more a person is loved in the world, the more the executioner hates him.

Here we also encounter Doroshevich’s favorite method of parcellation, the “short line.” Almost the entire text can be divided into aphorisms, which is also a distinctive feature of the author we are considering.

It is noteworthy that the feuilleton received the approval of all readers who revered Russian literature and did not want to forgive Burenin for his mocking tone. But readers forgave Doroshevich’s mocking tone towards this very Burenin.

And here we see an important problem for society. Its relevance can be judged by the wide resonance caused by the work. Its importance lies in the fact that through the image of the “literary executioner” we see that vile human deeds do not go unpunished.

Conclusion

We analyzed two feuilletons by Vlas Doroshevich. One of them is a call to change one’s attitude towards one of the groups of people, and the other is a fierce struggle against the vices of another group.

Each of the feuilletons depicts bright and memorable images - either for their individuality or for their typicality. Doroshevich successfully combines sarcastic and tragic pathos in his feuilletons: usually the entire story is built on laughter, but at the end we are faced with a sad ending. It is also important to note that Doroshevich’s feuilletons can resonate with a wide audience: they are funny for everyone, and their main idea is easy to understand. But at the same time, only a prepared audience will be able to understand all the problems raised by the author, all the techniques he uses, which creates additional interest for it.

In his feuilletons, Doroshevich covers a variety of topics: politics (“The Case of Cannibalism”), everyday life (“The Noble Nest”), literature (“Poetess” and “Writer”), journalism (“Reporter”). Readers interested in any area of life will be able to find something close to them in the works of Doroshevich. At the same time, the journalist raises current problems and eternal questions.

Until the end of his life, Vlas Doroshevich followed his credo, formulated in his youth in the magazine “Volna”: I also do not promise to “punish” and “brand”... My job will be to present the facts to the reader, clear them of all obscuring circumstances, illuminate them with true light, and let The society itself “punishes” and “brands” its members if they deserve punishment...” It was precisely “illumination with true light” and objectivity that Doroshevich strived for. He did not punish or stigmatize, he simply showed reality in a humorous and at the same time truthful way, allowing the reader to decide for himself who is worthy of condemnation, and who is worthy of praise, who is worthy of laughter, and who is worthy of sympathy.

Vlas Doroshevich is surprisingly sincere, objective, merciless and witty. His feuilletons make you not only laugh, but also think about everything that is happening around you, and about what we can do to somehow change the situation.

List of used literature

Doroshevich. FEB: Literary encyclopedia [Electronic resource] / Fundamental electronic library. Russian literature and folklore. - Access mode: http://feb-web.ru/feb/litenc/encyclop/ (Date of access: 05/06/2014).

Bychkov M.N. / Russian feuilleton. To help print workers. M. Political literature, 1958.

Kovaleva M.M. Domestic journalism of the 18th-19th centuries. - Ekaterinburg: Ural University Publishing House, 2001.

Bookchin S.V. Vlas Doroshevich. The fate of the feuilletonist. - M.: Agraf, 2010

M. A. Vealnik. Doroshevich. [Electronic resource] / Chronos. - Access mode: http://www.hrono.ru/biograf/bio_d/doroshevichvm.php (Date of access: 05/06/2014).

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Books

, Doroshevich Vlas Mikhailovich. At the turn of the 11th and 20th centuries, Russians of all ages read newspaper and magazine publications of Vlas Mikhailovich Doroshevich, who was deservedly proclaimed by rumors as “the king of Russia...
Collected works. In 6 volumes, Doroshevich Vlas Mikhailovich. At the turn of the 10th and 20th centuries, Russians of all ages read newspaper and magazine publications of Vlas Mikhailovich Doroshevich, who was deservedly proclaimed by rumors as the King of Russia...

Southern journalists

(Free imitation of Mark Twain)

The doctor sent me south, and I accepted the offer of the Southern Trombone with great pleasure.

The editor of this venerable newspaper, when I entered the sanctuary called the Trombone editorial office, was sitting at a desk covered with various trinkets - each weighing 20 pounds - and, glancing from time to time at the loaded six-barreled Smith and Wesson revolver lying before him , wrote an article looking as if he was cutting out the livers of a living person.

“I’m very glad to see you among our employees,” he said, energetically squeezing my hand, “very glad...

I expressed no less joy.

I’m only afraid that unfamiliarity with other conditions...

Oh, you'll soon get the hang of them! First, look at this rubbish!

He pushed a pile of local newspapers towards me: “Daily Hurray”, “The Most Distributed”, “To the Precinct!”, “Thunder and Lightning” and others.

And he began to disembowel a living person again.

Half an hour later my article was ready.

I wrote the following:

The evils of the day.

“Unfortunately, we must begin our review of the local press by pointing out a mistake made by our venerable brother newspaper Daily Ura. An error, of course, involuntary and inevitable in such a rushed matter as a newspaper one: candidate Izhitsyn, in yesterday’s elections, received not 2 votes, as the respected newspaper says, but 432, and was not “balloted with the greatest disgrace,” but, on the contrary, as readers see , came out of the fight with the greatest triumph. We don’t doubt for a minute that “Daily Hurray” fell into this trifling mistake completely by accident and, perhaps, is already correcting it the minute we write this.”

* * *

“The last black ice, which caused a lot of trouble in the city, gave rise to a lot of projects, of which we are especially pleased to note the “Most Common” project, which proposes replacing wooden poles with cast iron ones. The soundness of this successful idea that came to our colleagues from “The Most Common” does not need proof. Cast iron pillars, indeed, as you know, do not rot. Even if they are appointed as directors of telephone companies, under the supervision of members of the city government.”

* * *

“Our venerable colleague, Mr. Chertopolokhov, from the newspaper Thunder and Lightning, returned safely yesterday from his trip around the world.”

* * *

“Yesterday’s issue of the respected newspaper “V Uchastok” contained a very insightful review about the performance of the opera “The Huguenots” on the stage of our theater. The article appears to have been written by a very competent musician, and it makes a lot of apt comments regarding deviations from the score. Unfortunately, we must note, however, that on the evening about which the venerable newspaper speaks, it was not “The Huguenots,” but “Norma,” so that deviations from the “Huguenot” score on this evening are quite excusable.”

Then came my signature.

A million devils and one witch! - the editor exclaimed, running through my manuscript and sparkling his eyes.

What? Do you think it's too harsh? - I asked in fear.

A million devils and one witch! - he repeated. “And you think that my readers will be satisfied with such chaff, such curdled milk?” Oh, damn it, you remind me of a man who wants to feed semolina to bloodthirsty tigers! You can write, that's undeniable. But you need to set the tone. Go ahead, your article will be published with corrections. Read it and you will understand how to write. Goodbye!

And he continued to disembowel a living person.

The next day I opened the newspaper with trepidation.

The evils of the day.

Following my full signature were the following lines:

“Holding high the banner of the press, we begin our review with the exposure of the new. the trickery of that gang of swindlers, which is called in their thieves' jargon the editors (???) of "Daily Ur".

On this crumpled paper it is printed that our most honorable, our deeply respected candidate Izhitsyn received only 2 balls in yesterday’s elections, while the readers of Trombone know that he received not 2, but 432 balls.

Where did the remaining 430 go?

The reader is already presented with a terrible picture.

They were stolen by Daily Ur employees.

The “letiratars” (?) of “Daily Ur” tiptoe towards the ballot box of Mr. Izhitsyn, overflowing with election balls, and, while city employees yawn as usual, they rush to load their leaky pockets with election balls and run to Tolkuchka to sell public goods for next to nothing.

Only two balls remain in the urn, which these charlatans could not grab with their frostbitten fingers,

This is the picture that is painted for our reader.

But calm down, dear reader! All this could have taken place if the “leteratarav” (?) “Daily Ur” had been allowed into the election hall.

Fortunately, the city administration foresaw such a case and made an order that the first appearance of a “leteratar” (?) from “Daily Ur” should be immediately sent to the police.

We are pleased to celebrate such an event by the city government to cleanse the city of garbage.”

* * *

“The icy conditions that happened in our city ruined not only telephone poles, but also people - of course, if you can consider those bastards taken from the Orphanage by the editors (?) of “The Most Common” to be such.

Yesterday we read in this newspaper (ha ha ha!) a truly idiotic project to replace wooden poles with cast iron ones.

It seems to us that it would be even more successful to propose replacing the pillars with employees (ha!) of this venerable (ha-ha!) newspaper (ha-ha-ha!).

Seriously. If they were properly hewn, they would make good oak pillars.

As for the question of whether cast iron is capable of rotting, we recommend that the venerable (?!) employees of the newspaper (?!) “The Most Distributed” pay attention to their own heads.

After all, maybe in their cast-iron heads there is such rot and rot that they, in the simplicity of their hearts, call “brains” (ha-ha-ha!).”

* * *

Yesterday the “writer” Tchertopolokhov was released from prison, which in the language of “Thunder and Lightning” is called “returning from a circumnavigation.” Fellow citizens, take care of your silver spoons!

* * *

“The attendant, who writes reviews for the newspaper “To the station!”, was drunk again yesterday and therefore mistook “Norma” for “Huguenots”.

You can judge that this turned out to be a review!

And the illiterate editor, who prints everything that comes into the head of a drunken usher, without hesitation, published all this nonsense.

Vlas Doroshevich is a famous Russian publicist and journalist, one of the most popular feuilletonists of the late 19th - early 20th centuries. Also known as a deep and flamboyant theater critic.

Biography of the feuilletonist

Vlas Doroshevich was born in Moscow in 1865. His father was a journalist, Sergei Sokolov, but died early from a serious illness. His mother was also associated with literature, received a classical education and actively published in metropolitan periodicals.

Vlas Mikhailovich Doroshevich owes his surname to his adoptive father, who adopted him at the age of six months. The mother abandoned her son at the hotel, not being ready to raise him alone, without a husband.

Doroshevich’s mother came to her senses only 10 years later. However, despite her reckless act, the court sided with the woman and returned the abandoned child to her. This episode left its mark on the entire fate of Doroshevich. Since then, he has regularly addressed the topic of legitimate but unhappy children.

At the age of 7, Vlas Doroshevich entered Moscow gymnasium No. 4. Over the next few years, he changed several educational institutions. Most often, the reason for expulsion is his bad behavior, as well as disrespectful attitude towards elders and superiors. Ultimately, he graduates from high school as an external student.

While still a high school student, Vlas Doroshevich began collaborating with metropolitan newspapers. The first publications were published in Moskovsky Listok and Petersburgskaya Gazeta.

Fame comes to Doroshevich

Doroshevich's works gained real popularity at the very end of the 19th century, when he began to be published in Odessa periodicals, mainly with humorous works.

From 1902 until the October Revolution, he worked as editor of the newspaper "Russian Word", which belonged to the famous publisher Sytin. In a short period, Doroshevich made this publication the most popular in the country; the circulation of the Russian Word outnumbered all other newspapers and magazines.

In 1918, Vlas Doroshevich moved to Sevastopol; his biography is in last years life was directly connected with Crimea. He did not support the counter-revolutionary movement and left public life and journalism for a time. At the end of the Civil War, being seriously ill, he declared recognition of Soviet power. He returned to Petrograd in 1921, where he soon died from tuberculosis that had developed in the Crimea.

Humorous works

Doroshevich entered Russian journalism by starting to publish humorous stories. Since 1881, he has been publishing these works in the Moscow List. Anonymous at first.

Doroshevich's first story known to us was called "Took revenge." It was published in the capital's magazine "Volna". Its author was Uncle Vlas. In the same periodical, he begins the author's column "Diary of a Layman." In fact, she ridiculed the “Notes of a Layman” by literary critic Nikolai Mikhailovsky. True, the column was immediately closed; in the very first publication, Doroshevich criticized the connections between Russian journalism and capital, directly accusing him of creating custom-made materials.

This is how Doroshevich declared his desire for independence and the unacceptability of corrupt journalism. In these same publications, sharp critical notes, living words and subtle sarcasm are already evident, which accompany his further humorous stories and other publications.

Doroshevich's feuilletons

Vlas Doroshevich played a major role in the development of Russian journalism. The feuilletons written by him are still considered a role model in this genre. For this he was even nicknamed “the king of feuilletons.”

He skillfully compiled a variety of genres - political pamphlet, documentary story, satirical monologue and many others. He formed his own “short line” style, thanks to which his works were laconic, precise and energetic. He left the verbosity popular at that time, influencing not only journalists of the time, but also writers.

During Doroshevich's time, newspaper prose became on a par with great Russian literature thanks to careful and scrupulous work with words. A large number of Doroshevich’s feuilletons are dedicated to the theater. In them, he defended the principles of realism in art, sharply criticizing the decadence that at that time penetrated all layers of society.

Odessa period

In 1893, Doroshevich moved to Odessa. Here he becomes a feuilletonist for the large provincial newspaper Odessa Listok. He gets down to business from the very first publication, sharply criticizing the head of the city. The resonance was so strong that Doroshevich even had to leave Odessa for a while and return to St. Petersburg.

After 6 months he returned and continuously published his Odessa feuilletons until 1899. The main topics he paid attention to were local authorities, petty-bourgeois traditions, and the foolish desire of entrepreneurs and traders to make money on everything. At the same time, he acts as a defender of the interests of the poorest segments of the population, advanced and progressive figures.

It was here that Vlas Doroshevich attracted the attention of the democratic intelligentsia. The Odessa language, which he actively used in feuilletons, received high praise from Gorky. True, at the same time, many modern writers criticized Doroshevich for his cheeky style.

Since 1895, Doroshevich began publishing reports about his foreign travels in the Odessa List, making the publication even more popular. He goes to America, from where he sends numerous feuilletons and essays about local bourgeois morals.

"Anecdotal Time"

A striking example of the skill of a feuilletonist for which Vlas Doroshevich was famous is “Anecdotal Time.” written in 1905.

In it, the author zealously criticizes everyone’s tendency to tell jokes about everything. On all sorts of topics and among all sorts of segments of the population. In Russia at the beginning of the 20th century, according to Doroshevich, an anecdote replaces high-society intellectual conversation and discussion of the current situation in the country. Instead, everyone is trying to make fun of it.

At literary evenings and receptions, the main thing is not the poets with their new works or the performance of classical music, but the masters telling fresh jokes. “My whole life has turned into a complete joke,” the author notes sadly.

"The Case of Cannibalism"

Another bright feuilleton written by Vlas Doroshevich is “The Case of Cannibalism.” The action takes place in the town of Zavikhryaisk. It all starts with the disappearance of Siluyanov. They can’t find him for a long time, and soon it turns out that the merchant Semipudovy tells how he ate a pie with the missing man. However, he doesn’t remember what happened next, as he was very drunk. He is immediately detained on suspicion of cannibalism.

At the same time, it is obvious to the reader that the heroes ate the pie together, and the merchant did not prepare the filling for the pie from Siluyanov. However, none of the characters in the story understands this.

In this work, Doroshevich sharply criticizes the work of law enforcement agencies, as well as courts and prosecutors. It demonstrates their complete incompetence and illiteracy. The morals of a provincial town are also clearly demonstrated. The missing Siluyanov appears at the end, admitting that he had been drinking heavily all this time. And he himself is best characterized by how angry he was when he saw a book in the possession of any commoner. This feuilleton shows many aspects of the life of society of that time. In a short satirical work, he covers the problems of culture, education and the law enforcement system, dwelling on every painful problem in each of these areas.

The main value of these feuilletons is that they are written for readers with any level of education; it is not difficult for both the writer and the general worker to understand the humor and intention of the author. This is the unique nationality of Doroshevich’s works.

"Katorga"

Doroshevich pays special attention in his work to a trip to Sakhalin. He went there in 1897, working at the Odessa List. Convict workers also traveled with him. The result of this journey was an essay, the author of which was Doroshevich Vlas, “Katorga.” It truthfully described the entire life of convicts. And most importantly - the horror and hopelessness that awaited them on Sakhalin. And not only prisoners, but also free local residents.

Doroshevich tells a lot of stories about crimes, behind which the human destinies of the convicts who ended up here appear in detail.

In 1903, he collected this into a single book of essays, “Sakhalin,” which played an important role in the formation of revolutionary sentiment on the eve of 1905. The book was banned and confiscated, but the wave had already been launched.

Doroshevich and "Russian Word"

Doroshevich achieved his greatest popularity while working in the Russian Word. In 1902, he became its editor, reforming it along Western European lines. This newspaper has become the most popular periodical in Russia.

The secret of success was the low price, high efficiency and personnel. In addition to Doroshevich, Gilyarovsky, Nemirovich-Danchenko and Amphitheaters wrote to the Russian Word.

Having become editor, Doroshevich appointed separate employees to each department, as was done in newspapers in England and France. He placed a separate editor at the head of each department. Each working day began with morning planning meetings, at which work plans and the resonance created by the latest issue were discussed.

The issue was submitted for printing at about 10 p.m., but fresh news was added right during the release process until 4 a.m. This is how it was possible to achieve unprecedented efficiency at that time.

Doroshevich’s plans were to establish correspondent offices in the largest cities of Russia.

The fate of Doroshevich after the revolution

In 1917, Doroshevich lived in Petrograd. At that time, he was already seriously ill and only occasionally gave lectures about foreign journalists of past years. He saw the fate of the French Revolution as tragic and, using its example, tried to warn his contemporaries what the events of the October Revolution could lead to.

At first he was against the revolution, criticizing the ideas of the Bolsheviks and Lenin in the press. However, then he recognized Soviet power, and during the USSR period it was even actively published. But after the collapse of the Union, his works completely disappeared from bookshelves.

Doroshevich's influence

Researchers note the great influence that Doroshevich had on Russian literature and journalism. It lies in the development of many journalistic genres and a new approach to them. This especially applies to feuilleton.

His own “short line” style became a role model for many contemporaries and descendants.