Who is Pavel Bazhov. Childhood, writer's family

Conversation for children 5-7 years old with a presentation: "The secret power of Pavel Bazhov"

Description: The event is intended for children of senior preschool and primary school age, preschool teachers, primary school teachers and parents. The script contains author's poems and a game.
Purpose of work: The conversation will introduce children to the writer Pavel Petrovich Bazhov, his work.

Target: introducing children of senior preschool and primary school age to the world of book culture.
Tasks:
1. to acquaint children with the biography and work of the writer Pavel Petrovich Bazhov;
2. to introduce children of senior preschool and primary school age to the perception of fairy tales;
3. to form emotional responsiveness to a literary work;
4. educate children's interest in the book and its characters;
Attributes for the game: stones painted with gouache, 4 trays, a table with the image of precious stones (Jasper, Malachite, Amber, Lapis Lazuli)

Preliminary work:
- Read the tales of P.P. Bazhov
- Introduce children to minerals (precious and semi-precious stones)
- Organize a mini-museum in the group: "Gemstones".
- Organize an exhibition of children's drawings based on read works

Presenter: Pavel Petrovich Bazhov was born on January 27, 1879, in the city of Sysertsky Zavod, Yekaterinburg district, Perm province, in a family of workers.

His father, Peter Vasilievich, worked at a metallurgical plant. He was a good master. Pyotr Vasilyevich's hands were golden. The character was strong-willed and strong, for which he was popularly nicknamed "Drill".
His mother Augusta Stepanovna was orphaned early, she had to earn a living by needlework, she knitted amazingly beautiful lace.
Little Pavel saw the hard work of adults from an early age. In the evenings, resting from hard work, adults told tales that children eagerly listened to. The plots of these tales kept in themselves folk legends about the hard work of people in old mines, legends about the countless treasures of the Ural Mountains, which are guarded by the "secret power" - Malachitnitsa.

Pavel was the only child in the family, so his parents were able to give him an education. Pasha was sent to study at a religious school in the city of Yekaterinburg.

The boy studied very well, he was a gifted child, for which he was transferred to the theological seminary of the city of Perm.

But the death of his father turned the fate of Pavel Bazhov. He had to go to work to continue his studies and help his mother, who began to have health problems, she began to go blind.
When the young man was 20 years old, he got a job as a teacher of Russian language and literature in the remote village of Shaydurikha near the factories.

The history of his native land has always attracted Pavel Bazhov. Every year, during school holidays, he wandered around the Urals, talking with people of working professions: miners and foundry workers, stone cutters and prospectors. All these stories he diligently wrote down. In his notebook, he entered words and human speech, which conveyed the characteristic features of the life and way of life of mining workers. The writer admired the beauty of the Ural stones.

Game in progress: "The Secret of the Stones"

Stones are scattered in the center of the hall (pre-painted with gouache paints in different colors)

Presenter: Guys, miners of precious stones, miners asked us for help. You need to study the table and add the gems by color.
4 children are chosen, the children agree on what kind of stone each of them will sort.
1. Jasper - red color
2. Malachite - green color
3. Amber - yellow color
4. Lapis lazuli - blue color
There are 4 chairs with trays in the corners.

To the music, children sort stones by color. When all the stones are laid out in their places, the teacher walks around and makes sure that the task is completed accurately and consolidates the children's knowledge about the color scheme of the stone. Example: This red stone is called Jasper.
Well done boys. You helped the miners and learned the secret of the stones. It turns out that each stone has its own color and name.
Sit on your chairs, we continue.
Pavel Petrovich Bazhov worked as a school teacher for 18 years. Then he was invited to the theological school of the city of Yekaterinburg, the very one he once graduated from.
The writer built a small house in Yekaterinburg, where he settled with his mother and wife. Pavel Bazhov became the head of a large family with seven children.

Pavel Petrovich Bazhov collected material for his first book for a long time and carefully. In 1939, the book “Malachite Box” was published. Its main character, the mistress of the Copper Mountain, allows Mother Earth to enter the bowels of the Earth and gives her wealth only to honest, courageous and hardworking people who do not covet wealth, but admire the beauty of the stone.

Mistress of Copper Mountain.

In the Copper Mountain, the Mistress is harsh
Didn't say too much.
A small lizard was born
She kept a secret in Malachite's box!

Pavel Petrovich wrote fairy tales for children: “Fire Girl - Leap”, “Silver Hoof”, “Tayutka Mirror”, “Blue Snake” and many others.
For the 60th anniversary of Pavel Petrovich Bazhov, friends presented a large book, which included 14 tales.
For the book "Malachite Box" Bazhov received an order and a state prize.
The tales of Pavel Petrovich Bazhov are smart and beautiful. Composers composed music, artists drew illustrations based on fairy tales. According to the plots of favorite tales, performances were staged, films and cartoons were shot.
Writer P.P. Bazhov is a great master of words, he invested a lot of work, knowledge, inspiration to give the world the secrets of the Ural Mountains.
Pavel Petrovich Bazhov is remembered and honored in our country, streets, a square and a library are named after him.

"Central City Library named after P.P.Bazhov". Sverdlovsk region, Lesnoy, Lenin street, 69.
In the city of Moscow there is a district of Rostokino, in which Bazhov street and Malahitovaya street are located. There is a beautiful residential complex, which is called the Stone Flower. The main attraction of the Rostokino district is Bazhov Square. Undoubtedly, the sculptures of the heroes of fairy tales can be considered an ornament of the square.

Square Bazhov.

Dvoretskaya T.N.
Our square deserves a good word.
They named it after Pavel Bazhov.
Here in the fairy-tale world the figures froze.
Sculptures arose from white stone.
The Ural writer loved gems.
He revealed their secrets in his fairy tales.
Secrets of stones on our planet.
Now even small children know.
Children collected in the school museum
Personal items and exhibits.
The tour guide prepared stories
Pavel Bazhov fairy tales!

December 3, 1950 Pavel Petrovich Bazhov died. He was 71 years old. The writer was buried in a cemetery in the city of Yekaterinburg.
In Sysert and Yekaterinburg, the houses where the writer lived have been preserved. Now they are museums.

Every summer, since 1993, the Bazhov Festival has been held in the Chebarkulsky District, which brings together fans of talent, those who cherish the culture and folk traditions of the Urals.

The secret power of the tales of Pavel Petrovich Bazhov is stored in the described historical events in the life of ordinary stone-mining workers. Bazhov's tales are distinguished by poetic images of the main characters, echoing Russian folklore, melodiousness and cheerful emotional coloring of folk speech. Pavel Bazhov gave the reader a unique mysterious world.

Bazhov Pavel Petrovich (1879-1950) - Russian writer, folklorist, journalist, publicist, revolutionary. Fame brought him 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 kind 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 an 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.

Primary 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 vibrant cultural life, stone houses with several floors. Zemstvo teacher worked well with his best student. Bazhov easily passed the exams and entered the 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" by 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 dishonest 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, and also studied the scientific works of 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.

The revolution

Before the revolutionary events of 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 the White Guard entered Yekaterinburg and the city of Kamyshlov, where the Bazhovs lived, Pavel 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 career in the literary direction - the editor of the publications "Soviet Power" 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 of 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 the perfect family; infinitely respected each other; in illness, poverty and in difficult situations, they 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 the terrible tragedy, when the only son died at a very young age at the plant.

The 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.

• "For Soviet Truth"
• "Urals were"

« The writer Pavel Petrovich Bazhov has a happy fate. He was born on January 27, 1879 in the Urals in the family of a worker at the Sysert plant. Thanks to chance and his abilities, he got the opportunity to study. He graduated from college, then the Perm seminary. He taught for eighteen years. He happily married his student and became the head of a large family with seven children. He accepted the October Revolution as an opportunity to end social inequality, fought in the Civil War on the side of the Reds, became a journalist and then an editor, wrote books on the history of the Urals, collected folklore records. He always worked hard, as they would say in Soviet times, he was "an ordinary worker».

«… And suddenly, as they say overnight, fame came to him, and what... "This is how Ariadna Pavlovna Bazhova begins a short biography of her father.

Success story, Biography of Pavel Bazhov

The happy fate of Pavel Bazhov was formed from a combination of good luck (I recall the “luck” necessary for mountain prospectors, without which you cannot find a malachite vein) and the amazing features of his truly harmonious personality.

It is rare that all people who knew him - distant and close - remember about a person with such fullness of love and respect as about Pavel Petrovich Bazhov: it seemed that he did better everything he touched. And you read about him as if about a kind fairy-tale hero, who has creative talent, amazing diligence, careful care, the ability to love, courage, decency, modesty and a desire to serve people.

“It was not at our plant, but in the Sysert half. And not at all in the old days "

Pavel Petrovich Bazhov wrote in his Autobiography: « According to his estate, his father was considered a peasant of the Polevskaya volost of the Yekaterinburg district, but he never engaged in agriculture, and could not do it, since there were no arable land plots in the Sysert factory district 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 junk supply» (this roughly corresponds to a shop supply manager or tool maker).

In addition, it can be said about Pyotr Vasilievich Bazhev (this surname was originally written with an “e”, but we will continue to adhere to the spelling that has become traditional) we can say that he was an exceptional specialist in his craft, but suffered from binges. Therefore, despite his excellent professional skills, Peter was regularly fired from his job (not only because of his own problems with alcohol, but also because of intemperance in the language: after drinking, he began to criticize and ridicule his superiors). Then, however, they took it back: it was not easy to find such workers, and when serious problems arose, they turned to Pyotr Vasilyevich. However, the factory "top" did not immediately condescend to forgiveness: the fired one had to ask and wait, and the wait lasted a long time - for months, and sometimes even longer. At that time, the family was fed by her father’s odd jobs, as well as by the rare skill of Augusta Stefanovna (Pavel’s mother from Polish peasants, nee Osintseva): she was a needlewoman, knitted lace, fishnet stockings, much more beautiful and better than machine stockings (how can one not recall Tanya from Malakhitova boxes"). This painstaking work remained with Augusta Stefanovna for the evening (during the day she had to do housework), because of this, her eyesight subsequently deteriorated.

Unfortunately, unemployment and lack of money did not teach Peter to pacify his intemperate character: over and over again the story of the scandal and dismissal was repeated. However, neither problems with alcohol, nor malice (for which Peter was nicknamed "Drill") did not affect Bazhov Sr.'s relationship with his son: Pasha's grandmother even called his father "indulgence" - indulging, they say, a child. Augusta Stefanovna had a gentle and patient character at all.

In the Zemstvo school in Sysert, Pasha was the most capable student. However, as Bazhov later recalled: « If not for Pushkin, I would have remained a factory boy with a four-year education. For the first time I received a volume of Pushkin on rather difficult conditions - to learn it by heart. The librarian must have been joking, but I took it seriously» .

The school teacher singled out Pasha, and then showed a gifted boy from a working-class family who “knows all of Pushkin by heart” to his friend Nikolai Smorodintsev, a veterinarian from Yekaterinburg. This caring person gave Bazhov a real start in life - the opportunity to get an education. On his advice, Pasha was sent to study at a religious school, where there was the lowest tuition fee (even the boy's parents were able to allocate this small amount only because he was their only child). In addition, Nikolai Semenovich for the first time settled the boy in his family. Of course, the Bazhovs wanted to offer their son an easier, more prosperous future than the work of a prospector or worker at a factory. So no matter how scary it was to send a ten-year-old boy away from them, they took a chance.

Instead of the Ural villages, Pavel was waiting for the big city of Yekaterinburg with a real railway (it was then called "cast iron"), unprecedented stone houses with several floors and a vibrant cultural life. The rural teacher prepared his best student to the conscience: the boy easily passed the exam at the Yekaterinburg Theological School. Nikolai Smorodintsev not only gave Pavel shelter, but also became his friend, and this friendship survived for many years, withstood the test of time.

Pavel Bazhov also fondly recalled the inspector who monitored the lives of the boys in the dormitory rented apartments (for several children, rooms were rented from the same owner). This strict man, who came running with checks at any time of the day or night, generous with remarks and lectures, the boys naturally disliked. However, as an adult, Pavel appreciated that the inspector “worked conscientiously, tried to instill in us useful skills and kept the landlords in check in terms of service and food, since on any day you could expect: “will come in for lunch”, “dine”, “drink tea” .

The inspector also made sure that the elders did not offend the younger ones, and in many ways, due to his efforts, there was no “hazing” in the hostel apartments. In addition, he arranged readings for the boys, instilling in them a love and taste for good literature. “Most often I read it myself, and always the classics: “Evenings on a Farm near Dikanka” by Gogol, “Sevastopol Stories” by Leo Tolstoy, etc. He did not shy away from the new, which then appeared in the press. I clearly remember, for example, that I first heard Kuprin's Cadets at one of these readings. .

Education (it lasted four years) was given to Pavel easily: he moved from class to class in the first category. And on vacation he went to his native land, where he first heard amazing stories - semi-mystical, semi-domestic miners' folklore. These tales (not fairy tales, but real ones - this was especially emphasized by the narrator - stories “about old life”) were amusingly told by the old man - the caretaker of the wood warehouses Vasily Alekseevich Khmelinin, whom the guys called “grandfather Slyshko”, from his favorite saying “hey-ko”. A talented storyteller, whom not only children, but also adults were happy to listen to, was one of the first people who interested Pavel in folk art. Folklore became one of the main hobbies of Bazhov, who collected stories, tales, legends, proverbs, and verbal expressions all his life. Until the death of grandfather Slyshko, Pavel went to Polevskoye to listen to stories about the Mistress of the Copper Mountain, the girl Azovka and the Great Poloz.

Pavel Bazhov, an excellent student, received a place in the seminary after the theological school. However, this meant that he was waiting for a move even further from home: he had to go to Perm. By the way, in addition to Pavel Bazhov, the writer Dmitry Mamin-Sibiryak and the inventor Alexander Popov graduated from the Perm Theological Seminary. Graduates of this educational institution received a versatile and more than high-quality education.

“According to work, everyone called Danila a mining foreman. Nobody could do anything against him."

Brilliant - he was in the top three graduates - having completed the basic course of the seminary, twenty-year-old Pavel could apply for a free place in the theological academy (it was granted to him). But he considered it dishonest to take advantage of this opportunity: not only was Bazhov not religious, he was rather anti-clerical and certainly revolutionary. Therefore, at first he tries to enter a secular university, and when this attempt fails (most likely, he received not too flattering characteristics “in behavior”), he chooses the path of a teacher.

Permanent work (before that he overcame tutoring, writing small articles and other one-time earnings) allowed him to take care of his mother: Pyotr Vasilyevich died of liver disease, and Augusta Stefanovna was left with only her husband's small pension.

Pavel could not be called apolitical: as a student, he read forbidden literature (both revolutionary and philosophical, and natural science - the works of Darwin, for example), shared the ideas of the populists, ardently dreamed of liberating ordinary people from autocracy. The young teacher Bazhov participated in the work of trade unions and even spent two weeks in prison for seditious political activity.

Pavel Bazhov's convictions were not based on abstract theories at all: he had seen enough of the poverty, lack of rights and inhuman living conditions of those who created the iron foundation and mined the gold wealth of Russia. And, being a man with a generous heart, he dreamed of changing not only his own life for the better: Bazhov belonged to people who really care about the common good.

But for the time being, Pavel Bazhov chooses the path of service, not struggle. The vocation of a teacher was the best fit for this: almost twenty years of Pavel Petrovich's teaching work gave dozens of students inspired by him the kindest memories. First, Bazhov teaches at a religious school, then at the Yekaterinburg Diocesan School for Girls, and love and respect are everywhere. “Pavel Petrovich was the most beloved teacher among the dioceses. At literary evenings at the school, as a sign of special respect, the students pinned multi-colored ribbon bows to their favorite teachers - red, blue, green. Pavel Petrovich got the most bows. He used to stand at the door of the teacher's room, smiling kindly at everyone, his eyes sparkling happily, and his chest was all in bright ribbons. He never raised his voice, did not rush when answering. A leading question will give, prompt... You know what kind of person he is! We looked forward to meeting him every time, as if we were family. His gaze was kind. I remember: once, before the holidays, Pavel Petrovich was reading Korolenko's story "The Old Bell Ringer". The ringer remembered his youth... The last blow, and he will never ring again! Everybody! I cried so hard, it was a pity.

- So did Pavel Petrovich read?

- Yes. From the heart, deeply. And when they were going on vacation, he asked: write down proverbs, riddles. It was easy to learn from him, because everyone tried.".

“Well, they say, they lived according to ...”

Until the age of thirty, Pavel Bazhov had neither a strong feeling for a woman, nor bright hobbies. Maybe he didn’t meet anyone of “level growth”, maybe the fact is that he gave too much mental strength to study and work, or maybe he belonged to those exceptional monogamous people whom fate either sentences for life to an insatiable thirst for unrequited feelings, or bestows the greatest happiness of mutual love. Pavel Petrovich had a happy lot: he fell in love with his former student - a graduate of the diocesan school Valentina Ivanitskaya, a talented, strong-willed girl. Valya answered her former teacher with the same tender, devoted and inexhaustible love. They got married when Pavel was 32, and Valentina was 19, they truly lived their lives “in sickness and health, in sorrow and in joy, in wealth and poverty”, illuminating and warming their common destiny with love.

The Bazhovs were like-minded people with common dreams and interests, gentle spouses who knew how to maintain good and infinitely respectful relations with each other and with children. This remained in the memoirs of people who knew this family well, and in the letters that they wrote to each other at each separation: Pavel Petrovich affectionately addressed his wife “Valyanushka, Valestenochka” in them.

Ariadna Bazhova in the book “Through the Eyes of a Daughter” recalled: “ The ability to know everything about his loved ones was an amazing feature of his father. He was always the busiest of all, but he had enough spiritual sensitivity to be aware of the worries, joys and sorrows of everyone.».

In her words, the author of the most interesting biography of Bazhov, Vladimir Sutyrin (his wonderful book “Pavel Bazhov” is not only full of historical information - it perfectly conveys the psychological atmosphere of each stage of the life of its hero) tells an episode with the already elderly Pavel Petrovich: “ Once Pavel Petrovich was in a hurry - he was going either to a meeting, or to some other important event, but he did not like to be late. Now the driver of the car sent for him opened the door towards the passenger. Bazhov went down from the porch and suddenly comes back! Daughter: "Daddy, did you forget something?" - “Yes, I forgot to kiss Vapyanushka goodbye».

The Bazhovs had seven children, three of whom died very young from illnesses during the Civil War. Two older girls - Olga and Elena, son Alexei and younger daughter Ariadne, fortunately, survived. But years later, the Bazhovs had to once again go through perhaps the most terrible grief - the death of a child: as a very young man, Alexei died during an accident at the factory.

Ariadna Pavlovna recalled: “ In books about Bazhov, they often write: "He loved children." This is true, but only with one shade. In children, he first of all saw people and treated them accordingly. He spoke to children of all ages as an equal. He did not say to a little girl or an adult young man: “You are still small, you will grow up and you will know”; “You are still young and cannot know what we old people have experienced.” He allowed his interlocutor of any age to express his opinion and respectfully, taking into account age, answered. I don’t remember a father saying to any of his children: “Don’t interfere, it’s none of your business.” On the contrary, I firmly knew that my family had a right to vote. And no matter what complex family or even creative issues are discussed at the family council, the father will ask: “And you, Ridchena, what do you think?” No matter how old I am - seven, twelve or twenty-two. Grandson Nikita was still very small, but for him grandfather found the right and understandable words. No one could really explain why day follows night, why a cockerel runs barefoot in the snow, and grandfather could».

The revolution of 1917 did not leave anyone indifferent to politics. Pavel Petrovich, according to long-standing convictions, supported those who, as he hoped, stood up for the interests of ordinary people - the Bolsheviks. The new government put Bazhov in charge of the Commissariat of Education. He is decent, energetic, knows the city, worries about people, so he is loaded with new assignments: he is in charge of the technical and construction department, works in the executive committee, and makes presentations on industrial development. When Yekaterinburg and Kamyshlov (the town where the Bazhovs lived for some time) were in the hands of the Whites, Pavel Petrovich was on a business trip. Most likely, this saved his life: seizing territory, any new government during the Civil War, first of all, exterminated the adherents of the opposite side. Bazhov tried to get to his family, was taken prisoner, miraculously escaped, avoiding execution, half-dead, made his way through the forests in winter to the Reds. Before reaching (hundreds of kilometers separated him from the goal), he hid in a remote village with forged documents. ... He left a good memory there too: “ Well, it really was a teacher! He did everything himself and taught others. There was nothing - no ink, no paper. The ink was made from cranberries. He took out paper and pencils. Bring the school. Gave notebooks: “Write».

Then, again according to other people's documents, he lived in Ust-Kamenogorsk. From there, Pavel Petrovich managed to send a message to his wife, and Valentina Alexandrovna with three children made her way to her husband. The family was reunited. When the Bolsheviks occupied the city, Pavel Petrovich became the head of the information department of the military revolutionary committee of a public and political organization, the chairman of the county committee of the RCP (6), the editor of the newspapers Izvestia and Soviet Power

"Urals were"

In Ust-Kamenogorsk, he was in good standing, but the Bazhovs dreamed of returning to their native lands. A misfortune helped: Pavel Petrovich suffered from malaria, and the doctors strongly advised him to change the Altai climate.

However, the return to the Urals turned out to be a real test: on the way, weakened by malaria, Bazhov suffered typhus, typhoid and paratyphoid. He arrived home in such a state that the doctors did not doubt the forecasts: he was not a tenant.

Pavel Petrovich was healed by native nature: every day, the seriously ill Bazhov asked to be taken out into the forest. He absorbed the beauty of his favorite places, breathed the pine air and recovered, to the great joy of his family.

Even before the revolution, Pavel Petrovich took a loan and built a solid house for the family in Yekaterinburg. While the Bazhovs were absent, the new government settled their property with other tenants, but after long ordeals, Bazhov sued the housing back. He himself knew how to live very modestly, but Pavel Petrovich could not allow his loved ones to exist in inhuman conditions in one room (the Soviet authorities provided the Bazhovs with such conditions in their own house).

In the 1920s, Pavel Petrovich Bazhov was a tireless worker who constantly worked in Yekaterinburg newspapers: editorial secretary, editor, journalist, critic, analyzing and reviewing the manuscripts of novice authors. In addition, there was a constant additional workload: he helped the local history museum, advised young teachers, lectured to children. Trying to be in the thick of things, he worked in the department of letters, which was literally "flooded" with messages from the peasants. Rural residents sometimes had nothing to rely on, except for the help of the press, caring journalists who were ready to talk about their troubles and needs, and Bazhov's task was to make sure that none of those who applied to the newspaper was left without attention and help. He travels to places and brings from creative business trips not only topical materials about the problems of villages and factories, but also beautiful lyrical essays for literary magazines.

Pavel Petrovich was the breadwinner of a large family: wife, three daughters, son, mother of Valentina Alexandrovna. However, he never had the lordly pose "I earn, the rest is on you" or "there is a man's work, but there is a woman's." He always helped his wife in the house, and especially in the garden, and taught (largely by his example) children to do this. " Nobody knew mercy. No lessons, no meetings, no blueprints were an excuse. “Nothing, do it later,” said the father. Everyone should help mom. And he himself, as soon as he came home from work, went to the garden with a shovel or a hoe in his hands.».

And in the late evenings, Pavel Petrovich wrote down interesting thoughts, heard folk sayings, examples of folklore, leaving “knots for memory” in his personal file cabinet.

Joint vacations, trips to the forests, long family conversations in the evenings, playing music, discussing books saturated the spiritual life of the Bazhovs.

“It is known what time it was - a fortress. Everyone was galling over a person "

The tragic year of 1937 did not spare Bazhov. Although he was more fortunate than those many Soviet people (including those from his immediate circle) who lost their lives and freedom. Pavel Petrovich lost “only” his reputation and his job: the book “Formation on the Move”, in which the author talked about the fighting of the Kamyshlov partisans, was called counter-revolutionary, and Bazhov himself, who received more than the first denunciation of an ill-wisher (Pavel Petrovich even knew what he did wrong to his accuser - the writer Kashevarov: he once banned the publication of this man's book, considering it "dense Black Hundreds"), branded a Trotskyist and expelled from the party. Everything was remembered to him: the theological school, the seminary, and inaccuracies in the documents, which were immediately recognized as “intrigues”.

Bazhov had to quit "of his own free will." A large family was left without a breadwinner, now it was possible to count only on a home garden, which the elderly (he was a little less than sixty years old) Bazhov took up especially seriously.

But where are the stories? - you ask. It would seem, indeed, nothing foreshadowed. Not only Bazhov's first book, but also his next major works - "For Soviet Truth" (1926), "To Calculation" (1926), "Fighters of the First Call" (1934) - were historical works, not artisanal fantasy. Moreover, all of them were still written by order, and not exclusively at the behest of the heart.

And in this sad year that followed the voluntary-compulsory dismissal, Bazhov finds solace in the stories remembered from the stories of grandfather Slyshko. He had referred to them before, but these were episodes that he did not properly get his hands on. Now he is immersed in fantasy reality, as in precious deposits of malachite.

At first, Bazhov relied on memories of the stories of Vasily Alekseevich Khmelinin (giving them, however, his own, completely unique processing), then he began to compose on his own, using “memory knots”: words, tales, descriptions, local legends. Having survived denunciations, rejection, in fact a betrayal of the authorities, which he honestly served, he heals the soul with beauty.

As it turned out, not only he needed this medicine: the very first publications made Bazhov a favorite storyteller of the Urals, Russia, and then the world. By the way, even today Bazhov is not forgotten in distant lands - for example, in 2007, the American fantasy writer Mercedes Lackey included the Mistress of the Copper Mountain in her book Fortune's Fool.

But let's go back to the days when Bazhov's fairy tales were new to the reader. Ariadna Bazhova recalled: “ On January 28, 1939, on the day of his father's sixtieth birthday, his friends - journalists, writers and publishers - presented him with a precious gift - the first copy of the first edition of The Malachite Box, still smelling of printing ink. Then there were many of them, beautiful and ugly, rich and modest, colored and black and white, in many languages ​​of the world. But this first book with grandfather Slyshko on the cover forever remained the dearest for my father.».

It was printed and republished, books were in great demand, they were even stolen. Moreover, we are talking not only about individual copies that were “read out” in libraries and even in ... the Moscow branch of the Union of Soviet Writers, but also about copyright infringement. Among the numerous productions of Bazhov's works, one of the first was the very successful theatrical adaptation of The Malachite Box, which Bazhov carried out together with the playwright Serafim Korolkov. The performance was a resounding success, and the co-author ... fully appropriated the work. This attempt at plagiarism was surprisingly daring and stupid: after a scandal broke out (Bazhov did not defend his own literary rights himself, his colleagues stood up for him) Korolkov was deprived of the title of candidate for the Writers' Union.

Ural tales appealed to readers of all ages. " Perhaps because he did not draw a sharp line between children and adults, the reader "adult" and "children", his tales, mainly addressed to adults, quickly won the children's audience.».

The Mistress of the Copper Mountain (the girl Azovka, Gornaya Matka) is a chthonic miner's "deity", the spirit of the place, testing and seducing, rewarding a person and changing him forever. Vladimir Sutyrin in his book "Pavel Bazhov" wrote about the origins of this image in the tales of miners: " Faith in inexplicable help never left a person. Another thing is that one was waiting for salvation from heaven, and the other from under the earth, where, in his opinion, only unearthly creatures could live».

And here is what Pavel Petrovich himself said in an interview with graduate student M.A. Batin about the gender of the main "deity" of the Copper Mountain:

«… I consider the image of a woman in mine stories to be normal. In the old way, mining work in the mines was carried out exclusively by the male element. Among young workers, it is natural that a longing for a woman and a certain exaggerated attention to this side were created. This, it seems to me, is not an isolated fact. (…)

And this is natural, the harder it is for a person, the more he tries to imagine in his dreams - there sits inside an affectionate, friendly person, he tries to make his work easier in dreams».

Another interesting idea about why it was a woman who headed the pantheon of surreal images of Gorshchitsky tales was expressed by the famous Ural poet Anatoly Azovsky, who lived in the city of Polevskoy:

« In ancient Greece there was such a goddess - Aphrodite. She was the patroness of blacksmiths and lived in Cyprus. Hence her middle name is Cyprida. And copper in Latin cuprum - from this name. Therefore, the brand that was put in the 18th century on copper ingots smelted at the Polevsk plant was an image of this goddess. And then it was “privatized” by local miners and placed in their pantheon of professional deities…”

These romantic, full of secrets and understatement, surprisingly lively stories about love and skill, desires and adventures, passions and nobility came in handy for the Soviet reader: deep down, people are tired of ideological texts about fiery revolutionaries and Soviet reality, regardless of the quality of these works.

Pavel Petrovich always tried to share his huge success with his wife. So, when he was honored on the occasion of his seventieth birthday, Bazhov said: « We always look back with annoyance at the stone we stumbled over on the way, but we almost never remember with gratitude those people who trodden a wide and convenient path for us through the forest or through the swamp. For me, this path in life was paved by my wife, Valentina Aleksandrovna, who took upon herself all the worldly worries and hardships that make life so difficult. Thanks to her, I went through life along a trodden path and could work calmly.…»

At the time of the great popularity of his fairy tales, Pavel Petrovich Bazhov wrote and published under a pseudonym the absolutely realistic autobiographical story The Green Filly, which was well received by readers. Perhaps for the writer this was a kind of test of himself: he proved that he could be successful not only thanks to the already established name and not only as a storyteller. One can only regret that a number of interesting ideas - another children's story, the story of the first Demidovs, a novel about Ataman Zolotoy - Pavel Petrovich did not have time to realize: there simply was not enough time. The professional writer Bazhov did not retire to some "malachite tower": he considered helping people his most important business.

Ariadna Bazhova, who observed the pilgrimage to the writer Bazhov, the constant visits of the needy to the deputy Bazhov, wrote: “ He never raised his voice, he never interrupted anyone, he never flattered anyone, he always remained himself- quiet, modest, calm, able to listen and respect the opinion of another. Probably, this happened because the stock of his knowledge was great, he always had something to say to his interlocutor and it was interesting to learn something from him. He did not ask questions "out of courtesy" in order to immediately dismiss the answer from his mind. He only asked if he was really interested, and he always spoke about his own and in his own way.».

As a deputy of the Supreme Soviet of the USSR, Bazhov helped a huge number of people. He took every human fate to heart, this was evident, for example, when working on letters that went to the deputy in an endless stream.

Ariadna Bazhova, then a graduate student at the Ural University, helped her father as a secretary (the elderly writer could not see well): “It was necessary to read two or three dozen letters aloud to my father, and then, according to his instructions, prepare draft answers. After listening, the father said:

- Not bad. But it would be warmer, and better! Let's add this... - And he dictated something completely different, his letter, nothing like the previous one, although the requests and words of those who wrote were exactly the same. Once, my father instructed me to send prepared and retyped mail. I took the letters, put them in my briefcase, ran to the faculty and among my affairs forgot to send them. Late in the evening, my father asked:

- Did you send it?

- Oh, no, I forgot!

The father silently got up from the table and went to his room. Mom and I whispered. They decided that it was better not to worry him now, and quietly dispersed. I didn't sleep for a long time. I felt guilty. I listened to see if the machine was rattling behind the wall, but it was quiet there, which means that it doesn’t work, it can’t ...

Early in the morning I ran to the post office and, returning, said:

- I'm sorry about yesterday, the letters have been sent.

He stroked my head.

- You can't be mean. In each letter to the deputy, there is hope, pain, trouble, and you ... "Oh, I forgot!" Can not be so!"

Bazhov's work continued during the Great Patriotic War: he became the editor-in-chief and director of Sverdlgiz, published literary almanacs necessary for the country, which raised the morale of people. A huge number of brochures had to be produced explaining how to put out firebombs, build shelters, and so on. The Internet - a source of knowledge - did not exist then, and it was necessary to instill life-saving skills in as many people as possible.

In addition, Bazhov helped resettle and organize the life of evacuated Moscow writers, actors and scientists. All these people, who ended up in a strange city in the extreme conditions of the war, should have been taken care of.

When, in 1942, poor eyesight no longer allowed him to continue his editorial work, Pavel Petrovich Bazhov began to give lectures that raised morale and strengthened the spiritual strength of the audience. After the Great Victory, Bazhov continued his literary work, raised his grandson, communicated with relatives and distant ones.

Pavel Petrovich Bazhov died in 1950. Valentina Alexandrovna donated their former home to the city and helped organize the writer's museum.

Pavel Petrovich Bazhov, with his efforts, with all his actions, seemed to be trying to turn the reality into a fairy tale. And in many ways he succeeded.

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Pavel Petrovich Bazhov is a famous folklore writer, author of the collection of short stories "Malachite Box".

Born on January 15, 1879 in a small town near Yekaterinburg. His father, Peter Bazhev, was a hereditary mining foreman. He spent his childhood in Polevskoy (Sverdlovsk region). He studied at the local school at "5", the young man was educated at the theological school, later - at the seminary. Since 1899, young Bazhov has been going to school to teach Russian.

Active creativity began during the war years, after working as a journalist in the military publications Trench Pravda, Krasny Put and Krestyanskaya Gazeta. There is almost no information left about the work in the editorial office; Bazhov is better known as a folklorist. It was letters to the editor and a passion for the history of his native city that initially interested Bazhov in collecting oral stories from peasants and workers.

In 1924, he published the first edition of the collection - "The Urals were." A little later, in 1936, the tale “The Girl of Azovka” saw the light, which was also written on a folklore basis. The tale literary form was completely observed by him: the speech of the narrator and the oral retellings of the miners are intertwined and form a secret - a story that only the reader knows and no one else in the world. The plot did not always have historical authenticity: Bazhov often changed those events of history that were "not in favor of Russia, therefore, not in the interests of ordinary hard-working people."

His main book is considered to be "The Malachite Box", published in 1939 and brought world recognition to the writer. This book is a collection of short stories about northern Russian folklore and everyday life; It describes the local nature and color in the best possible way. Each story is filled with national mythical personages: Grandma Sinyushka, Veliky Poloz, Mistress of the Copper Mountain and others. The stone malachite was not chosen by chance for the name - Bazhov believed that "all the joy of the earth is collected" in it.

The writer sought to create a unique literary style with the help of authorial, original forms of expression. Fairy-tale and realistic characters are aesthetically mixed in the stories. The main characters are always simple hardworking people, masters of their profession, who are faced with the mythical side of life.

Bright characters, interesting plot connections and a mystical atmosphere made a splash on the readers. As a result, in 1943 the writer was honorably awarded the Stalin Prize, and in 1944 - the Order of Lenin.
According to the plots of his stories, performances, productions, films, and operas are staged even today.
End of life and perpetuation of memory

The folklorist died at the age of 71, his grave is located in the very center of the Ivanovo cemetery, on a hill.

Since 1967, a museum has been operating in his estate, where everyone can plunge into the life of that time.
In Sverdlovsk and Polevskoy, his monuments are installed, and in Moscow - a mechanical fountain "Stone Flower".

Later, the village and the streets of many cities were named after him.

Since 1999, in Yekaterinburg, a prize has been introduced to them. P. P. Bazhov.

Pavel Bazhov's biography is the most important

Pavel Petrovich Bazhov was born in 1879 near the city of Yekaterinburg. Pavel's father was a worker. As a child, Pavel often moved his family from place to place because of his father's business trips. Their family was in many cities, including Sysert and Polevskoy.

The boy entered school at the age of seven, he was the best student in his class, after school he went to college, and then to the seminary. Pavel entered the position of teacher of the Russian language in 1899. In the summer he traveled through the Ural Mountains. The writer's wife was his student, they met when she was in high school. They had four children.

Pavel Petrovich participated in Russian public life. He was in the underground. Pavel worked on a plan of resistance during the fall of Soviet power. He was also a participant in the October Revolution. Pavel Petrovich defended the idea of ​​equality between people. During the Civil War, Pavel worked as a journalist and was fond of the history of the Urals. Pavel Petrovich was even taken prisoner and fell ill there. Several of Bazhov's books were devoted to the revolution and war.

The first book was published by Bazhov in 1924. The main work of the author is considered to be The Malachite Box, which was published in 1939. This book is a collection of fairy tales for children about Ural life. She became famous all over the world. Pavel Petrovich received a prize and was awarded an order. Bazhov's works formed the basis of cartoons, operas, performances.

In addition to writing books, Bazhov loved to take pictures. He especially liked to take photographs of the inhabitants of the Urals in national costumes.

Bazhov celebrated his seventieth birthday at the Philharmonic in Yekaterinburg. Many relatives and strangers came to congratulate him. Pavel Petrovich was touched and happy.

The writer died in 1950. Based on Bazhov's biography, we can say that the writer was a persistent, purposeful and hardworking person.

Option 3

Who among us has not read the legends about the untold riches hidden in the Ural mountains, about Russian craftsmen and their skill. And all these wonderful creations were processed and published in separate books by Pavel Petrovich Bazhov.

The writer was born in 1879 in the family of a mining foreman in the Urals. In early childhood, the boy was interested in the people of his native land, as well as local folklore. After studying at the school at the plant, Pavel enters the theological school in Yekaterinburg, and then continues his studies at the theological seminary.

Bazhov in 1889 began to work as a teacher, teaching children the Russian language and literature. In his free time, he traveled to nearby villages and factories, asking old-timers for unusual stories and legends. He carefully wrote down all the information in notebooks, of which he had accumulated a great many by 1917. It was then that he, having stopped teaching, went to defend his homeland from the White Guard invaders. When the civil war ended, Bazhov went to work in the editorial office of the Peasant Bulletin of the city of Sverdlovsk, where he published essays on the life of the Ural workers and the difficult times of the civil war with great success.

In 1924, he Pavel Petrovich published the first book of his own composition, The Urals Were, and in 1939, readers get acquainted with another collection of fairy tales, The Malachite Box. It was for this work that the writer was awarded the Stalin Prize. Following this book, "The Mistress of the Copper Mountain", "The Great Snake" and many other tales were published in which extraordinary events took place. Reading these creations, you notice that all actions take place in the same family and in a certain place and time. It turns out that such family stories existed earlier in the Urals. Here the heroes were the most ordinary people who managed to see its good essence in a lifeless stone.

In 1946, based on his stories, the film "Stone Flower" was released. During the Great Patriotic War, the writer took care not only of his colleagues, but also of the evacuated creative people. Pavel Aleksandrovich died in 1950 in Moscow.

Biography by dates and interesting facts. The most important.

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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 as The Green Filly and Far and 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. Tales that have absorbed plot motifs, colorful language and folk wisdom deservedly enjoy the love of readers. Based on the tales, the film "The Stone Flower" (1946), S.S. Prokofiev's ballet "The Tale of the Stone Flower" (staged in 1954) and the opera of the same name by V.V. Molchanov were created. 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, he "went to work in public organizations", maintained contacts with the workers of the railway depot, who stood on the Bolshevik positions. In 1918 he volunteered for the Red Army and 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 on the old factory life, on 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, the collection of fairy tales The Malachite Box, was published, for which the writer received the 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 characteristics 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. The 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 the 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 of the folk language, 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 (staged in 1954), K. V. Molchanov "The Tale of the Stone Flower" (post. 1950), symphonic poem by A. A. Muravlev "Azov-mountain" (1949), etc.

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 the 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 he never engaged in agriculture, and could not do it, since there were no arable land plots in the Sysert factory district 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, in addition to housekeeping, was engaged in needlework "for 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 Permian newspapers, proofreading, processing of statistical materials, and "summer practice" sometimes happened in the most unexpected industries, such as 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.

From the beginning of the February Revolution, he went into the work of public organizations. For some time he was undecided in the party, but still 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. Recent works, based on oral working 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 of the Supreme Soviet of the USSR from the 271st Krasnoufimsky constituency, from February 1947 - a deputy of the Sverdlovsk City Council from the 36th constituency.

... The path of collecting and creative use of folklore is not particularly easy. 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 the 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 my seminary years, and then continued during my school years. 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 his youthful years he 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 overflowing into a 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 early November, and even had to "celebrate the death 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 obscured in my mind Chekhov's 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. No intonation can change anything here, since the basis is deeply national ... Chekhov of recent years will never overshadow 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 the path of life, 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. To a high degree, it does not 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! O! 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. By choosing dark colors, they tried to draw attention to the need for reorganization and enhancement of cultural events. 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.

The old miners and ore prospectors of our region have always cherished a good looker - 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 along 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, with a refreshed eye, look at my native land, at its people and at my work, and the years of war taught me, just according to the proverb: “After a big misfortune, like after a bitter tear, the eye clears up, you will see something behind you that you didn’t notice before, and you will see the road 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. With such a look, try to prove that "Dear Name" is the October Revolution, that "Vasina Gora" is a reflection of the mood with which the Soviet people adopted the five-year plan, that "Mountain Gift" is a Victory Day, etc. Behind the old frame people do not see content that is not quite old, which, however, cannot be given in the form of a photograph, so that a person can say for sure - this is 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 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). From a young age, he 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 "Across the Boundary", the autobiographical story "The Green Filly" (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 "The Malachite Box" (1939) - was published 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 so deeply, 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 a magnificent literary work. This question had both theoretical and practical significance. 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 about “secret power”, containing fantastic plots and images (“Mistress of the Copper Mountain”, “Malachite Box”, “Cat Ears”, “Sinyushkin Well”, etc.), tales about seekers, "satirical", carrying accusatory tendencies ("Prikazchikov's soles", "Sochnev's pebbles"), etc. Not all works that make up the "Malachite Box" are equal. So, history itself revealed the apologetic nature of the tales of modernity, "Lenin's" tales, and finally, there were simply creative failures ("Golden Blossom 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.

Read further:

Russian writers and poets (biographical guide).

Compositions:

Works. T. 1-3. M., 1952.

Collected works: in 3 volumes. M., 1986;

Publicism. Letters. Diaries. Sverdlovsk, 1955;

Malachite Box. M., 1999.

Literature:

Skorino L. Pavel Petrovich Bazhov. M., 1947;

Gelhardt R. The style of Bazhov's tales. Perm, 1958;

Pertsov B. About Bazhov and folklore // Writer and new reality. M.; 1958;

Batin M. Pavel Bazhov. M., 1976;

Sverdlovsk, 1983;

Usachev V. Pavel Bazhov is a journalist. Alma-Ata, 1977;

Bazhova-Gaidar A.P. Daughter's eyes. M., 1978;

Master, sage, storyteller: memories of Bazhov. M., 1978;

Permyak E. Dolgovskiy master. About the life and work of Pavel Bazhov. M., 1978;

Ryabinin D. Book of memories. M., 1985. S.307-430;

Zherdev D.V. Poetics of the Swazes by P. Bazhov. Yekaterinburg, 1997;

Khorinskaya E.E. Our Bazhov: a story. Yekaterinburg, 1989;

Slobozhaninova L.M. "Malachite Box" by P.P.Bazhov in the literature of 30-40s. Yekaterinburg, 1998;

Slobozhaninova L.M. Tales - old testaments: Essay on the life and work of Pavel Petrovich Bazhov (1879-1950). Yekaterinburg, 2000;

Akimova T.M. On the folklorism of Russian writers. Yekaterinburg, 2001, pp. 170-177;

Unknown Bazhov. Little-known materials about the life of the writer / comp. N.V. Kuznetsova. Yekaterinburg, 2003.