And how are the three worlds related to each other in Master and Margarita? and got the best answer
Answer from Marina [guru]
It is in the scene of the last flight that not only the temporal, but also a very complex spatial structure merges together.
"The Master and Margarita". Thus, the Gospel time forms one stream with the time when Bulgakov and his master began work on the novel about Yeshua and Pilate, and the action of the novel created by the Master connects with the course of modern Moscow life, where the author of the genius novel ends his earthly life, shot persecutors, in order to gain immortality and long-awaited peace in the eternity of the other world.
The three worlds of "The Master and Margarita" correspond to three kinds of characters, and representatives of different worlds form peculiar triads, united by functional similarity and similar interaction with characters of their own series. Let us demonstrate this point with the example of the first and most significant triad of the novel. It consists of: the procurator of the Jews Pontius
Pilate - "Prince of Darkness" Woland - Director of the Psychiatric Blade Professor
Stravinsky. In the scenes of Yershalaim, life develops thanks to the actions and orders of Pilate. In the Moscow part, the action takes place thanks to
Woland, who, like the procurator of the Jews, has a howling retinue. Also
Stravinsky, albeit in a parody, reduced form, repeats the functions of Pilate and Woland. Stravinsky determines the fate of all three characters modern worldwho ended up in the clinic as a result of accidental contact with Satan and his servants. Clinic seems to be guided by action
Stravinsky is the adjacent likeness of Woland. In turn, it is a somewhat contiguous likeness of Pilate, downgraded already because the "Prince of Darkness" is almost completely devoid of any psychological experiences that are so richly endowed with the procurator of the Jews, tormented by conscience for his momentary cowardice. Woland, as it were, parodies Pilate, the man who stands at the head of the entire Yershalaim world. After all, the fate of Kaifa, and Judas, and Yeshua depends on Pilate, and, like Woland, he has his own retinue - Afranius, Mark the Rat-Slayer, the faithful
Banga. Pilate tries to save Yeshua, but, being forced, in the end, to send him to death, unwittingly ensures both of them immortality for centuries.
And in modern Moscow, the eternal Woland saves the master and gives him a reward. But here, too, the death of the creator and his devoted beloved must first come - they receive reward in the other world, and immortality gives the Master a genius novel written by him, and Margarita her unique love.
Let us list the other seven triads of the "Master and Margarita": Afranius - Pilate's first assistant, - Fagot Koroviev, Woland's first assistant, - doctor
Fyodor Vasilievich, Stravinsky's first assistant; centurion Mark Ratslayer,
Azazello, demon of the waterless desert - Archibald Archibaldovich, director of the restaurant of the Griboyedov house; Banga dog - cat Behemoth - police dog
Tuzbuben; Kiza, agent Afrania, - Gella, the servant of Fagot - Korovieva, -
Natasha, Margarita's maid and confidant; Synfrion chairman Joseph
Kaifa - Chairman of MASSOLIT, Berlioz - unknown in the torgsin, posing as a foreigner; Judas of Kiriath, Baron Meigel, - journalist Aloziy
Mogarych, Levi Matvey, the only follower of Yeshua, the poet Ivan
Homeless, the only student of the Master is the poet Alexander Ryukhin.
More-by-link-link
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
The 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 the genre originality of the novel ...... 00
Conclusion ................................................. ...... 00
References .............................................. 00
Introduction
MA Bulgakov is one of the remarkable writers of the post-revolutionary era. Bulgakov got a difficult fate, 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 also considered 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 previous works of the writer. The author himself estimated 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 inhabiting them, the characters and actions of the heroes of the book.
The three-dimensional structure of the novel is also 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; and others.
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 basis 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 by the plane of earthly existence, that every event in this plane of earthly life only seems to us flat, two-dimensional. But in fact, it undoubtedly has, albeit invisible, not discernible to our eyes, 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 question of Yershalaim scenes in The Master and Margarita has long attracted the attention of researchers.
The book by E. Renan “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 clear 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 Bengal program, 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 on their hearts ... ordinary people ... in general, they resemble the old ones ... the housing issue 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 of the details of the ball scene are to a certain extent based on articles by 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 - emphasizes 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 services, roses also add an additional element to the ball - parodies of church services.
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 the English word freedom, which means “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 the Witches”: “The Horse Skull From Which They Drink”. In the original source, this passage reads as follows: the participants of 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 the 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 beings of the spiritual world, of 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 the actors are conventionally assigned 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.
Bibliography:
A short guide for a student of grades 5-11, "Bustard", Moscow 1997
BV Sokolov Roman M. Bulgakova "The Master and Margarita". Essays on creative history, "Science", Moscow 1991
VP Maslov Hidden leitmotif of the novel by MA Bulgakov "The Master and Margarita". "Izvestia 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
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. Each person 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. Main character of the ancient world Yeshua is very similar to Jesus. He, too, is 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, 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 an audit. 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.
Three worlds in the novel by M. A. Bulgakov
The novel by MA Bulgakov “The Master and Margarita” belongs to those works that you want and must reread in order to better understand the subtext, to see new details that you might not have noticed the first time around. This happens not only because the novel touches upon many philosophical and moral-ethical problems, but also because of the complex “three-dimensional” structure of the work.
In our world, we repeatedly encounter the number three: this is the main category of life (birth - life - death), thinking (idea - thought - action), time (past - present - future). In Christianity, too, much is built on trinity: the trinity of the divine trinity, the management of the earthly world (God - man - the Devil).
M. Bulgakov was sure that the trinity corresponds to the truth, therefore it can be seen that the events in the novel take place in three dimensions: in the ancient “Yershalaim” world, in the modern Moscow world of the 1930s and in the mystical, fantastic, otherworldly ...
At first it seems to us that these three planes hardly touch each other. It would seem, what kind of relationship can modern Muscovites have with the heroes of a literary novel with an evangelical theme, and even more so with Satan himself? But very soon we realize how wrong we were. Bulgakov sees everything in his own way and offers to look at the surrounding reality (and not only at the events of the novel) in a new way.
In fact, we are witnessing constant interaction, a close relationship of three worlds: creativity, ordinary life and higher powers, or providence. What is happening in the Master's novel about the ancient world of Yershalaim clearly echoes the events of modern Moscow. This roll call is not only external, when the literary heroes of the “novel in the novel” are similar in portraits and actions to Muscovites (the Master shows the features of Yeshua Ha-Notsri, the Master's friend Aloisy Mogarych reminds Judas, Matthew Levi, with all his devotion, is as limited as the poet Ivan Bezdomny). There is also a deeper similarity, because in the conversations of Pontius Pilate with Ha-Nozri, many moral problems, questions of truth, good and evil are touched upon, which, as we see, were not fully resolved either in Moscow in the 1930s, or even today - these questions belong to the category of "eternal".
Woland and his retinue are representatives of the otherworldly world, they are endowed with the ability to read in human hearts and souls, see the deep interconnections of phenomena, predict the future, and therefore Bulgakov gives them the right to act as human judges. Woland notes that internally people have changed little over the past millennia: “They are people like people. They love money, but it has always been. Well, they are frivolous ... well, well ... in general, they resemble the old ones ... ”Cowardice, greed, ignorance, spiritual weakness, hypocrisy - this is not a complete list of those vices that still guide and largely determine human life. Therefore, Woland, endowed with special power, acts not only as a punishing force that punishes careerists, sycophants, greedy and selfish, but also rewards the kind, capable of self-sacrifice, deep love, who know how to create, creating new worlds. And even those who, having committed evil, do not hide, like an ostrich, with their heads in the sand, but are responsible for their actions. Everyone is rewarded according to their merits, and very many in the novel (and the majority - to their own misfortune) get the opportunity to fulfill their desires.
In the novel's finale, all three worlds, quite clearly demarcated at the beginning, merge together. This speaks of a close and harmonious relationship of all phenomena and events in the world. A person needs to learn to take responsibility not only for their actions, but also for emotions, thoughts, because an idea that has arisen in someone's head can be embodied in reality even at the other end of the Earth.
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 ambiguous 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 subtle 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 get 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 many 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 on their hearts ... ordinary people ... in general, they resemble the old ones ... 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 all "dark forces" reveal, expose, 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; he 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 to be complete - Yeshua is executed, it seems that Yeshua never died. It seems that the 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 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...
