Characteristics of the hero Ivan Homeless, Master and Margarita, Bulgakov. The image of the character Ivan Homeless

The Master and Margarita is a mysterious and mystical work of Soviet literature. Each hero of the story is described in detail and has extraordinary functionality in the plot. Layering literary work allows each time to look at the heroes from a new perspective. Ivan Bezdomny is a specific character whose image is analyzed by critics and researchers of literature.

History of creation

A character whose life story is typical of a Soviet writer before the appearance of mystical characters writes a poem dedicated to. The novel begins with a description of a meeting with. The poet becomes a participant in the discussion, and then witnesses the tragic death of Berlioz. The pursuit of and his companions brings Homeless to a psychiatric hospital.

According to the assumptions of literary scholars, there are several personalities at once, which could be called prototypes for Bulgakov's hero.

In the twenties of the twentieth century, the production of "Days of the Turbins" thundered on the stage. Critics of the performance, among whom was the poet and writer Alexander Bezymensky, analyzed the performance, identifying shortcomings. In Bulgakov's novel, in a satirical format, an omission is depicted that occurred between Bezymensky and. This scene was Sashka Ryukhin's criticism of Homeless, in which the poet called his opponent a mediocrity.

In the dialogue that took place at the Patriarch's Ponds, Woland predicts madness for Homeless. This motif echoes the plot of Maturin's novel Melmoth the Wanderer, in which the character meets a man whose soul is sold to the devil. The hero is also predicted to be treated in a hospital for the mentally ill. His name is Stanton. He, along with the others, is considered the prototype of Homeless.

Literary critics saw the motives of the works in The Master and Margarita. Student traits are similar to Homeless, especially when it comes to self-confidence. As the Student argues with, so Homeless has the courage to doubt the existence of Woland.

There are alternative versions regarding the search for Homeless prototypes. The poet is often compared to the writer Ivan Pribludny. He was one of those close to Yesenin and had a reputation as a joker. The popularity of Pribludny was explained not by his literary talent, but by his friendship with famous personalities. The poet is also compared with Demyan Poor, and some see a similarity with. The pseudonym Homeless is sounding and has a lot of associations. At the same time, he is similar to the names of the alleged prototypes. The real surname of the hero is Ponyrev.

"The Master and Margarita"

Ivan Homeless - by no means main character narration, but his biography and fate excite the imagination of readers. A member of MASSOLIT once talks at the Patriarch's Ponds with the chairman of this organization, Berlioz, and with the appearance of Woland, he ceases to correctly perceive what is happening. After an insane pursuit of Woland, Ivan finds himself in an insane asylum, where doctors diagnose the poet as schizophrenic.

The versatility of the hero's personality becomes one of the important leitmotifs of the work. As the action progresses, Ivan transforms, and the reason for this is a change in priorities and worldview. To a large extent, he is influenced by the meeting that took place in the hospital. Having met the master, the poet discusses with him, and the love affairs associated with. An interesting moment for the person who writes poetry was the history of the publication of the novel and the misadventures associated with this event.

Ivan Bezdomny represents the elite of the Moscow literary community, a world that is hated by the master and Bulgakov himself in his person. After meeting the master, life takes on a new meaning for Ivan. It is centralized on Pontius Pilate, not on contemporary realities. The death of Berlioz and a number of accompanying events changed the hero's outlook. His concepts took on a precise form. The atheist, who gains the strength of personality in the finale of the work, Homeless from a reckless helper is transformed into a mature adult man with convictions and priorities.

Screen adaptations

His age did not coincide with the character (during the filming, the actor turned 33), but his appearance corresponded to the described era. The artist subtly and vividly portrayed the hero, remembered by the audience for his charisma, charm and reliable acting.

Quotes

Poetic activity involves literary awareness and lyrical spiritual makeup. Ivan Bezdomny neither externally nor internally evokes such associations.

Unable to appeal to the arguments of opponents in an argument, Homeless shrugs off unnecessary information and does not want to philosophize.

“Take this, but for such proofs for three years in Solovki!” Exclaims the writer, not really knowing who Kant is and what his philosophy is.

When the master asked how he perceives his poems, Bezdomny, unexpectedly for himself, replies that they are "monstrous."

“I promise and I swear!” - says the poet, deciding never to write poetry again. This gesture is the most honest in his life in relation to literature and to himself.

Both main characters - Yeshua and the Master - have one student in the novel: Yeshua - Matthew Levi, the Master - Ivan Bezdomny... Moreover, the initial state of both disciples was the most inappropriate, unpresentable: Levi Matthew was a publican, that is, a tax collector 1; Homeless-Ponyrev was at the beginning of the novel an ignorant anti-religious poet, who wrote poetic "products" to order. We meet with him in the first chapter of the novel, and Bulgakov dressed him quite motley, which is a reflection of the inner disorder, lack of taste, culture of the young poet: it was "a broad-shouldered, reddish, wavy young man in a checkered cap tucked at the back of his head - was in a cowboy shirt, chewed white trousers and black slippers", "lively green eyes" (in terms of the details of clothing - clearly not a "foreigner", since the "foreigner" Woland who appeared right there was, as the narrator emphasized, "in foreign, in the color of the suit, shoes").

The initial variants of the name of Ivan Homeless - Antosha Bezrodny, Ivanushka Popov, Ivanushka Bezrodny 2.

Becoming a student of Yeshua, Levi threw money on the road, and Homeless gave up the privilege of being a member of the writers' union. The meaning of the metamorphosis of both is obvious: the truth is not closed to anyone who has the courage to seek it.

But just as the Master turned out to be less persistent than Yeshua, so the Master's disciple, Ivan Bezdomny, is “weaker” than Matthew Levi and cannot be considered a true successor of his teacher's work (as, indeed, Matthew Levi). Ivan Homeless did not write the continuation of the novel about Yeshua, as the Master bequeathed to him. On the contrary, Homeless was “cured” of the damage inflicted on him by criminal hypnotists, and only “on the spring festive full moon” a part of the Master's truth is revealed to him, which he again forgets upon awakening. One of the researchers - P. Palievsky - even considers Ivan Bezdomny to be the main character of the novel: he alone remains in this world after all the scandalous events, everything that happened in the novel led him to correction, to purification. This evolution of his is also expressed in the semantics of the name, in the change of name: in the Epilogue of the novel, he is no longer Ivan Bezdomny, but professor-historian Ivan Nikolaevich Ponyrev.

Motive houses occupies a special place in the works of M. Bulgakov, as a symbol of the moral stability of a person, his involvement in the cultural tradition, to the House and Family (remember the house - the fortress of the Turbins in the "White Guard"). A person who is deprived of a home, the feeling of being at home, loses a lot in this world. The change in the name of the character in this case indicates an introduction to cultural and moral origins.

Bathing of Ivan Bezdomny in the Moscow River near the Cathedral of Christ the Savior, where before the destruction of the temple there was a granite descent to the river and a granite font ("Jordan") in memory of the baptism of Jesus Christ, is like a sign of the new birth of the character, that is, we can talk about the baptism of Homeless. But it is also obvious that this bathing is of a parody nature (like Satan's anti-ritual ball in the novel) - that is, it is at the same time a parody of the baptism arranged for the atheist Ivan Homeless by evil spirits 3.

The consequence of such an ambiguous "baptism" is the ambiguous epiphany of Ivan Bezdomny - he did not write the continuation of the novel, he forgot everything, and only once a year does he feel vague anxiety and anxiety as a reminder of what happened: "Every year the same thing repeats with Ivan Ponyrev ... Before us is a bad infinity, movement in a circle. “So this is how it ended? - This is how it ended, my student ... " With the departure of the Master, the integrity of his novel is lost; no one can not only continue it, but even reproduce it coherently ... The master leaves the novel along with his word about the world, but no other word inheriting it is heard in the epilogue. "

The image of Ivan Bezdomny is also rooted in the literature of the 1920s: according to researchers, its prototype is the famous atheist poet of the 1920s Demyan Bedny (author of the "poem" -pasqueville "How the Fourteenth Division entered Paradise", insulting the religious feelings of believers) ... In the twenties, such pseudonyms were widespread among poets as Bedny, Bezymensky, Hungry, etc., in contrast to the aristocratic names of the bygone bourgeois era and as a sign of a break with the "hated" past: it was assumed that the new world must be built anew and must be renounced from everything that burdens a person. As the poet V. Lugovskoy wrote:

This idea of \u200b\u200bnamelessness, the desire to become one of the many, the glorification of the masses to the detriment of the individual, was placed, as we know, at the center of E. Zamyatin's novel We. Refusal from the experience of previous generations, according to Bulgakov, is undoubtedly disastrous, and M. Bulgakov leads Ivanushka Bezdomny to an understanding of this idea in the finale of his novel.

Read also other articles on the work of M.A. Bulgakov and the analysis of the novel "The Master and Margarita":

• 3.1. The image of Yeshua Ha-Nozri. Comparison with the gospel Jesus Christ
• 3.2. Ethical issues of Christian teaching and the image of Christ in the novel
• 4. Ivan Homeless, who became Ivan Nikolaevich Ponyrev

• Category: Preparing for GIA

The writer carries out in the novel an important idea for him that power in its qualities and manifestations corresponds to the demands, capabilities and needs of people. The names and titles of rulers may change, but in order to change the essence of power, a person's spiritual renewal is required. The naive, weak and invincible wandering preacher Yeshua called for this to his disciples - simple and ingenuous.

One of these people, Ivan Bezdomny-Ponyrev, goes through the entire work, participates in all the key scenes of the modern part. The content of the story of Pilate and Yeshua is revealed to him alone among the rank and file who do not possess special qualities of people. Before leaving, the master called him his disciple, but at the same time demanded not to write more poetry. This means that discipleship was not meant as a continuation of the writer's work, the completion, for example, of the story about Pilate, but something else. Ivan turned from a writer to a historian. And the Master was a historian and earned his living in a museum before fate gave him the opportunity to write. The master only dreamed of fame. Ivan, from the fame that he already had (photo on the front page of the central newspaper), went into complete obscurity. The fate of Ivan Nikolaevich Ponyrev is therefore so important and is described in such detail, because the last pages of the work are devoted to him, because he represents ordinary people who are not gifted with any special talents. He is one of those who could find himself in the crowd of those who trample on spiritual truths. There were all the prerequisites for this and there were teachers on this path - with the death of Berlioz, their number did not decrease. But Ivan, having gone through shock and suffering, managed to become different, remaining ordinary, ordinary. He found spiritual needs, torment, insights. He became a man.

Perhaps, the appeal on the last pages of the sunset novel to the image of an ordinary, but spiritually seeking person is Bulgakov's appeal to the reader. The master's testament should in this case lead to the idea of \u200b\u200ba difficult, but necessary spiritual search as the only possible basis for a truly human existence.

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• What is the essence of social collisions, moral contradictions of characters in the novel "Fathers and Sons" - -
• The mastery of psychological analysis in the novel "Crime and Punishment" - -
• Comparative Images of Kutuzov and Napoleon in War and Peace. The role of personality in history. - -
• How are social ideas, pictures of struggle and war interconnected with the images of a morally pure, stable life in the novel "The White Guard"? - -

IVAN BEZDOMNY

(aka Ivan Nikolaevich Ponyrev), a character in the novel The Master and Margarita, a poet who turns into a professor at the Institute of History and Philosophy in the epilogue. One of the prototypes of I.B. was the poet Alexander Ilyich Bezymensky (1898-1973), whose pseudonym, which became a surname, was parodied in the pseudonym Homeless. The 1929 edition of The Master and Margarita mentioned a monument to “the famous poet Alexander Ivanovich Zhitomirsky, who was poisoned by sturgeon in 1933,” and the monument was located opposite the Griboyedov House. Considering that Bezymensky was a native of Zhitomir, the hint here was even more transparent than in the final text, where the Komsomol poet remained connected only with the image of I. B. Bezymensky spoke with sharp attacks on "Days of the Turbins", and his play "Shot" ( 1929) parodied this Bulgakov's work. "Shot" was ridiculed in the epigram of Vladimir Mayakovsky (1893-1930), written in December 1929 or January 1930, where it was said quite sharply about Bezymensky: "Take this bearded Komsomol member away from me! .." The quarrel between Bezymensky and Mayakovsky parodied in a quarrel between I.B. and the poet Alexander Ryukhin (Mayakovsky served as the prototype of the latter).

Woland's prediction that IB would end up in an insane asylum dates back to the novel by the English writer Charles Maturin (1782-1824) Melmot the Wanderer (1820). There one of the heroes, a certain Stanton, meets with Melmot, who sold his soul to the devil. Melmot predicts that their next meeting will take place within the walls of an insane asylum at exactly twelve o'clock in the afternoon. Note that in the early version of The Master and Margarita in the psychiatric hospital of Professor Stravinsky, it was not the Master, as in the final text, but Woland who appeared before IB. Stanton, self-confidently believing that he had nothing to learn from the messenger of Satan, was indeed soon imprisoned by his loved ones in an insane asylum, and this was caused by “his constant talk about Melmoth, his reckless pursuit of him, strange behavior in the theater and a detailed description of their extraordinary meetings that were made with the deepest conviction. " In the asylum, Stanton rages at first, but then decides that “the best thing for him will be to pretend to be submissive and calm in the hope that over time he will either appease the villains in whose hands he is now, or by convincing them that he is human harmless, he will achieve such indulgences for himself that in the future, perhaps, will facilitate his escape. " The hero Maturin had “two unpleasant neighbors in a madhouse,” one of whom constantly sang operatic verses, and the second, nicknamed “Wild Head”, kept repeating in delirium: “Ruth, my sister, do not tempt me with this calf head (here I mean the head of the English King Charles I (1600-1649), executed during the Puritan Revolution. - BS), blood flows from it; I beg you, throw it on the floor, it is not proper for a woman to hold it in her hands, even if the brothers are drinking this blood. " And one day at midnight Melmoth appears to Stanton in the hospital.

The misadventures of the unlucky hero Maturin in Bulgakov's works are exactly repeated by IB. The poet is chasing Woland; after a story about a meeting with a "foreign professor" at Patriarch's, who allegedly had a conversation with Pontius Pilate, JB is mistaken for a madman and confined to the Stravinsky clinic. There, he eventually ends up in the same line of behavior as Stanton in Melmoth the Drifter. Neighbors of I.B. in the hospital are the chairman of the housing association Nikanor Ivanovich Bosoy, reciting the monologue of Pushkin's Covetous Knight in a dream, and the entertainer of the Variety Theater Georges Bengalsky, raving about his head cut off during a black magic session.

In the fate of the poet Ivan Bezdomny, who became a professor at the Institute of History and Philosophy Ivan Nikolaevich Ponyrev by the end of the novel, Bulgakov seemed to give an answer to the assumption of one of the prominent Eurasian thinkers and genius linguist Prince Nikolai Sergeevich Trubetskoy (1890-1938), who in 1925 . in the article "We and Others", published in the Berlin "Eurasian Times", expressed the hope that "the positive significance of Bolshevism may be that, having removed the mask and showed everyone Satan in his undisguised form, he many through the confidence in the reality of Satan led to faith in God. But, in addition to this, Bolshevism, with its senseless (due to its inability to create), poking at life deeply plowed the Russian virgin soil, turned the layers that lay below to the surface, and down - the layers that previously lay on the surface. And, perhaps, when new people are needed to create a new national culture, such people will be found precisely in those strata that Bolshevism accidentally raised to the surface of Russian life. In any case, the degree of suitability for the task of creating a national culture and the connection with the positive spiritual foundations laid down in the Russian past will serve as a natural sign of the selection of new people. Those new people created by Bolshevism who do not possess this sign will turn out to be unviable and, naturally, will perish along with the Bolsheviks that gave birth to them, perish not from any intervention, but from the fact that nature does not tolerate not only emptiness, but also pure destruction and negation and requires creation, creativity, and true, positive creativity is possible only with the approval of the national principle and with a sense of the religious connection of man and nation with the Creator of the Universe. " When meeting Ivan, then Homeless, Woland calls on the poet to first believe in the devil, hoping that by doing so IB will be convinced of the truth of the story of Pontius Pilate and Yeshua Ha-Notsri, and then he will believe in the existence of the Savior. In full accordance with the thoughts of NS Trubetskoy, the poet Homeless found his "small homeland", becoming professor Ponyrev (the surname comes from the Ponyri station in the Kursk region), as if joining the sources of national culture. However, the new IB was struck by the bacillus of omniscience. This man, raised by the revolution to the surface of public life, was first a famous poet, then a famous scientist. He replenished his knowledge, ceasing to be that virgin youth who tried to detain Woland at the Patriarch's Ponds. However, I.B. believed in the reality of the devil, in the authenticity of the story of Pilate and Yeshua, while Satan and his retinue were in Moscow and while the poet himself communicated with the Master, whose covenant I.B., formally speaking, fulfilled, rejecting the poetic creativity. But in a similar way, Stepan Bogdanovich Likhodeev, on the recommendation of Woland, stopped drinking port and switched to only vodka infused with currant buds. Ivan Nikolaevich Ponyrev is convinced that there is neither God nor the devil, and in the past he himself became a victim of a hypnotist. The professor's former faith revives only once a year, on the night of the spring full moon, when he sees in a dream the execution of Yeshua, perceived as a world catastrophe. He sees Yeshua and Pilate, peacefully talking on a wide moonlit road, sees and recognizes the Master and Margarita. IB himself is not capable of true creativity, and the true creator, the Master, is forced to seek protection from Woland in the last refuge. Here Bulgakov's deep skepticism was manifested about the possibility of a rebirth for the better of those who were brought into culture and social life by the October Revolution of 1917. The author of "The Master and Margarita" did not see in Soviet reality such people whose appearance was predicted and hoped for by Prince N. S Trubetskoy and other Eurasians. The nugget poets raised by the revolution, emerging from the people, according to the writer, were too far from the feeling of “the religious connection of man and the nation with the Creator of the Universe,” and the idea that they could become creators of a new national culture turned out to be utopia. "Clear" and transformed from Homeless into Ponyrev, Ivan feels such a connection only in his sleep.

The transformation of I.B. from a poet into the only disciple of the Master, into a professor who has forgotten both poetry and the Master (I. B. remembers his teacher only once a year, on the night of the spring full moon), reproduces one of the plots of the great dramatic poem "Faust" (1808-1832) by Johann Wolfgang Goethe (1749-1832) is the story of a student who came to study with Faust and became a worthy student of Mephistopheles. Note that IB is a disciple not only of the Master, but also of Woland, since it is Satan who teaches him the story of Pontius Pilate and Yeshua Ha-Nozri and makes him believe in the existence of evil spirits. The Goethe Student admits:

I will say with all frankness:

I want to go home already.

From the cramped quarters here

On thought finds gloom.

There is no grass or bush around,

Only dusk, noise and stuffiness.

(Translation by B. Pasternak)

IB is confined in a ward in Stravinsky's clinic, outside the window of which there is a river, green grass and pine forest inaccessible to the patient. Here his mind becomes darkened: the poet is crying and can’t put on paper the story of his meeting with Woland and the story he heard about the procurator of Judea. Then follows the devilish enlightenment - IB ceases to grieve about the deceased Berlioz: “An important incident, in fact, crushed the editor of the magazine! .. Well, the kingdom of heaven to him! Well, there will be a different editor, and maybe even more eloquent than the previous one. " IB, turning from Bezdomny to Ponyrev, seems to get rid of the homesickness inherent in Goethe's hero. The student states:

Three years of study is a period

In all conscience, of course, it doesn't matter.

I could achieve a lot

Have a solid foundation.

Bulgakov parodies these words, forcing IB to propose: "Take this Kant, but for such proofs for three years in Solovki!" Woland is delighted with this proposal, noting that "he belongs there!" and recalling the conversation with I. Kant at breakfast: “You, professor, you will, have invented something awkward! It may be smart, but it is painfully incomprehensible. They will make fun of you. " Here we have in mind the very specific training of Kant - in the concentration camp on Solovki, and three years is precisely the period of training for medieval students, about which the hero of "Faust" speaks. The moral proof of the existence of God, put forward by Immanuel Kant, affirms the basis of our conscience, given by God in the form of a categorical imperative - not to do to another what you would not like to experience on yourself. It is clearly not acceptable to Satan. Goethe's Mephistopheles, after the Student's words about a firm foundation, urges the student not to follow the Hippocratic oath, but to indulge in another kind of medicine:

The meaning of medicine is very simple.

Here's the general idea:

Having studied everything in the world to the stars,

Throw everything overboard later.

Why work your brains in vain?

Better go straight.

Who will seize a convenient moment

He will settle down perfectly.

You are slim and in all your glory

Your look is haughty, your eyes are distracted.

Everyone involuntarily believes in that

Who is the most presumptuous.

Go to the ladies in the boudoir.

They are malleable commodities.

Their fainting, oh, oh,

Shortness of breath and confusion

Do not take the cure for fear -

And they are all in your hands.

The proposal to send Kant to Solovki for re-education also reflected the writer's personal impressions. His third wife E. S. Bulgakova noted in her diary on December 11, 1933 the story of Bulgakov's sister Nadezhda about how one of the relatives of her husband A. M. Zemsky (1892-1946), a communist, “said about M. A. Send him to Dneprostroy for three months, but not feed him, then he would be reborn. "

Misha: - There is another way - to feed herring and not give drink.

In his speech, I.B. Bulgakov turned into Kant (by the way, the autobiographical Master is associated with many of his features with this philosopher), three months into three years, and Dneprostroy into Solovki. (True, the poet did not have time to say a word about feeding the author of Critique of Pure Reason with herring). Communication with medicine for IB turned out to be much less pleasant than for the Student taught by Mephistopheles: the future professor Ponyrev found himself in a madhouse.

Goethe's Student hears from the crafty teacher who appears in the costume of Faust:

Memorize at home

Lecture text on the manual.

Teacher, keeping the resemblance,

The entire course reads on it.

Yet with greedy swiftness

Write down thought links.

As if these revelations

The holy spirit dictated to you,

and answers:

I know this and very

I appreciate the meaning of the letter.

Pictured in the notebook

Yours is like a stone fence.

IB, in Stravinsky's clinic behind a high fence, unsuccessfully tries to reproduce on paper that “revelation” about Pilate and Yeshua that Woland himself “dictated” to him at the Patriarch's instead of the “holy spirit”.

The student admits:

I would like to become a great scientist

And take possession of all the hidden,

What is in heaven and earth ...

and later turns into a self-confident braggart-know-it-all Bachelor, proclaiming:

Here is the purpose of young life:

The world was not before me and was created by me,

I brought the sun out of the womb of the sea,

Let the moon circle across the sky.

The day has flared up on my way

The earth began to bloom all in green,

And on the first night, all the stars at once

They lit up at my order.

Who, if not me, in a surge of fresh strength

Have you freed you from philistinism?

Wherever I want, I trample the trail

On the way my light is my inner

Everything is illuminated by him before me,

And what is behind is engulfed in darkness.

Mephistopheles is amazed at the vulgarity of his student:

Go, eccentric, trumpeting about your genius!

What would become of your importance

bahwal,

If you knew: there is no thought

small,

Who would not have known before you!

The flooded rivers enter the channel.

You are destined to go mad.

In the end, no matter how it wanders

The result is wine.

The former Student exclaims in the heat: "I want to, and the devil will go to waste", to which Mephistopheles remarks: "He will substitute a leg for you, do not croak." In The Master and Margarita, Woland just “substitutes his leg” to IB, bringing the poet to the insane asylum. December 6, 1829 in a conversation with his secretary and biographer, author of "Conversations with Goethe in last years his life ”(1836-1848) by Johann Peter Eckermann (1792-1854), the creator of“ Faust ”said the following about the image of the Bachelor:“ It personifies that pretentious self-confidence, which is especially characteristic of a young age and which in such vivid examples you had the opportunity observe here in the first years after the liberation war (meaning the war of the German states against the French emperor Napoleon (1769-1821) in 1813-1815 - B.S.). In youth, everyone thinks that the world began, in fact, to exist only with him and that everyone exists, in essence, only for his sake. " In Bulgakov, in contrast to Goethe's hero, I.B., not yet burdened with practically any knowledge, frivolously rejects the existence of not only God, but also the devil, for which he is punished. The bachelor simply denies the benefits of the knowledge gained, absolutizing his own free will:

I'm a boy, my mouth is open,

I listened in the same chambers

One of the bearded

And at face value

I took his advice.

They are all my innocent mind

Beaten with carrion

Spending my life and my century

For unnecessary activities.

I.B., in contrast to him, in the epilogue of the novel appears as a knowledgeable professor who denies the existence of the devil, while the Bachelor considers evil spirits subject to his will. The author of The Master and Margaret promoted the new Student in comparison with Goethe from bachelor's degree to professor. Here he took into account the existing Russian tradition of perceiving this hero of "Faust". So, Alexander Amfitheatrov (1862-1938) in his book "The Devil in Everyday Life, Legend and Literature of the Middle Ages" noted: "Following the diabolical advice, the student - in the second part of" Faust "- turned into such a vulgar" assistant professor ", that the devil himself felt ashamed: what kind of "professor by appointment" did he bring ". IB may not be as vulgar as Goethe's Bachelor, but the confidence of the newly minted professor Ponyrev that he “knows everything”, that “he knows and understands everything,” deprives IB of the ability for genuine creativity, for climbing to the heights of knowledge, just as the brilliant Master cannot rise to the heights of the ethical feat of Yeshua Ha-Nozri. The "punctured memory" of both equally fades, and awakens only on the magical night of the spring full moon, when JB and the Master meet again. Professor Ivan Nikolaevich Ponyrev is indeed a "professor by appointment", a typical "red professor" who denies the spiritual principle in creativity and, unlike Goethe's Bachelor's degree, is a supporter of only empirical experimental knowledge why everything that happened to him, including meetings with Woland and Master, I.B. in the epilogue explains hypnosis.

The way J.B. acts as a disciple of the Master, in many respects repeats the ritual practice of Freemasonry and finds its explanation in it.

The first was none other than Mikhail Aleksandrovich Berlioz, chairman of the board of one of the largest Moscow literary associations, abbreviated as MASSOLIT, and the editor of a thick art magazine, and his young companion is the poet Ivan Nikolaevich Ponyrev, who writes under the pseudonym Homeless "
The novel begins with these words, and there is one peculiarity in them: they mention real surname Ivan. Next time she will not meet soon.
There is one more subtlety in this fragment of the text: the author immediately informs us that there are, as it were, two Ivans - Ivan Nikolaevich Ponyrev and Ivan Bezdomny, and if we soon learn a lot about Bezdomny, he wrote a large anti-religious poem, a member of MASSOLITA - then about Ponyrev we only learn that he wears chewed trousers and slippers.
After that, there is a meeting with Woland, who tells the beginning of the Master's novel, and this story captures Ivan so much that he completely loses the idea of \u200b\u200btime. Here is how Bulgakov describes Ivan's "awakening" after Woland's story: " The poet ran his hand over his face, like a man who has just woken up, and saw that on the Patriarch's evening"Bulgakov was a doctor, and with these words he said much more than is evident at first glance: such a gesture is typical for a person who comes to his senses after a clouding of consciousness and is well known to all psychiatrists and neurologists. This is the first hint that Ivan is ill.
A few minutes later, we get a second hint: " How could I not have noticed that he had managed to weave a whole story? .. - thought Bezdomny in amazement, - it’s already evening! Or maybe it was not he who told, but I just fell asleep and I dreamed all this?". There will be a third: Woland suddenly begins to behave strangely and advises Ivan to ask Professor Stravinsky about what schizophrenia is. In fact, Bulgakov openly tells us that the main character of the first chapters, not counting the second, is mentally ill.
Berlioz dies immediately after this, and here is Ivan's reaction: “Ivan Nikolayevich fell on the bench without reaching the turnstile and remained on it.
Several times he tried to get up, but his legs did not obey - something like a paralysis happened to Homeless". Bulgakov, again, gives an extremely clear definition of the strongest nervous shock. Against the background of previous hints, we can expect that something will happen to Ivanov's perception of reality - and it happens. The subsequent story of his adventures is filled with oddities, incredible events and outright inconsistencies. We can attribute them to mysticism: but we can remember that Bulgakov is a doctor, and this doctor has already hinted to us that Ivan is unwell. It seems to me that Ivan's cry "Help!", A description of the chase at an incredible pace, cat, who got on the tram and tried to pay for the fare, Ivan's confidence that " the professor must certainly be in house 13 and necessarily in apartment 47"- all this is an extremely accurate description of a delusional state, ragged, illogical and completely overpowering the patient's ability to think critically.
We continue to follow Ivan: after an unsuccessful search for the professor in apartment No. 47, he steals a wedding (church) candle, an icon from the apartment, and goes with them to swim on the river. What for? Everything is obvious: a candle, an icon and water are attributes of baptism. Ivan cannot forgive himself for writing a poem, and is baptized in an extremely ridiculous form. Ridiculous for anyone healthy person, but for Ivan there are no questions. After that, he pins an icon on his chest, lights a candle, puts on his underpants and goes to catch Satan in a fashionable restaurant, from where he is brought to a psychiatric clinic, where he is injected with medicine, after which Ivan falls asleep with words about his most important idea - about Pontius Pilate.

Let's dwell on the fact that Ivan is asleep for now - this is one of the key moments in the novel - and think about what we know about Professor Stravinsky's clinic? Here is what Bulgakov tells us: " a man with a sharp beard entered the waiting room of a famous psychiatric clinic recently rebuilt near Moscow on the banks of the river", "A few minutes later the truck was carrying Riukhin to Moscow. It was dawn, and the light of the lanterns that had not yet been extinguished on the highway was no longer needed and unpleasant. The driver was angry that the night was gone, he drove the car with all his might, and it skidded around the bends.
So the forest fell off, remained somewhere in the back, and the river went somewhere to the side, different differences poured towards the truck: some fences with sentry boxes and stacks of firewood, tall posts and some masts, and strung coils on the masts , heaps of rubble, earth streaked with canals - in a word, it was felt that just about it, Moscow, right there, just around the corner, and now would pile up and cover.
Riukhin was shaking and tossed about, some stump on which he fit, every now and then tried to slip out from under him. Restaurant towels, planted by the policeman and Panteley, who had left the trolleybus earlier, drove all over the platform"- this is quite enough. The river bank, this clinic can be reached by a trolleybus, the land strewn with canals - all this is an extremely accurate description of Pokrovsky-Streshnev of those years when Bulgakov wrote the novel. Towers, heaps of rubble, canals. In those years, it was built there Moscow canal, and these towers are not simple, camp: in addition, it was there that the Moscow Art Theater were located (Bulgakov served in the Moscow Art Theater during the years of writing the novel), and it was there, at 47 Volokolamskoe Highway, that the psychiatric hospital is located to this day No. 12, which can still be reached by trolleybus No. 12 and No. 70. In those years, the hospital was called a neuropsychiatric sanatorium for "Streshnevo", in which Bulgakov was well known: during his years of work at the Moscow Art Theater, he regularly visited there, and one of the buildings still has a photo of him.In addition, the other building of the former sanatorium looks like this:

What happened next? And then we do not meet with Ivan for a very long time, because the author for many chapters tells us about what happened to the other characters. We do not know what Ivan was doing at that time, because now we will meet him only after the death of the Master and Margarita, when they fly to Ivan to say goodbye. It will be like this:
"Ivanushka lay motionless, just as when he first observed a thunderstorm in his house of rest. But he did not cry like he did that time. When he peered properly at the dark silhouette that burst into him from the balcony, he raised himself, stretched out his arms and said joyfully:
- Oh, it's you! And I'm still waiting, waiting for you. There you are, my neighbor.
To this the master replied:
- I'm here! But, unfortunately, I can no longer be your neighbor. I fly away forever and I came to you just to say goodbye".
Bulgakov is a true Master. With these words, he says much more than it is written: he predicts that Ivan will no longer have visions that he is recovering. Ivan himself already understands this - after all, after parting " Ivanushka became uneasy. He sat up in bed, looked around anxiously, even moaned, spoke to himself, got up. The thunderstorm raged more and more and, apparently, disturbed his soul. He was also worried that outside the door, he, already accustomed to constant silence, heard restless steps, deaf voices outside the door with his ears. He called, already nervous and shuddering:
- Praskovya Fyodorovna!
Praskovya Fyodorovna was already entering the room, looking questioningly and anxiously at Ivanushka.
- What? What? - she asked, - does the thunder bother you? Well, nothing, nothing ... Now we will help you. I'll call a doctor now.
“No, Praskovya Fyodorovna, you don’t need to call the doctor,” said Ivanushka, looking uneasily not at Praskovya Fyodorovna, but at the wall, “there’s nothing special about me. I already understand now, don't you be afraid". He already knows how to control his consciousness and can distinguish reality from the games of his mind. Recovering is close - and, as a result, the characters invented by him leave one after another. The Master and Margarita die, Woland and his retinue fly away from Moscow. Soon one of the main characters of the novel, Pontius Pilate, will also gain freedom and leave. And only Ivan will remain with us - only from Homeless he will again turn into Ivan Nikolaevich Ponyrev. " Ivan Nikolaevich knows everything, he knows and understands everything. He knows that in his youth he became a victim of criminal hypnotists, he was treated after that and was cured". He has only memories and anxiety that visits him once a year. Then he walks along Arbatsky lanes and comes to Margarita's mansion, which is described as follows:" a lush, but not yet dressed garden, and in it - painted by the moon from that a side, where a lantern with a three-leaf window protrudes, and a dark one from the other - a Gothic mansion. "
There is one mystery with this mansion: the fact is that there is nothing like this in the Arbat lanes. But we remember where the events actually took place ... Maybe Bulgakov is talking about this mansion?

We have already met him, this is one of the buildings of the very sanatorium, which became the prototype of Professor Stravinsky's clinic. There is a lantern with a view on three sides, and a garden, and Gothic architecture, while we can even see a circular balcony on the left side - the same one through which the Master could come to Ivan. The circle is closed.

Apparently, it turns out that the main character of Bulgakov's novel "The Master and Margarita" is Ivan Nikolaevich Ponyrev, who underwent treatment in a psychiatric clinic and saw many strange and surprising things during the treatment.