Brief summary of Bazhov's work. Pavel Bazhov - biography, photos, books, personal life of the writer

Pavel Petrovich Bazhov

Master of Tales

Bazhov Pavel Petrovich (1879/1950) - Russian Soviet writer, laureate of the USSR State Prize in 1943. Bazhov became famous for the collection “ Malachite Box", where presented folklore images and motives taken by the writer from legends and fairy tales of the Trans-Urals. In addition, Bazhov’s pen includes such lesser known autobiographical works, like “Green filly” and “Far - close”.

Guryeva T.N. New literary dictionary/ T.N. Guryev. – Rostov n/d, 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 Sysertsky plant near Yekaterinburg. He graduated from the Perm Theological Seminary and taught in Yekaterinburg and Kamyshlov. Participated in the Civil War. Author of the book “Ural Sketches” (1924), the autobiographical story “The Green Filly” (1939) and the memoirs “Far and 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 Ural oral traditions of prospectors and miners 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), the ballet by S.S. Prokofiev “The Tale of the Stone Flower” (post. 1954) and opera of the same name V.V.Molchanov. Bazhov died on December 3, 1950 and was buried in Sverdlovsk (now Yekaterinburg).

Materials used from the book: Russian-Slavic calendar for 2005. Compiled by: M.Yu. Dostal, V.D. Malyugin, I.V. Churkina. M., 2005.

Prose writer

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

Born on January 15 (27 NS) in the Sysertsky 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 his studies, he took part in speeches by seminarians against reactionary teachers, as a result of which he received a certificate marked “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. During these same years, I became interested in Ural folk tales.

Since the beginning of the revolution, he “went to work in public organizations” and maintained contacts with the workers of the railway depot who stood on 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 about the old factory life and the civil war. At this time, he wrote over forty tales on themes of Ural factory folklore.

In 1939, Bazhov's most famous work was published - the collection of fairy tales "The Malachite Box", for which the writer received State Prize. Subsequently, Bazhov expanded this book with new tales.

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

In 1946 he was elected as a deputy of the Supreme Council: “...now I’m doing something else - I have to write a lot on the statements of my voters.”

In 1950, at the beginning of December, P. Bazhov died in Moscow. He was buried in Sverdlovsk.

Materials used from the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.

Pavel Petrovich Bazhov.
Photo from the site www.bibliogid.ru

Bazhov Pavel Petrovich (01/15/1879-12/3/1950), writer. Born in the Sysertsky 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). During these same years, Bazhov collected folklore at Ural factories. In 1923-29 he worked in Sverdlovsk, in the editorial office of the Peasant Newspaper. Bazhov’s writing career began relatively late: the first book of essays, “The Ural People,” was published in 1924. In 1939, Bazhov’s most significant work was published - the collection of tales “The Malachite Box” (Stalin Prize, 1943) and the autobiographical story about childhood “The Green Filly.” Subsequently, Bazhov replenished the “Malachite Box” with new tales: “The Key Stone” (1942), “Tales of the Germans” (1943), “Tales of Gunsmiths”, etc. The works of the mature Bazhov can be defined as “tales” not only because their formal genre features and the presence fictional narrator with an individual speech characteristic, but also because they go back to the Ural “secret tales” - oral traditions of miners and prospectors, distinguished by a combination of real-life 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 independent artist, who used the knowledge of the Ural miners' life and oral creativity to implement philosophical and ethical ideas. Talking about the art of Ural craftsmen, reflecting the colorfulness and originality of the old mining life, Bazhov at the same time puts in his tales general issues- about true morality, about the spiritual beauty and dignity of the working person. Fantastic characters in fairy tales personify the elemental forces of nature, which trusts its secrets only to the brave, hardworking and pure of soul. Bazhov managed to give the fantastic characters (the Mistress of the Copper Mountain, the Great Snake, the Jumping Ognevushka) extraordinary poetry and endowed them with a subtle, complex psychology. Bazhov's tales are an example of the masterful use of the folk language. Carefully and at the same time creatively treating the expressive possibilities of native language, Bazhov avoided the abuse of local sayings, the pseudo-folk “playing off phonetic illiteracy” (Bazhov’s expression). Based on Bazhov’s tales, the film “The Stone Flower” (1946), the ballet by S. S. Prokofiev “The Tale of the Stone Flower” (post. 1954), and the opera “The Tale of the Stone Flower” (post. 1950) by K. V. Molchanov were created. symphonic poem A. A. Muravleva “Azov-Mountain” (1949), etc.

Site materials used Great 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 the Sverdlovsk region. March 12, 1950

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

By class, my father was considered a peasant in the Polevskaya volost of the Yekaterinburg district, but never agriculture I didn’t work, and I couldn’t do it, since there were no arable land plots at all in the Sysert factory district at that time. My father worked in the puddling and welding shops in Sysert, Seversky, Verkh-Sysertsky and Polevsky plants. By the end of his life, he was an employee - a “junk supply” (this roughly corresponds to a workshop supply manager or tool maker).

In addition to housekeeping, my mother was engaged in handicraft work “for the customer.” She acquired the skills of this work in the “lordly handicraft” that remained from serfdom, where she was accepted in childhood as an orphan.

As the only child in a family with two able-bodied adults, I had the opportunity to get an education. They sent me to a theological school, where tuition fees were significantly lower than in gymnasiums, uniforms were not 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 first category course and received an offer to continue his education at the Theological Academy as a scholarship holder, but he refused this offer and became a primary school teacher in the village of Shaidurikha (present-day Nevyansk district). When they began to impose on me there, as a graduate of a theological school, the teaching of the law of God, I refused to teach in Shaidurikha and became a teacher of the Russian language at the Ekaterinburg Theological School, where I had studied at one time.

I consider this date, September 1899, to be the beginning of my work experience, although in reality I began working for hire earlier. My father died when I was still in the fourth grade at the seminary. For the last three years (my father was ill for almost a year), I had to earn money to support myself and study, and also help my mother, whose eyesight had deteriorated by that time. The work was different. Most often, of course, tutoring, minor reporting in Perm newspapers, proofreading, processing of statistical materials, and “summer internship” sometimes happened in the most unexpected areas, such as autopsy of animals that died from epizootics.

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 Ural factories, where I collected folklore material that had interested me since childhood. I set myself the task of collecting aphorisms associated with a specific geographical point. Subsequently, all the material of this order was lost along with the library that belonged to me, which was plundered by the White Guards when they captured Yekaterinburg.

Even in his seminary years, he took part in the revolutionary movement (distribution of illegal literature, participation in school leaflets, etc.). In 1905, during the general revolutionary upsurge, he became more active, taking part in protests, mainly on school issues. My experiences during the first imperialist war raised before me the question of revolutionary affiliation in its entirety.

Since the beginning of the February revolution, he went into work in public organizations. For some time he did not decide on a party, but still worked in contact with the workers of the railway depot, who stood on Bolshevik positions. From the beginning of open hostilities, he volunteered for the Red Army and took part in combat operations on the Ural Front. In September 1918 he was accepted into the ranks of the CPSU (b).

The main work was editorial. Since 1924, he began to act as the author of essays about the old factory life, about work on the fronts of the Civil War, and also provided materials on the history of the regiments in which I happened to be.

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

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

In addition to the lack of systematic political education, poor vision greatly hinders work. When decomposition begins macular spot I no longer have the opportunity to freely use the manuscript (I almost can’t see what I’m writing) and I have great difficulty understanding the printed material. 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 as a deputy of the Supreme Soviet of the USSR from the 271st Krasnoufimsky electoral district, and from February 1947 - a deputy of the Sverdlovsk City Council from the 36th electoral district.

...The path of collecting and creatively using folklore is not particularly easy. Among young people, especially the inexperienced, reproaches were heard that Bazhov found the old man, and he “told him everything.” There is an institute of factory elders, they know and have heard a lot and evaluate everything in their own way. And often this assessment is contradictory and goes “in the wrong direction.” The stories of the factory elders need to be perceived critically and, based on these stories, presented as it seems to you, but, in any case, you should not forget that this is the basis. Bazhov's skill lies in the fact that he tried, as much as possible, to treat the main creators - the Ural workers - with as much respect as possible. And the difficulty was that the language our grandfathers and great-grandfathers spoke is not so easy for a person who is already accustomed to the literary language. Sometimes you struggle with this difficulty for a long time to find one word, so as not to be overwhelmed by Gorbunov’s excess. Gorbunov had an excellent command of the language. But with a mistake: he laughed. This is not the time for us to laugh at the language of our grandfathers and great-grandfathers. We must take what is most valuable from it and throw out phonetic errors.

And this selection, of course, is quite difficult. It's up to you to guess which word best corresponds to the working understanding.

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

The main thing: when a writer prepares to work on working folklore, one must remember that this is still an untouched area, still too little studied. But we have ample opportunities to collect this folklore. At one time I worked as a teacher, and at first I walked around villages and set myself the task of collecting folklore. I walked around Chusovaya, heard a lot of legends from bandit folklore and superficially wrote them down. And take people like you. Nemirovich-Danchenko, he wrote down a lot of legends that spoke about Ermak and others. We must look in the places where they came from, where many such legends have been preserved. They all represent a great price.

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

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

Political literature was mostly populist, but there was still some Marxist books. I remember during these years I read Engels “The Origin of the Family, private property and the state." I didn’t read Marx during my seminary years and became acquainted with him only later, during my school years.

Thus, I believe that my acquaintance with Marxist literature began in the seminary years, then continued in the years school work. I cannot say that I studied this matter much, but I knew the main Marxist books available at that time...

In particular, I began to get acquainted with the works of Vladimir Ilyich from a book that 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 affiliation 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, I went with it and since 1918 I have been in its ranks.

I don’t remember exactly when and what I first read from Leskov. It must be recalled that in my youth I had a negative attitude towards this writer, without knowing him. He was known to me by hearsay as the author of reactionary novels, which is why, apparently, I was not drawn to Leskov’s works. I read it in full already in adulthood, when the publication of A. f. Marx (I think in 1903). At the same time I read reactionary novels (“On Knives” and “Nowhere”) and was literally struck by the wretchedness of the artistic and verbal fabric of these things. I just couldn’t believe that they belonged to the author of such works as “The Soborians”, “The Immortal Golovan”, “The Enchanted Wanderer”, “The Stupid Artist” and others, sparkling with invention and verbal play, despite their real-life truthfulness. Leskov’s completely new reading of early printed sources seemed interesting: prologues, chety mena, flower beds.

“Distressing sign”, “edge edge”, etc. seem to me to be a lot of verbal overacting, sometimes bringing Leskov closer to Gorbunov, who, for the amusement of the public, deliberately exaggerated speech and phonetic irregularities and looked for rarities personelles to make it funnier.

Frankly speaking (attention! attention!), Melnikov always seemed closer to me. Simple relatable nature, situation and carefully selected language without overlapping word game. I started reading this author back in those years when the meaning of the words “oh, temptation!” was not entirely clear to me. I re-read it later. And if you absolutely have to look for who caused something to stick, then shouldn’t you look through this window? And most importantly, of course, Chekhov. Here I clearly remember what and when I first read it. I even remember the place where it happened.

This happened in 1894. Your respected brethren of the past - literary scholars and critics - by this time had already fully “recognized and appreciated” Chekhov and even, through joint efforts, brought him to “The Men” and other works of this group. But in provincial bookstores (I lived in Perm at that time) there was still only the young Chekhov’s “Tales of Melpomene” and “Motley Stories.”

It was autumn slush at the beginning of November, and we also had to “celebrate the death in the gods of the deceased” Alexandra III. To the grief of the Perm students, the bishop of that time considered himself a composer. On the occasion of his “death,” he set to music some poetic whine of a Perm high school student. The Bursat authorities sighed reproachfully at their students: here, they say, a high school student mourns even in poetry, and how do you show yourself. And wanting to catch up, they leaned heavily into singing this whining bishop’s composition.

It was on such sour days that I first bought Chekhov’s book. I forgot its cost, but it seemed sensitive for my tutoring income at that time (six rubles a month)...

The seminar authorities treated all literature without an “acceptable mark” with savagery. This was the name of the last step of the permit visa (approved, recommended, allowed, allowed, allowed for libraries).

There was no such visa on Chekhov’s book, and one had to read this book when “the watchful eye grows dull.” This worked best between dinner and bedtime, from nine to eleven. These hours were left to the discretion of the students...

These hours were called free, free, and, due to the variety of activities, motley.

And in these motley hours, a fifteen-year-old boy, a second-grade student at the Perm Theological Seminary, opened the padlocked desk in the second middle row... and for the first time began to read “Motley Stories.”

From the very first page I snorted and choked with laughter. Then it became impossible to read alone - a listener was needed, and soon our classroom was filled with the laughter of a dozen teenagers. It was even necessary to place a messenger in the corridor (one at a time, of course) so as not to “run into trouble.”

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 in my mind the Chekhov of the initial period, when critics and literary scholars were inclined to call him only a “funny writer.” Furthermore: Many works of this period give me more than things of the subsequent period. “Intruder,” for example, seems more truthful to me than “Men,” which I don’t believe in many ways. Or take “The Witch” for example. After all, this is a terrible tragedy of a young beautiful woman forced to live in a churchyard with a hateful red-haired sexton. We have written so much on this topic in poetry and prose, and everywhere it is a tragedy or melodrama. And here you even laugh. You laugh at the red-haired sexton 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-haired sexton gets elbowed in the bridge of his nose. However, laughter in no way obscures the main idea. Here you believe everything and remember it forever, while tragedies are forgotten, and melodramas with a simple change of intonation turn into their opposite. Here, no amount of intonation can change anything, since the basis is deeply national... Chekhov of recent years will never overshadow in my mind the young Chekhov, when he easily and freely, sparkling with his young eyes, sailed across the boundless expanse great river. And it was clear to everyone that the river was Russian and the swimmer was Russian. He is not afraid of the whirlpools or whirlpools of his native river. His laughter seemed to our generation to be the key to victory over all difficulties, for the winner is not the one who sadly sings: “Tarara-bumbia, I’m sitting on the pedestal,” and not the one who consoles himself with the future “sky in diamonds,” but only the one who knows how to laugh at the most disgusting and terrible things.

The main thing, after all, is not in genealogy and literature, but in the path of life, in the characteristics of that public 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 pieces of this letter you could be convinced that Bursak life could not pass without a trace. What's eighteen years of teaching like? A joke? Among other things, eighteen spacious summer vacancies. 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 were supposed to be there. But it still didn’t last very long. I wandered much more around the Urals, and not entirely aimlessly. Do you remember talking about the Basques? After all, six full notebooks of these highly 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, isn’t there anything left of this work? Yes, I still remember now:

“People are boring, but we are simple.”

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

Or here’s from the notes about the Chusovsky fighting stones:

“We live honestly, and we feed from the Robber.”

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

I know that you don’t quite like these folklore adventures of mine, but science is science. It requires a strict approach to facts.

Of course, you have no way of knowing the details of these folklore movements, since your subject in those Arcadian times did not yet know the smell of a freshly printed sheet. Another thing is with the civil war period. After all, you looked at three whole books here. Whatever they are, you can also learn something about the author and the environment in which he had to work. IN high degree it doesn't matter who or 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 just one. The main thing you know is that he was a political commissar of those days. Mainly editor of front-line and revolutionary committee press. Both presuppose great communication with the masses and extreme diversity of questions. This was the same for the front-line situation, and for the first months of “installation of power”, and then, when I edited the newspaper “Red Path” in Kamyshlov, already in 1921-1922. It seems to me that the period of work in the “Peasant Newspaper” (later called “Collective Farm Road”) from 1923 to 1930 is especially important. There I had to manage the department of peasant letters. You know about this, but, in my opinion, you really have no idea. The flow of letters then could be measured in tons, and the range - from “the patience of a goat” (she spent the whole winter buried in a haystack) to international problems in the understanding of a village illiterate person. What situations, how much material for the most unexpected turns, and the language! ABOUT! This is the kind of thing that only a young person can dream about. I already wrote an enthusiastic page about this in “Local History Origins,” but how can you really express it? How clumsy and blockheaded one must be to not experience the impact of this pristine beauty. If you had put a man of Chekhov's talent on this task for seven whole years, what would he have done! Without long trips, which Chekhov, according to N.D. Teleshov, usually recommended to writers, and he himself was not averse to (what could be further than Sakhalin?).

We must be no less critical of literary sources of the past. In addition to the already mentioned work of Gleb Uspensky “Morals of Rasteryaeva Street”, we know great amount other works of the same type, where drunkenness, darkness and half-animal life were especially abundant. The old writers had many reasons for this. Selection dark colors they tried to draw attention to the need for restructuring and increasing 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’s high time to talk about the past differently. Dark is dark, but in the past there were germs of what gave birth to the revolution, the heroism of the civil war and the subsequent development of the world's first workers' state. Moreover, these were not rare units. New people did not grow out of general drunkenness and darkness. Working-type settlements stood out especially in this regard. This means that there were more light sprouts there.

The old ore miners and ore prospectors of our region have always valued a good lookout - such a wash or cliff where rock layers are clearly visible. These peepers were most often used to get to rich ore deposits. There was, of course, a fairy tale about a special peeper, unlike the usual ones.

This peeper does not come out, but is hidden in the very middle of the mountain, and which one is unknown. In this mountain gazer, all layers of the earth come together, and each, be it 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 peeper alone or in a team. It will open only when all the people, from old to small, begin to look for their share in these mountains.

The war years 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 did not know about all the riches, and now this has not yet reached its full extent.

He loved and respected the strong, hardy and firm people of his region. The years of war 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 about whether one should engage in a fairy tale at such a time, but they responded from the front and supported it from the rear.

We need an old fairy tale. There were a lot of things in it that are useful now and will be useful later. From these precious grains, people of our day will clearly see the beginning of the path, and this must be reminded. It is not without reason that they say: a young horse can easily walk along a rough road with a cart and does not think about how hard it was for those horses who were the first to pass through these places. It’s the same in human life: what everyone knows now was something that our great-grandfathers got with a lot of sweat and labor, and it also required invention, and in such a way that even now one has to marvel.

So, the years of war taught me to look at my native land, at its people and at my work with a refreshed eye, just according to the proverb: “After a great misfortune, like after a bitter tear, the eye becomes clearer, you will see behind you what you did not notice before, and you’ll see the road ahead further.”

To some extent they got used to my style of writing, but they were no less accustomed to the idea that this one always writes about the past. Many people don’t see what’s modern in it, and I think they won’t see it for a long time. The reason, in my opinion, is in some kind of calendar definition of history and modernity. Put on things written on the most pressing topic of our time, the date of the past - antiquity, history. With this look, try to prove that “Dear Name” is the October Revolution, that “Vasin’s Mountain” is a reflection of the mood with which the Soviet people accepted the five-year plan, that “Gor Podarenie” is the Victory Day, etc. Behind the old frame people don’t see the not-so-old content, which, however, cannot be given in the form of a photograph so that a person can say for sure that it’s me. But I also have tales of direct combat. For example, “Circular Lantern”, written about the VIZ distributor Obertyukhin. I am unfamiliar with the hero of the story. I read only a few newspaper articles about him and transferred his qualities into everyday life that is well known to me. Is it history or modernity? So decide this question.

I have always been a historian, not a real one, of course, and not a very devout folklorist either. The state of my education did not allow me to fully climb the highlands that Marxism revealed to us, but the height to which I still managed to climb makes it possible to take a new look at the past that is familiar to me...

I consider this the quality of a contemporary, and I am included in the group that sifts through old material, where from time to time “missing” phrases and characteristics are inserted. If I were to write “The Painted Phanok” or “Egorshin’s Case”, they would be recognized as memoir literature. If they are lucky, they can even praise: “no worse than “Tema’s Childhood”, “Nikita”, “Ryzhik”, etc., but no one will think why an old Soviet journalist, sensitive to the issues of our time, was drawn to talk about what happened sixty years ago : Is it easy 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 revolution were formed.

The assumption that I am picking something historical in silence, unfortunately, does not seem to be true. Now I’m doing something else, not very much writing. I have to write a lot about the statements of my voters. Of course, in terms of accumulating material about modernity, this gives a lot, but it’s unlikely that I will be able to cope with this new stuff as a writer. The squirrel received a cartload of nuts when its teeth were worn out. But there really is a problem here. One must be surprised how they are not seen.

Collection "Soviet Writers", M., 1959.

Electronic version autobiography reprinted from the site http://litbiograf.ru/

Writer of the 20th century

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 into the family of a mining foreman, a hereditary Ural worker. He graduated from the Ekaterinburg Theological School (1893), then the Perm Theological Seminary (1899), and taught (in the village of Shaidurikha, Perm province, Ekaterinburg, Kamyshlov, in 1917 in the Siberian village of Bergul). From a young age he recorded Ural folklore: “he was a collector of pearls of his native language, a discoverer of precious layers of working folklore - not textbook-smoothed, but created by life” (Tatyanicheva L. A Word about a Master // Pravda. 1979. February 1). He took an active part in the revolution and the Civil War. In his youth, he was a participant in the Motovilikha Trans-Kama May Day protests and the organizer of an underground library, in 1917 - a member of the Council of Workers', Peasants' and Soldiers' Deputies, in 1918 - secretary of the party cell of the headquarters of the 29th Ural Division. Bazhov not only participated in combat 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 escapes from prison to the taiga. Under the name of the insurance agent accepts Active participation in underground revolutionary work. After the end of the Civil War, B. actively collaborated in the Ural newspapers “Soviet Power”, “Peasant Newspaper”, the magazine “Rost”, “Storm”, etc.

Bazhov's writing career began relatively late.

In 1924, he published a book of essays “The Ural Were”, and then 5 more documentary books, mainly on the history of the revolution and the Civil War (“Soldiers of the first conscription”, “To the calculation”, “Formation on the move”, “Five stages of collectivization”, documentary story “For Soviet Truth”). Bazhov also wrote the unfinished story “Across the Boundary”, the autobiographical story “The Green Filly” (1939), the book of memoirs “Far and Close” (1949), and 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 (“Radio Paradise”, etc.). For many years he was the soul of the writing team in the Urals (Ekaterinburg, Chelyabinsk, Perm, Zlatoust, Nizhny Tagil, etc.), constantly working with literary youth.

Bazhov’s main book, which brought him worldwide fame - the collection of tales “The Malachite Box” (1939) - was published when the writer was already 60 years old. Subsequently, Bazhov supplemented the book with new tales, especially actively during the Great Patriotic War: “The Key-Stone” (1942); “Zhivinka in Action” (1943); “Tales of the Germans” (1943; 2nd ed. - 1944), etc. The tales “The Amethyst Affair”, “The Wrong Heron”, “The Living Light” are associated with the life and work of Soviet people in the post-war years.

“The Malachite Box” immediately caused a flurry of enthusiastic responses. Critics almost unanimously noted that never before, neither in poetry nor in prose, has it been possible to so glorify the work of a miner, stone cutter, or foundry worker, to so deeply reveal the creative essence of professional skill. The organic combination of the most bizarre fantasy and the true truth of history, the truth of characters, was especially emphasized. The language of the book aroused general admiration, combining the treasures of not only folklore, but also the living, colloquial speech of the Ural workers, bold original word creation, which has enormous visual power. But it soon became clear that many readers and critics understood the character of this book differently. Two tendencies emerged in the assessment 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 adaptation, “free rehash” of works of oral folk poetry. Is it possible to “retell” “The Malachite Box” in verse, as Demyan Bedny tried to do?.. Bazhov’s own attitude to the problem was ambiguous. He either allowed notes to be made on editions of the book that tales were folklore, or joked that “scientific people” 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 creativity of the poet” (Useful reminder // Literary newspaper. 1949. May 11). There were both objective and subjective reasons for the situation that developed at the time. In Soviet folklore studies, for some time, the criteria that made it possible to clearly distinguish works of folklore from literature were lost. There were stylizations of folklore, there were storytellers whose names became quite well known, and they created “novelies” instead of epics. In addition, in the mid-1930s, Bazhov himself, like many of his contemporaries, was accused of glorifying and defending enemies of the people, expelled from the party and deprived of his job. In such a situation, recognition of authorship could become dangerous for the work. Unlike many of his other contemporaries, Bazhov was lucky - the charges were soon dropped and he was reinstated in the party. And researchers of Bazhov’s creativity (L. Skorino, M. Batin and others) convincingly proved that “The Malachite Box,” written on the basis of Ural folklore, is, nevertheless, an independent literary work. 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 Bazhov’s professional work on the composition of the work, image, word, etc. Often preserving folk stories, Bazhov clothed them, in his words, in new flesh, coloring them with his individuality.

In the 1st edition, “The Malachite Box” contains 14 tales, in the latest edition - about 40. The cycles of tales about masters are distinguished - genuine artists in their work, 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 (“ Copper Mountain The Mistress”, “Malachite Box”, “Cat Ears”, “Sinyushkin Well”, etc.), tales about seekers, “satirical”, carrying accusatory tendencies (“Clerk's soles”, “Suchnevy pebbles”), etc. . Not all works that make up the “Malachite Box” are of equal value. Thus, history itself has revealed the apologetic nature of tales about modernity, “Lenin’s” tales, and finally, there have been simply creative failures (“Golden Flower of the Mountain”). But the best of Bazhov’s tales have kept the secret of their unique poetic charm and impact on modern times for many years.

Based on the Bazhov tales, the film “The Stone Flower” (1946), the opera by K. Molchanov “The Tale of the Stone Flower” (staged in 1950), the ballet by S. Prokofiev “The Tale of the Stone Flower” (staged in 1954), and the symphonic poem by A. Muravyov “Azovgora” (1949) and many other works of music, sculpture, painting, and graphics. Artists representing a wide variety of styles and trends offer their interpretation of Bazhov’s remarkable images: cf. for example, illustrations by A. Yakobson (P. Bazhov. The Malachite Box: Ural Tales. L., 1950) and V. Volovich (Sverdlovsk, 1963).

K.F.Bikbulatova

Materials used from the book: Russian literature of the 20th century. Prose writers, poets, playwrights. Biobibliographical dictionary. Volume 1. p. 147-151.

Read further:

Russian writers and poets (biographical reference book).

Essays:

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

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

Journalism. Letters. Diaries. Sverdlovsk, 1955;

Malachite Box. M., 1999.

Literature:

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

Gelgardt R. 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 journalist. Alma-Ata, 1977;

Bazhova-Gaidar A.P. Through the eyes of a daughter. M., 1978;

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

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

Ryabinin D. Book of Memories. M., 1985. P.307-430;

Zherdev D.V. Poetics of the Svaz by P. Bazhov. Ekaterinburg, 1997;

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

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

Slobozhaninova L.M. Tales are ancient testaments: An essay on the life and work of Pavel Petrovich Bazhov (1879-1950). Ekaterinburg, 2000;

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

Unknown Bazhov. Little-known materials about the writer’s life / comp. N.V. Kuznetsova. Ekaterinburg, 2003.

Pavel Petrovich Bazhov is a famous folklore writer, author of the collection of stories “The Malachite Box”.

Born on January 15, 1879 in a small town near Yekaterinburg. His father - Pyotr Bazhev - was hereditary mining foreman. He spent his childhood years in Polevskoye ( Sverdlovsk region). He studied at a local school with “5” grades, as a young man he was educated at a theological school, and later at a seminary. Since 1899, young Bazhov went to work at school - to teach Russian.

Active creativity began during the war years, after working as a journalist in the military publications “Okopnaya Pravda”, “Red Path” and “Peasant Newspaper”. There is almost no information left about work in the editorial office; Bazhov is better known as a folklorist. It was letters to the editor and a passion for history hometown Bazhov was initially interested in collecting oral stories of peasants and workers.

In 1924, he published the first edition of the collection - “The Ural Were”. A little later, in 1936, the fairy tale “The Maiden of Azovka” saw the light of day, which was also written in folklore basis. He fully respected the fairy-tale literary form: the narrator’s speech and the miners’ oral retellings are intertwined and form a secret - a story that only the reader knows and no one else in the world knows. The plot did not always have historical authenticity: Bazhov often changed those historical events that were “not in favor of Russia, therefore, not in the interests of ordinary hard-working people.”

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

The writer sought to create a unique literary style using the author's 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 encounter the mythical side of life.

Vivid characters, interesting plot connections and a mystical atmosphere created a furore among readers. As a result, in 1943 the writer was honorably awarded the Stalin Prize, and in 1944 - the Order of Lenin.
The plots of his stories are still used in plays, plays, films, and operas today.
End of life and memorialization

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.
His monuments were erected in Sverdlovsk and Polevsky, and the “Stone Flower” mechanical fountain was erected in Moscow.

Later, the village and streets of many cities were named in his honor.

Since 1999, the Prize named after was introduced in Yekaterinburg. P. P. Bazhova.

Biography of Pavel Bazhov the most important thing

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 due to 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 seminary. Pavel took up the post of Russian language teacher 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 the Russian public life. He was part of the underground. Pavel worked on a plan for resistance to the fall of Soviet power. He was also a member October revolution. Pavel Petrovich defended the idea of ​​equality between people. During the Civil War, Pavel worked as a journalist and was interested in the history of the Urals. Pavel Petrovich was even captured and fell ill there. Several of Bazhov's books were devoted to revolution and war.

The first book was published by Bazhov in 1924. The author’s main work 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 for cartoons, operas, and performances.

In addition to writing books, Bazhov loved to take photographs. He especially liked to take photographs of residents 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 skills. And all these beautiful creations were processed and published as 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 entered the theological school in Yekaterinburg, and then continued his studies at the theological seminary.

Bazhov began working as a teacher in 1889, teaching children Russian language and literature. In his free time, he traveled to nearby villages and factories, asking old-timers extraordinary stories and legends. He carefully recorded 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 at the editorial office of the Peasant Messenger in the city of Sverdlovsk, where he published essays about the life of Ural workers and the difficult times of the civil war with great success.

In 1924, Pavel Petrovich published the first book of his own composition, “The Ural Were,” and in 1939, readers became 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. Reading these creations, you notice that all the actions take place in the same family and in certain place and time. It turns out that such family stories existed before in the Urals. Here the heroes were the most ordinary people who were able to discern its good essence in a lifeless stone.

In 1946, based on his tales, the film “The Stone Flower” was released. During the Great Patriotic War, the writer took care not only of his colleagues, but also of the evacuees creative people. Pavel Alexandrovich died in 1950 in Moscow.

Biography by dates and Interesting Facts. The most important.

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Soviet literary critic Pavel Petrovich Bazhov was a very versatile personality. He was writing scientific works in the field of literary criticism, enriched the Russian language huge collection folklore creativity of peoples from different parts of the USSR, collected by him personally. He was also involved in journalistic and political activities. Pavel Bazhov is an interesting personality in the history of Russian folklore, so it will be useful for everyone to familiarize themselves with his biography and literary heritage.

Early life

Pavel Petrovich Bazhov, whose biography is logically divided into several sections for ease of reading, was born on January 15 (27), 1879 in the small mining town of Sysert (Ural). His father was a simple worker at a metallurgical plant, and his mother was engaged in needlework. Pavel Petrovich's family moved often; his father worked first at one factory, then at another. Frequent trips to the metallurgical towns of the Urals made a huge impression on the future writer. Perhaps it was precisely because of childhood memories and impressions that the writer later began collecting folklore, loving it and trying to convey Ural tales to other corners of vast Russia. Later, Pavel Petrovich Bazhov recalled these moments of childhood with love. At the age of seven, the boy’s parents sent him to a three-year zemstvo school. The future writer loved to study and learn something new, so he easily graduated from elementary school. What did Pavel Bazhov do next? His biography does not end there.

Education

After graduating from zemstvo school Pavel Bazhov expressed a desire to continue studying, but due to the impossibility of entering a gymnasium, the future writer had to enter a theological school. At first, Pavel Bazhov studied at the Yekaterinburg Theological School, but later decided to continue his studies at the Perm Theological Seminary. In 1899, P. P. Bazhov graduated from theological seminary, and he was offered to continue his studies in order to study for the priesthood. But Bazhov’s dream was not to become a priest; he wanted to go to university. Due to a lack of money, Bazhov decided to work part-time as a school teacher of the Russian language. Few people know how to pursue their dreams as passionately as Bazhov. The biography of this writer proves that he was a strong and purposeful person. Later, Bazhov was invited to work at the Ekaterinburg Theological School. The writer's dream is to enter Tomsk State University was never implemented due to low social status.

Social activity

Pavel Petrovich Bazhov, whose biography reveals all aspects of the writer’s life, was not only an excellent literary critic and publicist, he also actively participated in the public life of the country. The writer was a participant in the October Revolution, which occurred in 1917. Taking the side of the revolutionaries, Pavel Petrovich Bazhov pursued the goal of ridding the population of social inequality. Bazhov P.P. valued freedom, his biography confirms this.

During the Civil War in Russia, the writer expresses a desire to join the Red Army. In the army, he not only served as a secretary, but was also one of the editors of the military newspaper "Okopnaya Pravda". Unfortunately, during the battle for Perm, the writer was captured, but was able to successfully escape from enemy captivity. A few months after the development of the disease, it was decided to demobilize Bazhov. “Towards calculation”, “Formation on the move” - all these are books written by Bazhov about the history of the Russian revolution and the Civil War.

Personal life

Was Pavel Petrovich Bazhov in love? The biography also reveals this moment in the writer’s life. After Pavel Petrovich Bazhov got a job as a Russian language teacher at a theological school, he also worked at the same time at the Yekaterinburg diocesan school for girls. It was there that he met his first and only love for life. The writer became interested in a student last class V. Ivanitskaya. After completing her studies, the decision was made to get married.

Children

Soon after his marriage, the writer gave birth to two lovely girls. A little later, the couple had another child, and during the difficult times of the First World War, the writer and his wife moved to her parents, to a small town called Kamyshlov. There, his wife gave Bazhov his fourth and last child, his son Alexei.

last years of life

How did you spend your last days Bazhov? The biography says that in 1949 the writer celebrated his seventieth birthday. A huge number of people gathered on this solemn day. There were not only close friends and relatives of the writer, but also complete strangers who highly valued literary creativity Pavel Petrovich Bazhov. The writer's anniversary took place at the Sverdlovsk State Philharmonic. Bazhov was extremely surprised and touched by the respect people had for his work. He was sincerely happy and accepted congratulations and gifts from everyone who came to congratulate him on this solemn day. But unfortunately, the next year the writer passed away. Bazhov died on December 3, 1950 in Moscow. He was buried in Sverdlovsk. His grave is located on the top of a mountain, which offers a beautiful view of the Ural nature: forests, rivers, mountains - everything that the writer loved and appreciated during his lifetime.

Bazhov as a folklorist

The writer began his activity as a collector of folklore while still a teacher at the Ekaterinburg Theological School. Pavel Bazhov, whose biography is interesting to all fans of oral folk art, every summer he went to his homeland, the Urals, in order to record folk tales and songs, describe the rituals of ordinary Ural workers. He also loved photographing local residents in national ritual costumes. The biography of Pavel Bazhov is also very useful for children, because they should be imbued with the traditions and legends of their people, as the great folklorist once did.

No one had previously been interested in the folk art of ordinary Russian people, so Bazhov made a breakthrough in Soviet folklore. He recorded and systematized a huge number of tales, small fairy tales about the life of workers that existed among miners in the middle XVIII century. The folklorist was interested in life ordinary people: stonemasons, gunsmiths, ore miners.

Later, Bazhov began to be interested not only in the folklore of the Ural residents, but also folk tales other parts of Russia. It is impossible to overestimate the role of this great man in the formation of Russian folklore, because he tried to understand the soul of a simple worker, convey the imagery that is vividly represented in folklore, and convey folk tales to the present day.

List of the most significant works

Pavel Petrovich Bazhov was remembered by his compatriots not only as a folklorist and collector of folk tales, he was also a wonderful writer who could work miracles with the power of words. Wonderful stories wrote Bazhov. A biography for children who love fairy tales will also be interesting. Below is a list of the most significant works, from the pen of this wonderful writer:

• "The Green Filly" (1939) - the book is autobiographical in nature. The writer tells the reader about his youth, childhood impressions that were carried by the author throughout his life.
• “The Peeling of Days” - the book is a kind of diary of the writer’s life. It contains Bazhov’s thoughts about the events taking place in his life and letters sent to him by close friends. It’s good that Bazhov kept a diary, whose biography can be gleaned from this book.
• “The Ural Were” (1924) is a book in which the writer tried to characterize the folklore of ordinary workers of the Urals. These are Bazhov's first essays on folklore.
• “Formation on the Move” (1937) - in this book the writer tried to reveal the nature of the October Revolution and the Civil War in Russia. This work has a scandalous past, because it was because of it that it was decided to expel Pavel Petrovich from the party.
• "The Malachite Box" (1939) - the most famous book Pavel Petrovich Bazhov, which brought him national recognition. The beauty and diversity of Ural legends and folk beliefs are fully shown here.

Some folk tales

Bazhov, whose biography is described in the article, collected a huge number of tales:

• "Vasin's Mountain";
• "Living Light";
• "Golden Dykes"
• "Key of the Earth";
• "Cat's ears";
• "Malachite Box";

• "Fragile twig";
• "Broad shoulder";
• "Mining Master";
• "Stone Flower";
• "Golden Hair";
• "Wrong Heron";
• "Silver Hoof".

A great man was Pavel Bazhov, whose short biography will be very useful for those interested in folklore.

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

Preliminary work:
- Read the tales of P.P. Bazhova
- 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 the works they read

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

His father Pyotr Vasilyevich worked at a metallurgical plant. He was a good master. Pyotr Vasilyevich had golden hands. His 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 handicrafts, she knitted amazingly beautiful lace.
Little Pavel with early age I saw the hard work of adults. In the evenings, taking a break from hard work, the adults told stories, which the children eagerly listened to. The plots of these tales were kept in themselves folk legends about the hard work of people in old mines, legends about countless treasures Ural mountains, which are guarded by a “secret force” - Malachite.

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 upside down. He had to go to work to continue his studies and help his mother, who began to have health problems and 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 Shaidurikha near factories.

The game is being played: “The Mystery of the Stones”

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

Mistress of Copper Mountain.

Bazhov Square.

Biography

BAZHOV, PAVEL PETROVICH (1879−1950), Russian writer. Born on January 15 (27), 1879 at the Sysertsky plant near Yekaterinburg in a family of hereditary mining masters. The family often moved from factory to factory, which allowed the future writer to get to know well the life of the vast mountain district and was reflected in his work - in particular, in the essays The Ural Were (1924). Bazhov studied at the Yekaterinburg Theological School (1889−1893), then at the Perm Theological Seminary (1893−1899), where tuition was much cheaper than in secular educational institutions.

Until 1917 he worked as a school teacher in Yekaterinburg and Kamyshlov. Every year during summer holidays traveled around the Urals, collecting folklore. Bazhov wrote in his autobiography about how his life developed after the February and October revolutions: “From the beginning February Revolution went into the work of public organizations. From the beginning of open hostilities, he volunteered for the Red Army and took part in combat operations on the Ural Front. In September 1918 he was accepted into the ranks of the CPSU (b). He worked as a journalist in the divisional newspaper “Okopnaya Pravda”, in the Kamyshlov newspaper “Red Path”, and from 1923 in the Sverdlovsk “Peasant Newspaper”. Work with letters from peasant readers finally determined Bazhov’s passion for folklore. According to his later admission, many of the expressions he found in letters from readers of the Peasant Newspaper were used in his famous Ural tales. His first book, The Ural Were, was published in Sverdlovsk, where Bazhov depicted in detail both factory owners and “lordly armrest” clerks, as well as simple artisans. Bazhov sought to develop his own literary style, looked for original forms of embodiment of his literary talent. He succeeded in this in the mid-1930s. s, when he began to publish his first tales. In 1939, Bazhov combined them into the book Malachite Box (USSR State Prize, 1943), which he subsequently supplemented with new works. Malachite gave the name to the book because, according to Bazhov, this stone contains “joy the land has been collected." Creating tales became the main work of Bazhov's life. In addition, he edited books and almanacs, including on Ural local history, headed the Sverdlovsk writers' organization, and was the editor-in-chief and director of the Ural book publishing house. In Russian literature, the tradition of tales literary form goes back to Gogol and Leskov. However, calling his works tales, Bazhov took into account not only literary tradition genre, implying the presence of a narrator, but also the existence of ancient oral traditions Ural miners, who in folklore were called “secret tales”. From these folklore works, Bazhov adopted one of the main signs of his tales: a mixture of fairy-tale images (Poloz and his daughters Zmeevka, Ognevushka-Poskakushka, Mistress of the Copper Mountain, etc.) and heroes written in a realistic vein (Danila the Master, Stepan, Tanyushka and etc.). The main theme of Bazhov's tales is the common man and his work, talent and skill. Communication with nature, with the secret foundations of life, is carried out through powerful representatives of the magical mountain world. One of the most bright images this kind is the Mistress of the Copper Mountain, whom Master Stepan meets from the tale The Malachite Box. The Mistress of the Copper Mountain helps the hero of the tale Stone Flower Danila to reveal his talent - and becomes disappointed in the master after he gives up trying to make the Stone Flower himself. The prophecy expressed about the Mistress in the tale of Prikazchikovy Soles is coming true: “It is sorrow for the bad to meet her, and little joy for the good.” Bazhov owns the expression “zhivinka in action”, which became the title of the tale of the same name, written in 1943. One of his heroes, grandfather Nefed, explains why his student Timofey mastered the skill of a charcoal burner: “And because,” he says, “because you looked down, - on that means what is done; and when you looked at it from above - what should be done better, then the little creature caught you. You see, it’s there in every business, it runs ahead of skill and pulls a person along with it.” Bazhov paid tribute to the rules of “socialist realism”, under which his talent developed. Lenin became the hero of several of his works. The image of the leader of the revolution acquired folklore features in the tales written during the Patriotic War: The Sun Stone, Bogatyrev's Mitten and the Eagle Feather. Shortly before his death, speaking to fellow countrymen writers, Bazhov said: “We, the Urals, living in such a region, which is some kind of Russian concentrate, is a treasury of accumulated experience, great traditions, we need to take this into account, this will strengthen our positions in the show modern man" Bazhov died in Moscow on December 3, 1950.

Bazhov Pavel Petrovich, years of life 1879−1950. The Russian writer was born on January 15 (27), 1879 near Yekaterinburg at the Sysertsky plant in a family of mining workers. From 1889 to 1893, Bazhov studied at the Yekaterinburg Theological School, then from 1893 to 1899 at the Perm Theological Seminary, where, of course, tuition was much cheaper than in secular educational institutions.

Bazhov managed to work as a teacher in Yekaterinburg and Kamyshlov until 1917. Every year during the summer holidays, Pavel Petrovich loved to collect folklore while traveling around the Urals. After the February and October revolutions, he described in his biography how his fate developed: “At the very beginning of the February revolution, he worked in public organizations. When hostilities began, he joined the Red Army and fought on the Ural Front. In September 1918 he was admitted to the All-Union Communist Party (Bolsheviks). He also worked as a journalist in the newspaper Okopnaya Pravda, and from 1923 in the Sverdlovsk Peasant Newspaper.

Working with letters from readers, I realized that it was important for him to study folklore. Bazhov later admitted that much of what he used in his Ural tales was drawn from letters from readers of the Peasant Newspaper. The first book, “The Ural People,” was published in Sverdlovsk, in which he quite clearly depicted factory owners and ordinary workers.

He managed to find his literary style only in the middle of 1930, when the world saw his first tales. In 1943, Bazhov received the State Prize (for the fact that in 1939 he combined his tales into one book, The Malachite Box). In addition, he edited books, was the head of the Sverdlovsk writers' organization, and the director of the Ural book publishing house.

In his several works he gave the image of V.I. Lenin. The image of the leader was visible in such tales as “Eagle Feather”, “Sun Stone”, written during the Patriotic War. Shortly before his death, speaking to writers, he said: “For us, the Urals, living in such a region, this is a treasure trove of accumulated experience, huge traditions, we need to take this into account, this will increase our position in showing modern man.” On December 3, 1950, the writer passed away in Moscow.