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The theme of creativity in M. Bulgakov's novel "The Master and Margarita" Purpose: to reveal the problem "Why do not 'manuscripts burn"? " Tasks: analysis of episodes from a movie; developing the ability to analyze, generalize, draw conclusions; education of moral qualities of students. N. Rusheva. Master and Margarita

Problem: "Why don't the manuscripts burn?" Pages of the manuscript of the novel "The Master and Margarita". 1930

Why did the Master give up the name?

Why did the Master give up the name? loss of balance in life; rejection of oneself; disbelief in the justice of real life.

How was the novel created?

How was the novel created? talent; inspiration; love.

Why did the Master burn the manuscript?

Why did the Master burn the manuscript? rejection of the real world; mental suicide; fear of life.

Why "the manuscripts don't burn"?

Why "the manuscripts don't burn"? The manuscript is the soul captured in the lines. Talent, like life, is given by God, so you need to believe in it. Our soul is immortal.

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The theme of creativity in the novel by M. Bulgakov "The Master and Margarita"

Purpose: to reveal the problem "Why don't the manuscripts burn?"

Tasks:

• analysis of episodes from a movie;
• developing the ability to analyze, generalize, draw conclusions;
• education of moral qualities of students.

• Bulgakov presented in the novel the tragedy of the fate of an artist who knows the true, lofty, eternal principles of being and who cannot be in harmony with his time. Perhaps this belonging to the high world, the acuteness of reactions and the conflict with real life prompts Woland to speak of the "thrice romantic master".

• In the lesson we will look at fragments of the film "The Master and Margarita" directed by Vladimir Bortko, who became the first Russian director to film the novel to the end. The famous director shoots exactly according to the book - from the first to the last line.
• On the basis of the fragments we have seen, we will solve the problem "Why do not the manuscripts burn?"

Why don't the manuscripts burn?

• The master appears in the novel when a third of it has already been read. The name of the Master was never pronounced. It was erased by his abandonment of himself and disbelief in the justice of life.
• Let's see 1 snippet and answer the question.

Why did the Master give up the name?

• loss of balance in life;
• rejection of oneself;
• disbelief in the justice of real life.

• For a master destroyed by the violence that has become the law of his contemporary life, the hospital is preferable to the chaos of real life.
• Although the Master has given up the name, notice how proudly his answer sounds. He is a master of his craft, he was given talent by God, he is the chosen one of fate, he is a prophet.
• The master is free from the vanity of the Moscow world and as soon as fate gives him the opportunity, breaks all ties with him in order to surrender to creativity. And, as if by magic, love comes, Margarita appears. Margarita's entry into the Master's world transforms his life.
• Fragment 2 (Master and Margarita in the basement).

What helped the Master write the novel?

• talent;
• inspiration;
• love

• Then the worst begins. The novel is written. And the Master recalls with horror the literary world, into which he had to enter with a written novel. This world seems to the Master to be insane and haunts him with accusations that can cost life and take away its meaning. He burned his manuscript and renounced his name and Margarita's love.
• Watching episode 3

Why did the Master burn the manuscript?

• rejection of the real world;
• mental suicide;
• fear of life.

• But the soul, captured in the manuscript, does not want to perish.
• The last fragment is a scene after Satan's ball. Otherworldly forces intervene to help the Master. Woland fulfills Margarita's wish - he returns her Master.

Let's see snippet 4.

Why "the manuscripts don't burn"?

• The manuscript is the soul captured in the lines.
• Talent, like life, is given by God, so you need to believe in it.
• Our soul is immortal.

This way it is possible to carry out problem analysis of works based on ICT and video library.

The theme of art in M. Bulgakov's novel "The Master and Margarita" // Zar. lyt. in navch. prl. - 2001. - No. 4. - S. 56-60.

The theme of creativity worried Mikhail Afanasyevich Bulgakov throughout his life. Deep thoughts about the fate of the artist and his destiny, the desire to comprehend the full responsibility of the writer to the people and humanity never left Mikhail Afanasyevich, and in the last years of his life they became especially painful.

Bulgakov had the privilege of living and creating in an unusually harsh time. The revolution and civil war, which brought death and physical suffering, attempts to build a new state, which turned into chaos, devastation and brutal repression, responded with incredible pain in the soul of the humanist artist and were reflected in his immortal creations. However, the most terrible thing that the era of terror brought was the spiritual decomposition of the personality, which, according to the writer, could be stopped only by the great power of art, because the creator is like God: he creates the world and man in it with the Word.

It is difficult to read the tablets of the future, but the best writers and thinkers of the first third of the 20th century, who were not indifferent to the fate of the Motherland, foresaw future misfortunes. Mikhail Bulgakov dreamed of a humane and harmonious society in which the field of artistic creation would be devoid of ideological pressure.

The "disgusting world" of false art

From the first pages of the novel "The Master and Margarita", the reader enters the modern author's "world of literature" and meets a great many characters: Ivan Nikolaevich Ponyrev, Mikhail Aleksandrovich Berlioz, Zheldybin, Beskudnikov, Dvubratsky, Nepremenov, Poprikhin, Ababkov, Glukharev, Deniskin, Lavrovich , Ahriman, Latunsky, Ryukhin and others. The first in the gallery of characters are Berlioz, editor of a Moscow magazine, chairman of MASSOLIT, and Ponyrev, a young poet. Mikhail Alexandrovich, a well-fed, neat citizen with huge glasses, on a hot spring day at the Patriarch's Ponds, conducted a conversation with Ivan Nikolaevich about Jesus Christ. Like most writers of his time, Ivan Bezdomny received an order from the editor to create an anti-religious poem. Homeless fulfilled the order, but Berlioz did not remain quite. pleased with the composition of his student. Ivan had to convince the mass reader that Jesus was a fruit of human fantasy, a fairy tale for the ignorant, and from the poet's pen appeared a "completely alive" Jesus, albeit endowed with all negative qualities.

The history of the creation of the "unfortunate poem" pushes the reader to a huge moral problem of the 20th century - mass nihilism, a general lack of faith in either God or the devil.

The chairman of MASSOLIT in a dispute with Ivan mobilized all his knowledge of a "very educated person." Referring to Philo of Alexandria and Josephus, Berlioz tried to prove to the poet that Jesus Christ never existed. Even the story of Tacitus in the Annals about the execution of Jesus is, according to the editor, a crude forgery. “We are atheists,” Berlioz proudly declares to Woland, who suddenly appeared. "There is no devil!" - picks up Ivan Bezdomny. “What do you have, whatever you miss, there’s nothing!” Woland sums up. The writers with enviable persistence prove to Satan that "... human life and the entire routine on earth" is governed by man. For them, there is no miracle, an event where unforeseen conditions converge to produce sudden - happy or unhappy - consequences. (“Berlioz’s life developed in such a way that he was not accustomed to extraordinary phenomena”), Berlioz and others like him turned art into a servant of ideology. The creative process in the understanding of Mikhail Aleksandrovich is not an amazing discovery coming from the depths of the soul and inspired by duty and conscience, but a rationalistic act subordinated to a certain ideology. The chairman of MASSOLIT has become an "engineer of human souls."

The monstrous invention of ideologists from art - socialist realism - gave rise to a plan-order, which strictly stipulates the nature of the future work.

Rejecting religion as a combination of unprovable postulates and harmful feelings, the Berlioses surprisingly quickly eradicated from the people the belief in a higher power that holds everything in its power, which "beneficially" influences morality. The people are transformed into a faceless mass - the "population". M. Bulgakov shows that rudeness, immorality, cynicism and depravity are the result of the loss of faith.

It should be noted that the editor Berlioz, as a product of the era of lies and nihilism, is only outwardly confident and invulnerable. Somewhere in the depths of his mind, there is a guess that God and the devil do exist. This is evidenced by the following facts:

1. Verbally, not believing in anything, Berlioz mentally recalls the line: "Perhaps it's time to throw everything to hell and to Kislovodsk ...".

2. Incomprehensible fear that suddenly gripped the writer.

3. "Living eyes, full of thoughts and suffering" on the dead face of Berlioz.

If there were no God, not a devil, and, consequently, no retribution for a lie, if man himself controlled his life, where would fear come from? Hypothetically, Berlioz could think like this: perhaps, somewhere in the transcendental world, there is a kingdom of Light and Darkness, but here, on earth, there is no evidence of this. Aloud, the apologist of atheism stubbornly repeated: "... in the field of reason, there can be no proof of the existence of God."

The guilt of Berlioz and others like him before the people is enormous, and it is not surprising that the editor was punished so severely. Naturally, an apple tree grows from an apple seed, a nut tree sprout will appear from a nut, and emptiness will appear from lies (that is, spiritual emptiness). This simple truth is confirmed by the words of Woland. At the end of the Great Ball, Satan makes a verdict: "... everyone will be given according to his faith." Berlioz, the main ideologist of emptiness, for the spiritual corruption of the people, for the web of lies receives a worthy reward - nothingness, he turns into nothing.

Numerous literary men, rank-and-file members of MASSOLIT, also left Berlioz not far. The muse has not visited the monastery of MASSOLIT for a long time - the House of Griboyedov. The hierarchy of the House of Writers excluded any thought about creativity. "Fish-dacha section", "Housing question", "Perelygino", restaurant - all these colorful corners beckoned to them with extraordinary force. The distribution of dachas in the village of Perelygin took on the character of violent battles, giving rise to hatred and envy. Griboyedov's house becomes symbols of greed: "I spent two hours pushing through at Griboyedov's yesterday." - "So how?" - "I got it in Yalta for a month." - "Well done!".

The shuttle dance of the writers in the Griboyedov restaurant resembles Satan's ball: “The faces covered with sweat seemed to glow, it seemed that the horses painted on the ceiling seemed to come to life, the lamps seemed to have added light, and suddenly, as if breaking loose from the chain, both halls danced, and behind them the veranda also danced. "

Contempt is aroused by these false writers, who have forgotten their destiny, in pursuit of portioned goons, who have lost (if any) their talent.

Terrible dreams of Ivan Homeless

From the faceless mass of artisans, the poet Ivan Ponyrev stands out from the art. The only thing known about the origin of the hero is that his uncle lives in the Russian outback. When meeting Ivan, the master asked: "What is your surname?" - "Homeless" - was the answer. And this is not an accidental pseudonym, not a tribute to the literary fashion of those years. This is the tragic attitude of a hero who has neither a material home with a warm hearth and family comfort, nor a spiritual haven. Ivan does not believe in anything, he has no one to love and no one to lay his head to. Ivan is the fruit of the era of unbelief. His conscious years were spent in a society where temples were destroyed, where religion was declared "opium for the people", where everything around was poisoned by the poison of lies and suspicion (Ivan takes Voland for a spy; "Hello, pest!" - this is how the poet greets Dr. Stravinsky) ...

The reader will have to decide for himself how Ivan gets into MASSOLIT. In this organization, he is considered a talented poet, his portrait and poems were published in the Literaturnaya Gazeta. However, the works of Homeless are far from true creativity. M. Bulgakov repeatedly emphasizes the underdevelopment of Ivan's mind (the master calls him a "virgin", "ignorant" person), his habit of going with the flow. But, despite this, the soul of the writer is alive, open and trusting. He blindly surrenders to the power of the dogmatist Berlioz and becomes his obedient student. But the author of "The Master and Margarita" does not in any way justify Homeless, he is not a stupid child who is being deceived by unscrupulous adults. Ivan Bezdomny bears the high title of a poet, but in reality he turns out to be only a successful writer who does not think about serious problems. Ivan does not have solid ground under his feet, he is not a leading link, but a follower.

But despite this, Ivan Bezdomny is one of Bulgakov's favorite heroes, his hope for the revival of the human spirit. Ivan is young - he is twenty-three years old, and he has a chance to be reborn. The meeting with Voldemort and the death of Berlioz under the wheels of the tram served as a powerful impetus to the search for the truth. The run of Ivan Homeless behind Woland's retinue becomes symbolic: this is the path from an intuitive premonition of truth (after all, he turned out to be alive!) To the knowledge of real truth, goodness and beauty.

The very first thing Ivan gets rid of is a lie. Once in a psychiatric clinic, he begins to tell the truth. Homeless characterizes his fellow writer, the poet Alexander Ryukhin: “A typical fist in its psychology, and, moreover, a fist carefully disguised as a proletarian. Look at his lean physiognomy and compare it with those sonorous verses that he composed for the first day! .. "Get up!" yes "develop!" ... and you look inside him - what he thinks there ... you will gasp! "

On the way from the clinic, where Ryukhin leaves Ivan, Alexander thinks about his life. He is thirty-two years old, he is not known to anyone, but this is not the poet's trouble. Riukhin's tragedy is that he knows what kind of poetry he is. But the thought of creativity as the highest goal leading to truth never occupied Alexander. Poetry for him is the most accessible way to achieve fame. Hatred and envy take possession of Ryukhin at the sight of the monument to Pushkin. The glory of Pushkin, the writer concludes, is nothing more than luck and simple luck. The ignorant Ryukhin cannot understand the depth of the people's poet's creations, evaluate his civic position: "This White Guard shot, shot at him and shattered his thigh and ensured immortality ...". The vain Riukhin sees only the outer side of glory, he has no desire to serve his people, and therefore his lot is loneliness and obscurity.

Rejecting lies, Ivan Bezdomny goes to the end - he refuses to write (decides not to write more "monstrous" verses). Ivan's meeting with the master only strengthens this decision and becomes a kind of dedication to the secrets of creativity, the life-giving spirit of truth revealed to the master, penetrates into Ivan's soul, and Ivan is transformed. Behind negative external changes (Ivan turned pale and haggard) there are deep internal changes: eyes that look “somewhere into the distance, over the surrounding world, then inside the youngest person”.

Visions began to visit the homeless man: "... he saw a strange, incomprehensible city, non-existent ..." - ancient Yershalaim. The hero saw Pontius Pilate, Bald Mountain ... The tragedy at the Patriarch's Ponds no longer interested him. “I am interested in something else now ... - I want to write something else. While I was lying here, you know, I understood a lot, ”Ivan says parting to the master. “You will write a continuation about him,” the teacher bequeathed to Ivan.

In order to write a sequel, you need knowledge, courage and inner freedom. Ivan gained knowledge - he became an employee of the Institute of History and Philosophy, a professor. But Ivan Nikolayevich Ponyrev never found the spiritual freedom and fearlessness, without which true creativity is inconceivable. The professor's life drama is that "he knows and understands everything," but he is unable to isolate himself from society (as the master went to the basement on the Arbat).

And only during the spring full moon did Ivan Nikolaevich "... struggle ... with himself ... not have to." The "punctured memory" forces him to follow the same path again in the hope of finding freedom and fearlessness. The professor has the same dream: a terrible executioner "stabs with a spear in the heart of Gestas, who is tied to a post and has lost his mind." The fate of Ponyrev is somewhat similar to the bitter fate of the robber Gestas. The totalitarian system does not know regalia and ranks; it deals with the unwanted in the same way. And the executioner is a symbol of the cruelty of society. The system does not release Ivan, it always has a “syringe in alcohol and an ampoule with a liquid of thick tea color” ready.

After the injection, Ivan Nikolaevich's dream changes. He sees Yeshua and Pilate, the master and Margarita. Pontius Pilate begs Yeshua: "... tell me there was no (execution)! .. - I swear, - the companion answers." Master Ivan Nikolaevich “eagerly asks:

So that was the end of it?

This is how it ended, my student, - answers number one hundred and eighteen, and the woman comes up to Ivan and says:

Of course, this. Everything is over and everything is over ... And I will kiss you on the forehead, and everything will be as it should be. "

This is how the great romance of Mercy, Faith and Good ends. The teacher and his girlfriend came to Ivan Nikolaevich, granting him freedom, and now he sleeps peacefully, despite the "fury" of the moon, personifying a sick society.

Mikhail Afanasyevich Bulgakov believed in the victory of the human spirit, so the reader closes the book with the hope that Ivan Nikolayevich Ponyrev will finish and publish the master's novel.

Master's riddle

To the world of literary conjuncture, which covers up its inner squalor with the high word “art”, Mikhail Bulgakov contrasted the image of the master, the protagonist of the novel The Master and Margarita. But the master enters the scene only in the eleventh chapter. The author shrouds the image of his hero in an aura of mystery: in the ward of the Stravinsky clinic, where Ivan Homeless was taken, a mysterious visitor appears under cover of night. He "shook his finger at Ivan and whispered:" Shhh! " In addition, the guest entered not through the front door, but through the balcony. The appearance of a mysterious hero prompts the reader's thought to intense work, to co-creation.

The writer first outlines the outline of the master's image. The hospital environment surrounding the hero is intended to emphasize the tragedy of a person who has been erased from society. The Stravinsky clinic becomes for the master the only refuge among the crazy world with its cruel laws.

The image of the master gave rise to numerous versions of the prototypes of the hero in literary criticism. Some researchers believe that the fate of the author of "The Master and Margarita" served as the prototype of the master, others include Jesus Christ, NV Gogol, G.S. Skovoroda, M. Gorky, S. S. Topleninov among the prototypes of the hero.

A literary hero can have several prototypes, so it is quite fair to draw parallels between the fate of the master and the above-mentioned creators. However, above all, the image of a master is a generalized image of an artist who is called upon to live and create in the difficult conditions of a totalitarian society.

M. Bulgakov draws the image of the artist using various means, among which are a portrait, a description of the situation, nature.

PG Pustovoit in the book “IS Turgenev - the artist of the word” notes that “a literary portrait is a three-dimensional concept. It includes not only the inner features of the hero, which constitute the essence of a person's character, but also external, complementary, embodying both the typical and the characteristic, the individual. In appearance, in facial features, in clothes, the manner of behavior and speech of the characters, the peculiarities of the characters usually appear ”.

The portrait of the protagonist of "The Master and Margarita" consists of direct characteristics (the author's speech) and indirect (self-disclosure of the hero, dialogues, description of the environment, lifestyle). M. Bulgakov gives a very short, just a few lines, description of the appearance of the master. First of all, the author draws the face of the master, then - his clothes: “... a shaved, dark-haired, with a sharp nose, anxious eyes and a lock of hair hanging over his forehead, a man of about thirty-eight years old ... the visitor was dressed in hospital. He was wearing linen, shoes with bare feet, and a brown robe thrown over his shoulders ”(I, p. 459-460). Such repetitive psychological details of the hero's portrait as "very restless", "cautiously gazing eyes", interspersed with the narrative, carry a huge semantic load. The appearance of the protagonist of M. Bulgakov's novel leads readers to the idea that its owner is a creative person who, by the will of fate, found himself in a house of sorrow.

The rich inner world of the image is revealed through various forms of psychologism. From all the wealth of means of psychologism, M. Bulgakov singles out the forms of dialogue and confession, which make it possible to fully illuminate the facets of the master's character.

The core of the character of Bulgakov's hero is the belief in the inner strength of man, because it is no coincidence that Ivan Bezdomny "felt trust" in his guest. The master takes the poet's confession to heart. The protagonist of The Master and Margarita turns out to be the only person who listened to Ivan's confession from beginning to end. The "grateful listener" "did not dress Ivan as crazy", encouraged him to a more detailed story. The master opens the eyes of the young man to the events that have taken place, helps to understand the most difficult situation. Communication with the master becomes for the Homeless a guarantee of spiritual rebirth and further internal development.

The master pays with frankness for Ivan's sincere story. The artist told his companion in misfortune the story of his life, the measured speech of the master, smoothly turning into improperly direct speech, makes it possible for the hero to freely express himself, to fully reveal the inner features of the image.

The master is a talented, intelligent person, polyglot. He leads a lonely lifestyle, "having no relatives anywhere and almost no acquaintances in Moscow." The writer highlights this trait of the master's character for a reason. It is designed to emphasize the hero's philosophical mindset.

The master worked in a Moscow museum, made translations from foreign languages. But such a life weighed on the hero. He is a historian by education, and a creator by vocation. Having won one hundred thousand rubles, the master gets the opportunity to change his life. He quits the service, changes his place of residence and devotes himself entirely to his beloved work.

From the "damned hole" - a room on Myasnitskaya Street - the hero moves to a side street near the Arbat, where he rents two basement rooms. With reverence turning into delight, the artist describes to Ivan the uncomplicated interior of his new dwelling: "a completely separate apartment, and also a front one, and there is a sink with water in it." From the windows of the apartment, the master could admire the lilac, linden and maple. Such a combination of interior details and landscape helps M. Bulgakov to emphasize the priority of spiritual values \u200b\u200bin the life of a hero who is ready to spend all his savings on books.

At one point, the master is faced with a moral choice: to serve the present or the future. Having chosen the first, he will have to obey the laws of his society. But Bulgakov's hero, as a true creator, chooses the latter. Therefore, in the basement on the Arbat, far from the hustle and bustle, a great truth is born, ah. the master becomes a creator, an artist. In solitude, the hero's thoughts develop, mature and clothe themselves in the images of Yeshua Ha-Nozri, Pontius Pilate, Matthew Levi, Judas, Afranii, Mark the Rat-slayer. The master "restores the truth about the teachings, life and death of Yeshua" and dreams of bringing his discoveries to the sick consciousness of humanity.

“Having embarked on the path of creativity, the master enters the path of spiritual evolution, which will lead the hero to moral and creative freedom. The artist's word is called with great difficulty to pave the way for truth in the deep forest of human life. The mighty word of the creator should charge the hearts and souls of the weak with spiritual energy, nourish the strong.

In the novel "The Master and Margarita" M. Bulgakov develops the principle of creativity formulated earlier: "what you see, write, and what you don't see, you shouldn't write." According to the writer, the creator should be endowed with the gift of spiritual, moral vision. Renouncing the vain, the protagonist of Bulgakov's novel plunges into philosophical reflections. His soul sees people, life circumstances, objects in their real light. An impartial voice of conscience is heard in the artist's soul, laying a saving bridge between the creator and humanity. The soul of the creator, impelled by conscience and duty, creates an amazing novel, and the word of truth seen by it should become the font of rebirth for human souls.

Looking ahead, it should be noted that the story of the master's novel shows that the word of the creator is incorruptible: It cannot be drowned out by the slander of low people, it does not perish in the fire and time has no power over it.

Art, creativity become the meaning of the master's life. He feels himself a creator who has come into the world for a lofty goal, just as spring comes, awakening nature from winter sleep.

Spring, which came into its own, brought with it bright colors and an amazing smell of lilacs. The artist's sensitive soul responded to the renewal of nature - the novel, like a bird, “flew to the end”.

One of the wonderful spring days, the master went for a walk and - met his fate.

The heroes could not pass each other. Margarita (that was the name of the stranger) was unusually beautiful, but that was not what attracted the artist. Her eyes, in which an abyss of loneliness lurked, made the hero realize that the stranger is the only one who is able to understand his innermost thoughts and feelings, because she is part of his soul. The master "quite unexpectedly" decided for himself that "he loved this woman all his life!"

The ingenious master was at the height of happiness: he found a kindred spirit and finished his creation. Schiller said: "A genius must be naive, otherwise it is not a genius." And Bulgakov's hero on the wings of happiness flew out to people with his novel, naively believing that they needed his discoveries. People rejected the novel about Pontius Pilate and Yeshua Ha-Notsri, and this made the master deeply unhappy.

However, the artist did not lose faith in the power of art, in the fact that its fruits are able to make people's lives cleaner and kinder. He fought for his novel, he did his best to get it published. But the efforts of the master were broken against the wall of hatred that the ideologues of false art had erected between the novel and the world. They are unable to create spiritual values \u200b\u200band appreciate the contribution of others to the treasury of culture. The master, who entered into a tragic conflict with opportunists from MASSOLIT, was attacked by critics Latunsky, Ariman, Lavrovich with a number of dirty articles. They did not forgive the hero for refusing to create according to the laws of false art, according to which inspiration is replaced by an order, fantasy - by a lie. The master creates his own humanistic laws based on love for a person, faith and mercy.

The “golden age” of the master's life was replaced by “joyless autumn days”. The feeling of happiness was supplanted by longing and gloomy forebodings. M. Bulgakov reproduces the process of the hero's spiritual experiences with medical accuracy. At first, the slander made the master laugh. Then, as the flow of lies increased, the attitude of the hero changed: surprise appeared, and then fear came. The master was threatened with physical destruction. This gave the hero the opportunity to realize the true scale of the total system of violence, that is, as M. Bulgakov writes, to understand other things that are completely unrelated to the articles and the novel. But it was not the physical death that frightened the master. He was seized by fear for humanity, who found itself on the edge of the abyss. A mental illness sets in - a consequence of an absolute misunderstanding, rejection of the artist's work.

Nature no longer pleases the eye of the master. His inflamed brain identifies the nature and the system of violence: the hero thinks "that the autumn darkness will squeeze out the windows, pour into the room," and the "cold" octopus, personifying the totalitarian state, will approach his very heart. But the worst thing was that there was no girlfriend next to the master. From loneliness, he tries to "run to someone, at least to ... the developer upstairs."

In this state, the master puts the manuscript on fire. If society does not need a novel, then, according to the creator, it should be destroyed. But then a miracle happens. Margarita appears - the master's hope, his dream, his star. She rips out the remains of the manuscript from the fire and convinces the author that the work was not written in vain.

In turn, the novel saves Margarita - it helps her to reject the lie. “I don’t want to lie anymore,” says the heroine. The energy of the novel fills the master's friend with determination. She is ready to go with the master to the end, because "the one who loves must share the fate of the one he loves." The heroine leaves into the night, promising to return in the morning. Her image leaves in the memory of her beloved an inextinguishable streak of light, symbolizing the beginning of a new life.

But fate decreed otherwise. The craftsmen were arrested. They released him three months later, mistaking him for a madman. The artist returned to his house, but Aloisy Mogarych had already settled in it, having written a denunciation against the master. Darkness and cold become the main motives of the artist's confession. Behind him, he had difficult months of imprisonment, as evidenced by the bright details of the master's costume - torn off buttons. Blizzard snow, like an accomplice of the system, covered the lilac bushes, hiding traces of the happy moment of the hero's life. Ahead, the master saw nothing but dim lights kindled by Mogarych in his rooms. Therefore, the main character of "The Master and Margarita" goes to the clinic of Professor Stravinsky, where he meets Ivan Bezdomny. This is how the master's confession ends intriguingly, revealing the secret of patient number one hundred and eighteen.

The next meeting of the reader with the master takes place in chapter twenty-four - "Extracting the master". Margarita, who has agreed to play the role of queen at Satan's ball in the hope of saving her beloved, receives her beloved as a reward. Woland “extracts” the hero from the clinic, and he appears before his girlfriend “in his hospital dress”: a dressing gown, shoes and the invariable black cap. "His unshaven face twitched with a grimace, he looked madly and fearfully at the lights of the candles, and the moon stream boiled around him."

The devil invites Margarita to fulfill any of their wishes. Woland would have paid dearly for the smallest request of the master. However, the artist asks for nothing. He retains his spiritual freedom, and Satan is forced to return the heroes to the basement on the Arbat. But, as the master said, "it never happens that everything becomes as it was." Yeshua, having read the master's novel, through Matthew Levi asks the devil to take the author with him, rewarding him with peace.

Heroes, having passed the path of spiritual evolution, become absolutely free. In the finale of M. Bulgakov's novel, the master and his girlfriend fly to their eternal home. They change outwardly. The creator of the novel likened the appearance of the master to the ancient sages. "His hair was now white in the moonlight and was gathered in a braid from behind, and she flew in the wind."

The work "The Master and Margarita" can rightfully be called the final one in Bulgakov's life. The author has been working on it for 12 years. It is no coincidence that this novel is the favorite book of many people. It combines the author's ideas about good and evil, justice and love. However, of course, the theme of creativity in the novel "The Master and Margarita" is the main one.

The beginning of the novel. Acquaintance with representatives of the writing fraternity

At the very beginning of his work, the author introduces us to the head of the association of writers MASSOLIT, Mikhail Aleksandrovich Berlioz, and the poet The theme of creativity in the novel "The Master and Margarita" by Bulgakov is already raised on the first pages of the novel. The author shows the reader his ironic attitude towards Berlioz, the one-sidedness of his education and narrow outlook. It is he who is the main opponent of the publication of the novel created by the Master.

True and False Creativity

The theme of creativity in the novel "The Master and Margarita" (an essay with this name is often written by schoolchildren) is one of the most important. The work contains a conflict between true and false creativity. The author was very sensitive to this issue. It is no accident that researchers believe that the Master is the prototype of Bulgakov himself.

The main attraction of Moscow was a huge restaurant, which served zander, sterlet, cocotte eggs. The members of MASSOLIT were concerned mainly with their satiety, and not with the quality of spiritual food.

The theme of creativity in the novel "The Master and Margarita". Master image

The artist is portrayed by the author as a true creator who, as is usually the case, cannot find understanding among ordinary writers, poets and editors. The work of the Master is very psychological, it shows the subtleties of the relationship between the punishing party and the condemned person who is innocent, the procurator. The Master's ingenious novel did not meet with support from MASSOLIT. Persecutors of the author, driven by envy, write incriminating articles. Criticism drives the Master to a madhouse.

Intervention of higher powers in the fate of the Master

The theme of creativity in the novel "The Master and Margarita", or to be more precise, the theme of true creativity, is associated with the image of the Master. The work created by him finds support and helps restore justice. They deal with Berlioz, at the end of the work Griboyedov's house is on fire.

Love and creativity

The theme of creativity in the novel The Master and Margarita is connected with the theme of love. Feeling Margarita helps to overcome disappointment in life, gives strength. She believes that the Master's novel is truly a genius creation.

Meeting Woland turns Margarita into a witch. To save the Master, she flies to Satan's ball, which appears before the readers as a just judge. He helps Margarita return her beloved and does everything so that the hardships of the last days do not bother them: the Master is no longer listed in the clinic, their nest, basement is free again, five burned copies of the manuscript are now in his hands.

In addition, it was decided upstairs to give the lovers eternal peace and the opportunity to enjoy life.

Completion of the novel

The theme of creativity in the novel "The Master and Margarita" permeates the entire work. The book ends very happily for the Master and his beloved. Genuine creativity triumphs over the false. The Master and Margarita leave the time in which they lived and find eternal peace. The master finds what is very important for a true artist - freedom, not limited by the framework of the political system.

So, the theme of creativity in the novel "The Master and Margarita" is highlighted. Briefly in this article, we have already described how it can be traced in this work. Now let's turn to the history of the creation of the novel.

About the history of the creation of the novel

The famous was published only in the sixties. The time of the beginning of work on the novel should be considered the years 1928-1929, since the author himself dated the first manuscripts first one year, then another. Initially, the work received several variants of titles: "Engineer's Hoof", "Black Magician", "Juggler with a Hoof", "Tour".

Bulgakov burned his novel in the spring of 1930, announcing when he received the news that the play "Cabal of the Saints" was banned. Work on the work was resumed in 1931. It was then that Margarita and her companion appeared in the book, who was later named the Master. Woland had a retinue. The 1936 edition, the second in a row, was entitled Fantastic Novel.

The third edition was originally called "Prince of Darkness". The work was titled The Master and Margarita in 1937. In the early summer of 1938, the text of the novel was first published in full, which was edited almost until the last days of the writer's life.

The Master's hero is very autobiographical, which is once again confirmed by the information about his age reported in the novel. According to the text of the work, the Master was a man for about thirty-eight years. Bulgakov felt the same age when he began to work on this book.

It is believed that the author was inspired to create the image of Satan by the opera by Charles Gounod, which greatly impressed him in childhood, as well as the poem by I.V. Goethe's Faust. It is interesting that Bulgakov was deeply impressed by the novel by A.V. Chayanov, whose main character bears the surname Bulgakov. On the pages of the book, he is faced with devilish power. The coincidence of the names greatly excited the writer.

It is noteworthy that Woland in the first editions bore the name Astarot, but later this name was changed.

According to the writer's widow, Bulgakov's last words about the work "The Master and Margarita" were: "To know ..."

Now in Moscow on Bolshaya Sadovaya there is a "Bulgakov House". This is a museum that tells about the writer's work and life. Quite often, small theatrical performances, improvisations based on the writer's works are held there.

The theme of creativity in the novel "The Master and Margarita" (the arguments for this were given above) is the main one. In addition, the author originally planned to raise many social problems in the novel, among them the issue of the difficulties of the work of Russian writers in Russia, who were subjected to real persecution by the state. In the edition known to us, the author writes about the fate of a gifted person under the rule of tyranny, which, however, strongly echoes the original idea.

The theme of creativity in the novel "The Master and Margarita" is the key, leading one. It is closely intertwined with the theme of love of the heroes of this magnificent work. Margarita's feeling saves the Master. The creation created by Bulgakov impresses contemporaries like no other. The novel enjoys a bad reputation among filmmakers, but there are daredevils in whom the desire to make a film based on this work overcomes superstitious fear. The last film adaptation of the novel in 2005 shocked the viewer with its detail, the number of special effects, and the skill of the cast.

Love and creativity are what can resist existing evil. The concepts of goodness, forgiveness, understanding, responsibility, truth, harmony are also associated with love and creativity. That is why these themes are so vividly reflected in the novel by M.A. Bulgakov's "The Master and Margarita", because they are close to him. Another favorite theme of poets is prophecy. M.A. Bulgakov correctly judged that "manuscripts do not burn", and correctly prophesied the future for himself and his books.

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The theme of creativity and love in the novel by M.A. Bulgakov's "The Master and Margarita"

Lesson objectives : 1. Show the skill of M.A. Bulgakov in depicting the world of human feelings; the role of the detail in the novel.

2. To understand the moral lessons of Bulgakov, the main values \u200b\u200bthat the writer speaks about.

3. Check knowledge of the content of the novel.

Methodical techniques: work with text, work with demo material, lecture with elements of conversation.

Equipment : screen, projector for presentation, video equipment, TV set for watching episodes from V.V. Bortko "The Master and Margarita".

During the classes :

(The topic of the lesson is written on the board: “The theme of creativity and love in the novel by MA Bulgakov“ The Master and Margarita ”, sarcasm is a caustic, caustic mockery with an openly accusatory, satirical meaning).

1. Introduction to the topic of the lesson. Teacher's word.

Today we will analyze a topic that was very important for many famous poets and prose writers. The theme of the poet and poetry was reflected in the works of A.S. Pushkin, M. Yu. Lermontov, F.I. Tyutchev, V.V. Mayakovsky, S.A. Yesenin and many other famous poets and prose writers. In the prose of M.A. Bulgakov, we will touch upon the theme of creativity, which in the novel "The Master and Margarita" will be combined with the theme of love. Let's turn to the text of the novel.

1. Working with the text of the novel.

In Bulgakov's novel, we find a very detailed description of the "holy of holies" of all Moscow writers of that time - MASSOLITA. Find it inchapter 5.

(- An old two-story cream-colored house was located on the boulevard ring in the depths of a stunted garden, separated from the sidewalk by a ring with a carved cast-iron lattice. branch of the summer restaurant under a canvas awning.)

What are the benefits of being a member of MASSOLIT?

(with a membership card they are allowed to enter a restaurant, you can queue up for an apartment or get a ticket to a resort).

With his characteristic sarcasm Bulgakov writes in the 5th chapter of the novel: “Any visitor, if he was, of course, not at all stupid, hitting Griboyedov immediately realized how well the members of Massolit were living, and black envy immediately began to torment him. And immediately he turned to the sky bitter reproaches for the fact that it did not award him with literary talent at birth, without which, of course, there was nothing to dream of taking possession of a MASSOLIT membership card, brown, smelling of expensive leather, with a wide golden border, known to all Moscow ticket ".

Which of the writers, members of MASSOLIT, do you remember? (Ivan Bezdomny)

Who can be called the real creator in the novel? (Masters)

Is he a member of MASSOLIT? (Not)

It turns out you don't have to have a membership card to be a writer. With this certificate, they are allowed to enter a restaurant, but not to History. Let's remember an episode fromchapter 28 when Koroviev and Begemot came to Griboyedov's restaurant.

(- Your certificates? - She looked with surprise at Koroviev's pince-nez, as well as at the Behemoth primus, and at the Behemoth's torn elbow.

I apologize to you a thousand, what credentials? Koroviev asked, surprised.

Are you writers? - in turn, asked the citizen.

Of course, - Koroviev answered with dignity.

Your credentials? Repeated the citizen.

-… So. To be sure that Dostoevsky is a writer, is it really necessary to ask him for a certificate? Yes, take any five pages from any of his novels, and without any certification, you will be convinced that you are dealing with a writer. Yes, I suppose he didn't even have any ID! ..

You are not Dostoevsky, ”said the citizen, bewildered by Koroviev.

Well, who knows, who knows, ”he answered.

Dostoevsky is dead, ”said the citizen, but somehow not very confidently.

Objection! - Behemoth exclaimed hotly. - Dostoevsky is immortal!

Your credentials, citizens, said the citizen.

Pardon me, it’s ridiculous in the end, ”Koroviev did not give up.

It turns out it is not at all the identity that the writer is defined, but by what he writes. Only not everyone is able to soberly assess what he is doing.For example, the poet Ryukhin, who accompanied Ivan Bezdomny to a psychiatric clinic, was very offended by the words of a fellow writer about him: “Sashka is mediocrity”, “Look at his lean face and compare it with those sonorous verses that he composes by the first day! "Soar!" yes "develop!" Find inchapter 6 an excerpt where Ryukhin begins to comprehend his work. Read it.

(From the words "The poet did not look around already ..." to the words "... and ensured immortality ...")

Now let's remember an episode fromchapter 13 where Ivan Bezdomny analyzes his work.

(Watching the episode "The Acquaintance of Ivan Bezdomny with the Master from the film by VV Bortko" The Master and Margarita ").

Of all the members of MASSOLIT, Ivan Bezdomny is the only one who agrees that he is an “ignorant man” and promises “not to write any more” poetry. He leaves his profession as if imposed by someone with a feeling of liberation, relief. The double of this hero M.A. Bulgakov makes a Master. Through the double, the hero knows himself, and the reader knows the hero. But also the double of Ivan Bezdomny is the poet Ryukhin, who has some negative qualities, which Bezdomny will later reject.

1. Lecture with elements of conversation. View presentation

The master tells Ivan his story. This is the story of the novel about Pilate and a love story. This is how the theme of love and the theme of creativity are combined in the novel.

(Slide show).

The time cycle in the hero's story begins in winter, when the Master settled alone in the basement and began "composing a novel about Pontius Pilate." Then spring comes, “lilac bushes dressed in greenery”. “And then, in the spring, something much more delightful happened than receiving a hundred thousand,” the Master met Margarita. This is where the disclosure of the theme of love begins. As is often the case with Bulgakov, the heroes act in the waters by the impact of a sudden flash, insight: “Love jumped out in front of us, like a murderer jumps out of the ground in an alley, and struck both of us at once. This is how lightning strikes, this is how the Finnish knife strikes! " - says the Master. The "golden age" of love lasted for the heroes, while "the May thunderstorms went on and ... the trees in the garden threw off their broken twigs and white brushes after the rain", while the "sultry summer" went on. The Master's novel "was completed in August," and with the onset of autumn, "autumn" began in nature and in the relations of the heroes. “In the middle of October,” the Master fell ill: it seemed to him that “the autumn darkness would squeeze out the windows, pour into the room” and he would “drown in it”. The hero burned the manuscript of the novel and on the same evening was arrested on the denunciation of Aloisy Mogarych. The Master returns to his basement, where other people already live, in winter, when "the drifts hid the lilac bushes" and the hero lost his beloved. The new meeting takes place only in May, after the ball of the spring full moon. A certain cycle passes, spring again gives hope to the lovers for happiness.

1. Working with demo material.

Notice how the theme of creativity and the theme of love are combined with the theme of sacrifice: the Master suffers because of his "brainchild", her novel, and Margarita, in the name of saving the Master, makes a deal with the devil and thereby destroys her immortal soul.

(Viewing an episode of the film "The Return of the Master after the Ball of Satan").

1. Lecture summarizing the topic.

Bulgakov deliberately, sometimes defiantly emphasizes the autobiographical character of the Master. The atmosphere of persecution, complete detachment from literary and social life, lack of livelihood, constant expectation of arrest, denunciations, devotion and dedication of a beloved woman - all this was experienced by Bulgakov himself and his hero. The fate of Master Bulgakov is natural. In the country of "victorious socialism" there is no place for freedom of creativity, there is only a planned "social order". The master has no place in this world - neither as a writer, nor as a thinker, nor as a person. He stops fighting, burns out his romance, shows cowardice and thereby loses his place in the Light, like his beloved Margarita, who also does not deserve a place in the Light, because she tied her life with evil spirits. But they both suffered a lot, Margarita's desperate struggle for her love, for the salvation of the Master bears fruit: both of them are allowed by the Higher Powers to settle in Peace, which they wanted and, ultimately, received.

The image of the Master allows Bulgakov to pose the problem of the responsibility of the creator for his talent. The master is endowed with the ability to "guess" the truth (his novel is not invented, but guessed: "Oh, how I guessed! Oh, how I guessed everything!"), To see through the thick of centuries the image of genuine humanity. His gift can save people from unconsciousness, from the forgotten ability to do good.

The image of Margarita is associated with Bulgakov's beloved image of the house, the family hearth. By her actions, she seems to revive different human values \u200b\u200bin the novel: personal freedom, mercy, honesty, truth, faith, love, which is so lacking in Moscow society. In the name of love, Margarita performs a feat, overcoming fear and weakness, conquering circumstances, demanding nothing for herself. Everyone knows that Elena Sergeevna Belozerskaya, the third wife of M.A., became the prototype of Margarita. Bulgakov. It was she who helped him steadfastly endure the period of his near-death illness, when he was practically blind, read to him, helped edit the text. Elena Sergeevna knew her role as a guardian angel firmly, never once doubted, in a difficult hour she did not betray her fatigue. “When we began to live with Mikhail Afanasevich,” Elena Sergeevna recalled, “he once told me:“ The whole world was against me - and I was alone. Now we are together, and I'm not afraid of anything. "

This means that love, just like creativity, is the second path to superreality, it leads to the comprehension of the “third dimension”. Love and creativity are what can resist existing evil. The concepts of goodness, forgiveness, understanding, responsibility, truth, harmony are also associated with love and creativity. That is why these themes are so vividly reflected in Bulgakov's novel, because they are close to him. Another favorite theme of poets is prophecy. M.A. Bulgakov correctly judged that "manuscripts do not burn", and correctly prophesied the future for himself and his books.

1. Homework.
2. Evaluation of responses.

The novel “The Master and Margarita” was written over twelve years. This work became the final one in the life and work of Bulgakov. It reveals the views of the writer on Good and Evil, Light and Dark, Love and Hatred. And also the idea of \u200b\u200bthe true value of true art runs through the entire book.
At the very beginning of the novel, Bulgakov introduces the reader to two heroes, representatives of the “writing fraternity”. One of them is the chairman of the board of one of the largest Moscow literary associations, editor of the "thick art

Magazine ”, and the other - by a poet published in this magazine. From the very first pages of the work, Bulgakov does not hide his irony towards Mikhail Aleksandrovich Berlioz: “... and as Mikhail Aleksandrovich climbed into the jungle, into which he could climb, without risking breaking his neck, only a very educated person, - the poet recognized more and more interesting and useful ... ”.
The "one-sided" education of this person is evident, the accumulated information did not expand his horizons in any way. This is still permissible in everyday life, but in the sphere of literature ... And what kind of leader is, so is the organization, and we can immediately imagine the level of the journal, whose editor is Berlioz. No wonder in the future it is MASSOLIT that will be the main persecutor of the genius who wrote the masterpiece dedicated to Pontius Pilate.
Thus, from the very first pages of the novel, Bulgakov slowly brings us to one of the main conflicts of the work: the problem of true and false creativity. For the author, this problem was especially painful, and it is no coincidence that many literary critics guess Bulgakov himself under the guise of the Master.
On the pages of the novel, the author shows us the members of MASSOLIT, miserable graphomaniacs who only care about filling their stomachs. The chapter "There was a case in Griboyedov" is terrible with the power of its satire and topicality! A large place in it is given to the description of the restaurant located on the ground floor of the MASSOLIT building: “… Moscow old-timers remember the famous Griboyedov! What boiled portions of perch! And what about sterlet, sterlet in a silver saucepan, sterlet in pieces arranged with crayfish necks and fresh caviar? And what about cocotte eggs with mushroom puree in cups? Here it is, the main attraction of the “temple of culture”!
The image of the “ruddy-lipped giant, golden-haired, magnificent-cheeked” Ambrose the poet is also symbolic. He can be considered a living embodiment of the entire literary society of Moscow. And such people should own the minds of entire generations! And Bulgakov's satire is no longer funny to us; it makes us scary, bitter.
But then the Master appears on the pages of the work. This is a true creator, a true artist. And, unfortunately, it is only natural that he cannot survive in such a society. The master writes a novel about the fifth procurator of Judea Pontius Pilate and the wandering philosopher Yeshua Ha-Nozri, about fear, cowardice and the terrible death of an innocent person following it, about terrible pangs of conscience and eternal damnation ... This work is published, but Massolite mediocrity cannot be appreciated its worthy. These hacks, favored by the authorities, are only able to attack a genius with the whole flock, like jackals. They drive the Master into a corner, "beat" him with their unfounded criticism, drive him to insanity. This is the fate of a real artist!
But apparently not all the persecutors of the Master were so mediocre that they could not appreciate the real masterpiece: “Everything seemed to me - and I could not get rid of it - that the authors of these articles did not say what they wanted to say, and that their rage was provoked exactly this ”. Fear of losing their warm, familiar place does not allow them to tell the truth.
The artist's subtle soul cannot withstand such lies and injustice, he runs away from this cruel life, before that trying to burn his already hated novel. But "the manuscripts don't burn"! And this phrase very clearly expresses the position of Bulgakov in relation to creativity. He talks about the huge responsibility that falls on the shoulders of everyone who is going to bring something new to the world through the printed word. After all, lies, stupidity, cruelty, dishonesty, outright hackwork are sooner or later punished. There are higher powers that see everything and will reward everyone according to his deeds.
Bulgakov's embodiment of such power is Woland and his retinue. The author's favorite trick, the "devil", helps to restore justice. At the end of the novel, Griboyedov burns out, this hotbed of mediocrity and envious people. The building is engulfed in a cleansing fire, in which all lies, trash written by representatives of MASSOLIT disappear. Naturally, a new building will be built in which all the same vices of “pseudo-creators” will find refuge, but for a while the world will become a little cleaner, true talents have a little time to breathe easy.
True creativity has received its award. The master and his beloved deserve peace. All the trials are over, they are leaving Moscow and this cruel time is forever: “Someone released the master, as he himself had just released the hero he had created.” Indeed, what can a true artist need as much as freedom? Talent cannot unfold in its entirety within the stifling and throat-constricting framework of the political system. Creativity should not be limited by the fear of being misunderstood. A writer, an artist of a word should have the right to his own worldview, world outlook.

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Essay on literature on the topic: The theme of creativity in the novel by MA Bulgakov "The Master and Margarita"

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The theme of creativity in the novel by M. A. Bulgakov "The Master and Margarita"