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Summary Pavel Petrovich Bazhov. “It is known what time it was, - the fortress

Summary Pavel Petrovich Bazhov. “It is known what time it was, - the fortress

22.03.2019

Bazhov Pavel Petrovich (1879-1950) - Russian writer, folklorist, journalist, publicist, revolutionary. Fame was brought to him by the Ural tales, many of which we know from childhood: “Silver Hoof”, “ Malachite Box”,“ Sinyushkin Well ”,“ Mistress of the Copper Mountain ”. He himself looked like a good fairy tale hero- surprisingly talented and hardworking, decent and courageous, modest and carefully caring, able to love and eager to serve people.

Parents

His father, Pyotr Vasilievich Bazhev (at first, the surname was written through the letter “e”, and not “o”), belonged to the peasant class of the Polevskaya volost. But my father was never engaged in rural labor, because in the Sysert district there were only factories, arable plots of land were not given there. He worked as a foreman of puddling and welding workshops at metallurgical plants (Polevsky, Seversky and Verkh-Sysertsky). At the end of his career, he rose to the rank of junk supply (in modern times, such a position is similar to a toolmaker or shop manager).

The father of the future writer was an exceptional specialist in his craft, but he suffered from hard drinking. Despite the fact that he was considered a first-class professional, he was often fired from his job. And the reason was not the very fact of excessive drinking, but too sharp a tongue - when drunk, he criticized and ridiculed the management of the plant. For this, Peter was even given the nickname "Drill". True, it was difficult to find specialists of this level at that time, therefore, as soon as serious problems occurred at the plant, the authorities took Pyotr Vasilyevich back to work. Only the top of the plant did not immediately condescend to forgiveness, the fired one sometimes had to beg them for a long time and wait for months, or even longer.

In such periods of lack of money, the father looked for odd jobs, but basically the family was fed at the expense of the mother, a rare craftswoman Augusta Stefanovna. Her maiden name was Osintseva, she belonged to a family of Polish peasants. During the day, my mother took care of the housework, and in the evenings she painstakingly knitted lace, fishnet stockings to order for the wives of the factory authorities, which, in beauty and quality, far exceeded machine-knitted products. Because of such night knitting, subsequently, Augusta Stefanovna's eyesight deteriorated badly.

The Bazhovs, like any other family of the working Urals, carefully kept and passed on from generation to generation the memories of their ancestors, who were experts in their field and considered labor the only meaning in a difficult life.

Childhood

Pavel was the only child in the family. His father, despite alcohol and evil tongue, adored his son, indulged him in everything. Mom was even more patient and gentle. So little Pasha grew up surrounded by care and love.

On long winter evenings, the Bazhov family liked to sit by the stove and listen to grandmother's stories about how the mine workers met with mysterious and fantastic helpers - the Golden Snake or the mountain mother Mistress, who sometimes treated people kindly, and sometimes were openly hostile.

Elementary education

Despite the fact that sometimes the financial situation of the family was difficult, the parents gave their only son a decent education. The boy began to study at the four-year zemstvo school in the city of Sysert, where he immediately began to stand out among the students with his abilities. As he himself later recalled, Alexander Sergeevich Pushkin helped him in this. If not for the volume of poems by the great poet, then perhaps Pavel Bazhov would have remained a factory boy with four classes of education. Under difficult conditions, he got this book, the librarian said that he needed to learn it by heart. Most likely, it was a joke, but Pasha took the task seriously.

From the first months of training, the teacher of the Zemstvo school drew attention to Bazhov's ingenuity and abilities, he advised parents to send their son to study further. But when the teacher found out that Pavel knew by heart the entire volume of Pushkin's poems, he showed the gifted child to his friend Nikolai Smorodintsev, a veterinarian from Yekaterinburg. Thanks to this caring person, Pavel got a chance to continue his studies.

Teaching in a religious school

Under the patronage of Smorodintsev, Bazhov continued his studies at the theological school of Yekaterinburg. The parents did not want to let go of their child, but still they wanted a better future for him than a factory worker or caretaker. Therefore, they took a chance, and ten-year-old Pasha left for Yekaterinburg.

Tuition fees in this institution were the lowest in the city, however, the parents did not have money to rent housing for Pavel. For the first time, he was sheltered in his house by Nikolai Semenovich Smorodintsev. The man not only provided the boy with shelter, but also became his best friend in his life. Moreover, subsequently their friendly relations were tested by time and preserved for a long time.

In Yekaterinburg, Pavel was surprised by the railway, which at that time was called "cast iron", a cultural fast paced life, stone houses with several floors. Zemstvo teacher worked well with his best student. Bazhov easily passed the exams and entered religious school.

After studying a little, Pavel moved from Nikolai Semyonovich to rented dormitory housing. Several rooms were rented from the school for students in the apartment of one owner, where a specially assigned inspector watched the guys. The writer subsequently remembered this man with kindness, although at first the inspector's guys did not like him too much for his constant notations, strictness and remarks. As adults, the boys realized how responsibly he did his job - he made sure that the owners did not offend students on the issue of service and food, so that older students did not scoff at the younger ones. It was thanks to the efforts of the inspector that hazing never flourished in the dormitory housing.

And the inspector also arranged readings with the boys, thereby instilling a love and taste for good literature. Often he would read the classics to them himself:

“Evenings on a farm near Dikanka” by N. V. Gogol;
stories by A. I. Kuprin;
« Sevastopol stories» L. N. Tolstoy.

Four-year training was given to Pavel without problems, he passed from one class to another with the first category. In the summer I went home for the holidays, where in the evenings I ran away with the guys to the wood warehouses. There they listened to tales about "old housing", which the watchman, Vasily Alekseevich Khmelinin, told very interestingly. The boys called the old man "grandfather Slyshko", it was his amusing semi-everyday, semi-mystical stories that Pasha was very interested in. Subsequently, this became Bazhov's main hobby, all his life he collected folklore - myths, verbal turns, legends, tales, proverbs.

Seminary

After graduating from college with "excellent", Pavel got the opportunity to further study at the theological seminary. The only upsetting thing was that I had to leave even further from my home - to Perm. Graduates of the Perm Theological Seminary were provided with a very high quality and versatile education. In addition to Bazhov, the writer Dmitry Mamin-Sibiryak and the famous Russian inventor Alexander Popov also studied at this institution.

Pavel graduated in 1899. He got into the top three graduates, and he was given a place in the theological academy. But the twenty-year-old young man considered it unfair to use such a chance, because he was not a religious person, moreover, he considered himself revolutionary. Even as a student, I read philosophical and revolutionary forbidden books, also studied scientific work Darwin. The ideas of the populists were close to him, Pavel passionately dreamed that the common people would get rid of autocracy.

Teaching activity

Bazhov tried to enter a secular university, but, having failed, he decided to take up teaching. In addition, my mother needed help. Her father died of a liver disease, and it was hard for Augusta Stefanovna to survive on her husband's meager pension. Pavel began tutoring and writing articles for newspapers.

Bazhov taught Russian for almost two decades. First, in the village of Shaydurikha, not far from Nevyansk, then in Kamyshlov, in a religious school, in Yekaterinburg, in a diocesan school for girls. In all educational institutions, he was considered a favorite teacher - he did not shout, he never rushed with an answer, prompted, asked leading questions if he saw that the student was at a loss. Each of his lessons was perceived as a gift, he could interest even the most indifferent.

All these years he did not cease to be fond of the Ural folk tales. When his students went on vacation, he gave them the task of writing down riddles, proverbs, sayings that they would hear.

Revolution

Before revolutionary events In 1917, Pavel was a member of the Socialist-Revolutionary Party. After the revolution, he supported Bolshevism, and the new government entrusted him with the leadership of the Commissariat of Education. In this post, Bazhov proved himself to be an energetic and decent worker, worried about the people, so he was entrusted with new responsible assignments:

was in charge of the construction and technical department;
gave presentations on industrial development;
served on the executive committee.

When Yekaterinburg and the city of Kamyshlov, where the Bazhovs lived, entered white guard, Paul was on a business trip. Trying to reunite with his family later, he was captured, from where he escaped and hid in a remote village. Then, with other people's documents, he got to Ust-Kamenogorsk, from where he sent a letter to his wife, and she and her children came to Pavel Petrovich. The family was together again, and soon the Red Guards entered the city. Bazhov began his labor activity V literary direction- editor of publications Soviet authority and Izvestia.

Creation

In the early 1920s, the Bazhovs returned to Yekaterinburg, where Pavel Petrovich began working in local newspapers.

In 1924 he published his first collection, The Urals were. These are not fairy tales, but stories about life in the Urals, on which the writer worked after work in the evenings. But such creativity gave him pleasure, especially when the collection was published and was a success.

Pavel Petrovich wrote his following works by order of the Soviet government:

"For Soviet Truth";
"Fighters of the first call";
"To the reckoning."

But when in 1937 he was accused of Trotskyism, expelled from the party and fired from his job, Bazhov remembered the stories of grandfather Slyshko and found solace in them. He began to write fairy tales, and then they survived at the expense of a large garden, on which the whole family worked.

In 1939, a collection of his fairy tales, The Malachite Box, was published. The book was in great demand, both children and adults liked the tales about the Urals.

In 1941 (at the beginning of the war) Bazhov wrote almanacs to raise morale. But in 1942 he began to have vision problems, and then Pavel Petrovich began to lecture and headed the Sverdlovsk Writers' Organization.

Personal life

It so happened that until the age of thirty, Pavel devoted himself entirely to study, then to work, he had no time for vivid novels or strong feelings for women. He belonged to such people whom fate rewards with a great feeling mutual love and happiness only once, but for life.

Love overtook Bazhov when he was already 32 years old. His chosen one was a former student, a graduate of the diocesan school Valentina Ivanitskaya. Despite her young age (19 years old), the girl was strong in spirit and very talented. She reciprocated, giving Pavel Petrovich inexhaustible, devoted and tender love.

They created ideal family; infinitely respected each other; in sickness, poverty and difficult situations always maintained a tender relationship. Those who knew this family have the best memories of the Bazhovs.

Pavel and Valentina had only seven children, but three of them died in infancy. The couple gave all their love and care to the surviving girls Olga, Elena, Ariadne and the boy Alexei. All together, the Bazhovs were able to survive and terrible tragedy when the only son died at the plant at a very young age.

Youngest daughter Ariadne said that her father had an amazing ability to always know everything about his beloved people. He worked more than anyone, but his spiritual sensitivity was enough to keep abreast of the joys, sorrows and worries of each family member.

Pavel Petrovich passed away on December 3, 1950, he was buried at the Ivanovo cemetery in the city of Yekaterinburg.

Pavel Petrovich Bazhov was born on January 15 in the Perm province of the Yekaterinburg district. Bazhov - folklorist, Russian writer. It was he who first performed literary processing Ural tales. Bazhov deserved the title of laureate Stalin Prize. He has been a member of the Bolshevik Communist Party since 1918.

Biography

P. P. Bazhov was born on January 15, 1879 in a family of workers. The writer's childhood passed in Polevskoy. He was one of the best students of the factory school. After school, he entered the Yekaterinburg Theological School, where he spent 4 years until the age of 14 and then in 1899 he graduated from the Theological Seminary in Perm. At first, Bazhov worked as a teacher in Kamyshlov and Yekaterinburg. He fell in love with one of his students and they soon got married. Four children were born in the Bazhov family.

During the civil war, Bazhov moved to the side of the Reds, for some time he was a member of the Red Eagles detachment, which executed many priests and believing residents (mass repressions occurred in the Urals in 1918). Then Bazhov worked in the Cheka and CHONs. In 1919, he arrived in Ust-Kamenogorsk to eliminate the consequences of the uprising of prisoners against the Bolshevik authorities. Bazhov carried out communication between the partisan associations of the People's Rebel Army in Altai, he was given a task from red Moscow. Bazhov disarmed partisans who helped the Bolsheviks seize power, was one of the organizers of the suppression of the uprising, participated in the massacres of unarmed opponents of the Bolsheviks and in the elimination of Cossack villages. At that time, Bazhov acted under the pseudonym Baheev. After the liberation of the city of Ust-Kamenogorsk from the uprisings of the White Guards, Bazhov found himself at the center of political events. He became at the same time a page manager, publisher, organizer and editor of the newspaper. He was also instructed, along with the main work, to supervise the work of the department of public education. Bazhov was one of the initiators and founders of schools for the elimination of illiteracy, participates in the restoration work of the Ridder mine. Bazhov in July 1920 trains and organizes 87 teachers in Kazakh volosts. On August 10, 1920, Bazhov organized the First Uyezd Congress of Soviets.

P.P. Bazhov in May 1921 due to serious illness returns to the Urals, to his homeland. In Kamyshlov, Bazhov continues his activities as a writer and journalist, collects the folklore of the Urals and writes several books on history. In 1924, his first book of essays “The Urals were” was published, and in 1936 the first story from the cycle of Ural tales “The Malachite Box” - “The Girl of Azovka” was published, the collection of tales itself was published in full edition in 1939. During the life of Yuazhov, these tales were constantly replenished with new tales.

Pavel Petrovich Bazhov - Russian writer, journalist, wonderful Ural storyteller.

Origin

Pavel Petrovich Bazhov was born on January 15, 1879 in the Urals in a small working town, in the family of a hereditary miner. His father, Pyotr Vasilyevich Bazhov, worked as a welding master at the famous Turchaninov factories. Pyotr Vasilyevich was famous for his sharp tongue and restless character, for which he even received the nickname "drill". Various bosses always tried to get rid of the obstinate rebel as soon as possible, they sent him for airing. In the Urals, there was such a term in the working environment - “send for airing”, that is, to transfer a person from factory to factory, deliberately preventing them from settling down for a long time. Wherever the Bazhov family had to visit, they traveled all over the Urals. However, the family did not live in poverty at all, Pyotr Vasilyevich was considered a noble master and earned good money. In Sysert, the Bazhovs had a solid house with many solid outbuildings. Subsequently, in 1979, the museum of Pavel Petrovich Bazhov was opened in the house.

Teaching is light

From the early childhood little Pasha showed remarkable abilities in the sciences. At the age of seven, the boy was sent to the Zemstvo three-year school, from which he graduated with honors. As a good student, Paul had the right to further education at the spiritual school. Pavel's father and mother decided to continue their son's education. So, with the blessing of his parents, after a short training, ten-year-old Pavel was put on a cart and sent on the road.

His path lay in glorious city. Arriving at his destination, the boy began to live in the house of the zemstvo doctor Nikolai Smorodintsev, an old friend of the Bazhov family. Education in the theological school was given to Paul, because by nature he was very gifted. Bazhov was distinguished by great curiosity; at the theological school, Pavel was in charge of the library. It was in the house of Nikolai Smorodintsev that a significant meeting took place: Bazhov was introduced to a good friend of the doctor, the famous Siberian historian Afanasy Shchapov. Communication with this wonderful person aroused in Bazhov a remarkable interest in the history and folklore of the Ural region. In 1893, Pavel Bazhov graduated from the theological school with excellent results. Then he entered the Perm Theological Seminary, from which he graduated in 1899. In the seminary, Pavel was one of the best students, Bazhov was predicted to have a successful spiritual career. The young man faced a choice: as an excellent student, he had the right to free education at the Kyiv Theological Academy, but this obliged him to take the clergy, which was not at all included in Bazhov's plans. The young man longed for a higher secular education. In law Russian Empire, he had the right to study at Dorpat, Warsaw and Tomsk universities, but at his own expense. Since Bazhov did not have money, he decided to take up teaching.

So the former seminarian found himself in a village located not far from the city. There, the young teacher successfully taught the Russian language, and part-time, the law of God. However, soon, through the efforts of Smorodintsev, Bazhov was transferred to Yekaterinburg to teach at a religious school. Bazhov teaches Russian and literature at the school, where he met his love. Valentina Ivanitskaya, student graduation class, at the end of the course she became the wife of Pavel Bazhov. After some time, she gave birth to two daughters of the same age. In total, they had four children.

During these years, Pavel Petrovich began his first ethnographic search, every summer he traveled to the Ural villages and factory towns. During his expeditions, Bazhov wrote down everything that seemed wonderful to him: these were fairy tales, songs, ancient legends. He also took photographs. It was Bazhov who first began to single out working folklore as a separate part of folk culture; no one had done this before him. Soon Pavel Bazhov was known at all the Ural factories, the workers trusted him, they knew that although he was educated, he was their boyfriend, a man of working bone, the son of a mining foreman. Many miners turned to him for help, in the judicial or written part. For example, they were asked to speak in court or competently draw up the necessary paper.

staunch bolshevik

Early 20th century It was a time of major social change. The year 1905 came, with all unrest, the workers of many large factories, organized by agents of various political parties, for the first time acted as a single cohesive force. The workers of the Urals supported the general strikes. Bazhov, as a person with an active civic position, also did not stand aside, he participated in workers' May Day meetings, for which he was arrested, but soon released. In 1914, Bazhov moved with his family to his wife's hometown. There he taught at a local school, and also engaged in journalistic activities, wrote articles for a local newspaper. In Kamyshlov, the Bazhovs had a son, Alexei, the last child in the family.

Year 1917. The February and October revolutions took place. Pavel Bazhov takes the side of the Bolshevik Party. In 1918 he became a member of the CPSU(b). The civil war began. Bazhov in the forefront, he immediately signed up for the Red Army. His service was in the Ural division, where Bazhov worked in the newspaper Trench Pravda. In heavy battles for Bazhov, he was captured, but he managed to escape. Power in the Urals passed to the Whites. As a zealous Bolshevik, Bazhov worked actively underground. At the beginning of the underground work, he introduced himself as a teacher Kiribaev, later Bazhov acted under the guise of an insurance agent Bakheev. As soon as the Soviets returned to Perm, Bazhov again entered the service in the Red Army. But, having served only a few months, he becomes seriously ill and after a while, according to the verdict of the doctors, he is demobilized outright.

Bazhov returned to Kamyshlov, but the religious school was closed. And he goes to work in the editorial office of the newspaper "Red Way". From that time until the end of his life, Bazhov's path was inextricably linked with journalism. In 1923, he moved to Yekaterinburg, where he constantly worked in the Ural Peasant Newspaper, and also collaborated with many other Yekaterinburg newspapers.

In 1924, Bazhov first made himself known as a writer by publishing a book of essays "The Urals were" and a series of essays "Five Stages of Collectivization". Bazhov sent the best of the essays to the Our Achievements magazine, which he edited himself. After some time, Bazhov received a letter from Gorky. The famous writer highly appreciated literary talent Bazhov. He advised him to leave journalism and take up writing in earnest. During this period, Bazhov wrote several documentaries about the civil war: "To the calculation", "Formation on the move", "Fighters of the first draft". Bazhov was a convinced Bolshevik and all his works, one way or another, were politically motivated.

Malachite Box

In the 1930s, he again turned to work topic. He writes essays about the life of miners. And in one of the essays, in the image of a wise storyteller, a famous character in the future appears, a grandfather nicknamed Slyshko. The character was written off from a real person, an old Ural worker - Vasily Khmelinin.

In 1936, Bazhov entered the Literary Institute in absentia. At the same time, he published a series of Ural tales in the Krasnaya Nov magazine. The tales were written by Bazhov on the basis of materials collected by him even before the revolution, during the summer ethnographic expeditions. All the best is well-forgotten old! Whirlwinds of three revolutions flew by, but the old wise tales remained. After the publication of the tales, the writer received a large number of rave reviews.

Inspired Bazhov actively worked. But the terrible year of 1937, the year of mass repressions and party purges, knocked on the door. Pavel Petrovich did not manage to escape the fate of many, although he was much more fortunate than others, who were tortured and shot. The fiery Bolshevik Bazhov was expelled from the party, skillful people were preparing to start persecuting the writer. However, the intercession of many influential people saved Bazhov. In total, Pavel Petrovich was expelled from the party twice - in 1933 and 1937. whole year Pavel Petrovich spent in obscurity about his fate, in anticipation of the inevitable reprisal, but this cup passed him by. Bazhov was able to continue to live and work.

Initially, his tales were included in the collection of Ural workers' folklore, the publication of which was personally supervised by Maxim Gorky. But already in 1939, a separate collection of Ural tales, The Malachite Box, was published, and after the book was published, Bazhov became famous. Readers especially liked the tales “The Mistress of the Copper Mountain” and “The Stone Flower”. Someone admired the author's organic folk style, someone most of all appreciated the amazing symbiosis of the heroes of old fairy tales with the realities of life of the Ural miners, but everyone undoubtedly liked the book. During the Great Patriotic War Bazhov added to his malachite box by writing several new wonderful stories: The Key-Stone (1942), Zhivinka in Deed (1943), Tales of the Germans (1943), Tales of Gunsmiths (1944).

Since 1940, Pavel Petrovich Bazhov became the head of the Sverdlovsk Writers' Organization. In 1943 he became a laureate of the State Prize and was awarded the Order of Lenin. After the war, Pavel Petrovich Bazhov was repeatedly elected a deputy of the Supreme Soviet of the USSR.

Heritage

Pavel Petrovich Bazhov became a late writer. The main book of his life was published when the author was 60 years old. His book has been translated into more than 100 languages of the world.

Name: Pavel Bazhov

Age: 71 years old

Place of Birth: Sysert, Perm region.

A place of death: Moscow

Activity: writer, journalist

Family status: was married

Pavel Bazhov - biography

People come to great literature in different ways. Someone for the sake of money and fame, someone in the hope of changing the world, and others in search of salvation from the horrors of life. The last case is about Bazhov.

Childhood, writer's family

In the Ural town of Sysert, on January 15, 1879, in the family of a simple miner, only child- the future author of "Malachite Box" and " silver hoof» Pavel Bazhov.

The biography of the boy's childhood years was difficult. The father loved his son and wife, was an ace in his business, but often drank. Every time he drank too much, he began to insult his superiors, and no one could stop him. "Drill" (as he was nicknamed for his evil tongue) was often fired - he was out of work for months. To find at least some place, the family moved from mine to mine. And at each new place, the story repeated itself - having handed over the shift, “Sverlo” drank again and scolded the authorities ...

The mother saved the family: for days on end she knitted shawls and stockings, which she sold to neighbors. However, the family never got out of poverty - the father died early from alcoholism, and the mother went blind ...

Studies

Already in the first grade of the factory school, it became clear that Pasha had rare abilities and a craving for learning. The teacher of literature showed the gifted boy to a familiar veterinarian from Yekaterinburg. To the surprise of his parents, he allowed Bazhov to live with him while studying at a religious school. “It was a saving ticket to people,” as the writer would later say.

From Yekaterinburg, Bazhov moved to Perm, where he continued his studies at the theological seminary. Before the career of a priest, there was only a step left - a diploma from a theological academy. But Bazhov suddenly changed his life drastically: he applied to the Tomsk Secular University and ... failed in the exams. Of course, Bazhov was “cut off” deliberately: his low social origin and repeated participation in student revolutionary unrest influenced him.

Pavel Bazhov - biography of personal life

It's hard to believe, but until the age of 30, Bazhov did not have a single novel. All strength and time young man took jobs and jobs. After all, it was necessary to feed not only themselves, but also a widowed mother. Bazhov did not grumble - he taught until lunch, then gave private lessons, and after that, in the evening (sometimes at night!) He wrote articles in the Ural newspapers and magazines.

Once Pavel Petrovich went into a new class and ... realized that he was gone. Valentina Ivanitskaya was different from everyone: smart, beautiful, stately, with a thick braid. What to do? The girl is only 15, Bazhov is already 28. Besides, she is his student! For 4 years the writer struggled with his feeling, was ashamed of it, considered it criminal, tried to overcome it. In vain.

And now all the final exams have been passed. A couple more days, and Bazhov will part with his best student forever. "Come what may!" - the teacher decided, and Ivanitskaya confessed his feelings with a frightened tongue. In response, the girl threw herself on the writer's neck. It turns out that she fell in love with him on the first day of school. In 1911, the lovers got married.

"My wife is the biggest luck in my life!" Bazhov will say decades later. She not only made the writer happy - she saved him for the great Russian literature.

Pavel Bazhov - revolutionary

Not being a singer of the revolution, like, Bazhov was an ardent supporter of it as a citizen. The horrors of childhood had an effect: ordinary Ural workers lived in poverty and hardship. That's why they drank, and fought, and committed crimes. Pavel Petrovich sincerely believed that the Bolsheviks would change Rus', that happiness, equality, and wealth would come to their beloved Urals.

In 1905, Bazhov was "at the barricades": he participated in protests, even spent 2 weeks in prison. In 1917, he joined the Bolshevik Party and became editor of the revolutionary Permian newspaper Okopnaya Pravda. This position nearly cost the writer his life. Kolchak, having captured Perm, began a brutal political purge. Almost a third of the city ended up in prison, including Bazhov. The cells, at first overcrowded, quickly emptied - during the day the whites shot several dozen people.

Mad with horror and hunger, Bazhov decided to escape. Barefoot in the snow, stumbling over corpses, the sufferer wandered along the railroad tracks to Yekaterinburg. A compassionate peasant helped out - he hid Pavel Petrovich in a pile of hay and drove him through the Cossack posts.

At home - a new nightmare: the children are crying from hunger, the wife is struggling with a fever with a dead baby in her arms, all her relatives have disappeared ... Having entrusted the family to a neighbor, Bazhov left to partisan in the forest near Tomsk, and from there - to Altai. Could he then think that the party would not appreciate his exploits and sentence him to death for books full of truth?

Pavel Bazhov - books

The civil war robbed the Bazhovs of three of their seven children. In the hope of forgetting the terrible past, Pavel Petrovich plunged headlong into work - in the Ural political publications he was an editor, a journalist, a critic, and a mentor for the young. Helped at the same time local history museum, collected Ural folklore, wrote the first work of art - “The Urals were”. As long as it's completely realistic.

In the early 1930s, Bazhov made a mistake - he took up writing the political-historical essay "Formation on the Go." It would seem that everything was going well: the order was prestigious, “from above”; the goal is good - to describe the process of the formation of a new power on the battlefields of red and white. The book turned out to be powerful, passionate, truthful. So true that the authorities were horrified and summoned the writer for interrogation.

“Well, goodbye, Valya!” - said Pavel Petrovich, having collected a bundle for the camps.

However, a day later he returned home: the investigator who led the Bazhov case was himself sent to the Gulag. We didn’t have to rejoice for long: the writer’s son Alexei died in an explosion at the factory. Official version- an accident, unofficial - a political order, revenge on a dissident journalist.

Bazhov again forgot himself in work. He traveled a lot around the country, wrote about shock construction projects. In 1936 he got to the Bumkombinat in Krasnokamsk. It was necessary to write about the project well, but there was nothing to tell - the work was late and with errors, the leaders were carried away by a whirlwind one after another Stalinist terror... As a result, Bazhov handed over only a small part of the manuscript entitled "How We Lived and Worked." Naturally, the material was not allowed through, but the author was expelled from the party and fired from his job.

Bazhov - "Malachite box"

During this terrible period of his life, in 1937, Bazhov created the legendary "Malachite Box" - a collection of Ural tales, full of romance, beauty, folk wisdom, wondrous mysticism. He created in nowhere - forgetting about the present, no longer hoping for anything. Fled from troubles, healed the soul with childhood memories of ancient country mountain masters...

And suddenly the unbelievable: already after the first publication of the book in 1939, he was returned his party card, accepted into the Writers' Union of the USSR, and was given first the Lenin Prize, and then the Stalin Prize. For several years, the book was translated into 100 languages of the world! Reissues were sold out in millions of copies, the Malachite Box was simply stolen from libraries.

What is the uniqueness of Bazhov's tales? In their amazing non-politicism, folk linguistic identity, Russian deep humanity. They restored people's faith in work, in miracles, in great power albeit exhausted, but still invincible Russia, so dear and unique.

The last years and the death of Bazhov

In the last years of his life, Bazhov did not spare himself. Having become a deputy of the USSR, he tried to help as many disadvantaged people as possible, to listen and understand everyone who wrote to him or came to his house.

In 1950, at the age of 72, Pavel Petrovich died. Shortly before his death, he completed his last tale "Live Light". It still burns in our hearts to this day.

Pavel Petrovich Bazhov

master of tales

Bazhov Pavel Petrovich (1879/1950) - Russian Soviet writer, laureate of the State Prize of the USSR in 1943. Bazhov became famous for the collection "Malachite Box", which presents folklore images and motifs taken by the writer from the legends and fairy tales of the Trans-Urals. In addition, Bazhov wrote such lesser-known autobiographical works, like "Green Filly" and "Far - Close".

Guryeva T.N. New literary dictionary / T.N. Guriev. - Rostov n / a, Phoenix, 2009, p. 26.

Pavel Petrovich Bazhov is an original Russian Soviet writer. Born on January 15 (27), 1879 in the family of a mining worker at the Sysert plant near Yekaterinburg. He graduated from the Perm Theological Seminary, taught in Yekaterinburg and Kamyshlov. Participated in the Civil War. Author of the book "Ural Essays" (1924), the autobiographical story "The Green Filly" (1939) and the memoirs "Far - Close" (1949). Laureate of the Stalin (State) Prize of the USSR (1943). Bazhov's main work is the collection of tales "The Malachite Box" (1939), which goes back to the oral traditions of prospectors and miners in the Urals and combines real and fantastic elements. The stories that have absorbed plot motifs, colorful language and folk wisdom, deservedly enjoy the love of readers. The film The Stone Flower (1946), S.S. Prokofiev’s ballet The Tale of the Stone Flower (made in 1954) and opera of the same name V.V. Molchanova. Bazhov died on December 3, 1950 and was buried in Sverdlovsk (now Yekaterinburg).

Used materials of the book: Russian-Slavic calendar for 2005. Authors-compilers: M.Yu. Dostal, V.D. Malyugin, I.V. Churkin. M., 2005.

prose writer

Bazhov Pavel Petrovich (1879-1950), prose writer.

Born on January 15 (27 n.s.) in the Sysert plant, near Yekaterinburg, in the family of a mining foreman.

He studied at the Theological School (1889-93) in Yekaterinburg, then at the Perm Theological Seminary (1893-99). During the years of study, he took part in the speeches of seminarians against reactionary teachers, as a result of which he received a certificate with a note of "political unreliability." This prevented him from enrolling, as he dreamed, at Tomsk University. Bazhov worked as a teacher of Russian language and literature in Yekaterinburg, then in Kamyshlov. In the same years, he became interested in Ural folk tales.

Since the beginning of the revolution "went to work public organizations", maintained contacts with the workers of the railway depot, who stood in the Bolshevik positions. In 1918 he volunteered for the Red Army, took part in military operations on the Ural front. In 1923-29 he lived in Sverdlovsk and worked in the editorial office of the Peasant Newspaper, from 1924 speaking on its pages with essays about the old factory life, about the civil war.At this time, he wrote over forty tales on the themes of the Ural factory folklore.

In 1939, Bazhov's most famous work, a collection of fairy tales "The Malachite Box", was published, for which the writer receives State Prize. In the future, Bazhov replenished this book with new tales.

During the Patriotic War, Bazhov took care of not only the Sverdlovsk writers, but also the writers evacuated from different cities of the Union. After the war, the writer's vision began to deteriorate sharply, but he continued his editorial work, and the collection, and creative use of folklore.

In 1946 he was elected a deputy of the Supreme Council: "... now I am doing something else - I have to write a lot according to the statements of my voters."

In 1950, in early December, P. Bazhov died in Moscow. Buried in Sverdlovsk.

Used materials of the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.

Pavel Petrovich Bazhov.
Photo from www.bibliogid.ru

Bazhov Pavel Petrovich (15.01.1879-3.12.1950), writer. Born in the Sysert plant, near Yekaterinburg, in the family of a mining foreman. After graduating from the Perm Theological Seminary in 1899, he was a teacher of the Russian language in Yekaterinburg, then in Kamyshlov (until 1917). In the same years, Bazhov collected folklore at the Ural factories. In 1923-29 he worked in Sverdlovsk, in the editorial office of the Peasant Newspaper. Bazhov's writing path began relatively late: the first book of essays, "The Urals were," was published in 1924. In 1939, Bazhov's most significant work was published - a collection of tales "The Malachite Box" (Stalin Prize, 1943) and an autobiographical story about childhood "The Green Filly". In the future, Bazhov replenished the "Malachite Box" with new tales: "The Key-Stone" (1942), "Tales about the Germans" (1943), "Tales about the gunsmiths" and others. The works of the mature Bazhov can be defined as "tales" not only because their formal genre features and the presence of a fictional narrator with an individual speech characteristic, but also because they go back to the Ural "secret tales" - the oral legends of miners and prospectors, characterized by a combination of real-everyday and fairy-tale elements. Bazhov's tales absorbed plot motifs, fantastic images, color, the language of folk legends and folk wisdom. However, Bazhov is not a folklorist-processor, but an independent artist who used his knowledge of the Ural miner's life and oral art to embody philosophical and ethical ideas. Talking about the art of the Ural craftsmen, reflecting the colorfulness and originality of the old mining life, Bazhov at the same time raises general questions in the tales - about true morality, about the spiritual beauty and dignity of a working person. Fantastic characters of fairy tales personify the elemental forces of nature, which entrusts its secrets only to the brave, hardworking and pure soul. Bazhov managed to give fantastic characters (the Mistress of the Mednaya Mountain, Veliky Poloz, Ognevushka-Poskakushka) extraordinary poetry and endowed them with subtle complex psychology. Bazhov's tales are an example of the masterful use of the folk language. Carefully and at the same time creatively referring to the expressive possibilities on mother tongue, Bazhov avoided the abuse of local sayings, the pseudo-folk "playing on phonetic illiteracy" (Bazhov's expression). Based on Bazhov's tales, the film "The Stone Flower" (1946), S. S. Prokofiev's ballet "The Tale of the Stone Flower" (post. 1954), K. V. Molchanov's opera "The Tale of the Stone Flower" (post. 1950), symphonic poem A. A. Muravleva "Azov Mountain" (1949) and others.

Used materials from the site Great Encyclopedia of the Russian people - http://www.rusinst.ru

Bazhov Pavel Petrovich

Autobiography

G.K. Zhukov and P.P. Bazhov were elected to the Supreme Soviet of the USSR
from Sverdlovsk region. March 12, 1950

Born on January 28, 1879 in the Sysert plant of the former Yekaterinburg district of the Perm province.

According to his estate, his father was considered a peasant of the Polevskaya volost of the Yekaterinburg district, but never agriculture did not work, and could not do it, since in the Sysert factory district there were no arable land plots at that time. My father worked in puddling and welding workshops in Sysert, Seversky, Verkh-Sysertsky and Polevsk plants. By the end of his life, he was an employee - a "junky supply" (this roughly corresponds to a shop supply manager or toolmaker).

mother, except household, was engaged in needlework "to the customer." She acquired the skills of this work in the "master's needlework" that remained from serfdom, where she was adopted in childhood as an orphan.

As an only child with two able-bodied adults, I had the opportunity to get an education. They sent me to a theological school, where the fee for the right to study was much lower than in gymnasiums, no uniforms were required, and there was a system of "dormitories" in which maintenance was much cheaper than in private apartments.

I studied at this theological school for ten years: first at the Yekaterinburg Theological School (1889-1893), then at the Perm Theological Seminary (1893-1899). He graduated from the course in the first category and received an offer to continue his education at the theological academy as a scholarship holder, but he refused this offer and entered an elementary school teacher in the village of Shaydurikha (now the Nevyansk region). When they began to impose on me there, as a graduate of a theological school, the teaching of the law of God, I refused teaching in Shaydurikha and entered the teacher of the Russian language at the Yekaterinburg Theological School, where I once studied.

I consider this date, September 1899, to be the beginning of my seniority, although in reality I began work for hire earlier. My father died when I was still in the fourth grade of the seminary. For the last three years (my father was ill for almost a year), I had to earn money for maintenance and education, as well as help my mother, whose eyesight had deteriorated by that time. The work was different. Most often, of course, tutoring, short reporting in Perm newspapers, proofreading, processing of statistical materials, and " summer practise” sometimes visited the most unexpected industries, such as the autopsy of animals that died from an epizootic.

From 1899 to November 1917 there was only one job - a teacher of the Russian language, first in Yekaterinburg, then in Kamyshlov. I usually devoted my summer vacations to traveling around the Ural factories, where I collected folklore material that had interested me since childhood. He set himself the task of collecting fables-aphorisms associated with a certain geographical point. Subsequently, all the material of this order was lost along with the library that belonged to me, which was plundered by the Whites when they captured Yekaterinburg.

Even in his seminary years, he took part in the revolutionary movement (distributing illegal literature, participating in school leaflets, etc.). In 1905, with a general revolutionary upsurge, he became more active, taking part in protests, mainly on school issues. Experiences during the years of the first imperialist war brought before me the question of revolutionary affiliation in full.

At first February Revolution went to work in public organizations. For some time he was undecided in the party, but nevertheless he worked in contact with the workers of the railway depot, who stood on the Bolshevik positions. From the beginning of open hostilities, he volunteered for the Red Army and took part in military operations on the Ural front. In September 1918 he was admitted to the ranks of the CPSU (b).

The main job was editorial. Since 1924, he began to act as the author of essays on the old factory life, on work on the fronts of the civil war, and also gave materials on the history of the regiments in which I had to be.

In addition to essays and articles in newspapers, he wrote over forty tales on the themes of the Ural workers' folklore. Last works, based on oral work creativity, were highly appreciated. Based on these works, he was accepted in 1939 as a member of the Union of Soviet Writers, in 1943 he was awarded the Stalin Prize of the second degree, in 1944 he was awarded the Order of Lenin for the same works.

The heightened interest of the Soviet reader in my literary work of this kind, as well as my position as an old man who personally observed the life of the past, encourage me to continue the design of the Ural tales and reflect the life of the Ural factories in the pre-revolutionary years.

In addition to the lack of systematic political education, weakness of vision greatly interferes with work. With the beginning of the decomposition of the macula, I no longer have the opportunity to freely use the manuscript (I almost do not see what I am writing) and with great difficulty I make out printed matter. This slows down other types of my work, especially editing the Ural Contemporary. I have to perceive a lot “by ear”, and this is unusual and requires much more time, but I continue to work, albeit at a slower pace.

In February 1946 he was elected a deputy Supreme Council USSR from the 271st Krasnoufimsky constituency, since February 1947 - a deputy of the Sverdlovsk City Council from the 36th constituency.

...The path of gathering and creative use folklore is not particularly light. Among young people, especially inexperienced ones, reproaches were heard that Bazhov found the old man, and he "told him everything." There is an institution of factory old people, they know and heard a lot and evaluate everything in their own way. And often this assessment happens, is contradictory, goes "in the wrong direction." The stories of factory old people must be taken critically and, on the basis of these stories, presented as it seems to you, but, in any case, you must not forget that this is the basis. Bazhov's skill lies in the fact that he tried, as far as possible, to treat the main creators with great respect - the Ural workers. And the difficulty was that the language spoken by our grandfathers and great-grandfathers is not so easy for a person who is already accustomed to literary language. You sometimes struggle with this difficulty for a long time in order to find one word, so as not to overflow with Gorbunov's excess. Gorbunov was fluent in the language. But with a mistake: he laughed. It is not the time for us to laugh at the language of our grandfathers and great-grandfathers. We must take the most valuable from it and throw out phonetic errors.

And this selection, of course, is a rather difficult matter. It's up to you to guess which word is more in line with the working understanding.

Another old man, perhaps, served as a lackey for the master, was a sycophant, and perhaps in his stories an assessment slips entirely not ours. The writer's job is to make it clear where it's not ours.

The main thing: when a writer is preparing to work on working folklore, one must remember that this is still an unexplored area, still too little studied. But we have ample opportunity to collect this folklore. At one time I worked as a teacher, and at first I went around the villages, setting myself the task of collecting folklore. I walked along Chusovaya, heard a lot of legends from robber folklore and wrote them down superficially. Take people like you. Nemirovich-Danchenko, he wrote down a lot of such legends that spoke about Yermak and others. We must look in those places from where they came, where many such legends have been preserved. All of them represent a great price.

Question. When did you get acquainted with Marxist-Leninist ideas? What are the sources of this knowledge? To what period should the final formation of your Bolshevik worldview be attributed?

Answer. I studied at the theological school. During the seminary years in what was then Perm, we had revolutionary groups that had their own school library, which had been passed down from previous generations.

Political literature was mostly populist, but still there was some part of Marxist books. I remember during those years I read Engels' The Origin of the Family, Private Property and the State. I did not read Marx during my seminary years and became acquainted with him only later, during the years of my school work.

Thus, I believe that my acquaintance with Marxist literature began in the years of the seminary, then continued already in the years school work. I cannot say that I did much in this matter, but the main Marxist books available at that time were known to me...

In particular, I began to get acquainted with the works of Vladimir Ilyich from the book, which was published under the name of Ilyin, "The Development of Capitalism in Russia." This was my first acquaintance with Lenin, and I became a Bolshevik almost during the civil war.

My decision about my party membership was made, perhaps without sufficient theoretical justification, but in the practice of life it became clear to me that this was the party that came closest of all, I went with it and since 1918 I have been a member of its ranks.

When and what I first read by Leskov, I don’t remember exactly. At the same time, it must be recalled that in youth treated this writer negatively, not knowing him. He was known to me by hearsay as the author of reactionary novels, which is probably why I was not drawn to Leskov's works. I read it completely already in adulthood, when the edition of A. f. Marx (I think in 1903). At the same time, I also read reactionary novels (“On Knives” and “Nowhere”) and was literally struck by the wretchedness of the artistic and verbal fabric of these things. I simply could not believe that they belonged to the author of such works as "Cathedrals", "Non-deadly Golovan", "The Enchanted Wanderer", "Dumb Artist" and others, sparkling with fiction and verbal play, despite their vital veracity. Leskov's completely new reading of old printed sources seemed interesting: prologues, four menaias, flower beds.

“Disappointing placon”, “edge”, etc., seems to me to be a great verbal replay, sometimes bringing Leskov closer to Gorbunov, who, for the amusement of the public, deliberately exaggerated speech and phonetic irregularities and looked for rarites personelles to make it funnier.

Speaking frankly (attention! attention!), Melnikov always seemed closer to me. Simple close nature, situation and carefully selected language without overlapping in word game. I began to read this author back in those years when the meaning of the words “oh, temptation!” I was not quite clear. I re-read it later. And if it is necessary to look for who stuck something, then why not look through this window. And most importantly, of course, Chekhov. Here I distinctly remember what and when I first read it. I even remember the place where it happened.

It had to be in 1894. Your respected brothers of the past - literary scholars and critics - by this time had already fully "recognized and appreciated" Chekhov and even, by joint efforts, pushed him to "The Muzhiks" and other works of this group. But in the provincial bookstores (I lived then in Perm) there was still only the young Chekhov's Tales of Melpomene and Motley Stories.

It was the autumn slush of the beginning of November, and even had to "celebrate the death in the Bose of the deceased" Alexander III. On grief to the Perm bursaks, the bishop of that time considered himself a composer. On the occasion of his “death,” he set to music some poetic whining of a Perm schoolboy. The Bursat authorities sighed reproachfully at their pupils: here, they say, a high school student mourns even in verse, and how you show yourself. And wanting to catch up, they leaned hard on the chanting of this whining episcopal composition.

On such purely sour days I bought Chekhov's little book for the first time. I forgot its cost, but it seemed to be sensitive for my then tutoring earnings (six rubles a month) ...

The seminary authorities were savage about all literature without a "permissible mark." This was the name of the last step of the permissive visa (approved, recommended, allowed, allowed, allowed for libraries).

There was no such visa on Chekhov's little book, and this book had to be read when "the awake eye has grown dull." It worked best between dinner and bedtime, between nine and eleven. These watches were left to the discretion of the Bursaks...

These hours were called free, free, and for the variety of activities - motley.

And in these colorful hours, a fifteen-year-old boy, a second-grade student of the Perm Theological Seminary, opened a padlocked desk in the second middle row ... and for the first time began to read "Colorful Stories".

From the very first page he snorted, choked with laughter. Then it became impossible to read alone - it took a listener, and soon our classroom resounded with the laughter of a dozen teenagers. It was even required to put a messenger in the corridor (in turn, of course) so as not to “run into”.

Since then, alas, fifty years have passed! I re-read the works of A.P. Chekhov more than once, and yet the subsequent Chekhov never overshadowed Chekhov in my mind initial period when critics and literary critics were inclined to call him only a "funny writer". Moreover, many works of this period give me more than the works of the subsequent period. "Intruder", for example, seems more truthful to me than "Men", which I do not believe in many ways. Or take at least "Witch". After all, this is a terrible tragedy of a young beautiful woman who is forced to live in a graveyard with a hateful red deacon. How much on this topic we have written in verse and prose, and everywhere it is a tragedy or a melodrama. And here you even laugh. You laugh at the red-haired sacristan who is trying to cover the face of the sleeping postman so that his wife does not look at him. You laugh even when this red deacon gets an elbow in the bridge of his nose. However, laughter in no way obscures the main idea. You believe everything here and remember forever, while tragedies are forgotten, and melodramas, by a simple change of intonation, turn into their opposite. Here, no intonation can change anything, since the basis is deeply national ... Chekhov recent years will never obscure the young Chekhov in my mind, when he easily and freely, shining with young eyes, floated along the boundless expanse of the great river. And it was clear to everyone that both the river was Russian and the swimmer was Russian. He is not afraid of either whirlpools or whirlpools of his native river. His laughter seemed to our generation a guarantee of victory over all difficulties, for it is not the one who sadly sings: “Tarara-bumbia, I’m sitting on the pedestal” who wins, and not the one who amuses himself with the future “sky in diamonds”, but only the one who knows how to laugh at the most disgusting and terrible.

The main thing, after all, is not in genealogy and literature, but in life path, in the characteristics of that social group, under the influence of which a person is formed, among which he has to live and work in one position or another. Even from the fragments of this letter, you could be convinced that the life of the students could not pass without leaving a trace. And eighteen years of teaching - how is that? Joke? Among other things, eighteen spacious summer vacats. True, some of them were spent on theatrical nature. It was necessary to see the sea, the haze of the southern mountains, the dead cypress tree and other things that are supposed to. But it still didn't take too long. Much more wandered around the Urals, and not entirely aimlessly. Remember talking about fables? After all, there are six full notebooks of these narrowly localized proverbs. And it was done quite thoroughly, with full certification: where, when it was written down, from whom I heard it. This is not a reproduction of what you heard from memory, but a real scientific document. And even though the notebooks are gone, is there anything left of this work? Yes, I still remember:

“People have a canny, but we have it easy.”

“They plow and harrow, sow and reap, thresh and winnow, but here take off your pants, get into the water and drag in a full sack.”

Or here is from the records about the Chusovoy stones-fighters:

"We live honestly, but we feed on the Robber."

“We don’t heat the stove, but it gives warmth” (fighters Robber and Stove).

I know that you do not quite like these folklore adventures of mine, but science is science. It requires a strict approach to the facts.

Of course, you have nowhere to know the details of these folklore journeys, since your object in those Arcadian times did not yet know the smell of a freshly printed sheet. Another thing is the civil war period. After all, you looked at three whole books here. Whatever they are, you can also learn something about the author and the environment in which he had to work. IN high degree no matter who and when he was at that time. I won't even answer this question. This is a questionnaire. If you answer in detail - a book, not even one. You know the main thing - the political worker of those days. Mainly editor of the front and revolutionary committee press. Both presuppose great communication with the masses and an extreme variety of questions. This was the same for the front-line situation, and for the first months of the “setting of power”, and then, when he edited the newspaper “Krasny Put” in Kamyshlov, already in 1921-1922. It seems to me that the period of work in the Peasant Newspaper (later it was called the Collective Farm Way) from 1923 to 1930 is especially important. There I had to manage the department of peasant letters. You know about it, but I don't think you really know. The flow of letters then could be measured in tons, and the range - from the "patience of a goat" (the whole winter lived buried in a haystack) to international problems in the understanding of a village illiterate person. What situations, how much material for the most unexpected twists, and language! ABOUT! This is the same thing that can only be dreamed of in youth. I have already written an enthusiastic page about this in the Origins of Local Lore, but how can I express it. What kind of cracker and blockhead do you have to be, so as not to experience the effects of this pristine beauty. Yes, put a man of Chekhov's talent on this business for seven whole years, what would he do! Without long trips, which Chekhov, according to N. D. Teleshov, usually recommended to writers, and he himself did not shy away (what could be further from Sakhalin?).

The literary sources of the past should be treated no less critically. In addition to the already mentioned work by Gleb Uspensky "The Morals of Rasteryaeva Street", we know a huge number of other works of the same type, where drunkenness, darkness and half-animal life were served especially thickly. The old writers had many reasons for this. selection dark colors they tried to draw attention to the need for reorganization and enhancement of cultural activities. This, of course, was understandable in its own way, since there was indeed a lot of darkness in the past. But now it is high time to talk about the past in a different way. The dark is dark, but there were in the past the germs of what the revolution was born from, the heroism of the civil war and the subsequent development of the world's first workers' state. And these were not rare units. New people did not grow out of total drunkenness and darkness. Settlements of the working type in this respect stood out in particular. This means that there were more sprouts of light there.

Old miners and ore prospectors of our region have always cherished a kind gazer - such a wash or cliff where rock layers are clearly visible. By such lookers, most often they got to rich ore places. There was, of course, a fairy tale about a special gazer, unlike the usual ones.

This peeper does not go outside, but is hidden in the very middle of the mountain, and which one is unknown. In this mountain gazer, all layers of the earth converged, and each, whether it be salt or coal, wild clay or expensive rock, shines through and leads the eye along all the descents and ascents to the very exit. However, it is impossible to reach such a gazer alone or by an artel. It will open only when all the people, from old to small, will begin to look for their share in the local mountains.

The years of the war turned out to be such a mountain gazer for me.

It seemed that from childhood I knew about the riches of my native land, but during the war years so many new things were discovered here and in such unexpected places that our old mountains seemed different. It became clear that we were by no means aware of all the riches, and now this has not yet reached its full extent.

He loved and respected the strong, hardy and hard people of his region. The war years not only confirmed this, but strengthened it many times over. You need to have the shoulders, arms and strength of heroes to do what they did in the Urals during the war years.

At the beginning of the war, there was doubt as to whether we should be engaged in a fairy tale at such a time, but they answered from the front and supported me in the rear.

We need an old fairy tale. There was a lot of that road in it, which is useful now and will be useful later. Through these precious grains, the people of our day will see the beginning of the path in reality, and this must be reminded. It is not for nothing that they say: a young horse walks easily with a cart on a beaten road and does not think about how hard it was for those horses that were the first to pass through these places. It’s the same in human life: what everyone knows now, then great-grandfathers got it with great later and labor, and it required fiction, and even such that even now one has to marvel.

So here's a refreshed eye to look at motherland, on his people and on their work, and the years of war taught me, just by the proverb: “After a great misfortune, as after a bitter tear, the eye clears up, you will see something behind you that you did not notice before, and you will see the road further ahead.”

To some extent they got used to my manner of writing, but they were no less accustomed to the idea that this one always writes about the past. Many do not see modernity in it, and I think they will not see it for a long time. The reason, in my opinion, is in some kind of calendar definition of history and modernity. Set on things written on the most acute topic of our time, the date of the past is antiquity, history. Try with such a look to prove that "Dear Name" is October Revolution that “Vasina Gora” is a reflection of the mood with which the Soviet people adopted the five-year plan, that “Gore is a gift” is a Victory Day, etc. Behind the old frame, people do not see not quite the old content, which, however, cannot be given in the form of a photograph, so that a person can say for sure - it's me. But I also have tales of direct combat. For example, "Circular Lantern", written about the VIZ distributor Obertyukhin. I don't know the hero of the story. I read only a few newspaper articles about him and moved his qualities to the way of life well known to me. Is it history or modernity? Here, solve this question.

I have always been a historian, not a real one, of course, and a folklorist also not very orthodox. The state of my education did not allow me to fully climb the highlands that Marxism opened up to us, but the height to which I nevertheless managed to climb makes it possible to take a fresh look at the past familiar to me ...

I consider this the quality of a contemporary, but I am referred to a group that shovels old material, where from time to time "pass" phrases and characteristics are inserted. Write here I am “Painted punk” or “Yegorsh case” - they recognize it as memoir literature. With luck, they can even praise: “no worse than “Childhood of the Theme”, “Nikita”, “Ryzhik”, etc., but no one will think why the old Soviet journalist, who feels the issues of the present, was drawn to talk about what happened sixty years ago : Is it just to remember the days when he was a baby, or is there another task. Like, for example, how the cadres of people who had to work hard during the years of the revolution were formed.

The assumption that in silence I pick something historical, unfortunately, does not seem to be true. I am now engaged in another, - not very writing business. I have to write a lot according to the statements of my voters. Of course, in the sense of accumulating material about the present, this gives a lot, but it is unlikely that I will be able to cope with this new one as a writer. Got a squirrel cartload of nuts when her teeth were worn out. And those here really things. One should be surprised how they are not seen.

Collection "Soviet writers", M., 1959

The electronic version of the autobiography is reprinted from the site http://litbiograf.ru/

20th century writer

Pavel Petrovich Bazhov (pseudonyms: Koldunkov - he led his real surname from “bazhit”, dialect - to conjure; Khmelinin, Osintsev, Starozavodsky, Chiponev, i.e. “reluctant reader”)

Prose writer, storyteller.

Born in the family of a mining foreman, a hereditary Ural worker. He graduated from the Yekaterinburg Theological School (1893), then the Perm Theological Seminary (1899), taught (in the village of Shaydurikha, Perm Province, Yekaterinburg, Kamyshlov, in 1917 in the Siberian village of Bergul). WITH young years wrote down Ural folklore: “he was a collector of pearls of his native language, a pioneer of precious layers of working folklore - not textbook-smoothed, but created by life” (Tatyanicheva L. A word about a master // Pravda. 1979. Feb. 1). He took an active part in the revolution and the Civil War. In his youth, he was a participant in the Motovilikha Zakama May Day meetings and an organizer of an underground library, in 1917 he was a member of the Council of Workers', Peasants' and Soldiers' Deputies, in 1918 he was secretary of the party cell of the headquarters of the 29th Ural Division. Bazhov not only participated in military operations, but also carried out active journalistic work (editor of the divisional newspaper Okopnaya Pravda, etc.). During the battles for Perm, he is captured and flees from prison to the taiga. Under the name of an insurance agent, he takes an active part in underground revolutionary work. After the end of the Civil War, B. actively collaborated in the Ural newspapers Soviet Power, Krestyanskaya Gazeta, the magazine Growth, Shturm, and others.

Bazhov's writing career began relatively late.

In 1924, he published a book of essays "The Urals were", and then 5 more documentary books, mainly on the history of the revolution and the Civil War ("Fighters of the first draft", "To the calculation", "Formation on the move", "Five stages of collectivization", documentary story "For the Soviet Truth"). Peru Bazhov also owns the unfinished story "Through the Boundary", the autobiographical story "The Green Mare" (1939), the book of memoirs "Far - Close" (1949), a number of articles on literature ("D.N. Mamin-Sibiryak as a writer for children" , “Muddy Water and Genuine Heroes”, etc.), little-studied satirical pamphlets (“Radioray”, etc.). For many years he was the soul of the writers' team in the Urals (Ekaterinburg, Chelyabinsk, Perm, Zlatoust, Nizhny Tagil, etc.), he constantly worked with literary youth.

Bazhov's main book, which brought him worldwide fame- a collection of tales "Malachite Box" (1939) - came out when the writer was already 60 years old. In the future, Bazhov supplemented the book with new tales, especially actively during the Great Patriotic War: "The Key-Stone" (1942); "Zhivinka in business" (1943); “Tales about the Germans” (1943; 2nd edition - 1944), etc. The tales “The Amethyst Case”, “The Wrong Heron”, “Live Light” are connected with the life and work of Soviet people in the post-war years.

"Malachite Box" immediately caused a flurry of enthusiastic responses. Criticism almost unanimously noted that never before, neither in poetry nor in prose, had it been possible to glorify the work of a miner, stone cutter, foundry worker in such a way, to reveal the creative essence of professional skill so deeply. The organic combination of the most bizarre fantasy and the true truth of history, the truth of characters, was especially emphasized. The general admiration was caused by the language of the book, which combines the treasures of not only folklore, but also the lively, colloquial speech of the Ural workers, bold original word creation, which has tremendous pictorial power. But it soon became clear that many readers and critics understood the nature of this book in different ways. Two trends emerged in the evaluation of the "Malachite Box" - some considered it a wonderful document of folklore, others considered it magnificent. literary work. This question was both theoretical and practical value. There was, for example, a long tradition of literary processing, "free rehashing" of works of oral folk poetry. Is it possible to “retell” the “Malachite Box” in verse, as Demyan Bedny tried to do? .. Bazhov himself had an ambiguous attitude to the problem. He either allowed notes to be made to editions of the book that tales are folklore, then he joked that “scientists” should understand this issue. Later it turns out that Bazhov sought to use folklore "akin to Pushkin's", whose fairy tales are "a wonderful fusion, where folk art is inseparable from the personal work of the poet" (Useful reminder // Literary newspaper. 1949. May 11). There were both objective and subjective reasons for the current situation. In Soviet folklore, for some time, criteria were lost that made it possible to clearly distinguish works of folklore from literature. There were stylizations for folklore, there were storytellers whose names became quite well known, and they created “novinas” instead of epics. In addition, in the mid-1930s, Bazhov himself, like many of his contemporaries, was accused of glorifying and protecting the enemies of the people, expelled from the party and deprived of his job. In such an environment, the recognition of authorship could become dangerous for the work. Unlike many of his other contemporaries, Bazhov was lucky - the charges were soon dropped, he was reinstated in the party. And the researchers of Bazhov's work (L. Skorino, M. Batin and others) convincingly proved that the "Malachite Box", written on the basis of Ural folklore, is, nevertheless, an independent lit. work. This was evidenced by the concept of the book, expressing a certain worldview and a set of ideas of his time, as well as the writer's archive - manuscripts demonstrating Bazhov's professional work on the composition of the work, image, word, etc. Preserving often folk stories, Bazhov clothed them, in his words, in a new flesh, colored with his individuality.

In the 1st edition, the "Malachite Box" contains 14 tales, in the last - about 40. There are cycles of tales about masters - true artists in their field, about work as an art (the best of them are "Stone Flower", "Mining Master" , "Crystal Branch", etc.), tales of "secret power", containing fantastic stories and images (“The Mistress of the Copper Mountain”, “Malachite Box”, “Cat's Ears”, “Sinyushkin Well”, etc.), tales about seekers, “satirical”, bearing accusatory tendencies (“Prikazchikov’s soles”, “Sochnevy pebbles ") etc. Not all works that make up the "Malachite Box" are equal. Thus, history itself revealed the apologetic nature of tales about modernity, “Leninist” tales; finally, there were simply creative failures("The Golden Flower of the Mountain"). But the best of Bazhov's tales have for many years kept the secret of a unique poetic charm and impact on modernity.

Based on Bazhov's tales, the film "Stone Flower" (1946), K. Molchanov's opera "The Tale of the Stone Flower" (staged - 1950), S. Prokofiev's ballet "The Tale of the Stone Flower" (staged - 1954), symphonic poem by A. Muravyov "Azovgora" (1949) and many other works of music, sculpture, painting, graphics. Artists representing the most diverse manners and trends offer their own interpretation of the wonderful Bazhov images: cf. for example, illustrations by A. Yakobson (P. Bazhov. Malachite Box: Ural Tales. L., 1950) and V. Volovich (Sverdlovsk, 1963).

K.F. Bikbulatova

Used materials of the book: Russian literature of the XX century. Prose writers, poets, playwrights. Biobibliographic dictionary. Volume 1. p. 147-151.