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Presentation slides
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Mikhail Afanasyevich Bulgakov and his novel
"Master and Margarita"
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Introduction
“Of all the writers of the 20s - 30s. Probably, Mikhail Bulgakov is preserved to the greatest extent in the Russian public consciousness. He is preserved not so much by his biography, from which his letters to Stalin are usually remembered, but by his works, the main one of which is “The Master and Margarita”. The novel reveals new facets to each next generation of readers. Outstanding creative minds recognize the novel “The Master and Margarita” as one of the greatest creations of the twentieth century. Not everyone is able to comprehend “The Master and Margarita” in the ideological philosophical key that the author offers. Of course, in order to delve into and understand all the details of the novel, a person must have high cultural preparedness and historical awareness on many issues.
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Until now, no one has been able to determine exactly what the satirical, philosophical, psychological, and in the Yershalaim chapters - the epic novel “The Master and Margarita” is. But most importantly, Bulgakov, anticipating his death, understood “The Master and Margarita” as “the last sunset novel”, as a testament, as his main message to humanity (what is most surprising, he wrote this work “for the table”, for himself, not at all confident in the prospect of publishing a masterpiece). History rewarded the writer for his work: the novel was finally published from the depths of Bulgakov’s desk drawer, when the hopeless Stalinist times were left behind.
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There are few novels that have generated as much controversy as The Master and Margarita. They argue about the prototypes of the characters, about who is the main character of the work: the Master, Woland, Yeshua or Ivan Bezdomny (despite the fact that the author clearly expressed his position by calling the 13th chapter, in which the Master first appears on stage, “The Apparition hero") about finally, in what genre the novel was written. The latter cannot be determined unambiguously.
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Perhaps the prerequisite for such a multifaceted genre of the novel is that Bulgakov himself for a long time could not decide on its final plot and title. Thus, there were three editions of the novel, in which there were the following variant titles: “The Black Magician”, “The Engineer’s Hoof”, “Juggler with a Hoof”, “Tour (Woland?)” (1st edition); "The Great Chancellor", "Satan", "Here I Am", "The Hat with a Feather", "The Black Theologian", "He Appeared", "The Foreigner's Horseshoe", "He Appeared", "The Advent", "The Black Magician" and “The Consultant’s Hoof” (2nd edition, which bore the subtitle “Fantastic Novel” - perhaps this is a hint at how the author himself determined the genre of his work); and, finally, the third edition was originally called “The Prince of Darkness,” and less than a year later, the now well-known title “The Master and Margarita” appeared.
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Yeshua and Woland. In the novel “The Master and Margarita,” the two main forces of good and evil, which, according to Bulgakov, should be in balance on Earth, are embodied in the persons of Yeshua Ha-Notsri from Yershalaim, close in image to Christ, and Woland, Satan in human form. Woland came to Earth to restore harmony where it had been broken in favor of evil, which included lies, stupidity, hypocrisy and, finally, the betrayal that filled Moscow. The earth was initially firmly established between hell and heaven, and there should be a balance of good and evil on it. Like good and evil, Yeshua and Woland are internally interconnected, and, opposing, cannot do without each other. It's like we wouldn't know what it is White color, if there were no black, what is day, if night did not exist. This relationship in the novel is expressed in the descriptions of both characters - the author emphasizes the same things. Woland “appears to be over forty years old,” and Yeshua is twenty-seven; “Under the left eye of the man (Yeshua) there was a large bruise...”, and Woland’s “right eye is black, for some reason the left one is green.”
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How does Woland appear? At the Patriarch's Ponds he appears before M.A. Berlioz and Ivan Bezdomny, who, sitting on a bench, judge Christ and reject his very existence. Woland is trying to convince them of the existence of God and the devil - to deny him means to deny your own existence. It is absolutely clear that Woland is the devil, the embodiment of evil. But why did he come to Moscow in the 1930s? The purpose of his mission was to identify the evil spirit in man. It must be said that Woland, unlike Yeshua Ha-Nozri, considers all people not good, but evil. And in Moscow, where he arrived to do evil, he sees that there is nothing left to do - evil has already filled the city, penetrated into all its corners. Woland could only laugh at people, at their naivety and stupidity.
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Woland's retinue
Woland did not come to earth alone. He was accompanied by creatures who, by and large, play the role of jesters in the novel, putting on all sorts of shows, disgusting and hateful to the indignant Moscow population. But their task was also to do all the “dirty” work for Woland, to serve him and, among other things, to prepare Margarita for the Great Ball and for her and the Master’s journey to a world of peace. Woland's retinue consisted of three "main" jesters - Behemoth the Cat, Koroviev-Fagot, Azazello and the vampire girl Gella.
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Master and Margarita
One of the most mysterious figures in the novel “The Master and Margarita” is certainly the Master. The author himself called him a hero, but introduced him to the reader only in chapter 13. Woland has no power even over the world - the Master is worthy of peace, an eternal home - only there, broken by mental suffering, the Master can reunite with his beloved Margarita, who sets off with him on her final journey. She entered into a deal with the devil to save the Master and is therefore worthy of forgiveness. The Master's love for Margarita is in many ways unearthly, eternal love. But the hero’s reward here is not light, but peace, and in the kingdom of peace, in Woland’s last refuge or even, more precisely, on the border of two worlds - light and darkness, Margarita becomes the guide and guardian of her lover: “You will fall asleep, having put on your greasy and eternal cap, you will fall asleep with a smile on your lips. Sleep will strengthen you, you will begin to reason wisely. And you won’t be able to drive me away. I will take care of your sleep." This is what Margarita said, walking with the Master towards their eternal home, and it seemed to the Master that Margarita’s words flowed in the same way as the stream flowed and whispered behind. These lines by E.S. Bulgakova took dictation from the terminally ill author of The Master and Margarita.
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Pontius Pilate
Most of the characters in the Yershalaim chapters of the novel “The Master and Margarita” go back to the Gospel ones. But this cannot be fully said about Pontius Pilate, the fifth procurator of Judea. He had a reputation as a "ferocious monster." In his image, the writer captured a man tormented by the pangs of conscience for sending an innocent person to death. Ha-Nozri never deviated from the Truth, from the ideal, and therefore deserved the light. He himself is an ideal - the personified conscience of humanity. The tragedy of the hero is his physical death, but morally he wins. Conscience does not give the procurator peace... The procurator of Judea tried to persuade the prisoner to lie, but Yeshua insists that “it is easy and pleasant to tell the truth.” So, the procurator said: “I wash my hands of it” and condemned the innocent man to death. Yeshua performed a feat of sacrifice in the name of truth and goodness, and Pilate suffered and was tormented for “twelve thousand moons” until the Master gave him forgiveness and the opportunity to come to an agreement with Ha-Nozri.
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Conclusion
During the life of Mikhail Afanasyevich Bulgakov, the novel “The Master and Margarita” was not completed and was not published. Bulgakov destroyed the first edition of the novel on March 18, 1930. Mikhail Afanasyevich reported this in a letter to the government on March 28, 1930: “And I personally, with my own hands, threw a draft of a novel about the devil into the stove...” Work on “The Master and Margarita” resumed in 1931. The novel “The Master and Margarita” was without hesitation recognized as the main work of Bulgakov’s life. Indeed, Bulgakov took twelve years to create The Master and Margarita, most of his creative life. One can only be surprised at Mikhail Afanasyevich’s dedication: after all, Bulgakov was far from confident in the prospect of publishing the novel. At this time, the author, a doctor by training, already felt some symptoms of a fatal disease - nephrosclerosis, which killed his father, and subsequently affected the writer himself. It is no coincidence that on one of the pages of the “Master...” manuscript a dramatic note was made: “Finish it before you die!”...
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When Bulgakov wrote his novel, he had great difficulties with sharp political satire, which the writer wanted to hide from the eyes of censorship and which, of course, was understandable to people. Bulgakov probably did not rule out that the political hints contained in The Master and Margarita would bring him trouble. The writer destroyed some of the most politically transparent parts of the novel in the early stages of work. But, as Woland said, “manuscripts don’t burn.” Bulgakov, who destroyed the first edition of The Master and Margarita, became convinced that once it was written it was impossible to banish it from memory, and as a result, after his death he left the manuscript of the great work as an inheritance to his descendants.
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Bibliography:
1) B.V. Sokolov “Bulgakov Encyclopedia”. Ed. “LOKID” - “MYTH” Moscow 1997. 2) B.V. Sokolov “The Three Lives of Mikhail Bulgakov.” Ed. "ELLIS LACK" Moscow 1997. 3) I.L. Galinskaya "Riddles of famous books." Ed. “SCIENCE” Moscow 1986. 4) V.T. Boborykin "Mikhail Bulgakov". Ed. “ENLIGHTENMENT” Moscow 1991. 5) L.Ya. Shneyberg, I.V. Kondakov. “From Gorky to Solzhenitsyn” Ed. " graduate School"Moscow 1995.
Michael Bulgakov
"Master and Margarita"
Gritsenko Natalia
11 – B class
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Plan
Biography
Creation
"Master and Margarita"
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Mikhail Bulgakov was born in Kyiv on May 15, 1891. His father was a professor at the Kyiv Theological Academy. For some time, Mikhail was educated at home, and then his father sent him to the Alexander Gymnasium, which was very prestigious at that time. This time allowed Bulgakov to reveal his many talents. He painted, wrote poetry and prose, and practiced singing. In 1909, Bulgakov entered the medical faculty of the Kyiv University of St. Vladimir. During the First World War, together with his wife Tatyana, he worked in a hospital. And then Mikhail voluntarily went to the front, where he gained experience as a military surgeon.
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After university, the career of civilian doctor Mikhail Bulgakov began. In 1919–1921 he lived in Vladikavkaz. There he mastered the journalistic profession and began writing texts for theatrical performances. In 1922, while already in Moscow, Bulgakov published “The Extraordinary Adventures of the Doctor.” Then there were many works by Mikhail Bulgakov, which aroused the indignation of the official authorities. In particular, censorship prohibited the publication of “Heart of a Dog.”
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Since 1928, Bulgakov worked on the novel “The Master and Margarita”. As a result, this work became a cult work in world literature. On March 10, 1940, the brilliant writer died, leaving behind many unique works, the relevance of which has not been lost to this day.
Parents
Father - Bulgakov Afanasy Ivanovich Mother - Bulgakova Varvara Mikhailovna
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Wives
Lappa Tatyana Nikolaevna (1892-1982) - first wife, the main prototype of the character Anna Kirillovna in the story “Morphine”.
Belozerskaya Lyubov Evgenievna (1895-1987) - second wife.
Bulgakova Elena Sergeevna (1893-1970) - third wife, keeper of the literary heritage. The main prototype of the character Margarita in the novel “The Master and Margarita”.
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Stories and novels by Mikhail Bulgakov
"The Adventures of Chichikov" (1922)
"White Guard" (1922-1924)
"Diaboliad" (1923)
"Notes on the Cuffs" (1923)
"Crimson Island" (1924)
"Heart of a Dog" (1987)
"Great Chancellor. Prince of Darkness" (1928-1929)
"The Engineer's Hoof" (novel, 1928-1929)
"To a Secret Friend" (1929, published 1987)
"The Master and Margarita" (novel, 1929-1940, published 1973)
"The Life of Monsieur de Molière" (novel)
“Theatrical novel” (“Notes of a Dead Man”) (1936-1937)
“A classic is that book that a certain people or group of peoples decide over a long period of time to read as if everything on its pages was thought out, inevitable and deep, like the cosmos, and allowed for countless interpretations” tttttH.L. Borges.
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Theme of the novel
The main theme of the novel "The Master and Margarita" is the struggle between good and evil. Most of the characters symbolize evil. Greed, bribery, envy, pretense, betrayal, etc. - all these qualities are, to a greater or lesser extent, evil and it is they that are inherent in the heroes of the novel. Love, on the contrary, symbolizes goodness.
There are more than 500 characters in the novel, but only two truly love, truly live. The Master and Margarita are practically the only positive, worthy characters. In the images of the Master and Margarita, Bulgakov created ordinary Russian people. To understand Bulgakov’s heroes, you need to put them next to the heroes of Dostoevsky and Tolstoy, whose lives are filled with doubts, searches, whose properties and qualities convey the best features and characteristics of the Russian national character.
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The history of the creation of the novel “The Master and Margarita”
The novel “The Master and Margarita” was the result of Bulgakov’s entire life, his best creation. The novel brought the writer world fame and was and remains one of the most widely read works of the 20th century. After reading the novel in manuscript, A.A. Akhmatova said about the author: “He is a genius.” Bulgakov worked on the creation of the novel for 12 years. By the end of the 30s, chapter 15 of the novel was completed. Elena Sergeevna, the writer’s wife, took one chapter to the newspaper and it was published. The criticism that followed made it clear that publishing the entire novel was out of the question. Bulgakov tried to burn the manuscript of the novel. However, it did not make him feel any better. The novel continued to live in the writer’s thoughts. Woland’s words turned out to be prophetic: “Manuscripts don’t burn.” Soon the writer restored the manuscript. The novel was completed on May 22-23, 1938. On May 14, 1939, important changes were made to the end of the novel and its epilogue.
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Having learned about the fatal illness, Bulgakov began dictating amendments to the novel to his wife and continued to work on it until last days own life. Only 30 years later, thanks to the efforts of the same Elena Sergeevna, it was published in abbreviation in the magazine “Moscow” (1966-1967).
Initially, the novel was conceived as a continuation of the theme of “diabolism”, which he began in the 20s. In the process of work, the conceived theme faded into the background, giving way to the true heroes.
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Characters
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Master
Professional historian who won a large sum into the lottery and got the opportunity to try his hand at literary work. Having become a writer, he managed to create a brilliant novel about Pontius Pilate and Yeshua Ha-Nozri, but he turned out to be a person not adapted to the era in which he lived. He was driven to despair by persecution from colleagues who cruelly criticized his work. Nowhere in the novel is his name and surname mentioned; when asked directly about this, he always refused to introduce himself, saying, “Let’s not talk about that.” Known only by the nickname “master” given by Margarita. He considers himself unworthy of such a nickname, considering it the whim of his beloved. A master is a person who has achieved the highest success in any activity, which may be why he is rejected by the crowd, who are unable to appreciate his talent and abilities. The Master, the main character of the novel, writes a novel about Yeshua (Jesus) and Pilate. The master writes a novel, interpreting it in his own way evangelical events, without miracles and the power of grace - like Tolstoy. The master communicated with Woland - Satan, a witness, according to him, to the events described in the novel.
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Margarita Nikolaevna
A beautiful, wealthy, but bored wife of a famous engineer, suffering from the emptiness of her life. Having met the Master by chance on the streets of Moscow, she fell in love with him at first sight, passionately believed in the success of the novel he wrote, and prophesied fame. When the Master decided to burn his novel, she managed to save only a few pages. Then she makes a deal with Messire and becomes the queen of a satanic ball organized by Woland in order to regain the missing Master. Margarita is a symbol of love and self-sacrifice in the name of another person. If you name the novel without using symbols, then “The Master and Margarita” is transformed into “Creativity and Love.”
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Woland
Satan, who visited Moscow under the guise of a foreign professor black magic, "historian". At its first appearance (in the novel “The Master and Margarita”), the first chapter from the Roman is narrated (about Yeshua and Pilate). The main feature of appearance is eye defects. Appearance: “He was neither short nor huge in stature, but simply tall. As for his teeth, he had platinum crowns on the left side and gold ones on the right. He wore an expensive gray suit, expensive foreign shoes to match the color of the suit, and always had a cane with him, with a black knob in the shape of a poodle’s head; the right eye is black, the left one is green for some reason; the mouth is kind of crooked. Shaven clean." He smoked a pipe and always carried a cigarette case with him.
Bassoon
One of the characters in Satan's entourage, always wearing ridiculous checkered clothes and pince-nez with one cracked and one missing glass. In his true form, he turns out to be a knight, forced to pay with a permanent stay in Satan’s retinue for one bad pun he once made about light and darkness.
The Koroviev-Fagot has some similarities with the bassoon - a long thin tube folded in three. Bulgakov's character is thin, tall and in imaginary servility, it seems, ready to fold three times before his interlocutor.
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Azazello
Among the ancient Jews, Azazel was a goat-shaped desert spirit. This is the name of the negative hero of the Old Testament, the fallen angel who taught people how to make weapons and jewelry. Bulgakov was probably attracted by the combination of seduction and murder in one character. Margarita during their first meeting in the Alexander Garden
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Cat Behemoth
A character in Satan's retinue, a playful and restless spirit, appearing either in the form of a giant cat walking on its hind legs, or in the form of a plump citizen whose physiognomy resembles a cat. The prototype of this character is the demon of the same name Behemoth, a demon of gluttony and debauchery who could take the forms of many large animals. In his true form, Behemoth turns out to be a thin young man, a demon page.
Gella
A witch and vampire from Satan's retinue, who confused all his visitors with her habit of wearing practically nothing. The beauty of her body is spoiled only by the scar on her neck. In the retinue, Wolanda plays the role of a maid. Woland, recommending Gella to Margarita, says that there is no service that she cannot provide.
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Mikhail Alexandrovich Berlioz
The chairman of MASSOLIT is a writer, a well-read, educated person who is skeptical about everything. He lived in a “bad apartment” on Sadovaya, 302 bis, where Woland later settled during his stay in Moscow. He died, not believing Woland's prediction about his sudden death, made shortly before her. At Satan's Ball, his future fate was determined by Woland according to the theory that everyone will be given according to their faith... Berlioz appears before us at the ball in the form of his own severed head. Subsequently, the head was turned into a bowl in the form of a skull on a golden leg, with emerald eyes and pearl teeth....the lid of the skull was hinged. It was in this cup that the spirit of Berlioz found oblivion.
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Symbols
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Moscow is the global symbol of the novel. V.I. Nemtsev calls it “a bunch of “earthly” problems, tightly tied to Soviet realities.” In Bulgakov's novel, Moscow symbolizes chaos, disorder, and whirlpool. Ryukhin feels this, returning from Stravinsky’s clinic: “The forest fell away..., and the river went somewhere to the side, all sorts of things rained down towards the truck... - in a word, it was felt that it, Moscow, was here. just around the corner, and now it will fall and engulf you.” Margarita sees this as she flies over the “rivers of caps,” from which “rivulets separated and flowed into the fiery mouths of night shops”: “Eh, what a mess! - Margarita thought angrily, “you can’t turn around here.” V.G. Marantsman speaks about the fetishism of Muscovites: “In the novel, communist Moscow is presented as a step back from Christianity, a return to the cult of things and demons, spirits and ghosts.”
Slide 1
Master and Margarita
The history of the novel
Slide 2
Mikhail Afanasyevich Bulgakov’s novel “The Master and Margarita” was not completed and was not published during the author’s lifetime. It was first published only in 1966, 26 years after Bulgakov’s death, and then in an abridged magazine version. We owe the fact that this greatest literary work has reached the reader to the writer’s wife, Elena Sergeevna Bulgakova, who managed to preserve the manuscript of the novel during the difficult Stalinist times.
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Start time
Bulgakov dated the start of work on “The Master and Margarita” in different manuscripts as either 1928 or 1929. In the first edition, the novel had variant titles:
"Black Mage" "Engineer's Hoof" "Juggler with a Hoof" "Son of V." "Tour"
Slide 4
The first edition of “The Master and Margarita” was destroyed by the author on March 18, 1930 after receiving news of the ban on the play “The Cabal of the Holy One.” Bulgakov reported this in a letter to the government: “And I personally, with my own hands, threw a draft of a novel about the devil into the stove...”
Slide 5
Work on “The Master and Margarita” resumed in 1931. Rough sketches were made for the novel, and Margarita and her nameless companion, the future Master, were already featured here, and Woland acquired his own riotous retinue. The second edition, created before 1936, had the subtitle “Fantastic Novel” and title options:
"Grand Chancellor" "Satan" "Here I Am" "Black Magician" "Consultant's Hoof"
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The third edition, begun in the second half of 1936, was originally called "Prince of Darkness"
But already in 1937 the now well-known title “The Master and Margarita” appeared. In May–June 1938, the full text was reprinted for the first time. The author’s edits continued almost until the writer’s death; Bulgakov stopped it with Margarita’s phrase: “So this means that the writers are going after the coffin?”...
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Bulgakov wrote “The Master and Margarita” for a total of more than 10 years. Simultaneously with the writing of the novel, work was underway on plays, dramatizations, librettos, but this novel was a book that he was unable to part with - a novel-fate, a novel-testament. The novel absorbed almost all of the works written by Bulgakov: Moscow life, captured in the essays “On the Eve”, satirical fantasy and mysticism, tested in the stories of the 20s, motives of knightly honor and troubled conscience in the novel “The White Guard”, the dramatic theme of fate persecuted artist, unfolded in “Molière”, a play about Pushkin and “Theatrical Novel”...
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From the history of the creation of the novel, we see that it was conceived and created as a “novel about the devil.” Some researchers see in it an apology for the devil, admiration of the dark power, capitulation to the world of evil. In fact, Bulgakov called himself a “mystical writer,” but this mysticism did not cloud the mind and did not intimidate the reader...
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Novel "The Master and Margarita"
It must be said that when writing the novel, Bulgakov used several philosophical theories: some compositional moments, as well as mystical episodes and episodes from the Yershalaim chapters, were based on them. Thus, in the novel there is an interaction between three worlds:
human (all people in the novel) biblical (biblical characters) cosmic (Woland and his retinue)
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The most important world is the cosmic one, the Universe, the all-encompassing macrocosm. The other two worlds are private. One of them is human, microcosm; the other is symbolic, i.e. biblical world. Each of the three worlds has two “natures”: visible and invisible. All three worlds are woven from good and evil, and the biblical world acts as a connecting link between the visible and invisible natures of the macrocosm and microcosm. Man has two bodies and two hearts: corruptible and eternal, earthly and spiritual, and this means that man is “external” and “internal.” And the latter never dies: by dying, he only loses his earthly body.
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“The Master and Margarita” is a novel by Mikhail Afanasyevich Bulgakov. The type of novel is difficult to unambiguously determine, since the work is multi-layered and contains many elements of such genres as satire, farce, fantasy, mysticism, melodrama, parable, and mythical novel. Many theatrical productions and several films have been made based on its plot.
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The novel “The Master and Margarita” was not published during the author’s lifetime. It was first published only in 1966, 26 years after Bulgakov’s death, with banknotes, in an abbreviated magazine version. The novel gained noticeable popularity among the Soviet intelligentsia and, until its official publication, was distributed in hand-typed copies. The writer's wife, Elena Sergeevna Bulgakova, managed to preserve the manuscript of the novel during all these years.
Slide 4
It has been suggested that the idea for the novel came to Bulgakov after visiting the editorial office of the newspaper Bezbozhnik. Bulgakov dated the start of work on “The Master and Margarita” in different manuscripts as either 1928 or 1929. In the first edition, the novel had variant titles: “Black Magician”, “Engineer’s Hoof”, “Juggler with a Hoof”, “Son of V.”, “Tour”. Work on The Master and Margarita resumed in 1931. Rough sketches were made for the novel, and Margarita and her then nameless companion, the future master, already appeared here, and Woland acquired his own riotous retinue.
Slide 5
The second edition, created before 1936, had the subtitle “Fantastic novel” and variant titles “Great Chancellor”, “Satan”, “Here I am”, “Black Magician”, “Engineer’s Hoof” The third edition, started in the second half of 1936 , was originally called “The Prince of Darkness,” but already in 1937 the title “The Master and Margarita” appeared. On June 25, 1938, the full text was reprinted for the first time (it was printed by O. S. Bokshanskaya, sister of E. S. Bulgakova).
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The work contains two storylines, each of which develops independently. The action of the first takes place in Moscow over several May days (days of the spring full moon) in the 30s. of our century. The action of the second also takes place in May, but in the city of Yershalaim (Jerusalem) almost two thousand years ago - at the very beginning of the new era. The novel is structured in such a way that the chapters of the main storyline are interspersed with chapters that make up the second storyline, and these inserted chapters are either chapters from the master’s novel or an eyewitness account of Woland’s events.
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Master
The master is a professional historian who won a large sum in the lottery and got the opportunity to try his hand at literary work. A person who has achieved the highest success in any activity may therefore be rejected by the crowd, who are unable to appreciate his talent and abilities. The master writes a novel about Yeshua (Jesus) and Pilate. The master writes a novel, interpreting the gospel events in his own way, without miracles and the power of grace - like Tolstoy. The master communicated with Woland - Satan, a witness, according to him, to the events described in the novel.
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Margarita
A beautiful, wealthy, but bored wife of a famous engineer, suffering from the emptiness of her life. Having met the Master by chance on the streets of Moscow, she fell in love with him at first sight, passionately believed in the success of the novel he wrote, and prophesied fame. When the Master decided to burn his novel, she managed to save only a few pages. Then she makes a deal with Messire and becomes the queen of a satanic ball organized by Woland in order to regain the missing Master. Margarita is a symbol of love and self-sacrifice in the name of another person
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Woland
Satan, who visited Moscow under the guise of a foreign professor of black magic, a “historian.” At the first appearance, the first chapter from the Roman is narrated (about Yeshua and Pilate). The main feature of appearance is eye defects. Appearance: “he was neither short nor huge, but simply tall. As for his teeth, he had platinum crowns on the left side and gold ones on the right. He wore an expensive gray suit, expensive foreign shoes to match the color of the suit, and always had a cane with him, with a black knob in the shape of a poodle’s head; the right eye is black, the left one is green for some reason; the mouth is kind of crooked. Shaven clean." He smoked a pipe and always carried a cigarette case with him.
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Retinue
Bassoon. One of the characters in Satan's entourage, always wearing ridiculous checkered clothes and pince-nez with one cracked and one missing glass. In his true form, he turns out to be a knight, forced to pay with a permanent stay in Satan’s retinue for one bad pun he once made about light and darkness.
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Azazello. “This neighbor turned out to be short, fiery red-haired, with a fang, in starched underwear, in a good-quality striped suit, in patent leather shoes and with a bowler hat on his head. “Absolutely a robber’s face!” thought Margarita.” But Azazello's main function in the novel is related to violence. In the epilogue of the novel, this fallen angel appears before us in a new guise: “Azazello flew at the side of everyone, shining with the steel of his armor. The moon also changed his face. The absurd, ugly fang disappeared without a trace, and the crooked eye turned out to be false. Both of Azazello's eyes were the same, empty and black, and his face was white and cold. Now Azazello was flying in his true form, like a demon of the waterless desert, a killer demon.”
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Cat Behemoth. A character in Satan's retinue, a playful and restless spirit, appearing either in the form of a giant cat walking on its hind legs, or in the form of a plump citizen whose physiognomy resembles a cat. The prototype of this character is the demon of the same name Behemoth, a demon of gluttony and debauchery who could take the forms of many large animals. In his true form, Behemoth turns out to be a thin young man, a demon page.
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Slide 14
The fifth procurator of Judea in Jerusalem, a cruel and powerful man, who nevertheless managed to develop sympathy for Yeshua Ha-Nozri during his interrogation. He tried to stop the well-functioning mechanism of execution for insulting Caesar, but failed to do this, which he subsequently repented of throughout his life. He suffered from severe migraines, from which he was relieved during the interrogation by Yeshua Ha-Nozri. Pontius Pilate
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Yeshua Ha-Nozri
A wandering philosopher from Nazareth, described by Woland on the Patriarch's Ponds, as well as by the Master in his novel, compared with the image of Jesus Christ. The name Yeshua Ha-Nozri means in Hebrew). However, this image differs significantly from the biblical prototype. Characteristically, he tells Pontius Pilate that Levi-Matthew (Matthew) wrote down his words incorrectly and that “this confusion will continue for a very long time.” A humanist who denies resistance to evil through violence.
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The only follower of Yeshua Ha-Nozri in the novel. He accompanied his teacher until his death, and subsequently took him down from the cross to bury him. He also had the intention of stabbing his executioner, Yeshua, in order to save him from the torment of the cross, but in the end he failed. At the end of the novel, Yeshua, sent by his teacher, comes to Woland with a request to grant peace for the Master and Margarita. Levi Matvey
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Pilate and others (TV film, Germany, 1971, 90 min.) The Master and Margarita (Russia, 1994) The Master and Margarita (TV series, Russia, 2005, 10 episodes ~500 min.) - dir. Vladimir Bortko. Scott Steindorf's film company, StoneVillageProduction, bought the rights to film the novel from Sergei Shilovsky, grandson of E. S. Bulgakova, under the title "Master & Margarita". The roles of the Master and Margarita can be played by Johnny Depp and Angelina Jolie. Film adaptations
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Bulgakov's novel is a multi-dimensional and multi-layered work. It combines mysticism and satire, fantasy and realism, light irony and philosophy. One of the main philosophical problems of the novel is the problem of the relationship between good and evil. This topic has always occupied a leading place in Russian philosophy and literature.
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1928 Concept 1929 Start of work 1928 - 1938 8 editions Initially a novel about the Devil, without the Master and Margarita 1930 the manuscript was burned 1931 - 1932 Continuation of work, the appearance of the images of the Master and Margarita 1936 Final chapter 1936 Title of the novel 1940 Editing, rewriting Published for the first time in the magazine "Moscow" » in 1966–1967
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Real Moscow 20 - 30 years of the twentieth century Biblical (mythological) Yershalaim 1 year AD. Fantastic Movement in Time and Space (Woland and his retinue)
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Multifaceted (modernity, mythology, fantasy) The principle of mirror reflection - “a novel within a novel” A system of internal correspondences (biblical events - modern ones, geographical places, weather conditions, a system of historical prototypes, time frames of events) A system of plot doubles Landscape (images - symbols)
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Mirror image: Yershalaim - Moscow. There is a common theme in the description of these two cities in two very different novels. The two cities are described in almost the same expressions (clouds, thunderstorm, darkness coming from the west...); Yeshua Ha-Nozri - Master. They each find their own truth, they don’t know, don’t understand, don’t guess their traitors, don’t have. Kaifa - Berlioz. The antagonist of Yeshua in the novel about the Master is “the acting president of the Sanhedrin, the Jewish high priest Joseph Caiaphas,” and the antagonist of the Master in the novel about the Master is Mikhail Alexandrovich Berlioz. Judas from Kiriath - Aloysius Mogarych. Judas and Kiriapha received 30 tetradrachms, Aloysius Mogarych “wanted to receive” and received the “rooms” of the Master. In both cases, the incentive for betrayal was material interest, which Woland considers the determining basis for people’s behavior. Levi Matvey - Ivan Nikolaevich Ponyrev. The protagonists of both novels have one student each. Yeshua Ha-Notsri - Matthew Levi, Master - Ivan Nikolaevich Ponyrev. Both students were at first very far from the position of their teachers, Levi was a “tax collector”, Ponyrev was an anti-religious poet. The crowd in the ancient and modern world. Compare the image of a crowd of curious people going to watch the execution (chapter 16), and the crowd forming a line at Variety (chapter 17), the description of the evening at the Griboyedov restaurant and the ball at Satan's. Griboedov's house - Satan's ball. The unbridled fun in the restaurant matches the description of the feast of the dead.
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Three levels of reality Three time layers - past - present - eternal; Three levels of reality – earthly (people), artistic (biblical characters) and mystical (Woland and his companions); The role of the connecting link is played by Woland and his retinue. The theory of such “three worlds” was borrowed by Bulgakov from Grigory Skovoroda (Ukrainian philosopher of the 18th century). According to this theory, the most important world is the cosmic one, the Universe. The other two worlds are private. One of them is human; the other is symbolic, i.e. biblical. Each of the three worlds has two “natures”: visible and invisible. All three worlds are woven from evil and good, and the biblical world acts as a connecting link between visible and invisible natures. All “three worlds” of Bulgakov’s novel strictly correspond to this classification.
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Bulgakov rethought the gospel plot. Yeshua has almost no effect, but he is the reason for all the actions in the novel: Yeshua is brought to trial before Pilate, because of him, Pilate comes into conflict with Caiaphas, Yeshua is executed, Pilate takes revenge for the death of Yeshua on Judas and Caiaphas; in addition, all the events of the line of the Master and Margarita in the novel about the Master are in direct and immediate connection with Yeshua. 2. Yershalaim chapters
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Yeshua Ha-Nozri is a character who goes back to Jesus Christ from the Gospels. One of the names of Christ mentioned in the Talmud is Ha-Nozri, which means Nazarene. In Hebrew, the word "natzar" or "nazer" means "branch" or "branch", and "Yeshua" or "Joshua" means "help of Yahweh" or "help of God." Even before our era, among the Jews there was a sect of Nazarenes, or Nazarenes, who revered the cult god Jesus (Joshua, Yeshua) “ga-notsri”, i.e. "Guardian Jesus" Yeshua Ha-Notsri The wandering philosopher Yeshua, nicknamed Ha-Notsri, who does not remember his parents, has no means of subsistence, no family, no relatives, no friends, he is a preacher of goodness, love and mercy. His goal is to make the world a cleaner and kinder place.
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Bulgakov emphasizes in every possible way that Yeshua is a man, not God. The writer made his hero thin and homely with traces of physical violence on his face: the man who appeared before Pontius Pilate “was dressed in an old and torn blue chiton. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back. Under his left eye The man had a large bruise, in the corner of his mouth there was an abrasion with dried blood. The man brought in looked at the procurator with anxious curiosity.” After the beating, and even more so during the execution, Jesus’ appearance could in no way contain signs of the greatness inherent in the prophet. On the cross, rather ugly features appear in the appearance of Yeshua: “...The face of the hanged man was revealed, swollen from bites, with swollen eyes, an unrecognizable face,” and “his eyes, usually clear, were now cloudy.” External disgrace I. G.-N. contrasts with the beauty of his soul and the purity of his idea about the triumph of truth and good people. Appearance of Yeshua
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The embodiment of goodness in the novel is Yeshua Ha-Nozri. He believes in the original goodness of the world, not allowing even the thought of evil. Yeshua's philosophy of life is: “ Evil people no, there are unhappy people in the world.” “A good man,” he addresses the procurator, and for this he is beaten by Ratboy. But the point is not that he addresses people this way, but that he really behaves with everyone an ordinary person as if he were the embodiment of good.
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Levi Matthew According to Ha-Notsri: “...He walks around with a goat’s parchment and writes incorrectly. But I once looked into this parchment and was horrified. I said absolutely nothing of what was written there. I begged him: burn For God's sake, your parchment! But he snatched it from my hands and ran away." The manuscript of Levi Matthew, like the manuscript of the Master, does not burn, but it carries not true, but perverted knowledge. This distortion of Yeshua’s ideas leads to bloodshed, which the disciple Ha-Nozri warns Pontius Pilate about, saying that “there will still be blood.” Levi Matthew - a former tax collector, the only disciple of Yeshua Ha-Nozri - goes back to the Evangelist Matthew. Yeshua's disciple, powerless to stop the Teacher's suffering on the cross, having become convinced of the futility of his prayers, curses God and, as it were, hands himself over to the protection of the devil.
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It is mentioned that the procurator was the son of the astrologer king and the miller Pila. One day At, while on a campaign, learned from the stars that the child he conceived would become powerful and famous. The king was brought the first woman they could find - the miller Pila. The boy who was born received his name from the addition of their names. Pontius Pilate - Roman procurator of Judea in the late 20s - early 30s. n. e., during which Jesus Christ was executed. The procurator was an imperial official who had the highest administrative and judicial power in a small province. Pontius Pilate enjoyed the patronage of the all-powerful Emperor Tiberius Lucius Aelius Sejanus.
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The name of Pilate is connected with the name of Jesus by an “inextricable knot.” Pilate dreams that Yeshua turns to him: “Now we will always be together... If there is one, then that means there is another! If they remember me, they will remember you too!” The decision to put Jesus to death led Pilate to a “terrible” discord between what his heart told him and what his mind dictated. Pontius Pilate sees his future immortality. Immortality of Pilate With the confirmation of the verdict, “the melancholy remained unexplained, for it could not be explained by some short other thought that flashed like lightning and immediately went out: “Immortality... immortality has come...” Whose immortality has come? The procurator did not understand this, but the thought of this mysterious immortality made him feel cold in the sun." This interpretation turned out to be innovative in many ways in the artistic embodiment of the gospel theme.
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In the gospel chapters - a kind of ideological center of the novel - the most important questions of human existence are posed that concern people at all times, “eternal questions”: What is truth? What is good and evil? Man and his faith. Man and power. What's the point human life? Inner freedom and non-freedom of a person. Loyalty and betrayal. Mercy and forgiveness.
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“The Master and Margarita” is a later version of the title of the novel. Options: “Black Magician”, “Satan”, “Black Theologian”, “Prince of Darkness”. The epigraph is the words of Mephistopheles from I. Goethe’s novel “Faust”, and they relate to Woland. Woland's theme occupies one of the main places in the novel. The word "damn" is used about 60 times. Woland is the devil, Satan, “prince of darkness,” “spirit of evil and lord of shadows” (all these definitions are found in the text of the novel). …SO WHO ARE YOU FINALLY? - I AM PART OF THAT POWER THAT ETERNALLY WANTS EVIL AND ETERNALLY DOES GOOD. GOETHE'S "FAUST" 3. "Evil spirits" in the novel
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The devil is a fallen angel. By an inexplicable whim, the first person he created closest to God, the highest angel Dennitsa, or Lucifer (the bearer of light), wanted to have everything just for himself, without giving anything to anyone. According to the holy fathers, he fell in love with himself and became, as it were, a self-closed vessel. Woland is the devil, Satan, the prince of darkness, the spirit of evil and the lord of shadows. Who is he? "Executioner of Vice"? “The punishing sword in the hands of justice”?
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The name Woland is taken from Goethe's poem "Faust", where it is mentioned only once and is usually omitted in Russian translations. This is what Mephistopheles calls himself in the Walpurgis Night scene, demanding that the evil spirits give way: “The nobleman Woland is coming!” The main word "Faland" (deceiver, crafty) was used in the sense of a devil. Bulgakov used this name: after a session of black magic, employees of the Variety Theater try to remember the name of the magician: “In... It seems, Woland. Or maybe not Woland? Maybe Faland.” As amended in 1929-1930. The name Woland was reproduced in full Latin on his business card: “Dr Theodor Voland.” In the final text, Bulgakov abandoned the Latin alphabet: Ivan Bezdomny only remembers the Patriarchal initial letter surnames - W ("double-ve").
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Woland - mystery and enigma Woland is visibly or invisibly present in the novel throughout the entire space of the text. According to him, he was even present during the interrogation of Yeshua by Pilate: “... I was personally present at all this. And I was on Pontius Pilate’s balcony, and in the garden when he was talking to Caiaphas, and on the platform, but only secretly, incognito, so to speak, so I ask you - not a word to anyone and a complete secret!.. Shh!” Woland is the embodiment of the contradictions of life. His portrait gives us a double idea of the hero. “...on the left side he had platinum crowns, and on the right - gold”, “black eyebrows, one higher than the other”, different eyes: “the left one is green, he is completely insane, and the right one is empty, black and dead”, beret folded to one side.
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Woland is a bundle of contradictions, like all life over all the millennia that Bulgakov comprehends. Woland is “part of that force that always wants evil and does good.” Both in philosophy and in actions, Woland is contradictory, especially when it comes to moral issues. In one thing he is consistent - this is in his benevolent attitude towards the Master and Margarita (a high assessment of the role of art, capable of bringing truth and justice to people despite all obstacles). Even opinions about him differ: “... the foreigner made a disgusting impression on the poet from the very first words, but Berlioz rather liked it, that is, not that he liked it, but... how to put it - he became interested, or something.” Who is Woland really? For Bezdomny he is a foreign spy, for Berlioz he is a professor of history, a crazy foreigner, for Styopa Likhodeev he is a “black magician”, for the Master he is a literary character.
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Woland's retinue Woland comes to Moscow not alone, but surrounded by his retinue, which is unusual for the traditional embodiment of this character in literature. After all, Satan usually appears on his own, without accomplices. Why are Satan and his retinue present in the novel? All the tricks and eccentric performances are performed by “demons of the lower order”: the cat Behemoth, Koroviev, Azazello and the vampire Gella.
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Koroviev is a knight who masters black magic, a swindler. In reality, he is the dark purple knight Bassoon. Once he unsuccessfully made a pun about light and darkness and was punished; forced to serve Woland. Woland's henchman only puts on various disguises when necessary: a drunkard, a clever swindler, a sneaky translator for a famous foreigner, etc. The meaning of the surname “Koroviev-Fagot” is comical. This is a jester (related to music), tastelessly dressed and heretically minded with a jester's surname (French “fagot” - “a bunch of pipes”, “to give heresy”, phraseology - “to be like a bundle of firewood”). The evil that is embodied in him is a lie that distinguishes him from Woland’s other subjects.
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The Behemoth cat is a werecat and Woland’s favorite jester, a satirical character, as he is presented in the form of a fat black cat who can speak and is always “playing the fool.” Occasionally he turns into a thin young man. The name Behemoth is taken from the Old Testament book of Enoch. The sea monster Behemoth was mentioned, living in the invisible desert “to the east of the garden where the chosen and the righteous lived.” The Behemoth cat is a master of mischievous tricks and practical jokes. In his retinue, he is just a favorite jester, amusing the prince of darkness. His actions in Moscow are destructive and, as a rule, inconsistent. It is they who say that his image contains such a manifestation of evil as chaos.
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Azazello – “demon of the waterless desert, demon-killer.” The name Azazello was formed by Bulgakov from the Old Testament name Azazel (or Azazel). This is the name of the fallen angel who taught people how to make weapons and jewelry. Thanks to Azazel, women have mastered the “lascivious art” of painting their faces. Therefore, it is Azazello who gives Margarita a cream that magically changes her appearance. He is extremely inventive in the sense of kicking out various kinds of sinners from apartment No. 50, from Moscow, and even from this to the next world. At the end of the novel, the changes that happened to Azazello did not change his appearance, unlike Woland’s other companions. This speaks of his special dedication to his work. This character personifies death.
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Gella is a female vampire. She is silent and mysterious throughout almost the entire novel. Vampires are traditionally the lowest category of evil spirits, so we can assume that she is the youngest member of the retinue. Her absence from the farewell flight over Moscow makes her an even more mysterious character. All we know about her role in the retinue is that she can do anything her master asks. Mystery is its main difference.
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Woland's retinue personifies evil, but in each of them it is presented in a unique way. The nature and purpose of each of them is different. Woland’s statement that it is against the backdrop of good that evil can be seen, that good without evil is worth nothing, explains their actions by the fact that Good and Evil are inseparable things. Messire does not do evil, he tries to cleanse the world by discovering and exposing human vices. But he takes on this mission arbitrarily, without condescending to pity those whom he cruelly punishes. However, it would be strange to demand sympathy from the devil. It is enough that he helped the Master and Margarita. In fact, Woland is “part of that force that always wants evil and always does good.”
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Variety Theater, where a session of “black magic” takes place. During the “money rain,” the public goes wild: “The word “chervontsy” was buzzing everywhere, shouting was heard... Some were already crawling in the aisle, groping under the chairs.” Tension grows in the hall, a scandal is brewing, ending in a fight. But the devil's ducats quickly turn into ordinary paper. For Woland, imaginary money is only a way to reveal the inner essence of people. When the entertainer demanded that these “pieces of paper” disappear, the audience demanded that his head be torn off, which was done with lightning speed... A “ladies’ store” opens on stage, where any woman sitting in the hall can dress from head to toe for free. A line immediately forms to enter the store, but at the end of the performance, everything purchased in the “ladies’ store” disappears without a trace, forcing gullible women to rush through the streets in their underwear. “...have these townspeople changed internally?”
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Talking about modern man, Woland comes to the conclusion: “...they are people, like people. They love money, but this has always been the case... Well, they are frivolous... well... and mercy sometimes knocks on their hearts... ordinary people... in general, they resemble the old ones... the housing problem has only spoiled them...” Woland in the artistic world of the novel is not the opposite of Yeshua, but an addition to him. For Woland, evil is not a goal, but a means to cope with human vices.
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The ball is given by Woland in the Bad Apartment on the endlessly lasting midnight of Friday May 3, 1929. In the fifth dimension, the gigantic halls where the action takes place become visible, and the participants of the ball themselves, on the contrary, are invisible to the people around them, including the OGPU agents on duty at the doors of the Bad Apartment. The hall is richly decorated with roses (a symbol of Margarita’s love for the Master, a harbinger of their imminent death, an allegory of Christ, a memory of shed blood). Guests: alchemists, counterfeiters, sorcerers, state traitors, poisoners, warlocks - enter the ball through the fireplace (except Margarita), and the mouth of the fireplace corresponds to the dark and deep cave from where its participants go to the Sabbath. Hence the comparison with the cave of Woland’s dark eye, with which he looks at Margarita. The best musicians in the world play in the orchestra. Thus, Bulgakov illustrates the idea that every talent is in some way from the devil. Great Ball at Satan's
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Her biography reflected the fates of two women described in the book of the Swiss psychiatrist August Forel: “Frieda Keller killed a boy, Konietzko strangled a baby with a handkerchief.” Bulgakov punishes the guest more severely than she had in real life ("poor Frieda Keller"'s death sentence was commuted to life imprisonment). Bulgakov executed his Frida to give her the opportunity to attend Satan’s ball (only the living dead participate in the ball). Margarita shows mercy to Frida at the ball. Mercy Frida plays a special role at the ball, showing Margarita the version of the fate of the one who crosses the line defined by Dostoevsky in the form of the tears of an innocent child. Frida seems to become a mirror image of Margarita. Frida asks Margarita to put in a word for her before the prince of darkness and stop her torture: for thirty years now, she has been placed on the table at night with the handkerchief with which she strangled her baby.
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An unusual company, consisting of a former regent, two demons, one of them reincarnated as a cat, and a vampire girl, carry out Woland’s instructions and help him in his mission. They are designed to reveal the shortcomings of society and punish people for their sins. They do not do evil, they do justice. In the course of the collision of the ugly with the devilish power, it turns out that even Woland, Koroviev, Azazello, the cat Behemoth are more attractive, smarter than those scoundrels, grabbers and swindlers whom they expose or play various tricks with them. Woland and his retinue, contrary to literary tradition, do not tempt people, but expose human vices. The horror they experience becomes punishment for people. The meaning of the actions of Woland and his retinue
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If there is no God, who controls human life and all order on earth in general? Human destiny and the historical process itself are determined by the continuous flow of truth, the pursuit of the high ideals of justice and mercy. 4. “Moscow” chapters. MASSOLIT
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Mikhail Aleksandrovich Berlioz, chairman of MASSOLIT, located in the Griboyedov House, can be deciphered as the Workshop (or Masters) of socialist literature. Convinces Ivan Bezdomny that “the main thing is not what Jesus was like, whether he was bad or good, but that this Jesus, as a person, did not exist in the world at all and that all the stories about him are simple inventions, the most an ordinary myth." Berlioz received material benefits in exchange for beliefs and the renunciation of artistic freedom. This results in punishment: he dies under the wheels of a tram immediately after a conversation with the devil (the prediction of Berlioz's death was made in full accordance with the canons of astrology). Berlioz's head is resurrected at Satan's ball only to listen to the end of Woland's proof: “Everyone will be given according to his faith. May it come true! You are going into oblivion, but I will be happy to drink to being from the cup into which you are turning.”
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Ivan Bezdomny (aka Ivan Nikolaevich Ponyrev) is a poet who in the epilogue becomes a professor at the Institute of History and Philosophy. According to Woland's prediction, Ivan ends up in a madhouse. Ivan Nikolaevich Ponyrev is convinced that there is neither God nor the devil, and he became the victim of a hypnotist. The professor's faith comes to life only once a year, on the night of the spring full moon, when he sees in a dream the execution of Yeshua, sees Yeshua and Pilate peacefully talking on a wide road flooded with moonlight, sees and recognizes the Master and Margarita. In the image of Bezdomny, Bulgakov’s skepticism regarding the possibility of degeneration for the better of those who were brought into culture and social life October Revolution 1917, the idea that they could become the creators of a new national culture turned out to be a utopia. Having “seen the light” and turned from Homeless to Ponyrev, Ivan feels such a connection only in a dream.
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Bulgakov never gave the full name of the association he invented, which makes it possible to ambiguously decipher this word: Moscow ASSOCIATION OF LITERATORS; MASS SOCIALIST LITERATURE; MASS LITERATURE; MASTER OF SOVIET LITERATURE; MASTERS OF SOCIALIST LITERATURE, etc., The prototype is RAPP, a literary group that has become a symbol of punitive functions in relation to free-thinking artists. The house in which MASSOLIT is located is called the “Griboyedov House”. This is a parody of the House of Industry. The people's canteen here has turned into a luxurious restaurant. There is no library - MASSOLIT members do not need it, because Berlioz's colleagues are not readers, but writers. Instead of labor institutions, there are departments related only to recreation and entertainment: “Fish and dacha section”, “Cash desk”, “ Housing problem", "Billiard Room", etc. The main attraction is the restaurant. "Griboedov" in the novel is a symbol of not writing, but chewing brethren, a symbol of the transformation of literature into a source of satisfying immoderate appetites. MASSOLIT
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Fires in the novel symbolize sad consequences revolution for Russia. Only persons with appropriate certificates are considered writers, and those who are members of governing bodies are considered especially outstanding. The twelve members of the MASSOLIT leadership are parodically likened to the twelve apostles, only not of the Christian faith, but of the new communist faith. Such an artistic world is subject to final and irrevocable judgment. During a fire, “as if a gaping mouth with black edges appeared in the awning and began to spread in all directions. The fire, having jumped through it, rose to the very roof of Griboyedov’s house. Folders with papers lying on the second floor window in the editorial room suddenly flared up, and behind them grabbed the curtain, and then the fire, humming, as if someone was fanning it, went in pillars inside the aunt’s house,” and “to the cast-iron grate of the boulevard, from where on Wednesday evening the first messenger of misfortune Ivanushka came, not understood by anyone, now underfed writers and waiters were running , Sofya Pavlovna, Boba, Petrakova, Petrakov."
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Baron Meigel is an employee of the Entertainment Commission. An intelligent, pleasant, secular man, he is completely indifferent to the victims of his denunciations, be they eminent foreigners or ordinary Soviet citizens (Azazello was killed). Stepan Bogdanovich Likhodeev is the director of the Variety Theater. Bulgakov's image is satirical. Drunkenness is not the only and far from the main vice of the director of the Variety Theater. He is punished primarily for taking the wrong place (sent to Yalta). Aloisy Mogarych is a journalist who wrote a denunciation against the Master and subsequently settled in his basement in one of the Arbat alleys (he ends up with a scratched face that is bleeding). Andrei Fokich Sokov - a barman who refused to spend his treasures, accumulated not by righteous labors, but at the expense of “sturgeon of the second freshness” (he died of liver cancer). Nikanor Ivanovich Bosoy is the chairman of the housing association at building 302 bis on Sadovaya, where the Bad Apartment is located (arrested for storing currency, going crazy). The image of a bureaucrat is presented in the form of an empty suit that successfully fulfills the role of a boss. And the servants of the entertainment fund sing the convicts’ favorite song: “Glorious sea, sacred Baikal...”
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It is somehow established that in novels, good must ultimately defeat evil, overthrowing it. But this concept has nothing to do with Bulgakov’s novel. Here everything is the other way around, on its pages we see many qualities and properties of evil: envy, hatred, revenge, conspiracies, stupidity, meanness - while only one topic really meets the requirements of good - this is love, true, pure and bright love. The Master and Margarita are present in the novel in inextricable unity. When the Master alone is on stage, telling Ivan the bitter story of his life, his entire story is permeated with memories of his beloved. Even when we see lonely Margarita, who has lost her Master, all her actions are subordinated to caring for her lover. Margarita even begins to “pull aside” the Master in the second part of the novel: she takes on an active role and tries to fight against life circumstances, which the Master abandoned.
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What unites the Master and Woland? Why is Woland satisfied with the fate of the Master and Margarita? Why is Woland interested in the Master's novel? MM
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First version: The master - “a historian who became a writer” - Bulgakov was preparing a history textbook for “release.” The Master is “about 38 years old” - Bulgakov was 38 years old by the time the first edition of the book “The Master and Margarita” was completed. The newspaper campaign against the Master and his novel about Pontius Pilate is similar to the newspaper campaign against Bulgakov in connection with the novel “The White Guard”. Like the Master, Bulgakov burned the first edition of the novel “The Master and Margarita.” Second version: N.V. Gogol is the prototype of the Master for the reason that he burned the manuscript of his novel, was a historian by training and had an appearance similar to the portrait of the Master - a sharp nose, a tuft of hair hanging over his forehead. But Gogol is a writer, and the Master does not consider himself one. Bulgakov called the 13th chapter, in which the Master first appears on stage, “The Appearance of a Hero.” In literary criticism, the opinion has taken root that the prototype of the Master was: 1) Bulgakov; 2) Gogol.
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Another version: Grigory Skovoroda, Ukrainian philosopher of the 18th century. Bulgakov relied on his philosophy. Skovoroda knew Hebrew, Greek, Latin, German and a little Italian. And Bulgakov’s Master knows a few foreign languages: English, French, German, Latin, Greek and reads a little Italian. Skovoroda did not publish any of his works during his lifetime (like Bulgakov’s hero). Skovoroda, dissatisfied with his book “Askhan,” “got bitter and burned it.” The Master also burns his novel. The idea of finding peace is no less clearly reflected in Bulgakov’s novel. This theme is constant in Skovoroda’s philosophical works and his poetry. Peace is the reward for all a person’s earthly suffering; peace for the philosopher-poet personifies eternity, an eternal home. Hence the meaning of the “determined from above” of the posthumous fate of the Master in Bulgakov’s novel: “He did not deserve light, he deserved peace.”
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In ancient times, a “master” was a name given to a teacher who taught literacy using church books and was an expert on gospel stories. This is the meaning of the word “master” back in the 19th century. was preserved in the Oryol regional dialect (the writer’s grandfather was an Oryol priest, his father graduated from the Oryol Theological Seminary). “Tell me, why does Margarita call you Master? - Woland asked. He grinned and said: “This is a forgivable weakness.” She thinks too highly of the novel I wrote. - What is the novel about? - A novel about Pontius Pilate... About what, about what? About whom? - Woland spoke, stopping laughing. - Now? It's amazing!" The master is an “expert in gospel stories.” -Are you a writer? -I AM A MASTER. The image of the Master is a symbol of suffering, humanity, a seeker of truth in a vulgar world.
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When the Master casually mentioned the novel he had written, Woland, in turn, asked what it was about. “- A novel about Pontius Pilate... Let me see,” Woland extended his hand, palm up. “Unfortunately, I cannot do this,” answered the Master, “because I burned it in the stove.” “Sorry, I don’t believe it,” Woland replied, “this can’t be.” Manuscripts don’t burn.” Why did the novel, which the Master burned, end up unharmed? A peculiar interpretation Holy Scripture is the Master's novel about Yeshua and Pilate. The manuscript of such an essay could not burn! Manuscripts don’t burn...
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MARGARITA Margarita is a witch and a saint at the same time. A similar model can be found in A. Blok (Eternal Femininity, poems about the Beautiful Lady). Like many symbolists, Blok relied in his poetry on the philosophy of Vladimir Solovyov. At the beginning of the novel, Margarita is the Master’s friend, she is “susceptible to lies and evil no less than to truth and goodness,” compassionate to her lover, and successfully lies to her husband. She is gradually reborn and at the end of the story gains moral strength, making her capable of resisting evil. When “all deceptions have disappeared” and the beauty of Margarita, previously “deceptive and powerless,” is transformed into “unearthly beauty,” this “woman of exorbitant beauty” saves the Master from suffering, contributes to the revival of the novel he created and defeats death.
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The main characters of the novel The Master and Margarita are married people, but they family life was not very happy. Why did love break out between these heroes? In the eyes of the Master, as in the eyes of Margarita, “some kind of incomprehensible light” burned, since such love flared up, burning both hearts to the ground. Neither the joyless dark days, when the Master's novel was crushed by critics and the lovers' lives stopped, nor the Master's serious illness, nor his sudden disappearance for many months, extinguished it. This love turned out to have a peaceful, domestic character. Margarita could not part with the Master for a minute, even when he was not there: “Oh, really, I would pledge my soul to the devil just to find out whether he is alive or not!” The story of the Master and Margarita, like a transparent stream, crosses the entire space of the novel, breaking through the rubble and abysses on its way and going into the other world, into eternity. Margarita and the Master did not deserve the light. Yeshua and Woland rewarded them with eternal peace.
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He didn’t deserve light, he deserved peace... Bulgakov’s Margarita also, with her eternal love, helps the Master find what he deserves. But the hero’s reward here is not light, but peace, and in the kingdom of peace, in Woland’s last refuge, more precisely, on the border of two worlds - light and darkness, Margarita becomes the guide and guardian of her lover: “You will fall asleep, having put on your greasy and eternal cap, you will fall asleep with a smile on your lips. Sleep will strengthen you, you will begin to reason wisely, and you will no longer be able to drive me away. I will protect your sleep.” Faust and Margaret (Goethe) are reunited in heaven, in light. Eternal love Goethe's Gretchen helps her lover find a reward - the traditional light that blinds him, and therefore she must become his guide in the world of light.
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The first is associated with the birth, life and death of Yeshua. The second takes place in Moscow. The “last storm” is coming - the Last Judgment is coming. On the eve of this “last storm”, which “will complete everything that needs to be completed,” the Master restores the truth about the teachings, life and death of Yeshua, eliminating the “confusion” introduced by Yeshua’s disciple and lasting almost two thousand years. And again people, almost all of them, remained deaf to this truth, and the Master suffered a fate close to the fate of Yeshua. The "final storm" has arrived. The trial of Berlioz, Baron Meigel was completed; The time has come for release from posthumous torment for Pontius Pilate, for the unknown Frida, for the “dark purple knight” (Koroviev). The image of a thundercloud coming from the west receives a symbolic interpretation: “But it is not so much the executioner that is terrible as the unnatural lighting coming from some cloud that is boiling and falling on the ground, as only happens during world catastrophes.”
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The novel “The Master and Margarita” is a novel about man’s responsibility for all the good and evil that is committed on earth, for his own choice of life paths leading either to truth and light, or to slavery, betrayal and inhumanity. As you make your own choices, remember: “To each will be given according to his faith.”
