Master and Margarita Description of worlds. Three Worlds in the novel "Master and Margarita" - an essay
Three Worlds in the Roman M. Bulgakov "Master and Margarita"
2. Three-dimension as a form of being
Troublery Divine Trinity
3. Three-world novel structure
Ancient "Yerschalaimsky" world
Sinking Moscow world
Eternal otherworldly world
The relationship of three worlds
4. Parallel rows of characters that emphasize world compounds
Triad characters on the principle of external similarity and their actions
Moving characters from one world to another
Characters not included in the triads
Yeshua Ga-Nochri and Master
Margarita
5. Influence of the three worlds on genre peculiarity of the novel ...... 00
Conclusion ............................................................... ..... 00
References ............................................. 00
Introduction
M. A. Bulgakov is one of the wonderful writers of the post-revolutionary era. The fate of Bulgakov went hard, there were many conflicts, victories and defeats. Roman "Master and Margarita" became the revelation of the Great Writer.
Until now, no one has been able to determine what is satirical, philosophical, psychological, and in the Yerschalahim chapters - the Roman-parable "Master and Margarita". He was considered as a result of world literary development, and as a historical response to the specific events of the life of the 20th and 30s., And as the concentration of ideas of previous works of the writer. The author himself rated him as his main message to mankind, his willow to descendants.
The novel this complex and multifaceted, many topics affected the writer in it.
In the image of the master we learn Bulgakov himself, and the prototype of Margarita was a favorite woman writer - his wife Elena Sergeyevna. It is not by chance that the topic of love is one of the main, the main topics of the novel. Bulgakov writes about the highest and beautiful human feeling - about love, about meaninglessness to resist her. In the novel, he proves that no obstacles can prevent real love.
Another of the many problems affected in the novel is the problem of human cowardice. The author considers the cowardice to the biggest sin in life. This is shown through the image of Pilate Pilate. After all, he perfectly understood that Yeshua did not accomplish nothing, for which it must be executed. However, Pilate did not listen to his "inner" voice, the voices of conscience, and went on the crowd and executed Ishua Ga-Nochri. Pontius Pilate Pilate and for it was punished by immortality.
The infinite chain of associations, not always explained, not always traceable, but really existing; their hundreds. Consider three of them: the ancient "Yerschalaimsky" world, the modern Moscow world and the eternal exterior world.
In the outlined work, a comparison of these three worlds and characters, inhabiting them, characters and actions of the heroes of the book.
The three-dimensional structure of the novel is visible in the construction of characters that are collected on the principle of the impact of similarity and their actions: Pondi Pilate - Woland - Professor Stravinsky; Afranny - Fagot Koroviev - doctor Fyodor Vasilyevich, Assistant Stravinsky; other.
Three-dimensionality as a form of being.
"Trochka is the most general characteristic of being."
P. Florensky
The space is the form of existence of matter, expressing the length of the components of its objects, their structure from elements and parts.
The space has three dimensions and is called three-dimensional. It is a necessary condition for the existence of sustainable systems. The space is a temporary slice of our being, characterized by formula 3 + 1. It is the tripod of time and all changes that reveals another feature in time, namely the unity of the changing being.
Genesis is one of the most common categories carrying a triple nature.
At the level of everyday being, the fact of the flow of time is striking: from the past to the present, from the present to the future.
In confirmation of this, there are metaphors: "Kill 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, in the Christian lexicon was introduced in the second half of the II century by St. Fofil Antioch. The doctrine of the Blessed Trinity is given in Christian Revelation. It says: God is one of the merits, but three in the faces: Father, Son and the Holy Spirit, the Trinity is unique and inseparable.
Vera in Trinity is distinguished by Christianity from all other monotheistic religions: Judaism, Islam. The doctrine of Trinity is the basis of the entire Christian loor and moralization, for example, the doctrine of God the Savior, about God consecrated, etc. V.N.Lossky said that the doctrine of the Trinity "not only the basis, but also the highest goal of theology, for ... To know the mystery of the Most Holy Trinity in her fullness -
it means to enter the Divine Life, in the very life of the Blessed
The doctrine of the TRIMINA of God is reduced to the three provisions:
God is Troic and Trochnaya is that there are three persons in God (Ipostasi): Father, Son, Holy Spirit.
Each face of the Blessed Trinity is God, but they are not the first of God, but the essence of a single divine creature.
All three persons differ in personal, or hypostasic properties.
Three-dimensional structure of the novel
In his novel, Bulgakov shows us that life is not two-dimensional, that it does not closes the plane of earthly existence that every event of this plane of earthly life only seems to us flat, two-dimensional. And in fact, it undoubtedly has, let the invisible, not distinguish with our eye, but quite real and unconditional "third dimension."
Ancient "Yerschalaimsky" world.
This world appears before us in the novel, written by one of the leading heroes of the novel, he is the basis of the entire Bulgakov novel. The question of Erschalaymin scenes in the "Master and Margarita" has long attracted the attention of researchers.
E.Renan's book "The Life of Jesus" occupies an important place in the work of Bulgakov over these scenes. Extracts from it are preserved in the writer's archive. In addition to chronological dates, Bulgakov emphasized from there and some historical details.
Also, when working on the novel about Pontius, Pilate Bulgakov turned to another composition of the Renan - "Antichrist", where he describes the history of Christianity during Nero.
But none of these books can compare in value of information with the difficulty of the British researcher, Bishop Frederick William Ferrara "The Life of Jesus Christ".
Another of the most important sources in the creation of Yerschalaim scenes is the encyclopedic dictionary of Brockhaus and Ephron. It was from there that Bulgakov took information on the equipment, structure and armament of the Roman troops.
The novel is cleared of many inaccurate gospel events, as well as from some of the details of the Gospel Fabul unnecessary for the novel. The writer focused on his novel around two characters - Yeshua and Pilate. In the Yerschalaim scenes, "Master and Margarita" are much less than those acting, although the genre elected by the Bulgakov was to lead to the opposite.
In the finals of the novel, we see the procurator "on the rocky blasting flat top", lonely sitting in a heavy chair in this desert highlands. The last refuge of Pilate in the novel is a kind of analogue surrounded by the mountains of a deep well from the apocryphal legend.
Erschalaim scenes are the brightest part of the novel. From a variety of details, the author created a panorama of the life and life of people of the era, far from our days, giving her historical accuracy. The images described in these chapters are understandable to us to this day. These scenes enclose the philosophical line of the novel, its highest aesthetic point.
Modern Moscow world.
On the pages of the novel, Moscow residents and their life, everyday life and care are depicted satirically. Woland flies in order to see what the inhabitants of Moscow are. To do this, he suits a session of black magic. And literally throws people with money, puts on expensive clothes. But not only greed
And the greed is inherent in them inhabiting the capital. In them alone and mercy. It is enough to remember the episode that happened on the unusual session when the leading program by Bengali hippo breaks his head off his shoulders. Seeing the lead without a head, Muscovites immediately ask Woland to return the head by Bengal. Here, as the words of Voland, you can characterize Moscow residents of the time.
"Well, that - the one thought thoughtfully - they are people like people, they love money; But it was always ... Humanity loves money, from anything they were made, from Lee Leather, from Paper, from bronze or gold. Well, frivolous ... Well, what ... and mercy sometimes knocks on their hearts ... Ordinary people ... in general, remind the same ... the apartment question only spoiled them ... "
Eternal otherworldly world.
"Demonology is something that neither mind, no reason to comprehend. It is alien to my nature, but I'm suspended. "
I.V.Guete
When describing the Sabbath in the "Master and Margarita", Bulgakov used a multitude of literary sources. In the preparatory materials for the first edition, discharge from the book of Orlova "Anthereser was preserved. Shabby playing. Sawdles and bells ", as well as from the article" Shabash Witch "of the encyclopedic dictionary. The author of this article indicates that witches and devils who are on popular beliefs are members of Shabash, originated from the ancient pagan gods and the goddesses traditionally portrayed on Borov. But this is exactly what the servant of Margarita is traveling - Natasha.
But the flight Margarita and Shabash are just a kind of prelude to the most striking scenes associated with the Great Ball and Satan.
According to the memories of E.S. Bulgakova, the initial description of the Bala varied greatly from the one we now know in the final text of the novel. At first it was a small ball in the bedroom of Voland, but during the disease Bulgakov rewrites him and the ball becomes big.
In order to describe such a grand ball, it was necessary to push the space of an ordinary Moscow apartment to supernatural sizes. And, as Koroviev explains, "those who are familiar with the fifth dimension," nothing should push the room to the desired limits.
Some details of the ballast scene are a certain extent focused on the articles of Brockhaus and Efron, and a number of other sources. So, abundantly deciding ballrooms by roses, Bulgakov, no doubt, took into account the complex and multifaceted symbolism associated with this flower. In the article of the encyclopedic dictionary on roses in ethnography, literature and art, it is noted that roses protruded both as a symbol of mourning, and as a symbol of love and purity.
Taking into account this, Bulgakov roses can be considered both as symbols of love Margarita to the master and as the foresight of their early death. The abundance of roses - a flower, an alien Russian tradition - emphasizes the foreign origin of the deviliads played in Moscow and its heroes, and if we recall the widespread use of roses to decorate Catholic worship services, roses give the ball to the Extra element - parody of church service.
When describing the ball, Satan - Bulgakov took into account the tradition of Russian symbolism. So, the Bal of Voland is called the "spring full moon, or a ball of a hundred kings," and Margarita performs on him as a queen. Bulgakov Margarita takes guests to Bala, standing on one knee. Guests are men in the trees, and naked women in hats with feathers kiss her and knee, and Margarita is forced to smile. During the ceremony, it is located on the marble staircase towering above.
The fact that Margarita is going through a string of villains, murderers, poisoners, libertines not by chance. The Bulgakov heroine suffers because of his betrayal to her husband and, let it be subconsciously, this misconduct puts in one row with the greatest crimes of the past and present. Woland, acquaintance of Margarita with famous villains and the libertines, as if he was experiencing her love for the master, strengthens the flour of her conscience.
A special position in the Bala scene occupies the image of Frida. Name itself causes many associations. It is close and to the English Word Freedom, meaning "freedom". She kills her child in infancy and with a nasal handker. Bulgakov in the episode with Frieda was important that the innocent baby was like the last measure of good and evil. The handkerchief, which Frida sees every evening on his table, is not only a symbol of the agony of the MUK conscience, but also the ghost of its existence of an intrusive idea.
Freds are given mercy. Her story is in something echoes with the history of Göthev Margarita from the "Faust" and is opposed to the fate of Bulgakovskaya Margarita, genetically ascending to this heroine tragedy Goethe.
The transformation of the head of the Berliosis in the bowl is a skull, from which wine and blood drinks, occurs in accurately according to the laws of the Shabash. Even in the preparatory materials for the first edition of the novel, there is an extract from the article "Shabash Witch": "Horsep skull, from which they drink." In the original source this place sounds like this: what the participants in the Shabash "eat horsepower meat, and drink drinks from cow's hoofs and horsepower." On the Ball of the Dead Woland, a specialist in "black magic", Satan, refers to the sliced \u200b\u200bhead of the Berlioz, on which "live, full thoughts and suffering eyes" are preserved: "... everyone will be given by his faith. Yes, it will come true! You go into non-existence, and I will be happy to be happy from the bowl into which you turn, drink for being. "
What kind of "faith" confesses the chairman of the massolist? In this context, it boils down to simple thoughts: "The life in man is stopped by the head of the head ... and he goes into oblivion." Woland raises the toast "For Genesis", toast for life.
However, "Life" is only a superficial, far from comprehensive content, vainted by the author to the concept of "Genesis". In a conversation, Voland with the Moscow writer on the Patriarch ponds we are talking about the evidence of the existence of God and, accordingly, the devil. Woland "begings" of his interlocutors: "Believe me at least that the devil exists." God and the Devil are the creatures of the spiritual world, spiritual value. Genesis - in a broad sense - the reality of the spiritual world rejected by Berlioz. The essence of his "faith" wave forms in ironic centance: "... what no longer have nothing." Such is the "faith" of Berlioz. Woland The point behind the point refutes the views of Berlioz, he proves that they contradict "facts", the most stubborn things in the world. "Full thoughts and suffering" eyes on a sliced \u200b\u200bhead show that the truth of the fact reached the restless consciousness of Berlioz.
Parallel rows of characters, emphasizing the compounds of worlds.
Parallel rows of characters, emphasizing the compounds of worlds.
There are no secondary heroes in the novel; But all actors are conditionally relate to three groups:
1) A priori - Yeshua, Pilate and Woland taken by us, as well as a Master with Margarita, which existed long to Bulgakov, and only included in the tissue of narration. Personality, of course, historical; About which it is written infinitely much and infinitely interesting. Regarding the origin of the last two heroes, the disputes are not afraid until now, and I believe that almost all researchers of this problem are equal to the right.
2) parody characters taken directly from life, and we do not have questions; Just funny to hell. Both Stepa Lyarkheev, and the Fondar Rimsky, and the poet-loser Ryukhin, and the brilliant Archibald Archibaldovich, and the entire charological world of the Griboedovsky house, discharged with her thorough care, but as mercilessly. Yes, there are few more, marked on the street or in line, struck at the meeting; For the book is the essence of the accumulation of the facts of the writer itself, with which no one argues, trying to find the correspondence of the fact of biography with the episode of the novel. But such direct dependence does not happen almost never, but they happen, as all we have strange associations, when two unfamiliar thoughts in a hurry and bustle are suddenly faced and generated by the third - brilliant and amazing. So they appear:
3) Mysterious heroes having their own history lying outside the measurement of the book.
Bibliography:
Brief reference book of schoolchildren 5-11 class, "Drop", Moscow 1997
B.V.Sokolov Roman M.Bulgakova "Master and Margarita". Essays of creative history, "Science", Moscow 1991
V.P. Maslov The hidden leitmotif Roman M.A. Bullhakova "Master and Margarita". Izvestia Academy of Sciences, Series of Literature and Language, Volume No. 54, No. 6, 1995
www.rg.ru..
M. Hudakov Mikhail Bulgakov. The era and the fate of the artist. "Enlightenment", Moscow 1991
B.M. Sarnov to each of his faith. About the novel M. Bulgakov "Master and Margarita". MSU Moscow 1998
V.V. Pethelin Life Bulgakov. Finish earlier than die. CJSC "Centropoligraph", Moscow 2005
The priest Oleg Davydenko's teaching of the Orthodox Church of the Blessed Trinity. From lectures on dogmatic theology in the Orthodox Holy Tikhonovsky theological institute. 05/29/2004 G.
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"),
Care of gems, as if by chance, by the persecution of abandoned writers on
pages of their works, sweating sometimes
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" - 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.
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Three Worlds in the Roman Bulgakov "Master and Margarita"
Roman M. A. Bulgakov "Master and Margarita" belongs to those works that I want and be sure to reread to understand the subtext deeper, see new details, for which we have not paid attention to the first time.
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).
Mikhail Bulgakov was confident that Trinity 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, otherworld.
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 people changed little in the last millennium: "They are people like people. They love money, but it has always been. Well, frivolous ... Well, that ... in general, remind the same ..." Cowardice, greed, ignorance, spiritual weakness, hypocrisy is a far from 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.