A message about Bazhov's biography. Bazhov, Pavel Petrovich
Bazhov Pavel Petrovich was born in 1879, on January 27. This Russian writer, famous storyteller, prose writer, interpreter of legends, traditions, and Ural tales died in 1950, December 3.
Origin
Bazhov Pavel Petrovich, whose biography is presented in our article, was born in the Urals, near Yekaterinburg, in the family of Augusta Stefanovna and Pyotr Vasilyevich Bazhev (this surname was spelled that way back then). His father was a hereditary foreman at the Sysert plant.
The writer's surname comes from the word "bazhit", which means "to foretell", "to bewitch". Even Bazhov’s street boy nickname was Koldunkov. Later, when he began to publish, he also signed with this pseudonym.
Formation of the future writer's talent
Bazhev Petr Vasilyevich worked as a foreman at the Sysert plant, in the puddling and welding shop. The future writer's mother was a good lacemaker. This was a help for the family, especially when the husband was temporarily unemployed.
The future writer lived among the miners of the Urals. His childhood experiences turned out to be the most vivid and important for him.
Bazhov loved to listen to the stories of experienced people. Sysert old men - Korob Ivan Petrovich and Klyukva Alexey Efimovich were good storytellers. But the future writer, Khmelinin Vasily Alekseevich, a Polevsky miner, was superior to everyone whom the future writer knew.
Childhood and adolescence
The future writer spent this period of his life at the Polevsky plant and in the town of Sysert. His family moved often, as Pavel’s father worked first at one factory, then at another. This allowed young Bazhov to get to know well the life of the mountain district, which he subsequently reflected in his work.
The future writer had the opportunity to learn thanks to his abilities and chance. At first he attended a three-year men's zemstvo school, where a talented literature teacher worked who knew how to captivate children with literature. Pavel Petrovich Bazhov also loved to listen to him. The writer’s biography developed largely under the influence of this talented person.
Everyone assured the Bazhev family that it was necessary to continue the education of their gifted son, but poverty did not allow them to dream of a real school or gymnasium. As a result, the choice fell on the Yekaterinburg Theological School, since its tuition fees were the lowest and there was no need to buy a uniform. This institution was intended mainly for the children of nobles, and only the assistance of a family friend made it possible to place Pavel Petrovich in it.
At the age of 14, after graduating from college, Pavel Petrovich Bazhov entered the Perm Theological Seminary, where he studied various fields of knowledge for 6 years. Here he became acquainted with modern and classical literature.
Working as a teacher
In 1899 the training was completed. After that, Pavel Petrovich Bazhov worked as a teacher in an elementary school in an area populated by Old Believers. He began his career in a remote village near Nevyansk, after which he continued his activities in Kamyshlov and Yekaterinburg. The future writer taught Russian. He traveled a lot around the Urals, was interested in local history, folklore, ethnography, and journalism.
For 15 years, during school holidays, every year Pavel Bazhov traveled on foot around his native land, talked with workers, looked closely at the life around him, recorded stories, conversations, collected folklore, learned about the work of stone cutters, lapidaries, foundries, steelworkers, gunsmiths and other craftsmen Ural. This later helped him in his career as a journalist, and then in his writing, which Pavel Bazhov began later (his photo is presented below).
When, after some time, a vacancy opened up at the Yekaterinburg Theological School, Bazhov returned to his native walls of this institution as a teacher.
Family of Pavel Petrovich Bazhov
In 1907, the future writer began working at the diocesan school, where he taught Russian language lessons until 1914. Here he met his future wife, Valentina Ivanitskaya. She was a student at this educational institution at that time. In 1911, Valentina Ivanitskaya and Pavel Bazhov got married. They often went to the theater and read a lot. Seven children were born into the writer’s family.
During the outbreak of the First World War, two daughters were already growing up - the children of Bazhov Pavel Petrovich. Due to financial difficulties, the family was forced to move to Kamyshlov, where Valentina’s relatives lived. Pavel Bazhov began working at the Kamyshlovsky Theological School.
Creating tales
In 1918-1921, Bazhov took part in the Civil War in Siberia, the Urals, and Altai. In 1923-1929 he lived in Sverdlovsk, where he worked at the Peasant Newspaper. At this time, the writer created more than forty tales dedicated to factory Ural folklore. In 1930, work began at the book publishing house in Sverdlovsk. The writer was expelled from the party in 1937 (reinstated a year later). Having lost his job in the publishing house because of this incident, he decided to devote his free time to tales, which, like Ural gems, “flickered” in his “Malachite Box”. In 1939, this most famous work of the author was published, which is a collection of fairy tales. For "The Malachite Box" the writer was awarded the USSR State Prize. Bazhov subsequently added new tales to this book.
Bazhov's writing path
This author's writing career began relatively late. His first book, “The Ural Were,” appeared in 1924. The most significant stories of Pavel Bazhov were published only in 1939. This is the above-mentioned collection of tales, as well as “The Green Filly” - an autobiographical story about his childhood years.
The “Malachite Box” later included new works: “Tales of the Germans” (year of writing - 1943), “Key-Stone”, created in 1942, “Tales of Gunsmiths”, as well as other creations of Bazhov. The author's later works can be called "tales" not only because of the formal features of the genre (the presence in the narrative of a fictional narrator with an individual characteristic of speech), but also because they go back to the secret tales of the Urals - the oral traditions of prospectors and miners, which differ a combination of fairy-tale and real-life elements.
Features of Bazhov's tales
The writer considered the creation of fairy tales to be the main work of his life. In addition, he edited almanacs and books, including those devoted to Ural local history.
Initially, the tales processed by Bazhov are folklore. He heard “Secret Tales” as a boy from Khmelinin. This man became the prototype of Slyshko’s grandfather, the narrator of the work “The Malachite Box.” Bazhov later had to declare officially that this was just a technique, and he did not simply record other people’s stories, but created his own based on them.
The term "skaz" later entered the folklore of the Soviet era to define the prose of workers. However, after some time it was established that this concept does not denote a new phenomenon in folklore: tales in fact turned out to be memories, legends, traditions, fairy tales, that is, genres that had existed for a long time.
Naming his works with this term, Pavel Petrovich Bazhov, whose fairy tales were associated with the folklore tradition, took into account not only the tradition of this genre, which implies the obligatory presence of a storyteller, but also the existence of ancient oral traditions of the Ural miners. From these folklore works he adopted the main feature of his creations - the mixing of fairy-tale images in the narrative.
Fantastic heroes of fairy tales
The main theme of Bazhov's tales is the simple man, his skill, talent and work. Communication with the secret foundations of our life, with nature, is carried out with the help of powerful representatives of the mountain magical world. Perhaps the most striking among characters of this kind is the Mistress of the Copper Mountain, whom Stepan, the hero of “The Malachite Box,” met. She helps Danila - a character in a tale called "The Stone Flower" - to discover his talent. And after he refuses to make the Stone Flower himself, he becomes disappointed in it.
In addition to this character, the Great Snake, who is responsible for the gold, is interesting. His image was created by the writer on the basis of the ancient superstitions of the Khanty and Mansi, as well as Ural legends, signs of ore miners and miners.
Grandma Sinyushka, another heroine of Bazhov’s tales, is a character related to the famous Baba Yaga.
The connection between gold and fire is represented by the Jumping Fire Girl, who dances over a gold deposit.
So, we met such an original writer as Pavel Bazhov. The article presented only the main milestones of his biography and the most famous works. If you are interested in the personality and work of this author, you can continue to get acquainted with him by reading the memoirs of Pavel Petrovich’s daughter, Ariadna Pavlovna.
Pavel was born on January 15 (27), 1879 near Yekaterinburg in a working-class family. In Bazhov’s biography, his childhood years were spent in the small town of Polevsky, Sverdlovsk region. He studied at a factory school, where he was one of the best students in his class. After graduating from theological school in Yekaterinburg, he entered the Perm Theological Seminary. After completing his studies in 1899, he began working as a teacher of the Russian language.
It is worth briefly noting that Pavel Bazhov’s wife was his student Valentina Ivanitskaya. In their marriage they had four children.
The beginning of a creative journey
Pavel Petrovich Bazhov's first writing activity occurred during the Civil War. It was then that he began working as a journalist, and later became interested in the stories of the Urals. However, the biography of Pavel Bazhov is better known as a folklorist.
The first book with Ural essays entitled “The Ural Were” was published in 1924. And the first tale of Pavel Petrovich Bazhov was published in 1936 (“The Azov Girl”). Basically, all the tales retold and recorded by the writer were folklore.
The writer's main work
The publication of Bazhov’s book “The Malachite Box” (1939) largely determined the writer’s fate. This book brought the writer world fame. Bazhov’s talent was most clearly demonstrated in the tales of this book, which he constantly updated. “The Malachite Box” is a collection of folklore stories for children and adults about life and everyday life in the Urals, about the beauty of the nature of the Ural land.
The “Malachite Box” contains many mythological characters, for example: the Mistress of the Copper Mountain, the Great Snake, Danila the Master, Grandma Sinyushka, the Jumping Ognevushka and others.
In 1943, thanks to this book, he received the Stalin Prize. And in 1944 he was awarded the Order of Lenin for his fruitful work.
Pavel Bazhov created many works, on the basis of which ballets, operas, plays, films and cartoons were made.
Death and legacy
The writer's life was cut short on December 3, 1950. The writer was buried in Sverdlovsk at the Ivanovo cemetery.
In the writer’s hometown, in the house where he lived, a museum was opened. A folk festival in the Chelyabinsk region, an annual prize awarded in Yekaterinburg, is named after the writer. Commemorative monuments were erected to Pavel Bazhov in Sverdlovsk, Polevsky and other cities. Streets in many cities of the former USSR are also named after 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 his collection “The Malachite Box,” which presents folklore images and motifs taken by the writer from legends and fairy tales of the Trans-Ural region. 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. 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 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).
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 the 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 characteristics and the presence of a 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 an independent artist who used his knowledge of the Ural miners’ life and oral creativity 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 poses general questions in his tales - 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 capabilities of the folk 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 by K. V. Molchanov “The Tale of the Stone Flower” (post. 1950), symphonic poem by A. A. Muravlev “Azov-Mountain” (1949), etc.
Materials used from the site Great Encyclopedia of the Russian People - http://www.rusinst.ru
Bazhov Pavel Petrovich
Autobiography
G.K. Zhukov and P.P. Bazhov were elected to the Supreme Soviet of the USSR
from the Sverdlovsk region. March 12, 1950
Born on January 28, 1879 in the Sysert plant 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 he never engaged in agriculture, and could not do it, since in the Sysert factory district there were no arable land plots 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. Recent works based on oral work creativity have been highly appreciated. Based on 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, and in 1944 he was awarded the Order of Lenin for the same works.
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 reflect 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 the decomposition of the yellow spot has begun, I no longer have the opportunity to freely use the manuscript (I can hardly see what I am 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 during the years of school work. I can’t 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 becoming a verbal 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 of the deceased” Alexander 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.” Moreover: 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 along the boundless expanse of the 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 the 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 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. It is highly irrelevant 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 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 a great deal of 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 “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, so 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 the literary sources of the past. In addition to the already mentioned work by Gleb Uspensky, “The Manners of Rasteryaeva Street,” we know a huge number of other works of the same type, where drunkenness, darkness and half-animal life were presented especially heavily. The old writers had many reasons for this. By choosing dark colors they tried to draw attention to the need for reconstruction 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’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 gives me the opportunity 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.
The electronic version of the autobiography is reprinted from the site http://litbiograf.ru/
Writer of the 20th century
Bazhov Pavel Petrovich (pseudonyms: Koldunkov - his real surname came from “bazhit”, dialect - 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 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”, “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. 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 (“Clerk’s soles”, “Sochnevy stones”), 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 (“The 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.
A short biography of Bazhov for grade 4 is presented in this article.
Pavel Bazhov short biography
Pavel Petrovich Bazhov- writer, folklorist, publicist, journalist. He gained fame as the author of Ural tales.
Born on January 27, 1879 near Yekaterinburg in the Urals in the family of a mining foreman, he was the only child in the family. My childhood years were spent among Ural craftsmen.
He received his primary education at the Ekaterinburg Theological School, and in 1899 he graduated with honors from the Perm Theological Seminary.
He began his work history as a primary school teacher, 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, and notes for magazines. He collected folklore and was interested in the history of the Urals.
Bazhov's writing career 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 Little Name” appeared in 1936. Bazhov combined his works into a collection of tales from the old Urals - “The Malachite Box”.
The “Malachite Box” contains many mythological characters, for example: the Mistress of the Copper Mountain, the Great Snake, Danila the Master, Grandma Sinyushka, the Jumping Ognevushka and others.
In 1943, thanks to this book, he received the Stalin Prize. And in 1944 he was awarded the Order of Lenin for his fruitful work.
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 a hereditary mining master. 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 the history of his native city that initially interested Bazhov in collecting oral histories 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” was published, which was also written on a 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 of 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 are faced with 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 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 participant in the October Revolution. Pavel Petrovich defended the idea of equality between people. During the Civil War, Pavel worked as a journalist and was 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 wonderful 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 for unusual 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 took place. Reading these creations, you notice that all the actions take place in the same family and in a 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 evacuated creative people. Pavel Alexandrovich died in 1950 in Moscow.
Biography by dates and interesting facts. The most important.
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