Ancient World Master and Margarita Description. Three Worlds in the novel "Master and Margarita" - an essay
Care of gems, as if by chance, by the persecution of abandoned writers on
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deep meaning enriching the plot of works
additional nuances.
Roman "Master and Margarita" - a mystery. Each person who read it opens his meaning in it. The text of the work is so saturated with the problems that the main thing is very difficult to find, I would even say, it is impossible.
The main difficulty is that several reality is intertwined in the novel: on the one hand, the Soviet life of Moscow 20-30s, on the other, the city of Yershalaim, and finally, is the reality of all-powerful Voland.
First World - Moscow 20-30s.
Satan came to Moscow to commit justice, rescue the master, his masterpiece and margarita. He sees that Moscow has become a similarity of the Great Bala: it is inhabited by traitors, jams, podkhales, bribery, currency. Bulgakov represented them as in the form of individual characters and in the form of employees of the following institutions: massolite, theater Varity and the spectacular commission. Each person has vices that the wave exposes. More serious sin assumed workers in Melzlit, calling themselves to writers and scientists. These people know a lot and at the same time consciously lead people from the search for truth, make an unfortunate ingenious master. For this Kara overtakes Griboedov's house, where Massolo is located. The Moscow population does not want to believe without evidence, nor in God or the devil. In my opinion, Bulgakov hoped that someday people realize that horror that was absorbed by Russia for many years, as I was realized by the homeless thing that the poems were terrible. But during the life of Bulgakov this did not happen.
The second world is Yershalaim.
A lot of characteristic, inherent in him and at the same time uniting parts with Moscow are connected with Ersshalaim. This is a grooming sun, narrow tangled streets, terrain relief. Especially surprising the similarity of some elevations: Pashkov's house in Moscow and Palace of Pilate, located above the roofs of urban homes; Bald Mountain and Vorobyev Mountains. It is also possible to pay attention to the fact that if the hill with crucified Yeshua is surrounded in Ershalaim, then in Moscow with its leaving her wave. Just three days is described from the life of the city. Fighting good with evil does not stop and cannot stop. The main hero of the ancient world of Yeshua is very similar to Jesus. He is also a simple mortal who remained incomprehensible. Yershalaim, invented by the master, - fantasy. But it is he who looks in the novel the most realistic.
The third world is mystical, fantastic wave and his retinue.
Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. Heads the exterior world of Woland. He is the devil, Satan, "Prince of Darkness", "Spirit of Evil and the Lord of Shadows." The unclean power in the "Master and Margarita" exposes people's defects before us. Here and the features of Koroviev - Spinning Zabuldig. Here and the beat of the hippopotamus, very similar to humans and at times, turning into a person, very similar to the cat. Here and hooligan azazello with ugly fang. Woland personifies eternity. He is eternally existing evil, which is necessary for the existence of good. In the novel, the traditional image of Satan was changed: this is no longer immoral, evil, treacherous devout. Unclean power appears in Moscow with revisions. She is interested in whether the townspeople changed internally. Watching the public in Varieta, "Professor of Black Magic" leans to the thought, that in fact nothing has changed. The unclean force appears before us as an evil human will, being an instrument of punishment, the top of the goat with the filing of people. I seemed fair, objective to me, 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, there would be an impossible existence of others, as can not be light without darkness. Roman "Master and Margarita" tells about the responsibility of a person for their actions. Actions are combined with one idea - the search for truth and the struggle for it. Enough, distrust, envy reign in the world at all times. This novel belongs to those works that need to be reread to understand the subtext deeper, see new items, which could not pay attention to the first time. This happens not only because the novel affects many philosophical problems, but also due to the complex "three-dimensional" structure of the work.
Roman "Master and Margarita", which M. A. Bulgakov challenged not only Russian, but also by the world tradition, the writer himself called his "sunset", final work. It is with this novel that the name and creative credo of this outstanding artist is now identified. Despite the fact that the "Roman Roman" Bulgakov is closely connected with all the previous works of the writer, it is a bright and original work indicating that the author sought new artistic ways to solve his problems who worried about his problems. Roman "Master and Margarita" is distinguished by genre uniqueness: it can be called simultaneously and fantastic, and philosophical, and loving and lyrical, and satirical. This caused an unusual artistic organization of the work in which we open up as it were for three worlds, which, existing separately, at the same time closely intertwined and interact with each other.
The first world is mythological, biblical, or historical. It occurs the most important, key from the point of view of Christianity events: the phenomenon of Christ, his dispute with Pontius Pilate about truth and crucifixion. In Yerschlaim, the action of the "Gospel of Satan" unfolds. Bulgakov emphasizes that the events described in traditional Gospels do not correspond to the historical truth. True events are open only by Satan, Master and Ivan the homeless. All other sources certainly begin to distort the truth. Parchment Levie Matvey played a tragic role in the fate of Yeshua, because the words of the teacher about the destruction of the temple Levi understood literally. Describing the biblical events, the author "Master and Margarita" wanted to show that the knowledge of truth is available only to the highest forces or elected people. In the biblical plan of the novel, the most important philosophical questions are set: about the essence of a person, about good and evil, about the possibility of moral progress, about the freedom of choosing a person of its path and moral responsibility for this choice.
The second world is satyric, which describes the events of the 20-30s of the 20th century. In the center of his tragic fate of the talented writer - Master, the power of the imagination "guessing" the eternal truths, but not in demand by society and champion them. The writer Konstantin Simonov noted that when reading the "master and margarita", "people of older generations immediately striking that the main field for Satyric observations of Bulgakov was the Moscow philistine, including the accuracy and oilyatral, medium of the 1920s, with it, As they talked, "Nepa". " Satyrian scenes from the life of the Moscow literary and theatrical environment are written by a language resembling the comic works of Bulgakov. For this language, offices are characterized by offices, spoken expressions, detailed descriptions of the actors.
The third world of the novel is a fantastic world, the world of the lord of the darkness of Voland and his suits. In this world, fantastic events occur, for example, Satan's ball is a peculiar parade of human vices and cunning.
Woland and his retinue are creating all sorts of wonders whose goal is to show the imperfection of the human world, the spiritual lowness and the emptiness of the townspeople. Fantastic characters are assigned a very important role in the novel. Their main activity is the balancing of good and evil forces, the implementation of a fair trial over human weaknesses and vices.
Woland, which means, the author himself, understands justice not only as mercy, but also as rewarding on the principle of "everyone in faith." "Do not differ, not by the correctness of the choice of mentality, but by choosing a heart, by faith!" Woland of every hero, the whole world is weighed on the scales of human conscience, humanity and truth. "I do not believe in anything from what I am writing!" - Ryukhin exclaims, realizing his media, human emptiness, and thus pays bills. The image of Voland turns out to be hardly the most important in the system of characters: it bonds all three planes of the story of the novel, carries out the main motive of retaliation, the court. Appearing in the first chapter "Masters and Margarita", he passes through all the work and goes into eternity along with the rest of the heroes at the end of the book.
Each of the worlds of the Bulgakov novel corresponds to its time scale. In the Yerschalaim world, the main action unfolds within one day and is accompanied by memories of the future preceding events and predictions. Time in the Moscow world is more blurry and flows relatively smoothly, obeying the will of the narrator. In the fantastic world, the time at all almost stopped, merged in a single moment, which symbolizes the clock last midnight on the ball at Satan.
In each of the three worlds there are their heroes, which are a bright reflection of their space and their time. Thus, the Master, Yeshua and Pilate takes place in the otherworldly world. The master writes a novel about Pontius Pilat, telling at the same time about the moral feat of Ga-Nozri, who even in the face of painful death remained firm in his humanistic preaching of universal kindness and freedomiff.
However, it cannot be said that the teachings of Yeshua or the master of the master exist in themselves. They are peculiar moral and artistic centers, which is repelled and to which at the same time the action of the entire novel is directed. That is why the image of the master, as well as the image of Voland, is present not only in its world, but also penetrates the rest of the storylines of the narration.
It acts both in modern and in the other world, connects the world historical with the world fantastic. And yet, satirical images are dominated in the novel.
According to the importance of harm to society in the first place in the modern world, you can safely put the image of Berlioz, Chairman of the Board of one of the largest Moscow literary associations and the editor of a Tolstoy magazine.
The homeless person quickly wrote a work, but it did not satisfy Berlioz, according to the conviction of which the idea that Christ was not at all should be the main idea of \u200b\u200bthe poems. We have two different, but equally harmful to society of the character. On the one hand, the official who inflicts moral and moral damage, which turns art into a customer and cripping taste of the reader; On the other hand, the writer, forced to engage in lifting and distorting facts.
Here we see and Delta from the theatrical life of the Roman who was most afraid of responsibility. Restore justice, as in other cases, called wave, which is most severely proving the reality of the existence of both Christ and Satan, who exposes in Vary not only art representatives, but also by the townships.
Here, in all its strength, we appear before us by Woland and his retinue.
A sudden meeting with an unclean force instantly identifies the essence of all these Berliosles, Latvian, Happy, Aloziev, Moganychi, Nikanov Ivanovichi and others. A fantastic turn allows us to see a whole gallery of unsightly characters. A session of black magic who gives Woland with his helpers in the capital's variety, in the literal and figurative sense, "strips" some viewers. And the case with Berlioz emphasizes the author's thought about that "that the moral law is concluded inside a person and should not depend on religious horror in front of the coming retribution, thereby terrible court, an ulcer parallel who can easily see in the death of the official who led Massol.
Thus, we see that all three worlds of the novel penetrate each other, reflected in certain events or images, are subjected to a constant assessment by the higher forces. The author drew a picture of the modern world, opened our historical and religious facts to us. Created a magnificent world of fantastic images and forced them to exist in constant and inseparable communication. In the "Master and Margarita", the present is the test by eternal truths, and the direct conductor of this test becomes fantastic power - Woland and his retinue, unexpectedly broken into Moscow, the capital of the state in which a gigantic social experiment is being held. Bulgakov shows us the failure of this experiment. In the imaginary kingdom of truth, people managed to do so much evil that in his background, real unclean power seems to be kind. With the advent of fantastic strength, all value references are shifted: what was perceived as terrible, appears to be ridiculous and ridiculous, the highest value of earthly ambitions - power over people - it turns out to be an empty fuss.
The links between the biblical heads of the novel and the rest of the narrative lines are also striking and diverse. These are primarily in common, phrases and motifs. Roses, red, black and yellow colors, phrase "O God, gods" - all this means temporary and spatial parallels between heroes and events.
The description of Moscow largely reminds us of the painting of Jerusalem's life, which is repeatedly emphasized and reinforced by repetition of motives and structural elements, from the devil of the landscape to the real movement of the heroes in the city. "Combining Moscow and Ershalaim," wrote S. Maksurov, "the author loses one city in another, the story about events in Yerschlaim is happening in Moscow, we will learn about Moscow life and at the same time we see Yerschalaimskaya with Muscovites and the eyes of Muscovites ... It reminds Russian nesting, where each subsequent figure is made in the image and the similarity of the previous one and at the same time accommodates the subsequent ".
The worlds in the Bulgakov novel exist in themselves, separately from each other. They are woven, intersect, forming one-piece tissue of the narrative. Events, located apart for two millennia, plots, real and fantastic, are inextricably linked, they emphasize and help to understand the invariance of human nature, concepts of good and evil, eternal human values \u200b\u200b...
Three worlds. I find a little in the Russian literature of Romanov, who would cause so many disputes, as caused by Roman Bulgakov "Master and Margarita". Literary critics, historians and just readers do not cease to argue about the prototypes of his heroes, book and other sources of the plot, about his philosophical and moral and ethical essence. Each new generation finds something in this work, consonant with the era and its own ideas about the world. Each of us has their favorite pages. Someone closer to the "novel in the novel", someone - a cheerful deviliad, someone does not get tired of reread the love story of the master and Margarita. This is understandable: after all, in the novel at the same time, there are three worlds, three layers of narration: Gospel, earthly and demonic, associated with Woland and his retinue. All three layers are combined by the figure of the main character - a master living in Moscow in the 30s of the 20th century and writing a novel about Pontae Pilate. The novel is unpublished and unrecognizable, causing his creator a serious flour.
It is to restore justice that Satan himself appears in Moscow, Almighty Woland. Strength, beyond the almighty NKVD! During the thaw of the 60s, when Roman Bulgakov was published, the restoration of historical justice was associated with the victims of the repression of the 30s, therefore the enclosure of the "bodies" was perceived by readers with an evil celebration. And precisely at this time in the intelligentsia environment, interest in Christianity was revived, to religion, which was under the courtyard for a long time and the unbelled ban. For generation of the 60s, Roman Bulgakova himself became a kind of gospel (from the master, from Satan - no matter). And the fact that the main hero of "Roman in the Roman" is not Jesus, not Yeshua Ga-Nochri, but the procurator of Pontius Pilate was not just a controversy with gospel texts. Bulgakov is not engaged in the preaching of Christianity: for him this thing is completely indisputable. He speaks of a friend - about the personal responsibility of a person, clothed with the authorities, for what is happening in the world. The writer is not very interested in Judas (he is not a traitor in the novel, not a favorite student who densed from the teacher, but an ordinary provocateur). According to Bulgakov, the main wines are not then, who of the pearants, is not absorbed into the essence, gives a person in the hands of the executioner, and for those who understand everything wants to use Yeshua, bend it, to teach to lie.
Bulgakov had complex relations with Stalin (maybe it was he who partly served as a prototype of Pilate in the Master's novel). Of course, the writer was not arrested, did not shoot in the Butyrsky basement, did not send to Kolyma. He was simply not allowed to speak out, he was trying to force him to cooperate, they played with him how a cat played with a semi-art mouse. And when they realized that it would not be possible to use, they were trampled. So Pilate tried to use Yeshua - healer and philosopher, wanted to even save him - but the price of lies. And when it failed - I gave flour. And he received a submissive immortality: Pilate has been coming daily for two thousand years in prayer, which in the Orthodox is called the "Symbol of Faith." Such is the payback for the failing, for cowardice.
The world of Moscow mesh, in which the wave and his retinue unexpectedly appears unexpectedly appears: the vigilant checkered korovyev, sinister and sullen azazello, foolish-charming hippopotamus, executive and seductive teell. Drawing Prince Darkness, Bulgakov slightly laughing over the world literary tradition. In his tired-ironic Voland, there is little terrible and demonic (but it is clearly a connection with the Faustic Mephistophele in the opera refraction!). And the hippo cat is the most cited character of the novel. It is enough to remember the famous: "I do not touch anyone, I do not touch anyone, I replenish the primus." Woland and his faithful helpers are not only easy to spread with small fraudsters like Roman, Varenuhi, steppes Lyarkheev or Uncle Berliosis Poplavsky. They make merit and unprincipled Berliozu, and the provocator Baron Maygel. The cheerful rue of the devilish suite does not cause a protest - the Moscow reality of the 30s is very unattage: the third layer, the third world of the novel.
With special sarcasm Bulgakov describes the fellow in Peru - the regulars "House of Griboedov". What are the names of the names and pseudonyms of "engineers of human souls": Bescordnikov, Doublihin, Poprichin, Zhardinbin, Nezpemenova - "Navigator Georges", the captivity, Tamara crescent and so on! Each of them simply asks for a list of "dead shower" from Gogol. And this is really the "dead souls" for whom pathetic attempts of creativity are only a reason to snatch an apartment, a trip to the holiday home and other life benefits. Their world is the world envy, bonds, fear, comfortably covered by the scenery of Griboyedov's houses. This world really wants to blow up. And you understand Margarita, in the appearance of the witch, the selflessly threshing apartment of the masted critic of the brass. Bright, passionate, direct beloved masters - one of the links that bind the world of human with the world of devilish. Proud Queen of the Satanic Ball, of course, the witch - after all, all women are a little witch. But it is her charm, her tenderness, kindness and loyalty to bind darkness and light, physicality and spirituality. She believes in the talent of the master, in his destination, to the fact that she is able to revive the life of patient number 118 in a crazy house.
A row of it is evil forces once again committed a good deed: Woland will grant the master of peace. Here is another question that causes the disputes of readers. Why nevertheless peace, not the light? The answer is involuntarily looking in a long time, Pushkinsky: "There is no happiness in the world, but there is peace and will." As conditions for creativity. What else need a writer? And by the way, in contrast to the sorrowless-whole Levie Matthew, nor the life of the master, nor his novel did not lead to action for anyone. He is not a wrestler who is dying for his beliefs is not holy. In his novel, he managed to "guess" history. That is why the student of Master Ivan Homeless, throwing writing, becomes a historian. It is only sometimes, in the full moon (and the moon in the novel always accompanies the illness of heroes) recalls the tragedy, which flewed before his eyes and affected his soul. Only remembers: Ivan Homelessness is also not a fighter and not holy. Oddly enough, it is not possible to disappoint in contemporaries in contemporaries. Wise Skeptic Woland, who says, seeing night Moscow: "They are people like people. They love money, but it has always been. Well, frivolous ... Well, well ... and mercy sometimes knocks on their hearts ... Ordinary people ... in general, remind the same ... the apartment question only spoiled them ... "Yes, the stuffy fussy Moscow is strange and scary reminds the ancient Yershalaim with his political struggle, intrigues , secret son. And both two thousand years ago, there is a good and evil in the world (sometimes indistinguishable from each other), love and betrayal, executioners and heroes. Therefore, in Bulgakov's novel, all three worlds are bizarked, the characters in something repeat each other: in the master they break the features of Yeshua Ga-Nozri, the wizard of the master of Alosii Mogarych reminds Judah, a devotee, but in something very limited Levie Matthew also covered, As a student of Master Ivan Homeless. And only completely unthinkable in Soviet Moscow a character like a repentant pilot, who finally, forgiveness and freedom.
So, "Roman in the Romana" is a kind of mirror, which reflects the modern Bulgakov life. And keep this mirror as trolls in the Andersen "Snow Queen", Woland and his retinue. And "Magic Crystal" - in their authority: "I am part of the strength that he always wants evil and always makes good" (Goethe "Faust"),
"Roman Woland and his Sweet" - the name of Azazello is formed by Bulgakov from the Old Testament name Azazel. Probably, Bulgakov attracted a combination in one character of the ability to dedication and to the murder. Woland - the character of the novel "Master and Margarita", heading the world of the otherworldly forces. Woland is largely focused on the Mofistofel "Faust" Johann Wolfgang Goethe.
"Roman Bulgakov Master and Margarita" - Heroes of Roman. Real Moscow 20 - 30 years of the twentieth century. Master. Last flight. Goethe. Faust. Pilate and Yeshua. 1928 - 1938 8 editions. 1931 - 1932 Continuation of work, the appearance of Master and Margarita images. Azazello. 1928 Confusion. 1930 burned manuscript. Why is Wolanda is interested in the Roman Master? Roman "Master and Margarita".
"Master and Margarita" - anti-stuff. Such is the sense of master and margarita. Saadi. Massoli and master. But now the novel is over, and what? Familiar to you ulcers, sign and balsam! The symbol of writers - varnishers of reality - in the novel is massol. Master. For me, reader! What sacrifices are a loving person? And it is the love of Margarita, the ability to self-sacrifice made it possible to revive the master.
"Love Masters and Margarita" - self-test. Roman Master. Pontius Pilate is one of the main characters of Roman Bulgakov "Master and Margarita". Modernity Bulgakov (30s 20 century). Mystical. Forces of hell in the novel. CD-disk with a record of the novel, 2009. Woland personifies the norms of Christian morality. The last past did not go back again, but exists in parallel with modernity.
"Mikhail Bulgakov Master and Margarita" - a story "Deviliada". 1924 - Divorce with the so-called. LAPPA and the beginning of a joint life with L. E. Belozerskaya. Faust. Woland stands at the head of the force carrying the motive of retaliation - the court. Dvoemiri in the novel "Master and Margarita": Light and Darkness. Azazello. M. A. Bulgakov. Tale "Fat Eggs". Bulgakov leaves medicine and only engaged in journalism and literary work.
"Margarita Bulgakov" - does not understand what came in touch with the Devil's world. Conclusion. Weave fiction and reality. Portrait of Margarita. The novel "Master and Margarita" is clearly divided into two parts. History of Master and Margarita. Roman "Master and Margarita" went to the reader for a long time. Bulgakovsky master - philosopher. Koroviev-Fagot.
Total in the topic of 7 presentations
Three Worlds in the Roman M. A. Bulgakov
Roman M. A. Bulgakov "Master and Margarita" belongs to those works that I want and be sure to reread in order to understand the subtext deeper, to see new items that could not pay attention to the first time. This happens not only because the novel affects many philosophical and moral and ethical problems, but also due to the complex "three-dimensional" structure of the work.
With the number of three in our world, we are confronted repeatedly: this is the main category of life (birth - life - death), thinking (idea - thought - action), time (past is the present - the future). In Christianity, too, a lot was built on truthmen: the trinity of the Divine Trinity, the management of the earth world (God - a man - the devil).
M. Bulgakov was confident that the truth corresponds to the truth, so it can be noted that the events in the novel occur in three dimensions: in the ancient "Ershalaim" world, in the modern Writer of the Moscow world of the 30s and in the world of mystical, fantastic, otherworldly .
Initially, it seems to us that these three plans are almost not in contact. It would seem that relations can be in modern Muscovites with the heroes of the literary novel with Evangelical themes, and even more so - with Satan himself? But very soon we understand how wrong. Bulgakov sees everything in his own way and offers to look at the surrounding reality (and not only on the events of the novel) in a new way.
In fact, we are witnessing constant interaction, the close relationship between the three worlds: creativity, ordinary life and higher strength, or providence. What is happening in the Master's novel about the ancient Ershalaim world clearly echoes the events of modern Moscow. This roll call is not only external when the literary heroes "Roman in the novel" are portrastructically and actions are similar to Muscovites (in the master they look at the features of Yeshua Ga-Nozri, the wider of the master of Aloyzi Mogarych reminds Juda, Levy Matvey, with all his devotion, is as limited as a poet Ivan homeless). There are also a deeper similarity, because in the talk of Pattia Pilate with Ga-Nochri, many moral problems are addressed, the questions of truth, good and evil, which, as we see, were not fully resolved in Moscow of the 1930s, nor even today - These questions belong to the "eternal" category.
Woland with his retinue - representatives of the world of the otherworldly, they are endowed with the ability to read in human hearts and souls, see the deep relationship between phenomena, to predict the future, and therefore Bulgakov gives them the right to act as human judges. Woland notes that internally changed little over the past millennium: "They are people like people. They love money, but it has always been. Well, frivolous ... Well, well ... in general, remind the same ... "Cowardice, greed, ignorance, spiritual weakness, hypocrisy - this is not a complete list of those vices that are still guided and largely determine human life. Therefore, Woland, endowed with a special authority, acts not only as a punishable force that punishes careerists, podkhalimov, greedy and selfish, but also awards good, able to self-sacrifice, deep love that can create, creating new worlds. And even those who, having evil, do not hide as an ostrich, head in the sand, and is responsible for their actions. Every man deserved, and very many in the novel (the majority - to their own misfortune) get the opportunity to fulfill their desires.
In the final of the novel all three worlds, quite clearly distinguished at the beginning, merge together. This speaks about the close and harmonious relationship between all phenomena and events in the world. A person needs to learn to be responsible not only for his actions, but also for emotions, thoughts, because the idea that arose in someone's head can come to reality even at the other end of the Earth.