had earlier been the case in Britain, France, and the German states, the growth of the reading public in Russia was paralleled by the expansion of the commercial publishing industry, which produced increasing numbers of titles intended mainly for newly literate lower-class readers. In the first half of the nineteenth century, chapbook publishing was centered in St. Petersburg, but in the second half of the century, the most successful chapbook publishers were the Moscow firms of Sytin, Morozov, Kholmushin, Shaparov, and Abramov. By 1887 over three million copies of 336 chapbook titles were published, and more than 21 million copies of 2,028 titles in 1914. The chapbooks were usually written by people of peasant or lower-class origins, and sold by city hawkers or rural itinerant peddlers.
Folktales, chivalrous tales, spiritual and didactic works, historical fiction, war stories, and stories about merchants were the predominant subjects of commercial chapbooks for most of the nineteenth century, but by the beginning of the twentieth century, stories about crime, romance, and science accounted for a large share of the chapbook market. Lurid tales of criminal exploits were extremely popular, featuring heroes such as the bandit Vasily Churkin or the pickpocket “Light-fingered Sonka.” Sonka eventually migrated from the pages of the chapbooks to the silver screen, becoming the heroine of a movie serial. Other stories celebrated individual success in achieving material wealth through education and hard work. Serial detective stories of foreign origin or inspiration, especially those recounting the thrilling adventures of the American detectives Nat Pinkerton and Nick Carter, enjoyed tremendous success in the late 1900s.
Many Russian intellectuals were dismayed at the popularity of the commercial chapbooks, which they viewed as expressions of a degenerate urban culture that was corrupting the hearts and minds of the Russian peasantry. Some, like Leo Tolstoy, tried to combat the chapbooks by producing a special “people’s literature,” others by publishing low-priced works from the contemporary literary canon. Literacy committees and zem-stvos also produced cheap editions of belles lettres and popular science. The most successful commercial chapbook publisher, Ivan Sytin, began printing works by Tolstoy and other literary figures for a mass readership in 1884. The Orthodox Church, while condemning the harmful influence of the commercial chapbooks, published inexpensive editions of saints’ lives, prayer books, the scriptures, religious stories, and even some works by secular authors. The state also subsidized the
CHARSKAYA, LYDIA ALEXEYEVNA
publication of religious, moralistic, and patriotic literature for soldiers and the common people.
Chapbooks, like other publications, were subject to censorship in tsarist Russia. Although the state was concerned about the potentially subversive impact of commercial chapbooks on the common people, there was never a special censorship of publications intended to be read by the lower classes. The state did, however, impose restrictions on the titles that were available in libraries and reading rooms for the common people, or that could be read to popular audiences. Most restrictions were relaxed after the 1905 Revolution, when the preliminary censorship of publications was abolished.
During World War I, commercial publishers, with the encouragement of the state, produced chapbooks glorifying the exploits of Russian soldiers. After the February Revolution brought an end to the tsarist autocracy, there was a brief upsurge of often lascivious stories about Rasputin and the imperial family. Following the October Revolution, the Bolsheviks nationalized the commercial publishing houses and suppressed the chapbooks as part of their effort to transform popular tastes. See also: CENSORSHIP; LUBOK.
BIBLIOGRAPHY
Brooks, Jeffrey. (1978). “Readers and Reading at the End of the Tsarist Era.” In Literature and Society in Imperial Russia, 1800-1914, ed. William Mills Todd III. Stanford, CA: Stanford University Press. Brooks, Jeffrey. (1979). “The Kopeck Novels of Early Twentieth-Century Russia.” Journal of Popular Culture 13:85-97. Brooks, Jeffrey. (1985). When Russia Learned to Read: Literacy and Popular Literature, 1861-1917. Princeton, NJ: Princeton University Press. Kelly, Catriona, and Shepherd, David, eds. (1998). Constructing Russian Culture in the Age of Revolution: 1881-1940. Oxford: Oxford University Press.
Lydia Charskaya worked as an actress at the Alexandrinsky Theater from 1898 to 1924. Between 1901 and 1916 she published about eighty books, several of which became bestsellers, the most popular of which was Princess Dzhavakha (Knyazhna Dzhavakha, 1903).
The novels fall into four general categories: “institute” stories that take place in boarding schools for elite girls; historical novels about women; “autobiographical” novels that follow the heroine from boarding school to a career; and detective and adventure stories. The main theme throughout most of these stories is friendship among girls; the heroines generally are independent girls and women who seek adventure or some sort of diversion from the routine of everyday life. Later critics have commented that these characteristics account in large part for the books’ wide popularity among young girls in early twentieth-century Russia.
Charskaya’s reputation began to fade after 1912 when the critic Kornei Chukovsky published an article in which he wrote that her books were formulaic, repetitious, and excessive with respect to female emotions. She ceased publishing in 1916, and in 1920 Narkompros (People’s Commissariat of Enlightenment) included her work on the list of “banned” books. From 1924 until her death in 1937 she lived in poverty, supported mostly by loyal friends. Throughout the Soviet period her work was regarded with disdain, although ample evidence exists that young girls continued secretly to read her books, at least through the 1930s. During the late 1980s and 1990s Charskaya’s work enjoyed a revival in Russia, as several of her books appeared in new editions. See also: CHUKOVSKY, KORNEI IVANOVICH
BIBLIOGRAPHY
Holmgren, Beth. (1995). “Why Russian Girls Loved Charskaia.” Russian Review 54(1):91-106. Zernova, Ruth, and Putilova, Evgeniia. (1994). “Charskaia, Lidiia Alekseevna.” In Dictionary of Russian Women Writers, ed. Marina Ledkovsky, Charlotte Rosenthal, Mary Zirin. Westport, CT: Greenwood Press.
(1875-1937); pseudonym of Lydia Alexeyevna Churilova; Russian novelist, poet, and actress.
The Charter of the Cities (Charter on the Rights and Benefits for the Towns of the Russian Empire) was
issued by Catherine the Great on April 21, 1785, together with the Charter to the Nobility; its importance is suggested by the fact that the date was Catherine’s birthday. Also composed, but never issued, was a Charter for State Peasants. All three charters are parallel in structure, down to individual articles, indicating that they were intended as a single body of legislation establishing definitions, duties, rights, and privileges for three important legal estates.
The Charter has 178 articles, of which article 123 comprises an Artisans’ Regulation of 117 articles. Building on earlier laws on urban administration, the Charter instituted an urban corporation comprising six categories of inhabitants: (1) owners of immoveable property (houses, shops, land); (2) merchants in three guilds (delineated by self-declared capital); (3) artisans in craft corporations; (4) merchants from other towns or governments; (5) “eminent” citizens (by education, wealth, or public service); and (6) long-time residents unqualified for other categories but earning a living in town. There are detailed instructions for establishing eligibility and compiling registries of all these groups.
Each category elected representatives to a town council and a single delegate to a six-man council that administered affairs between plenary assemblies of the larger body. Towns were given limited rights to raise taxes, although little was said in general about finances.
The Charter applied especially to St. Petersburg and Moscow, less so to small towns often lacking all six categories. Still it was instituted, at least on paper, in the more than four hundred towns in the empire. The Charter was replaced by a command structure of municipal administration by Emperor Paul (1797), but reinstituted by Alexander I (1802). As an example of grand principles applied across the board without regard to local circumstances, the Charter remained a poorly functioning basis for urban administration until 1870, when replaced by the reform of Alexander II. See also: CATHERINE II; CHARTER OF THE NOBILITY
BIBLIOGRAPHY
