Writer Pavel Bazhov. Pavel Petrovich Bazhov: biography, Ural tales and fairy tales
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 "went to work public organizations", maintained contacts with the workers of the railway depot, who stood in the Bolshevik positions. In 1918 he volunteered for the Red Army, took part in military operations on the Ural front. In 1923-29 he lived in Sverdlovsk and worked in the editorial office of the Peasant Newspaper, from 1924 speaking on its pages with essays about the old factory life, about the civil war.At this time, he wrote over forty tales on the themes of the Ural factory folklore.
In 1939, Bazhov's most famous work, 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.
In the years Patriotic War Bazhov takes upon himself the care not only of the Sverdlovsk writers, but also of 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. Writer's way Bazhov began relatively late: the first book of essays, "The Urals were," was published in 1924. In 1939, Bazhov's most significant work was published - a collection of tales "The Malachite Box" (Stalin Prize, 1943) and an autobiographical story about childhood "The Green Filly". In the future, Bazhov replenished the "Malachite Box" with new tales: "The Key-Stone" (1942), "Tales about the Germans" (1943), "Tales about the gunsmiths" and others. The works of the mature Bazhov can be defined as "tales" not only because their formal genre features and the presence of a fictional narrator with an individual speech characteristic, but also because they go back to the Ural "secret tales" - the oral legends of miners and prospectors, characterized by a combination of real everyday and fabulous 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 puts in the tales general issues- about true morality, about the spiritual beauty and dignity of a working person. Fantastic characters of fairy tales personify the elemental forces of nature, which entrusts its secrets only to the brave, hardworking and pure soul. Bazhov managed to give fantastic characters (the Mistress of the Mednaya Mountain, Veliky Poloz, Ognevushka 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. Treating expressive possibilities with care and at the same time creatively on mother tongue, Bazhov avoided the abuse of local sayings, the pseudo-folk "playing on phonetic illiteracy" (Bazhov's expression). Based on the tales of Bazhov, the film "The Stone Flower" (1946), S. S. Prokofiev's ballet "The Tale of stone flower"(post. 1954), K. V. Molchanov's opera "The Tale of the Stone Flower" (post. 1950), symphonic poem by A. A. Muravlev "Azov-mountain" (1949), etc.
Site materials used Big Encyclopedia Russian people - http://www.rusinst.ru
Bazhov Pavel Petrovich
Autobiography
G.K. Zhukov and P.P. Bazhov were elected to the Supreme Soviet of the USSR
from Sverdlovsk region. March 12, 1950
Born on January 28, 1879 in the Sysert plant of the former Yekaterinburg district of the Perm province.
According to his estate, his father was considered a peasant of the Polevskaya volost of the Yekaterinburg district, but never agriculture did not work, and could not do it, since in the Sysert factory district there were no arable land plots at that time. My father worked in puddling and welding workshops in Sysert, Seversky, Verkh-Sysertsky and Polevsk plants. By the end of his life, he was an employee - a "junky supply" (this roughly corresponds to a shop supply manager or toolmaker).
Mother, 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.
At first February Revolution went to work in 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. Last works, based on oral work creativity, were highly appreciated. Based on these works, he was accepted in 1939 as a member of the Union of Soviet Writers, in 1943 he was awarded the Stalin Prize of the second degree, in 1944 he was awarded the Order of Lenin for the same works.
The heightened interest of the Soviet reader in my literary work of this kind, as well as my position as an old man who personally observed the life of the past, encourage me to continue the design of the Ural tales and reflect the life of the Ural factories in the pre-revolutionary years.
In addition to the lack of systematic political education, weakness of vision greatly interferes with work. With the beginning of the decomposition of the macula, I no longer have the opportunity to freely use the manuscript (I almost do not see what I am writing) and with great difficulty I make out printed matter. This slows down other types of my work, especially editing the Ural Contemporary. I have to perceive a lot “by ear”, and this is unusual and requires much more time, but I continue to work, albeit at a slower pace.
In February 1946, he was elected a deputy 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 the years of the seminary, then continued already in the years school work. I cannot say that I did much in this matter, but the main Marxist books available at that time were known to me...
In particular, I began to get acquainted with the works of Vladimir Ilyich from the book, which was published under the name of Ilyin, "The Development of Capitalism in Russia." This was my first acquaintance with Lenin, and I became a Bolshevik almost during the civil war.
My decision about my party membership was made, perhaps without sufficient theoretical justification, but in the practice of life it became clear to me that this was the party that came closest of all, I went with it and since 1918 I have been a member of its ranks.
When and what I first read by Leskov, I don’t remember exactly. At the same time, it must be recalled that in 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 overshadowed Chekhov in my mind initial period when critics and literary critics were inclined to call him only a "funny writer". Moreover, many works of this period give me more than the works of the subsequent period. "Intruder", for example, seems more truthful to me than "Men", which I do not believe in many ways. Or take at least "Witch". After all, this is a terrible tragedy of a young beautiful woman who is forced to live in a graveyard with a hateful red deacon. How much on this topic we have written in verse and prose, and everywhere it is a tragedy or a melodrama. And here you even laugh. You laugh at the red-haired sacristan who is trying to cover the face of the sleeping postman so that his wife does not look at him. You laugh even when this red deacon gets an elbow in the bridge of his nose. However, laughter in no way obscures the main idea. You believe everything here and remember forever, while tragedies are forgotten, and melodramas, by a simple change of intonation, turn into their opposite. 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 across the boundless expanse 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! ABOUT! This is the same thing that can only be dreamed of in youth. I have already written an enthusiastic page about this in the Origins of Local Lore, but how can I express it. What kind of cracker and blockhead do you have to be, so as not to experience the effects of this pristine beauty. Yes, put a man of Chekhov's talent on this business for seven whole years, what would he do! Without long trips, which Chekhov, according to N. D. Teleshov, usually recommended to writers, and he himself did not shy away (what could be further from Sakhalin?).
No less critical should be literary sources of the past. 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, and 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
Bazhov Pavel Petrovich (pseudonyms: Koldunkov - his real name led from "bazhit", dialectal - to conjure; Khmelinin, Osintsev, Starozavodsky, Chiponev, i.e. "reluctant reader")
Prose writer, storyteller.
Born in the family of a mining foreman, a hereditary Ural worker. He graduated from the Yekaterinburg Theological School (1893), then the Perm Theological Seminary (1899), taught (in the village of Shaydurikha, Perm Province, Yekaterinburg, Kamyshlov, in 1917 in the Siberian village of Bergul). WITH young years wrote down Ural folklore: “he was a collector of pearls of his native language, a pioneer of precious layers of working folklore - not textbook-smoothed, but created by life” (Tatyanicheva L. A word about a master // Pravda. 1979. Feb. 1). He took an active part in the revolution and the Civil War. In his youth, he was a participant in the Motovilikha Zakama May Day meetings and an organizer of an underground library, in 1917 he was a member of the Council of Workers', Peasants' and Soldiers' Deputies, in 1918 he was secretary of the party cell of the headquarters of the 29th Ural Division. Bazhov not only participated in military operations, but also carried out active journalistic work (editor of the divisional newspaper Okopnaya Pravda, etc.). During the battles for Perm, he is captured and flees from prison to the taiga. Under the name of an insurance agent, he takes an active part in underground revolutionary work. After the end of the Civil War, B. actively collaborated in the Ural newspapers Soviet Power, Krestyanskaya Gazeta, the magazine Growth, Shturm, and others.
Bazhov's writing career began relatively late.
In 1924, he published a book of essays "The Urals were", and then 5 more documentary books, mainly on the history of the revolution and the Civil War ("Fighters of the first draft", "To the calculation", "Formation on the move", "Five stages of collectivization", documentary story "For the Soviet Truth"). Peru Bazhov also owns the unfinished story "Across the Boundary", autobiographical story"The Green Filly" (1939), a book of memoirs "Far - Close" (1949), a number of articles on literature ("D.N. Mamin-Sibiryak as a writer for children", "Muddy water and true heroes", etc.), little-studied satirical pamphlets ("Radioray" and others). 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 was both theoretical and practical value. There was, for example, a long tradition of literary processing, "free rehashing" of works of oral folk poetry. Is it possible to “retell” the “Malachite Box” in verse, as Demyan Bedny tried to do? .. Bazhov himself had an ambiguous attitude to the problem. He either allowed notes to be made to editions of the book that tales are folklore, then he joked that “scientists” should understand this issue. Later it turns out that Bazhov sought to use folklore "akin to Pushkin's", whose fairy tales are "a wonderful fusion, where folk art is inseparable from the personal work of the poet" (Useful reminder // Literary newspaper. 1949. May 11). There were both objective and subjective reasons for the current situation. In Soviet folklore, for some time, criteria were lost that made it possible to clearly distinguish works of folklore from literature. There were stylizations for folklore, there were storytellers whose names became quite well known, and they created “novinas” instead of epics. In addition, in the mid-1930s, Bazhov himself, like many of his contemporaries, was accused of glorifying and protecting the enemies of the people, expelled from the party and deprived of his job. In such an environment, the recognition of authorship could become dangerous for the work. Unlike many of his other contemporaries, Bazhov was lucky - the charges were soon dropped, he was reinstated in the party. And the researchers of Bazhov’s work (L. Skorino, M. Batin and others) convincingly proved that the “Malachite Box”, written on the basis of Ural folklore, is, nevertheless, an independent lit. work. This was evidenced by the concept of the book, expressing a certain worldview and a set of ideas of its time, as well as the writer's archive - manuscripts demonstrating professional work Bazhov over 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.
Pavel Petrovich Bazhov was born on January 15 in the Perm province of the Yekaterinburg district. Bazhov - folklorist, Russian writer. It was he who first performed the literary processing of the Ural tales. Bazhov earned the title of laureate of the Stalin Prize. He has been a member of the Bolshevik Communist Party since 1918.
Biography
P. P. Bazhov was born on January 15, 1879 in a family of workers. The writer's childhood passed in Polevskoy. He was one of the best students of the factory school. After school, he entered the Yekaterinburg Theological School, where he spent 4 years until the age of 14 and then in 1899 he graduated from the Theological Seminary in Perm. At first, Bazhov worked as a teacher in Kamyshlov and Yekaterinburg. He fell in love with one of his students and they soon got married. Four children were born in the Bazhov family.
During the civil war, Bazhov moved to the side of the Reds, for some time he was a member of the Red Eagles detachment, which executed many priests and believing residents (mass repressions occurred in the Urals in 1918). Then Bazhov worked in the Cheka and CHONs. In 1919, he arrived in Ust-Kamenogorsk to eliminate the consequences of the uprising of prisoners against the Bolshevik authorities. Bazhov carried out communication between partisan formations of the People's Insurgent Army in Altai, he was given a task from red Moscow. Bazhov disarmed partisans who helped the Bolsheviks seize power, was one of the organizers of the suppression of the uprising, participated in the massacres of unarmed opponents of the Bolsheviks and in the elimination Cossack villages. At that time, Bazhov acted under the pseudonym Baheev. After the liberation of the city of Ust-Kamenogorsk from the uprisings of the White Guards, Bazhov found himself in the center political events. He became at the same time a page manager, publisher, organizer and editor of the newspaper. He was also instructed, along with the main work, to supervise the work of the department of public education. Bazhov was one of the initiators and founders of schools for the elimination of illiteracy, participates in the restoration work of the Ridder mine. Bazhov in July 1920 trains and organizes 87 teachers in Kazakh volosts. On August 10, 1920, Bazhov organized the First Uyezd Congress of Soviets.
P.P. Bazhov in May 1921, due to a serious illness, returned to the Urals, to his homeland. In Kamyshlov, Bazhov continues his activities as a writer and journalist, collects the folklore of the Urals and writes several books on history. In 1924, his first book of essays “The Urals were” was published, and in 1936 the first story from the cycle of Ural tales “The Malachite Box” - “The Girl of Azovka” was published, the collection of tales itself was published in full edition in 1939. During the life of Yuazhov, these tales were constantly replenished with new tales.
- "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 learn. 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. Always worked hard, as they would say in Soviet times, 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 good fairy tale hero, which is characterized by 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 stayed with Augusta Stefanovna for the evening (during the day she had to do housework), because of this, her eyesight subsequently deteriorated greatly.
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 several stories high and a stormy 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 artisanal 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 liberation 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. On literary evenings in 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! All! 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 strong feeling to a woman, no 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, talented, strong in spirit 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 interesting biography 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 youngest daughter Ariadne, fortunately, survived. But years later, the Bazhovs had to go through almost the most terrible grief- the death of a child: as a very young man, Alexei died during an accident at a 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: by capturing the territory, any new government during the Civil War, the first thing she did was exterminate the adherents of the opposing 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 allow his loved ones to exist in inhuman conditions in one room (exactly such conditions in the former own house Bazhov was granted Soviet power) Pavel Petrovich could not.
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 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. villagers sometimes there was nothing to count 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 were 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 posture “I earn, the rest is on you” or “there is men's work, but there is a female. 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 filled mental life Bazhov.
“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 from his immediate environment 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 "for own 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».
One more interesting thought About why it was a woman who headed the pantheon of surreal images of Gorshchitsky tales, the famous Ural poet Anatoly Azovsky, who lived in the city of Polevskoy, expressed:
« 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 lecture, raising morale, strengthening mental strength listeners. After 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.
Introduction
Bazhov Pavel Petrovich - the famous Russian Soviet writer, the famous Ural storyteller, prose writer, a talented processor of folk tales, legends, Ural tales.
Stages of the life path of P.P. Bazhov are inextricably linked with verbal activity: teaching, journalism, writing. But the writer's talent was most clearly expressed in a cycle of tales, which can otherwise be called a hymn to the Ural masters. 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 his 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.
Life and work of Pavel Petrovich Bazhov.
Pavel Petrovich Bazhov was born on January 27, 1879 in the Urals near Yekaterinburg in the family of the hereditary mining foreman of the Sysertsky plant, Peter Vasilyevich and Augusta Stefanovna Bazhev (this is how this surname was written then). The surname Bazhov comes from the local word "bazhit" - that is, to tell fortunes, to foretell. Bazhov also had a boyish street nickname - Koldunkov. And later, when Bazhov began to print his works, he signed one of his pseudonyms - Koldunkov. Pyotr Vasilyevich Bazhov was a foreman of the puddling and welding workshop of the Sysert Metallurgical Plant near Yekaterinburg. The writer's mother, Augusta Stefanovna, was a skilled lacemaker. This was a great help for the family, especially during the forced unemployment of her husband.
The future writer lived and was formed among the Ural miners. Childhood impressions turned out to be the most important and vivid for Bazhov. He liked to listen to other old experienced people, connoisseurs of the past. The Sysert old men Aleksey Efimovich Klyukva and Ivan Petrovich Korob were good storytellers. But the best of all whom Bazhov happened to know was the old field miner Vasily Alekseevich Khmelinin. He worked as a caretaker of wood warehouses at the plant, and children gathered at his gatehouse on Dumnaya Gora to listen to interesting stories.
The childhood and adolescence of Pavel Petrovich Bazhov were spent in the town of Sysert and at the Polevsk plant, which was part of the Sysert mining district. The family often moved from factory to factory, which allowed the future writer to get to know the life of the vast mountain district well and was reflected in his work. Thanks to chance and his abilities, he got the opportunity to learn. Bazhov studied at the men's zemstvo three-year school, in which there was a talented teacher of literature, who managed to captivate the children with literature. So, a 9-year-old boy once read by heart the entire school collection of poems by N.A. Nekrasov, learned by him on his own initiative. Everyone advised him to teach his son further, but the poverty of a working-class family did not allow him to dream of a gymnasium or a real school. A working-class family could not even teach an only child there. We settled on the Yekaterinburg Theological School: it has the lowest tuition fees, no need to buy a uniform, and there are also student apartments rented by the school - these circumstances turned out to be decisive. Having excellently passed the entrance exams, Bazhov was enrolled in the Yekaterinburg Theological School. The assistance of a family friend was needed because the theological school was, after all, not only, so to speak, professional, but also class-based: it trained mainly ministers of the church, and mainly the children of the clergy studied in it.
After graduating from college at the age of 14, Pavel entered the Perm Theological Seminary, where he studied for 6 years. It was the time of his acquaintance with classical and modern literature. In 1899, Bazhov graduated from the Perm Seminary - third in terms of points. It's time to choose a path in life. The offer to enter the Kyiv Theological Academy and study there on a full pay basis was rejected. He dreamed of a university. However, the way there was closed. First of all, because the spiritual department did not want to lose its "cadres": the choice of higher educational institutions for graduates of the seminary was severely limited by the Dorpat, Warsaw, Tomsk universities. Bazhov decided to teach in primary school in an area inhabited by the Old Believers. He began his career in the remote Ural village of Shaydurikha, near Nevyansk, and then in Yekaterinburg and Kamyshlov. He taught Russian, traveled a lot around the Urals, was interested in folklore, local history, ethnography, and was engaged in journalism.
For fifteen years, every year during school holidays, Bazhov wandered on foot native land, looked everywhere surrounding life, talked with workers, wrote down their well-aimed words, conversations, stories, collected folklore, studied the work of lapidaries, stone cutters, steelworkers, foundry workers, gunsmiths and many other Ural masters, talked with them about the secrets of their craft and kept extensive records. A rich supply of life impressions, samples of folk speech helped him a lot later in his work as a journalist, and then in writing. He replenished his “pantry” all his life. Just at that time, a vacancy opened up at the Yekaterinburg Theological School. And Bazhov returned there - now as a teacher of the Russian language. Bazhov later tried to enter Tomsk University, but was not accepted.
In 1907, P. Bazhov moved to the diocesan (women's) school, where until 1914 he taught classes in the Russian language, and at times in Church Slavonic and algebra. Here he meets his future wife, and at that time just his student, Valentina Ivanitskaya, whom they married in 1911. Marriage was based on love and unity of aspirations. The young family lived a more meaningful life than most of Bazhov's colleagues who spent free time behind the cards. The couple read a lot, visited theaters. Seven children were born in their family. When did the first World War, the Bazhovs already had two daughters. Due to financial difficulties, the couple moved to Kamyshlov, closer to the relatives of Valentina Alexandrovna. Pavel Petrovich transferred to the Kamyshlov Theological School. Participated in the civil war of 1918-1921. in the Urals, Siberia, Altai. In 1923-1929 he lived in Sverdlovsk and worked in the editorial office of the Peasant Newspaper. At this time, he wrote over forty tales on the themes of the Ural factory folklore. In 1937, Bazhov was expelled from the party (a year later he was reinstated). But then, having lost his usual work in the publishing house, he devoted all his time to tales, and they flickered in the "Malachite Box" with genuine Ural gems.
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.
Bazhov's writing path began relatively late: the first book of essays, "The Urals were," was published in 1924. Only in 1939 were his most significant works published - the collection of tales "The Malachite Box", which received the USSR State Prize in 1943, and an autobiographical story about childhood "Green filly". In the future, Bazhov replenishes the "Malachite Box" with new tales: "The Key-Stone" (1942), "Tales about the Germans" (1943), "Tales about gunsmiths" and others. His later works can be defined as "tales" not only because of their formal genre features(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, which are distinguished by a combination of real-life and fairy-tale elements. -household and fantastic items. The tales, which absorbed plot motifs, the colorful language of folk legends and folk wisdom, embodied the philosophical and ethical ideas of our time. He worked on the collection of tales "The Malachite Box" from 1936 to last days own life. It was first published as a separate edition in 1939. Then, from year to year, the "Malachite Box" was replenished with new tales.
The tales of the Malachite Box are a kind of historical prose in which the events and facts of the history of the Middle Urals of the 18th-19th centuries are recreated through the personality of the Ural workers. Fairy tales live as an aesthetic phenomenon thanks to a complete system of realistic, fantastic and semi-fantastic images and the richest moral and humanistic problems (themes of work, creative search, love, fidelity, freedom from the power of gold, etc.). Bazhov sought to develop his own literary style, was looking for original forms of embodiment of his writing talent. He succeeded in this in the mid-1930s, when he began to publish his first stories. In 1939, Bazhov combined them into the book The Malachite Box, which he later supplemented with new works. Malachite gave the name to the book because, according to Bazhov, "the joy of the earth is collected" in this stone.
Directly artistic and literary activity began late, at the age of 57 years. According to him, “there was simply no time for literary work of such kind. The creation of tales became the main business of Bazhov's life. In addition, he edited books and almanacs, including those on Ural local history. Pavel Petrovich Bazhov died on December 3, 1950 in Moscow, and was buried in his homeland in Yekaterinburg.
A brief biography of Bazhov for grade 4 is presented in this article.
Pavel Bazhov short biography
Pavel Petrovich Bazhov- Writer, folklorist, publicist, journalist. Gained fame as the author of the Ural tales.
Born on January 27, 1879 near Yekaterinburg in the Urals in the family of a mining foreman, was only child in family. Childhood years passed among the Ural masters.
He received his initial education at the Yekaterinburg Theological School, in 1899 he graduated with honors from the Perm Theological Seminary.
Labor biography started as a teacher primary school, then worked as a Russian language teacher in Yekaterinburg. For about 15 years he edited a local newspaper, was engaged in journalism, wrote feuilletons, stories, essays, notes in magazines. Collected folklore, was interested in the history of the Urals.
Bazhov's writing activity began at the age of 57 with the creation of a special genre - the Ural tale, which made the author famous. The first tale "Dear Name" appeared in 1936. Bazhov combined his works into a collection of tales from the old Urals - "Malachite Box".
The "Malachite Box" contains many mythological characters, for example: the Mistress of the Copper Mountain, Veliky Poloz, Danila the Master, Grandmother Sinyushka, Fire Jumper and others.
