THREE WORLDS IN M. BULGAKOV'S NOVEL "MASTER AND MARGARITA"
2. Three-dimensionality as a form of being
The Trinity of the Divine Trinity
3. Three-world structure of the novel
Ancient "Yershalaim" world
The modern Moscow world
Eternal other world
Interconnection of the three worlds
4. Parallel rows of characters, emphasizing the connection of worlds
Triads of characters according to the principle of external similarity and their actions
Moving characters from one world to another
Characters not included in the triads
Yeshua Ha-Nozri and the Master
Margarita
5. The influence of the three worlds on genre originality novel ...... 00
Conclusion ................................................. ...... 00
References .............................................. 00
Introduction
MA Bulgakov is one of the remarkable writers of the post-revolutionary era. Bulgakov's fate was difficult, there were many conflicts, victories and defeats in it. The novel "The Master and Margarita" became a revelation of the great writer.
Until now, no one has been able to define what is satirical, philosophical, psychological, and in the chapters of Yershalaim - the parable novel "The Master and Margarita". It was considered both as a result of world literary development, and as a historical response to specific events in the life of the 20s and 30s, and as a concentration of ideas from the writer's previous works. The author himself evaluated it as his main message to humanity, his testament to descendants.
This novel is complex and multifaceted, the writer touched on many topics and problems in it.
In the image of the Master, we recognize Bulgakov himself, and the prototype of Margarita was the writer's beloved woman - his wife Elena Sergeevna. It is no coincidence that the theme of love is one of the main, basic themes of the novel. Bulgakov writes about the highest and most beautiful human feeling - about love, about the senselessness of resisting it. In the novel, he proves that true love no obstacles can interfere.
Another of the many problems raised in the novel is the problem of human cowardice. The author considers cowardice to be the greatest sin in life. This is shown through the image of Pontius Pilate. After all, he perfectly understood that Yeshua had not done anything for which he needed to be executed. However, Pilate did not listen to his "inner" voice, the voice of his conscience, but followed the lead of the crowd and executed Yeshua Ha-Nozri. Pontius Pilate was a coward and for this he was punished with immortality.
An endless chain of associations, not always explainable, not always traceable, but really existing; there are hundreds of them. Let's consider three of them: the ancient "Yershalaim" world, the modern Moscow world and the eternal other world.
This work compares these three worlds and the characters that inhabit them, the characters and actions of the heroes of the book.
The three-dimensional structure of the novel can also be seen in the construction of the characters, which are collected according to the principle of the influence of similarity and their actions: Pontius Pilate - Woland - Professor Stravinsky; Afrany - Fagot Koroviev - doctor Fedor Vasilievich, assistant to Stravinsky; other.
Three-dimensionality as a form of being.
“Trinity is the most general characteristics being ".
P. Florensky
Space is a form of being of matter, expressing the length of its constituent objects, their structure of elements and parts.
Space has three dimensions and is called three-dimensional. It is a necessary condition for the existence of stable systems. Space is a time slice of our being, characterized by the 3 + 1 formula. It is the triplicity of time and every change that reveals in time its other peculiarity, namely, the unity of changing being that penetrates it.
Being is one of the most general categories, carrying a triple nature.
At the level of everyday life, the fact of the fluidity of time is striking: from the past to the present, from the present to the future.
In support of this, there are metaphors: "Killing time", "Time is money", "Everything flows - everything changes." The main manifestation of time is its change. Change is the unity of the past, present and future.
The Trinity of the Divine Trinity.
The word "trinity" of non-biblical origin was introduced into the Christian lexicon in the second half of the 2nd century by Saint Phiophilus of Antioch. The doctrine of the Most Holy Trinity is given in Christian Revelation. It reads: God is one in essence, but three-fold in persons: Father, Son and Holy Spirit, Trinity consubstantial and indivisible.
Belief in the Trinity distinguishes Christianity from all other monotheistic religions: Judaism, Islam. The doctrine of the Trinity is the foundation of all Christian doctrine and morality, for example, the doctrine of God the Savior, God the Sanctifier, etc. VN Lossky said that the doctrine of the Trinity “is not only the foundation, but also the highest goal of theology, for ... to know the mystery of the Holy Trinity in its fullness is
means to enter into the Divine life, into the very life of the Most Holy
The doctrine of the Triune God is reduced to three provisions:
God is trinity and trinity consists in the fact that in God there are three Persons (hypostases): Father, Son, Holy Spirit.
Each Person of the Most Holy Trinity is God, but They are not three Gods, but a single Divine being.
All three Persons are distinguished by personal, or hypostatic properties.
Three-dimensional structure of the novel
In his novel, Bulgakov shows us that life is not two-dimensional, that it is not closed off by the plane of earthly existence, that every event on this plane of earthly life only seems to us flat, two-dimensional. But in fact, it undoubtedly has, albeit invisible, not discernible by our eye, but a completely real and unconditional "third dimension".
Ancient "Yershalaim" world.
This world appears before us in the novel, written by one of the leading heroes of the novel, it is the basis of the entire Bulgakov novel. The issue of Yershalaim scenes in The Master and Margarita has long attracted the attention of researchers.
E. Renan's book The Life of Jesus occupies an important place in Bulgakov's work on these scenes. Extracts from it have been preserved in the writer's archive. In addition to chronological dates, Bulgakov drew from there some historical details.
Also, while working on a novel about Pontius Pilate, Bulgakov turned to another work of Renan - "Antichrist", which tells about the history of Christianity in the time of Nero.
But none of these books can match the value of information with the work of the British researcher, Bishop Frederick William Ferrar, "The Life of Jesus Christ."
Another of the most important sources for the creation of Yershalaim scenes is the Brockhaus and Efron Encyclopedic Dictionary. It was from there that Bulgakov took information about the equipment, structure and weapons of the Roman army.
The novel is cleared of many unreliable Gospel events, as well as of some details of the Gospel story that are superfluous for the novel. The writer concentrated the action of his novel around two characters - Yeshua and Pilate. The Yershalaim scenes of The Master and Margarita have much fewer characters, although the genre chosen by Bulgakov should have led to the opposite.
In the novel's finale, we see the procurator “on a stony, joyless flat top,” sitting alone in a heavy chair in this desolate mountainous area. The last refuge of Pilate in the novel is a kind of analogue of a deep well surrounded by mountains from an apocryphal legend.
The scenes of Yershalaim are the most striking part of the novel. From a variety of details, the author created a panorama of the life and everyday life of people of an era far from our days, giving it historical accuracy. The images described in these chapters are understandable to us to this day. These scenes embody the philosophical line of the novel, its highest aesthetic point.
The modern Moscow world.
On the pages of the novel, Moscow residents and their way of life, everyday life and worries are depicted satirically. Woland arrives to see what the inhabitants of Moscow have become. For this, he arranges a session of black magic. And literally throws money at people, puts them in expensive clothes. But not only greed
And greed is inherent in them inhabiting the capital. Mercy is also alive in them. Suffice it to recall the episode that happened at that unusual session when the Behemoth, the host of the program, Bengali, rips his head off his shoulders. Seeing the leader without a head, Muscovites immediately ask Woland to return his head to Bengalsky. This is how Woland's words can characterize the inhabitants of Moscow at that time.
“Well,” he replied thoughtfully, “they are people like people, they love money; but it has always been ... mankind loves money, no matter what it is made of, whether it is leather, paper, bronze or gold. Well, they are frivolous ... well, well ... and mercy sometimes knocks at their hearts ... ordinary people ... in general, they resemble the old ones ... housing problem only spoiled them ... "
The eternal other world.
“The demonological is something that neither reason nor reason can comprehend. It is alien to my nature, but I am subject to it. "
I.V. Goethe
When describing the Sabbath in The Master and Margarita, Bulgakov used a variety of literary sources. The preparatory materials for the first edition contain extracts from Orlov's book “Antesser. Sabbat games. Sawdust and a bell ", as well as from the article" Witches Sabbath "of the Encyclopedic Dictionary. The author of this article points out that witches and devils, who according to popular beliefs are participants in the Sabbath, descended from the ancient pagan gods and goddesses, traditionally depicted on the hog. But this is exactly how Margarita's servant, Natasha, travels.
But the flight of Margaret and the Sabbath is just a kind of prelude to the most striking scenes associated with the great ball and Satan.
According to E.S. Bulgakova's memoirs, the original description of the ball differed greatly from the one we now know from the final text of the novel. At first it was a small ball in Woland's bedroom, but already during his illness Bulgakov rewrites it and the ball becomes big.
In order to describe such a grandiose ball, it was necessary to expand the space of an ordinary Moscow apartment to supernatural proportions. And, as Koroviev explains, “for those who are well acquainted with the fifth dimension,” it costs nothing to push the room to the desired limits.
Some details of the ball scene are to a certain extent based on the articles of Brockhaus and Efron, and a number of other sources. So, abundantly decorating ballrooms with roses, Bulgakov, no doubt, took into account the complex and multifaceted symbolism associated with this flower. An article in the Encyclopedic Dictionary of Roses in Ethnography, Literature and Art notes that roses acted both as a symbol of mourning and as a symbol of love and purity.
With this in mind, Bulgakov's roses can simultaneously be viewed as symbols of Margarita's love for the Master and as a harbinger of their imminent death. The abundance of roses, a flower alien to the Russian tradition, underlines the foreign origin of the devil and its heroes being played out in Moscow, and if we recall the widespread use of roses to decorate Catholic divine services, roses also add an additional element to the ball - a parody of a church service.
When describing the ball at Satan's, Bulgakov also took into account the tradition of Russian symbolism. So, Woland's ball is called “the spring ball of the full moon, or the ball of a hundred kings,” and Margarita acts as a queen at it. At Bulgakov's, Margarita receives the guests of the ball, standing on one knee. The guests are men in tailcoats, and naked women in hats with feathers kiss her on the hand and knee, and Margarita is forced to smile at everyone. During the ceremony, she is on a marble staircase towering over the hall.
It is no coincidence that a string of villains, murderers, poisoners, and libertines pass by in front of Margarita. Bulgakov's heroine suffers because of her betrayal to her husband and, albeit subconsciously, puts this offense on a par with the greatest crimes of the past and present. Woland, introducing Margarita to the famous villains and libertines, as if testing her love for the Master, intensifies the torments of her conscience.
The image of Frida occupies a special position in the ball scene. The name itself evokes many associations. It is close to english word freedom, meaning "freedom." She kills her child in infancy and with a handkerchief. In the episode with Frida, it was the innocent baby that was important to Bulgakov as the last measure of good and evil. The handkerchief that Frida sees on her table every evening is not only a symbol of her tormenting conscience, but also the ghost of her obsession.
Frida is granted mercy. Her story in some way echoes the story of Goethe's Margaret from "Faust" and is contrasted with the fate of Bulgakov's Margaret, genetically ascending to this heroine of Goethe's tragedy.
The transformation of Berlioz's head into a bowl - a skull from which wine and blood are drunk - takes place in strict accordance with the laws of the Sabbath. Even in the preparatory materials for the first edition of the novel there is an extract from the article “The Sabbat of Witches”: “The horse skull from which they drink”. In the original source, this passage reads as follows: the participants in the Sabbath "eat horse meat, and drink drinks from cow hooves and horse skulls." At the ball of the dead, Woland, a specialist in “black magic,” Satan, addresses the severed head of Berlioz, on which “living eyes, full of thoughts and suffering” are preserved: “… everyone will be given according to his faith. May it come true! You go into oblivion, and I will be happy to drink from the cup into which you are turning to being. "
What kind of “faith” does the chairman of MASSOLIT profess? In this context, it boils down to a simple thought: "after cutting off the head, life in a person stops ... and he goes into oblivion." Woland raises a toast “to being,” a toast to life.
However, “life” is only a superficial, far from exhaustive content that the author puts into the concept of “being”. In a conversation between Woland and a Moscow writer at the Patriarch's Ponds, it is about evidence of the existence of God and, accordingly, the devil. Woland “begs” his interlocutors: “believe at least that the devil exists”. God and the devil are creatures the spiritual world, spiritual value. Being - in a broad sense - is the reality of the spiritual world, rejected by Berlioz. Woland forms the essence of his “faith” in the ironic maxim: “… whatever you grab, there’s nothing”. Such is Berlioz's “faith”. Woland refutes Berlioz's views point by point; he proves that they contradict “facts,” the most stubborn thing in the world. The eyes "full of thoughts and suffering" on the severed head testify that the truth of the fact has reached Berlioz's still unquenchable consciousness.
Parallel rows of characters highlighting the connections of the worlds.
Parallel rows of characters highlighting the connections of the worlds.
There are no minor characters in the novel; but all characters conditionally belong to three groups:
1) The a priori accepted by us are Yeshua, Pilate and Woland, as well as the Master with Margarita, who existed long before Bulgakov, and were only included by him in the fabric of the narrative. The personalities are certainly historical; about which has been written infinitely much and infinitely interesting. The controversy about the origin of the last two heroes has not subsided to this day, and I believe that almost all researchers of this problem are equally right.
2) Parody characters, taken straight from life, and we have no questions; just fucking funny. And Styopa Likhodeev, and the findirector Rimsky, and the poet-loser Riukhin, and the brilliant Archibald Archibaldovich, and the entire literary world of the Griboyedov house, written out with great care, but how merciless. But you never know them yet, spotted on the street or in the queue, struck at the meeting; for the book is the essence of the accumulation of facts of the biography of the writer himself, with which no one argues, trying to find the correspondence of the fact of the biography with the episode of the novel. But such a direct relationship almost never happens, but it happens, like all of us, strange associations, when two unfamiliar thoughts in a hurry and fuss suddenly collide and give rise to a third - brilliant and amazing. This is how they appear:
3) Mysterious heroes with their own story that lies outside the dimension of the book.
List of references:
A short guide for a student of grades 5-11, "Bustard", Moscow 1997
BV Sokolov Roman M. Bulgakova "The Master and Margarita". Essays creative history, "Science", Moscow 1991
VP Maslov Hidden leitmotif of the novel by MA Bulgakov "The Master and Margarita". "Bulletin of the Academy of Sciences", Series of literature and language, volume No. 54, No. 6, 1995
www.rg.ru.
M. Chudakov Mikhail Bulgakov. The era and fate of the artist. "Education", Moscow 1991
BM Sarnov To each according to his faith. About M. Bulgakov's novel "The Master and Margarita". "Moscow State University" Moscow 1998
VV Petelin The Life of Bulgakov. Finish before you die. CJSC "Tsentropoligraf", Moscow 2005
Priest Oleg Davydenko Teaching of the Orthodox Church about the Holy Trinity. From lectures on dogmatic theology at the Orthodox St. Tikhon's Theological Institute. May 29, 2004
Three worlds in Bulgakov's novel "The Master and Margarita" and their interaction
The novel consists of three worlds: our familiar world, the world of Yershalaim ("Light"), and the other world. All three worlds of the novel exist in a constant and inextricable connection, are constantly evaluated by higher powers. The novel The Master and Margarita is the most brilliant and most controversial work about love and moral duty, about the inhumanity of evil, about true creativity, which always strives for light and good.
First World - Moscow Moscow is shown by Bulgakov with love, but also with pain. This is a beautiful city, a little bustling, bustling, full of life.
But how much sophisticated humor, how much outright rejection in the depiction of people inhabiting the capital!
In the literary environment, talent has been successfully replaced by penetrating abilities, cunning, lies, meanness. From now on, the price of success is not recognition by the people, but a dacha in Peredelkino!
Brilliant are shown crooks, careerists, pimps. All of them are overtaken by well-deserved retribution. But the punishment is not terrible, they laugh at him, putting them in ridiculous situations, bringing their own features and shortcomings to the point of absurdity.
Those who are greedy for free money receive things in the theater that disappear, like a Cinderella's ball gown, money that turns into pieces of paper.
Woland stands at the center of the "eternal other world". The author gives this hero quite broad powers, throughout the entire novel he judges, decides destinies, rewards everyone according to faith. Satan's world
Woland owns a lot of the cleverest and most instructive sayings that carry deep meaning.
People live, fuss, profit, die absurdly. About them he will say: “People are like people. They love money, but it has always been ... and mercy sometimes knocks at their hearts ... ordinary people ... in general, they resemble the old ... the housing issue only spoiled them ... "
In a conversation with Margapita, Woland utters amazing words: “Never ask for anything! Never and nothing, and especially with those who are stronger than you. They themselves will offer and they themselves will give everything. "
Woland expresses Bulgakov's favorite thought: "Everyone will be given according to his faith"
Woland, the "retinue" and the entire "dark force" reveal, expose, and seduce. The only ones who endure the test are the Master and Margarita, and the Master, it turns out, still deserves only peace. Margarita is the only person who aroused admiration among Woland and his retinue for her honesty, morality, pride, and ability to love so selflessly. For the hard work, he thanked her, once again amazed that she did not demand anything ...
The Bible world In the "Yershalaim" chapters, the main themes of the work acquire the most acute sound: the theme of moral choice, the responsibility of a person for his actions, punishment by conscience.
M. Bulgakov concentrated the action of the novel around two characters - Yeshua and Pilate. Yeshua stands in the center of the "Yershalaim" world. He is a philosopher, a wanderer, a preacher of goodness, love and mercy, is the embodiment of a pure idea in a novel that comes into an unequal battle with legal law.
In Pontius Pilate, we see a formidable ruler. He is gloomy, lonely, the burden of life weighs on him. Almighty Pilate recognized Yeshua as his equal. And he became interested in his teaching. But he is unable to overcome the fear of Kaifa's debt
Despite the fact that the plot seems complete - Yeshua is executed, it seems that Yeshua never died. It seems that the very word "died" is not in the episodes of the novel.
Pilate is the bearer and personification of "the most terrible vice" - cowardice With remorse and suffering, Pilate expiates his guilt and receives forgiveness ...
Conclusion In The Master and Margarita, modernity is tested by eternal truths. All the events taking place are inextricably linked, they emphasize and help to understand the immutability of human nature, the concepts of good and evil, eternal human values \u200b\u200b...
Lesson objectives:
- Show genre and compositional originality M. Bulgakov's novel The Master and Margarita.
- Philosophical understanding the number "three" in M. Bulgakov's novel "The Master and Margarita".
- Understand the peculiarities of the interpenetration of the three worlds in the novel.
- Take out moral lessons, the main values \u200b\u200bthat the writer talks about.
- Promote the development of interest in the personality and work of the writer.
Lesson equipment: multimedia installation, CD with electronic lesson recording, exhibition of books-works of the writer, stand “Life and work of M. Bulgakov”, newspaper “Satire in M. Bulgakov's novel“ The Master and Margarita ”, installation on the topic.
Lesson plan.
Introductory speech of the teacher.
Hello dear guys, dear guests! Grade 11B, Secondary School No. 78, Volga Region, Kazan, welcomes you to a lesson on the topic: “Three Worlds in M. Bulgakov's novel“ The Master and Margarita ”.
Today we will continue our study of the novel created by Mikhail Bulgakov. So, the goals of our lesson are as follows:
1. Show the genre and compositional originality of M. Bulgakov's novel "The Master and Margarita".
2. Pay attention to the symbolism of the number “three” in M. Bulgakov's novel “The Master and Margarita”.
3. To comprehend the interpenetration of the three worlds.
4. To take out moral lessons, the main values \u200b\u200bthat the writer speaks about.
We have three groups that represent the three worlds of the novel:
Peace of Yershalaim;
Moscow reality;
Fantasy world.
1) Messages from prepared students (philosophy of P. Florensky, G. Skovoroda about the trinity of being)
2) Group work
So, the first group is working.
Ancient Yershalaim world
Teacher:
How does his portrait reveal Pilate's character?
How does Pilate behave at the beginning of his meeting with Yeshua and at the end of their meeting?
What is Yeshua's main belief?
The idea of \u200b\u200bthe work: all power is violence against people, “the time will come when there will be no power of either Caesar or any other power”.
Who is the personification of power?
The personification of power, the central figure is Pontius Pilate, the procurator of Judea.
How does Bulgakov portray Pilate?
Pilate is cruel, he is called a fierce monster. He only boasts of this nickname, because the world is ruled by the law of force. Behind Pilate's shoulders is the great life of a warrior, full of struggle, hardships, and mortal danger. In it, only the strong wins, who does not know fear and doubt, pity and compassion. Pilate knows that the conqueror is always alone; he cannot have friends, only enemies and envious people. He despises the rabble. He indifferently sends some to execution and has mercy on others. He has no equal, there is no person with whom he would just want to talk. Pilate is convinced that the world is based on violence and power.
Compilation of the CLUSTER.
Please find the scene of the interrogation (chapter 2) Pilate is asking a question that does not need to be asked during interrogation. What is this question?
"What is truth?"
Pilate's life has long been at an impasse. Power and greatness did not make him happy. He is dead in soul. And then a man came who illuminated life with a new meaning. The hero is faced with a choice: to save an innocent wandering philosopher and lose his power, and possibly his life, or save his position by executing an innocent and acting against conscience. In essence, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth is dearer to him than life. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sinhedreon does not change his mind.
Why does Pilate approve the death sentence?
What is Pilate punished for?
“Cowardice is the most serious vice,” Woland repeats (chapter 32, night flight scene). Pilate says that “more than anything in the world he hates his immortality and unheard of glory.” And then the Master steps in: “Free! Free! He's waiting for you!" Pilate is forgiven.
The modern Moscow world
Never talk to strangers.
PRESENTATION.
What does the Master say about Berlioz? Why?
Pupils:
The master speaks of him as a well-read and very cunning person. Much has been given to Berlioz, but he deliberately adapts to the level of the worker-poets he despises. For him, there is no God, no devil, nothing at all. Except for everyday reality. Where he knows everything in advance and has, if not unlimited, but quite real power. None of the subordinates is busy with literature: they are only interested in the division of material goods and privileges.
Why was Berlioz so terribly punished?
For being an atheist? For the fact that he is adjusting to the new government? For seducing Ivanushka Bezdomny with unbelief?
Woland is annoyed: "What is it you have, whatever you grab, nothing!" Berlioz also receives “nothing”, non-being. Receives by faith.
Everyone will be given according to his faith (Ch. 23) Insisting that Jesus Christ did not exist, Berlioz thereby denies his preaching of goodness and mercy, truth and justice, the idea of \u200b\u200bgoodwill. Chairman MASSOLITA, editor of thick magazines, living in the grip of dogmas based on rationality, expediency, devoid of moral foundations, denying belief in the existence of metaphysical principles, he implants these dogmas in human minds, which is especially dangerous for a young immature consciousness, therefore Berlioz's “murder” as a Komsomol member acquires a deeply symbolic meaning. Not believing in otherness, he goes into non-existence.
What are the objects and techniques of Bulgakov's satire?
- Styopa Likhodeev (Ch. 7)
- Varenukha (ch. 10,14)
- Nikanor Ivanovich Bosoy (Ch. 9)
- Bartender (ch. 18)
- Annushka (Ch. 24,27)
- Aloisy Mogarych (Ch. 24)
The punishment is in the people themselves.
Critics Latunsky and Lavrovich are also people invested with power, but lacking in morality. They are indifferent to everything except their careers. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of a vicious government. By history, such people are sent into oblivion.
The townspeople have changed a lot outwardly ... a much more important question: have these townspeople changed inwardly?
Answering this question, evil spirits enter into action, conduct one experiment after another, arrange mass hypnosis, a purely scientific experiment. And people show their true colors. The exposure session was a success.
The miracles demonstrated by Volandova's entourage are the satisfaction of people's hidden desires. Decency flies from people, and eternal human vices are manifested: greed, cruelty, greed, deceit, hypocrisy ...
Woland sums up: “Well, they are people like people ... They love money, but it has always been ... Ordinary people ... in general, they resemble the old ones, the housing issue only spoiled them ...
What is the evil spirit making fun of, mocking? By what means does the author portray the townsfolk?
The image of the Moscow philistinism is served caricature, grotesque. Science fiction is a means of satire.
Master and Margarita
Who told you that there is no real, faithful, eternal love in the world?
Let the liar cut off his vile tongue!
Margarita is an earthly, sinful woman.
How did Margarita deserve the special grace of the higher powers that rule the Universe?
Margarita, probably one of those one hundred and twenty-two Margaritas, about whom Koroviev spoke, knows what love is.
Love is the second path to superreality, just like creativity is what can withstand the ever-existing evil. The concepts of goodness, forgiveness, responsibility, truth, harmony are also associated with love and creativity. In the name of love, Margarita performs a feat, overcoming fear and weakness, conquering circumstances, demanding nothing for herself. Margarita is a bearer of great poetic and inspired love. She is capable not only of unlimited completeness of feelings, but also of devotion (like Levi Matthew) and of the feat of loyalty. Margarita is able to fight for her Master. She knows how to fight, defending her love and faith. Not the Master, but Margarita herself is now associated with the devil and enters the world of black magic. Bulgakov's heroine takes this risk and feat in the name of great love.
Find confirmation of this in the text.
The scene of the ball at Woland's (chapter 23), the scene of Frida's forgiveness (chapter 24).
Margarita values \u200b\u200bthe novel more than the Master. By the power of his love he saves the Master, he finds peace. The theme of creativity and the theme of Margarita's love is associated with the true values \u200b\u200baffirmed by the author of the novel: personal freedom, mercy, honesty, truth, faith, love.
Compilation of the CLUSTER.
So what is the leading issue raised in the real storyline?
The relationship of the creator-artist and society.
How is the Master like Yeshua?
They are related by truthfulness, incorruptibility, devotion to their faith, independence, the ability to empathize with someone else's grief. But the master did not show the necessary stamina, did not defend his dignity. He did not fulfill his duty and was broken. That's why he burns his novel.
The other world
PRESENTATION.
With whom did Woland come to earth?
Woland did not come to earth alone. He was accompanied by creatures who in the novel by and large play the role of jesters, arrange all kinds of shows, disgusting and hateful to the indignant Moscow population (they simply turned human vices and weaknesses inside out).
For what purpose did Woland and his retinue find themselves in Moscow?
Their task was to do all the dirty work for Woland, serve him, prepare Margarita for the Great Ball and for her and the Master's journey into the world of peace.
Who was Woland's retinue?
Woland's retinue consisted of three “main jesters: the Cat Begemot, Koroviev-Fagot, Azazello, and another vampire girl Gella.
The problem of the meaning of life.
Woland's gang, which is committing murder, outrage, deceit in Moscow, is ugly and monstrous. Woland does not betray, does not lie, does not sow evil. He discovers, reveals, exposes the abominable in life in order to punish it all. Scarab mark on the chest. He possesses powerful magical powers, scholarship, the gift of prophecy.
Compilation of the CLUSTER.
What is the reality in Moscow?
A real, catastrophically evolving reality. It turns out that the world is surrounded by money-seekers, bribe-takers, sycophants, swindlers, opportunists, self-interested persons. And now Bulgakov's satire ripens, grows and falls on their heads, the guides of which are aliens from the world of Darkness.
The punishment receives different shapes, but it is always just, is done in the name of good, and is deeply instructive.
How are Yershalaim and Moscow similar?
Yershalaim and Moscow are similar in landscape, hierarchy of life, and manners. Tyranny, unjust trial, denunciations, executions, hostility are common.
3) Analysis of individual works:
Compilation of clusters (images of Yeshua, Pontius Pilate, the Master, Margarita, Woland, etc.);
Presentation of student works.
4) Lesson summary, conclusions.
- all plans of the book are united by the problem of good and evil;
- topics: the search for truth, the topic of creativity
- all these layers and spheres of time merge at the end of the book.
The genre is synthetic:
And a satirical novel
And a comic epic
And utopia with elements of fantasy
And a historical narrative.
INSTALLATION and ANSWERING THE MAIN QUESTION OF THE LESSON
So in the name of what can one climb Calvary? In the name of what did Jesus Christ, Yeshua, the writer's contemporaries, and Mikhail Bulgakov himself go to torment?
Main conclusion:
You can climb Calvary in the name of TRUTH, CREATIVITY, LOVE - the author believes.
5) Homework: an essay on the topic: "Human mercy" (a fragment of the feature film "The Master and Margarita" by V. Bortko - The Master forgives P. Pilate).
LITERATURE
1. Andreevskaya M. About “The Master and Margarita“. Lit. Review, 1991. No. 5.
2. Belozerskaya - Bulgakova L. Memories. M. Hood. Literature, 1989.S. 183 - 184.
3. Bulgakov M. Master and Margarita. M. Young Guard. 1989.269 s.
4. Galinskaya I. Riddles of famous books. M. Nauka, 1986.S. 65 - 125.
5. Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969.S. 261
6. Gudkova V. Mikhail Bulgakov: expanding the circle. Friendship of Peoples, 1991. No. 5. S. 262 - 270.
7. The Gospel of Matthew. "Collection on the night of 14 Nisan" Yekaterinburg Middle-Ural. Book Publishing House 1991 pp. 36 - 93.
8. Zolotonosov M. Satan in unbearable splendor. Lit. review. 1991. No. 5.
9. Karsalova E. Conscience, truth, humanity. Roman Bulgakova "Master and Margarita" in the final class. Literature at school. 1994. No. 1. P.72 - 78.
10. Kryvelev I. What does history know about Jesus Christ. M. Sov. Russia. 1969.
11. Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991.S. 41
12. Frans A. Procurator of Judea. Collection "On the night of 14 Nisan" Yekaterinburg. Wednesday-Ural. book ed. 1991.S. 420 - 431.
13. Chudakova M. Mikhail Bulgakov. The era and fate of the artist. M.A.Bulgakov. Favorite Sh.B. M. Education S. 337 -383.
14.Internet Sites:
- uroki.net.
- 5 ka.at.ua
- referatik.ru
- svetotatyana.narod.ru
"... Trinity is the most general characteristic of being."
P. A. Florensky
The Master and Margarita is a satirical novel, a fantastic novel, a philosophical novel. A novel about love and creativity ... About death and immortality ... About strength and powerlessness ... What is guilt and retribution? What is power? What is fearlessness, fear, cowardice? What is the passage of time? And what is man in time? What is this - the truth or the path to the truth?
The "three-dimensional" structure of the novel expresses Bulgakov's philosophy. The writer argued that the trinity corresponds to the truth. The spatio-temporal and ethical concept of the novel is based on the trinity.
The three worlds of "The Master and Margarita" correspond to three groups of characters, with representatives different worlds form a kind of triads. They are united by their role and similar interactions with other heroes, as well as with the Elements of portrait resemblance. Eight triads are presented in the novel: Pontius Pilate, the procurator of Judea - Woland, "prince of darkness" - Professor Stravinsky, director of a psychiatric clinic; Afrany, Pilate's first assistant - Fagot-Koroviev, Woland's first assistant - Fyodor Vasilievich, doctor, Stravinsky's first assistant; centurion Mark Ratslayer - Azazello, demon of the waterless desert - Archibald Archibaldovich, director of the restaurant "House of Griboedov"; dog Bunch - cat Behemoth - police dog Tuzbuben; Niza, agent Afrania - Gella, maid of Fagot-Korovieva - Natasha, maid of Margarita; chairman of the Sanhedrin Kaifa - chairman of MASSOLITA Berlioz - unknown in Torgsin; Judas from Kiriath - Baron Meigel - journalist Aloisy Mogarych; Levi Matthew, Yeshua's follower is the poet Ivan Homeless, the Master's disciple is the poet Alexander Ryukhin.
Let us turn to one of the significant triads of the novel: Pontius Pilate - Woland - Stravinsky. "In a white cloak with a bloody lining" appears in the world of Yershalaim Pontius Pilate. In the Moscow world, the action takes place thanks to Woland, who, like the procurator of Judea, has his own retinue. Stravinsky manages his clinic, determines the fate of those who came to him as a result of communication with Satan and his servants. It seems that the course of events in the clinic is directed by the actions of Stravinsky, a "little" likeness of Woland. Woland is a "little" likeness of Pilate, for the "prince of darkness" is almost completely devoid of any experiences that the procurator of Judea, tormented by pangs of conscience for his momentary cowardice, is so richly endowed with (courage on the battlefield and civil cowardice - as he often observed such Bulgakov among his contemporaries). Pilate tries to save Yeshua, but, being forced in the end to send him to his death, involuntarily becomes immortal. And in modern Moscow, the eternal Woland spa-ses the Master and gives him a reward. But the creator must die, and with him, and Margarita. They receive retribution in the other world. Immortality gives the Master a brilliant novel written by him, and Margarita - her true sincere love. Stravinsky also "rescues" the Master, who became a victim of evil spirits; only "salvation" is a parody, for the professor can offer the Master the absolute inactive peace of the psychiatric hospital.
The power of each of the powerful characters in this triad turns out to be imaginary. Pilate is unable to change the course of events and save Yeshua. Woland, in turn, only predicts the future. So, Berlioz perishes under the wheels of a tram not because Satan "gave" him a tram and Annushka, but because he slipped on oil. Stravinsky's power is generally illusory: he is not able to deprive Ivan Homeless of the memories of Pilate and the death of Yeshua, of the Master and his beloved; he is not able to prevent the Master's earthly death and his transition to the other world. Material from the site
There is also a portrait resemblance between these heroes: Woland "looks over forty years old" and "is clean-shaven." Stravinsky is "a thoroughly, actor-like man of about forty-five." Satan has “the right eye is black, the left for some reason is green”, and “the right one with a golden spark at the bottom, drilling anyone to the bottom of the soul ...”, the professor's eyes are “pleasant, but piercing”. The outward resemblance between Stravinsky and Pilate is noted by Ivan Bezdomny (Stravinsky, like the prosecutor, also speaks Latin). Pilate and Woland are also similar. During the interrogation of Yeshua, Pilate's face turns from yellow to brown, and "the skin on Woland's face seemed to have burned a tan for ever."
Eternal once and for all, this strict hierarchy reigns in the other world as well, reflecting the hierarchy of the ancient Yershalaim world and the modern Moscow one.
Bulgakov's contemporary world is also hierarchical: the Variety Theater, the Stravinsky clinic, MASSOLIT. And only the Master, Yeshua and Margarita are ruled by love. The Master and Yeshua have no place in a world dominated by hierarchy. And yet the author is convinced that above all social, political, everyday problems is feeling: love, joy.
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The novel "The Master and Margarita" is a mystery. Every person who reads it discovers its own meaning in it. The text of the work is so full of problems that it is very difficult to find the main one, I would even say, impossible.
The main difficulty is that several realities are intertwined in the novel: on the one hand, the Soviet life of Moscow in the 1920s and 1930s, on the other, the city of Yershalaim, and finally, the reality of the all-powerful Woland.
The first world is Moscow in the 1920s and 1930s.
Satan came to Moscow to administer justice, rescue the Master, his masterpiece and Margarita. He sees that Moscow has turned into a kind of Great Ball: it is inhabited by traitors, informers, sycophants, bribe-takers, currency dealers. Bulgakov represented them both as individual characters and as employees of the following institutions: MASSOLIT, the Variety Theater and the Entertainment Commission. Everyone has vices that Woland exposes. The workers of MASSLIT, who call themselves writers and scientists, took upon themselves a more serious sin. These people know a lot and at the same time deliberately lead people away from the search for truth, make the genius Master unhappy. For this, punishment overtakes the Griboyedov House, where MASSOLIT is located. The Moscow population does not want to believe in anything without proof, neither in God nor in the devil. In my opinion, Bulgakov hoped that someday people would realize the horror that had consumed Russia for many years, as Ivan Bezdomny realized that his poems were terrible. But this did not happen during Bulgakov's lifetime.
The second world is Yershalaim.
Yershalaim is associated with many characteristic, inherent in him and at the same time uniting with Moscow details. This is the scorching sun, narrow, tangled streets, and the relief of the area. The similarity of some elevations is especially surprising: Pashkov's House in Moscow and Pilate's palace, located above the roofs of city houses; Lysaya Gora and Vorobyovy Gory. You can also pay attention to the fact that if in Yershalaim the hill with the crucified Yeshua is surrounded, then in Moscow with Woland leaving it. Only three days are described from the life of the city. The struggle between good and evil does not stop and cannot stop. The protagonist of the ancient world Yeshua is very similar to Jesus. He is also a mere mortal who remained incomprehensible. Yershalaim, invented by the Master, is fantastic. But it is he who looks the most real in the novel.
The third world is the mystical, fantastic Woland and his retinue.
Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. The other world is headed by Woland. He is the devil, Satan, "the prince of darkness", "the spirit of evil and the lord of the shadows." The unclean force in The Master and Margarita exposes human vices to us. Here is the devil Koroviev - a drunken drunkard. There is also a cat Behemoth, which is very similar to a person and at times turns into a person very similar to a cat. Here is the bully Azazello with an ugly fang. Woland personifies eternity. He is that eternally existing evil, which is necessary for the existence of good. The novel changes the traditional image of Satan: he is no longer an immoral, evil, treacherous devil-destroyer. Evil power appears in Moscow with a revision. She wonders if the townspeople have changed internally. Observing the audience in the Variety, the "professor of black magic" is inclined to think that essentially nothing has changed. Unclean power appears before us as an evil human will, being an instrument of punishment, committing intrigues at the suggestion of people. Woland seemed to me fair, objective, and his justice was manifested not only in the punishment of some heroes. Thanks to him, the Master and Margarita are reunited.
All the heroes of the novel are closely related to each other, without the existence of some it would be impossible for the existence of others, just as there can be no light without darkness. The novel "The Master and Margarita" tells about the responsibility of a person for their actions. Actions are united by one idea - the search for truth and the struggle for it. Enmity, mistrust, envy reign in the world at all times. This novel belongs to those works that must be re-read in order to understand the subtext deeper, to see new details that you might not have noticed the first time around. This is happening not only because the novel touches upon many philosophical problems, but also because of the complex “three-dimensional” structure of the work.