Secondary school № 288

abstract

The role of dark forces in the novel Mikhail Bulgakov

"Master and Margarita"

student eleven " BUT » class

Teacher : Pimenova Svetlana

Evgenievna

g.. Zaozersk – 2005 g..

Essay Plan

1 . Good and evil. Eternal problems in literature and in life.

The relevance of the problem of good and evil in the novel. Socio-political situation in the country and the history of writing a novel.

Deviliad in the world folklore, its reflection in the book Bulgakov.

2. Heroes included in the world of Dark Forces Bulgakov:

A) Woland as the main image for disclosing the role of the dark forces in the book.

B) Voland's retinue:
Azazello;

Fagot-koroviev;

Behemot Cat;

Gella;

3. The role of the Great Bala of Satan as the climax of the novel.

4. A sample of the life-affirming power of good and mercy as opposed to evil.

5. List of references used.

I.Good and evil. Eternal problems in literature and in life.

1. The relevance of the problem of good and evil in the novel. Socio-political situation in the country and the history of writing a novel

The central problem of the novel is the problem of good and evil. Why is there an evil in the world, why does it often triumph over good? How to defeat evil and is it possible at all? What is good for a person and what is evil? At all times, these questions were worried about the best minds of humanity, they are especially relevant and in our modern era, when, along with progress in society, we see all the same human vices: deceit, hypocrisy, betrayal, theft, bribery, confusion. For Bulgakov, these problems have acquired a special sharpness because his whole life was crippled, crumbbed the evil triumphant in the country.

At that time, whole historical and cultural layers were drawn, which did not fit into the schemes of party ideologues. The Russian art of the beginning of the century, the work of modernists of the 20s, was almost unavailable. Covered from the libraries of the book of Russian philosophers idealists, innocently repressed writers, emigrant writers. Creativity S. A. Yesenin, A. P. Platonova, O. E. Mandelstam, P. D. Korin, K. S. Malevich, P. N. Filonova, painting P. D. Korin, P. S. Malevich. The monuments of church and secular architecture were destroyed: only in Moscow in the 30s. Sukhareva Tower, the Church of Christ the Savior, erected by popular donations in honor of the victory over Napoleon, the Red and Triumphal Gate, Krymov and the Resurrection Monasteries in the Kremlin and many other monuments created by the talent and the labor of the people. And it is many representatives of this people for some reason "enemies"

Their arrests during 1935-1936. In the geometric progression, reaching the apogee in 1937, gradually subsided (without ceasing, however, at all) in 1939. Over the years, 1108 from 1961 of the Delegate of the XVII CVP Congress (b), about 40 thousand of 80 thousand were repressed. officers, including the overwhelming majority of the highest command formulation of the Red Army. The huge damage suffered a scientific, technical and artistic intelligentsia, as well as the clergy (since 1930 90% of churches were closed). The total number of repressed reached two million people.

In Western historical literature, the events of those years in our country are often called "big terror", sometimes "the great madness", i.e., an action that did not have a rational explanation. In such an atmosphere, Bulgakov worked on his novel.

The time of work on the "Master and Margarita" The writer in different manuscripts dated then 1928, then 1929 by 1928 refers to the emergence of the Roman's plan, and work on the text began in 1929. According to the preserved receipt, Bulgakov on May 8, 1929 passed In the publishing house "Subrazen" manuscript "Furibunda" under the pseudonym "K. Tugai" (the pseudonym was sent to the name of the princes in the story "Khansky fire"). This is the earliest of the exactly known dates of work on the "Master and Margarita". In the winter of 1929, only certain heads of the novel were written, which differed even greater political sharpness than the preserved fragments of the early edition.

In the first edition, the novel had named options: "Black Mag", "hoof engineer", "juggler with hoof", "Son in (Eliara?)", "Gastrol (Voland?)". The first edition of the "Master and Margarita" was destroyed by the author on March 18, 1930. After receiving the news about the ban on the play "Kabala Svyatosh". The Bulgakov reported in a letter to the government on March 28, 1930: "And personally, I, with my own hands, threw a draft of the novel about the devil ..."
Work on the "Master and Margarita" resumed in 1931. Black sketches were made to the novel, and Margarita and its nameless satellite appeared here - the future master. In the late 1932 or early 1933, the writer began again, as in 1929-1930, create a phabative text. On August 2, 1933, he reported to his friend Writer Vine Vienie Veresayev (Smidovich) (1867-1945): "In me ... I put it on the demon. Already in Leningrad and now here, choking in my rooms, I began to paint the page behind the page Nanoovo Roman destroyed three years ago. Why? I do not know. I am a Tosh myself! Let it fall into the fly! However, I probably will throw it soon. "

However, Bulgakov no longer threw the "master and margarita" and with interruption caused by the need to write ordered plays, drawing and scenario, continued to work on the novel almost until the end of life. The second editorial office of "Masters and Margarita", created until 1936, had a subtitle "Fantastic Romance".

The third editorial office of Master and Margarita, launched in the second half of 1936 or in 1937, was originally called "Prince of Darkness", but in the second half of 1937 there was now a well-known title "Master and Margarita". In May - June 1938, the headquartered text "Masters and Margarita" was first reprinted. The copyright editing of the machinery began on September 19, 1938 and lasted with interruptions almost until the death of the writer. Bulgakov stopped her on February 13, 1940, less than four weeks before the death, on the phrase of Margarita: "So it became, the writers behind the coffin go?"

2. Deviliad in the world folklore, its reflection in the book Bulgakov.

In the disclosure of the problem of good and evil in the novel, the images of the Dark Forces - Voland and his suits play a huge role. The appeal to Bulgakov to these images is no coincidence. It goes its roots to the Question of the Deviliad in the world folklore.

Demonology is a section of medieval Christian theology (Western branches of Christianity), considering the issue of demons and their relations with people. Demonology comes from the ancient Greek words of Daimon, demon, evil spirit (in ancient Greece this word has not yet had a negative color) and Logos, word, concept. In the literal translation of "demonology" means "the science of demons."
Knowledge learned from demonology, Bulgakov widely used in the novel "Master and Margarita". Sources of information on demonology for Bulgakov were dedicated to this topic of the encyclopedic dictionary of Brockhaus and Efron, the book of M. A. Orlov "History of human relations with the devil" (1904) and the book of the writer Alexander Valentinovich Amphitheatrova (1862-1938) "The Devil in Life, Legend and in the literature of the middle ages. " From the first two preserved in the Bulgakov archive numerous extracts with references. From Labor A. V. Amphitheatrov in the archive of the author "Masters and Margarita" noctors with direct references, but a number of them undoubtedly goes back to the "Devil", in particular, about Astarote's Demone (so Bulgakov assumed to call the future of Woland in the early editorial board novel). In addition, frequent references to the books of amphitheatrov in Bulgakov works (for example, to the novel "Mary Lussev abroad" in the story "Unusual Adventures of the Doctor"), distinct parallels with the Amphitheatrovsky novel "Heat-Color" (1895 - 1910) and a study of devil In the "Master and Margarita" forced to think that with the demonological labor of Amphitheatr Bulgakov was well-known.

For example, from the book of M. A. Orlov "History of human relations with the devil" Bulgakov took the name of the hippopotamus, many details of the Sabbath of various nations used for the Great Bala in Satan, some episodes of the biography of Koroviev-Fagota, etc.

Bulgakov in the master and Margarita perceived the dualism of ancient religions, where good and evil deities are equal objects of worship. One of the master's persecutors is not accidentally named Arimanov - a carrier of an evil principle, named Zoroastrian deity. Just in the years of creating the last Bulgakov novel, the people under pressure of power changed "his ancestral religion for a new one," communist, and Jesus Christ was announced only by the myth, the fruit of imagination (Berlioz was punished for the blind investment of this official installation).

Woland at Bulgakov also fulfills the order, even, rather, the request, Yeshua, to pick up Masters and Margarita. Satan in the Bulgakov novel - servant Ga-Nozri "for this kind of commissions to which the highest holiness cannot ... directly touch." No wonder wave notices Leviy Matvey: "It's not difficult for me to do." The high ethical ideal of Yeshua can only be preserved in the overallity, and in the earth's life of the ingenious master from death, only Satan and his retinue can save, not related to this ideal in their actions. The man is creative, what is the master (like the Hehethevsky Foust), always belongs not only to God, but also the devil.

II.. Heroes included in the world of Dark Forces Bulgakov

1. Woland as a basic image to understand the role of the dark forces.

Central to understand this problem image in the novel is, of course, the image of Voland. But how to treat him? Is evil really embodied in it?

And what if Woland is a positive hero? In that same house in Moscow, where the once writer lived and where the "bad" apartment number 50 is located on the wall in the entrance, at our time, someone portrayed the Woland's head and wrote under it: "Woland, come, too much rubbish divorced" . This, so to speak, the people's perception of Voland and his role, and if it is true, then Woland is not only not an incarnation of evil, but he is the main fighter with evil. Is it so?

If you allocate in the novel scene "Residents of Moscow" and "unclean power", what did the writer mean by them? In the society, in that Moscow, which the writer depicts, reigns the scoundrels and insignificance: Nikanors Ivanovichi, Alias, Moganychi, Andrei Fomichi, Varenuhi and Lyarkheev - they lie, head, steal, take bribes, and until they face the subjects Satan, they are quite successful. Aloiezia Mogarych, who wrote a denunciation on the masters, puts up in his apartment. Step Lyarkheev, a fool and a drunkard, well-being working as director of variety. Nikanor Ivanovich, a representative of such an unloved Bulgakian tribe of the shopkeepers, prescribes for money and gracious.

But here appears "unclean power", and all these bastards are exposed and punished. Programmer Voland (like he himself) is all-wire and all-in-law. Anyone they see through, it is impossible to deceive them. And lead the scoundrels and nothingness only with a lie and live: a lie is a way to exist, it is air, it is their shell and weapons. But against the "Office of Satan" this weapon, such a perfect in the world of people, is powerless.

"Only the chairman left the apartment, a low voice came from the bedroom:

I didn't like this Nikanor Ivanovich. He burns and plow. "

The instant and accurate definition - and follows the punishment of "merits".

Step Lyarkayeva takes out in Yalta, Varenuhu (temporarily) make a vampire, the Berliosis itself is sent to non-existence. Each deserver. Is this a punitive system, but is absolutely perfect, ideal? After all, Woland and his retinue also defended the masters. So what is good in the novel? Everyone responds to this question in different ways, according to their perception.

With the "People's" understanding of Voland as a satir of society, Literary Literary L. Levin agrees, for which Woland is traditional Satan. "Satan is (according to Cant) the prosecutor of a person," she writes. It is also a tempter, seducer. Woland, on Levina, in everything and everyone sees a bad side. Assuming evil in people, he provokes his appearance.

At the same time, L. Levina believes that "the refusal of Christ (Yeshua) and - as an inevitable consequence - the values \u200b\u200bof the human person puts the heroes in the vassal dependence on Prince Darkness." That is, after all, evil is that people refuse Christ. However, Levin sees evil rather in unclean strength, and people seem to justify. And there is a reason for this: after all, Satan's servants provoke people, pushing them on the nasty deeds, - as at the view in Vary, as in the scene "Koroviev and Nikanor Ivanovich", when a bribe crawled into a portfolio to the house.

And yet, hardly Bulgakov wanted to say that it is possible to provoke each - because the master and margarita cannot be provoked. So, probably, it will be more appropriate to say that cows, hippopotamus and others only detect, pull into the light of God all the nasty, which is in people, and do not create that gloomy. This point of view adhere to many critics.

"The unclean power in the" Master and Margarita "is not without humor exposes people's defects before us." (B. Sokolov)

V. Akimov believes that the collision with nimi (unclean strength) is a collision with himself. The power of the unclean strength, in his opinion, manifests itself only where he is inferior and retreats the human.

Most critics are united in the opinion that the writer sees everything in people, and the unclean force exposes and punishes it evil. In such an understanding, evil is weakness Human, his betrayal of himself, rejection of honor, at home, conscience for some kind of pathetic benefits. Evil dominates because there is no power in society that can expose him and punish it, but to punish - on Bulgakov - it is necessary: \u200b\u200bthe writer is clearly on a supporter of the idea of \u200b\u200bnon-resistance to evil by violence, on the contrary, in his opinion, as in the opinion of the Russian philosopher I. Ilina ( The author of the book "On opposing evil force"), lead to a sense of people, I walked in evil, perhaps only power.

According to V. Pestelina, the image of Voland and his suite is a symbol, poetic approach. In Voland, the author portrayed some particle itself, some thoughts of Bulgakov are easily guessed in his thoughts. In the image of the Prince of Darkness - the humanistic ideals of the writer. Wolve is endowed with author's all-in-law. He knows the thoughts of his heroes, their intentions and experiences.

The role of Voland in the philosophical concept of Bulgakov in essence (with a huge difference, of course) is similar to the role of Skolnikov or Ivan Karamazov from Dostoevsky. Woland may be to continue developing a similar image in Russian literature. Just as Dostoevsky Ivan Karamazov is divided and one of his "parts" is personified into the appearance of the trait and Bulgakov Wolve is in many ways the personification of the author's position. Raskolnikov and Ivan Karamazov rebellious against the traditional understanding of good and evil, they advocate the revaluation of all the former moral values, for the revaluation of the role that is given in society to a person. An intelligent and strong person can not be considered a generally accepted morality. So the problem of personality and crowd arises.

A. Mirokels believes that the wave is closely connected with a feature that is one of the heroes of Roman F.M. Dostoevsky "Brothers Karamazov", Ivan. And therefore, Ivan Homeless is not accidentally named Ivan - as a sign of kinship with Ivan Karamazov. The homeless literally copies Karamazov: first speaks about the devil, then looking for him under the table, then shouts, it's knocking and tied. Related, he screams and breaks down, as a result of which it is carried out. But the Dostoevsky phenomenon features a consequence. He is a delusional reflection of the already awakened conscience of Ivan Karamazov. Dostoevsky cannot be otherwise, because, according to his convictions, only the Son of God can awaken the conscience. On the contrary, Bulgakova has the reason for the transformation of Ivan the homeless wave. From this it follows that Satan contributes to the awakening of conscience, which contradicts its nature.

On the contrary, depicting Yeshua Ga-Nochri, Bulgakov showed what should be in his understanding of Christ - absolutely not like Voland. Jesus is deprived of the qualities of the judge, he is disgusting punishing lightning, he is a man of unheard of kindness.

B.V. Sokolov sets as a question: "What is the main power of Yeshua?" First of all in openness. Directness. He is always in a state of spiritual impulse "towards". His first appearance in the novel fixes this: "A person with knitted hands somewhat leaned forward and began to say:

Good person! Believe me...".

Yeshua - man, always open to the world. "The trouble is - continued by anyone who is not stopped connected - that you are too closed and finally lost faith in people."

The great tragic philosophy of Yeshua's life is that the truth (and the choice of life in truth) is tested and approved also by the choice of death. He "helped himself" not only with his life, but also with his death. He "soused" his bodily death just as "suspected" his spiritual life. Thus, he truly "manages" by himself (and to all at all by the schedule on Earth); Manages not only life, but also death. " "Self-willing", "self-government" Yeshua posed the test of death, and therefore it became immortal.

Yeshua dreams of the future of the kingdom of "Truth and Justice" and leaves it open absolutely for everyone. "... the time will come when there will be no Caesar, nor any other power. A person will go into the kingdom of truth and justice, where no power will not be needed. "

In my opinion, justice and truth is that "weapon", which collapses Woland and his retinue for everyone, whoever came to the apartment number 50. The kinship of the Ishua image and the image of Voland and his suite - and the other are not necessary make big effort to learn about every person the truth. Only Yeshua tries to specify people on their lies and dark things, help get rid of these qualities, and Woland, as well as Yeshua, perfect judge, decisively and severely punishes them for it.

It is worth stopping in more detail on the mysterious and interesting figure of Voland.

This character is largely focused on Mephistofel "Faust" (1808-1832) Johanna Wolfgang Goethe (1749-1832), including on the opera, from the opera of Charles Guno (1818-1893) "Faust" (1859).
The name of Woland is taken from the poem Goethe, where it is mentioned only once and in Russian translations usually falls. So Mofistofel calls itself in the scene of the Valpurgiy Night, demanding from the unclean to give the road: "The nobleman of the wave is!" In the prosaic translation of A. Sokolovsky (1902), with the text of which Bulgakov was a sign, this place is given like this:
"Mefistofel. Won was taken away! I see that I need to put into the case of my shopping rights. Hey, you! Place! There is Mr. Wolve!"
In the commentary, the translator explained the German phrase "Junker Voland Kommt": "Junker means a notable person (nobleman), and Woland was one of the names of the feature. The basic word" FALAND "(which meant the deceiver, dumbfounded) was used by old writers in the sense of the trait ".
Bulgakov used and this last name: After the black magic session, the employees of the theater variety are trying to remember the name of the magician: "- in ... seem, wave. Or maybe not wave? Maybe Fland.
As amended 1929-1930. The name of the wave was reproduced in a completely latin on his business card: "D-R Theodor Voland". In the final text of the Bulgakov from Latiza refused: Ivan homeless on the patriarchs remembers only the initial letter of the name - W ("Dubl-Ve").
Such a replacement of the original V ("Fau") is not accidental. The German "Voland" is pronounced as Foldland, and in Russian, the initial "EF" in such a combination creates a comic effect, and it is boosted with difficulty. Little would fit here and German "FALAND". With the Russian pronunciation - Fland - the case was better, but an inappropriate association with the word "Fal" arose (they are denoted by a rope, which is raised by Sail and Rei ships) and some of his ferrous derivatives. In addition, the Fanda did not meet in the poem, and Bulgakov wanted to connect his Satan with the Bulgakov with the "Faust", alother than the named after the name, not too famous Russian public. A rare name was necessary in order not to be sophisticated in demonologies an ordinary reader would not immediately guessed, who is such a wave.

Bulgakov undoubtedly experiment was quite satisfied. Even such a qualified listener as A. M. Fayko Voland immediately did not solve. Consequently, a mystery appeared on the patriarch ponds of a foreign professor from the very beginning will keep most of the readers of the "Master and Margarita" in the voltage. In the early editions of Bulgakov tried for the future of Voland, the names of Azazello and Velivar.

Nevertheless, the author of Voland's true face hides only at the very beginning of the novel, in order to intrigue readers, and then directly declares the masters and Voland himself, that Satan (Devil) arrived at the patriarchars. A version with hypnotizers and mass hypnosis, which was allegedly subjected to Muscovites Woland and its satellites, in the "Master and Margarita" is also present. But her destination is not disguised. Thus, Bulgakov expresses the ability and desire of the ordinary Soviet consciousness to explain any inexplicable phenomena of the surrounding life, up to the massive repression and the income of the disappearance of people.

The author of "Master and Margarita" seems to say: at least the devil himself with his hellish retinue itself, the competent authorities and Marxist theorists, such as Chairman of the Massolite Mikhail Alexandrovich Berlioz, will still find this quite a rational foundation that does not contradict the teachings of Marx Engels-Lenin - Stalin, and most importantly, it is necessary to convince everyone, including those who have experienced the impact of unclean strength.

Unconventional Woland is manifested in the fact that he, being a devil, endowed with some explicit attributes of God. Bulgakov was well acquainted with the Book of the English Church Historian and Bishop F. V. Farrara "Life of Jesus Christ" (1873). Extracts from it are preserved in the writer's archive.

This book, obviously, dates the episode when the buffetter of the theater variety of juice learns from Woland about his incurable disease and early death, but still refuses to spend their considerable savings.

In the "Master and Margarita" wave as follows as follows about the future of the bucket, when it turns out that "he will die across nine months, in February of next year, from the liver cancer in the clinic of the first Moscow State Ministry, in the Fourth Chamber":

Nine months, - thoughtfully considered Woland, - two hundred forty-nine thousand ... It comes out round account twenty-seven thousand per month (for comparison: the salary of Bulgakov as a consultant-librettist of the Bolshoi Theater at the end of the 1930s was 1000 rubles per month). Not enough, but with a modest life enough ...
"Yes, I would not advise you to go to the clinic," the artist continued, - what's the point of dying in the ward under the groans and wheezing of hopeless patients. Is it better to arrange a feast on these twenty-seven thousand and, having accepted poison, to move to another world under the sounds of strings, surrounded by black beauties and dashing friends? "

During a conversation with Berlioz and homeless wave, the cigarette is "huge sizes, worm-colored gold, and on the cover of it, when opened, flammed with a blue and white fire of a diamond triangle," - a symbol of communication of the Masons with Satan. The Masonic topic suddenly appeared in Soviet reality at all shortly before the start of M. A. Bulgakov over the novel. At the end of 1927, a large Masonic organization was revealed in Leningrad. This was written by famous journalists Brothers Tour. B. V. Sokolov admits that Bulgakov, vividly interested in mysticism in everyday life, did not pass by these messages.

Voland's triangle is just symbolizing this cornerstone - a rejected stone, which made the head of the corner. And the course of events in the "Master and Margarita" fully corresponds to the parable, interpreted by F. V. Farrar. Mikhail Alexandrovich Berlioz and Ivan Homeless, sitting on the bench ("Society"), again, nineteen centuries later, judge Christ and reject his divinity (homeless) and its very existence (Berlioz).

Voland's triangle is another warning to the Chairman of the massolist, a reminder of the parable of the builders of Solomonov Temple, especially in conjunction with the words: "Brick is neither for anyone and never falls on his head ... You will die with another death." Berlioosis did not return a warning, did not believe in the existence of God and the devil, and even thought to destroy Voland's denunciation, and paid for it soon.

On the patriarchs in a conversation with Woland, the homeless man is endowed with the features of a naive child. In the final, he forgets the meeting on the patriarch, and the master in the last shelter forgets the earthly life. Words about bricklayers building houses, here too, forced to remember about Freemasonry, because Masones are free bricklayers, the builders of Solomonov Temple, and Woland is also associated with Masonic symbols and rituals.

However, the goal of Voland is not only building a new church of literature, where everyone is united and will be happy, but also the awakening of the writers to creativity, the fruits of which can be asked as God and the Devil.

Woland criticizes the executed optimism of "enlightened" in Marxist Berliosis from the standpoint of the Millennium Knowledge of the Millennium Human History: "Allow you to ask how a person can manage, if it is not only deprived of the opportunity to make a plan at least a ridiculous short term, well, For years, let's say, in a thousand, but can not be expected even for your own tomorrow? "

The dark magician indicates the unpredictability of human actions, often leading to the results, which is exactly the opposite of those assumed, especially in the long run. The devil convinces the writer that a person is not given to foresee his future. But Berlioz, Orthodox Marxist, does not leave the place in the life of the phenomena in an unpredictable, random, and for its vulgar determinism pays in the full sense of the word head.

Woland to different characters, with him in contact, gives a different explanation of the goals of your stay in Moscow. Berliozu and homeless him says that he arrived in order to explore the received manuscripts of Herbert Avrylaksky (938-1003), a medieval scientist, who, even becoming Roman Pope Sylvester II in 999, combined his duties with interest in white, or natural magic, in The difference from black magic directed to people is beneficial, and not harmful. As amended 1929-1930. Woland directly called himself a specialist in white magic, as well as Herbert Avrilaksky (in the final text of Woland already talks about Black Magic).
Employees of the Theater Variety and Manager Nikanor Ivanovich Bosoma Woland explains his visit to the intention to speak with a session of black (early editions - white) magic. The bucket of the theater Various Socoku after the scandalous session of Satan says that he just wanted to "see Muscovites in the mass, and the most convenient it was to do in the theater."
Margarita Koroviev-Fagot Before the beginning of the Great Ball, Satan reports that the purpose of Voland's visit and his suits to Moscow - holding this ball, whose mistress must necessarily wear the name of Margarita and be royal blood. According to the Assistant of Woland, no one comes from one hundred and twenty-one margarita, besides the heroine of the novel.
Wanda Multiple, as is likely to the Devil, and in conversations with different people put on different

masks, gives completely prompt answers about the goals of their mission. Meanwhile, all of the above versions serve only to disguise the true intention - the brilliant master from Moscow and his beloved, as well as the manuscript of the novel about Pontius Pilate.
The session of black magic himself was partly talked by Woland so that Margarita, he having heard about what had happened in the theater Varieta, would have already been prepared for a meeting with his messenger Azazello. At the same time, Voland's omniscience in Voland is quite preserved: he and his people are well aware of both the past and the future life of those who come into contact, know the text of the Master's novel, literally coinciding with the "Gospel of Voland", thereby told Unlucky writers on the patriarchs.
It is no coincidence that Azazelo meets with Margarita in the Alexander Garden quotes her a fragment of the novel about Pontius Pilate, and in the end, the beloved masters agree to go to a powerful "foreigner" - Woland. Therefore, the surprise of Woland, when, after the great ball, Satan, he "finds out" from the master the topic of his novel is just another mask. The actions of Woland and his suits in Moscow are subordinated to one goal - a meeting with the Creator of Roman who is recovered from the hospital about Yeshua Ga-Nochri and Pontius Pilate and with his beloved to determine their fate.

In the "Master and Margarita" events begin "in an hour there was a hot sunset", "when the sun, late in Moscow, in the dry fog rolled somewhere for the garden ring." Before the appearance of Voland and his suits of Berliosis covers "Tomorrow inexplicable" - unconscious premonition of the ambulance. As of 1929, the wave said that "Moira's daughter was dotting his thread" (Moira is an ancient Greek goddess of fate), hinting that the "mysterious thread" of the fate of the chairman of the massolist will soon intervene.
Berlioosis is doomed to death, because he had presumptuously believed that his knowledge allowed to unconditionally deny God, and the devil, and the lives themselves, not stacked by theories, the basics of life. Woland presented him with "seventh proof" from the opposite: the writer Nastig Rock in the form of Annushka-Plague, inspirerable sunflower oil shedding oil, and the girl-car carriage, who did not manage to slow down.
Woland is a carrier of fate, and here Bulgakov is in line with the long tradition of Russian literature, binding fate, rock, Fatum not with God, and with the Devil.

Bulgakova Woland, as previously an in-center rock in the "fatal eggs", personifies the fate, punishing Berlioz, Sokova and other, breaking norms of Christian morality. This is the first devil in world literature, which punishes the non-compliance with the commandments of Christ.

Bulgakov Woland, wanting evil, must make benefit. To get a master with his novel to himself, he punishes the writer of Berliosis, a traitor to Marona Maifel and a lot of small rogues, like a Sokhod's Bowl or Hapugi-Manager Nican Ivanovich Bosoye. However, the desire to give the author of the novel about Pontius Pilate into the power of the otherworldly forces is only a formal evil, since it is done with the bales and even on the direct instructions of Yeshua Ga-Nozri, personifying the power of good.
However, good and evil at Bulgakov is going on, ultimately, the hands of the person himself. Woland and his retinue only make it possible to manifest themselves to the vices and virtues that are laid in people. For example, the cruelty of the crowd with respect to George Bengali in the theater variability is replaced by mercy, and initial evil, when the unfortunate entertainer wanted to tear off her head, becomes a prerequisite for the manifestation of goodness - pity for the impregnation of the head of the entertainer.
Dialectic unity, the complementarness of good and evil is most fully revealed in the words of Woland, facing Levia Matvey, refused to wish the health "Spirit of evil and the Lord of Shadows": "You said our words as if you do not recognize the shadows, as well as evil. Not Will you be so kind to think about the question: what would your good, if there was no evil, and how would the earth looked like, if the shadows disappeared? After all, the shadows are obtained from items and people. Here is the shadow from my swords. But there are Shadows from trees and from living beings. Do you want to beat the whole globe, having driving off all the trees and all the living because of your fantasy to enjoy naked light? You are stupid. "

What would be self-sacrifice and selflessness in universal happiness? Is it possible to understand virtue, not knowing the vice, love and beauty, not knowing hatred and disgrace. Only evil and suffering are obliged to be the fact that our land can be inhabitable, and life is worth it to live. Therefore, do not complain about the devil. He created at least half the universe. And this half is so tightly merged on the other, that if you affect the first, then the blow will cause equal damage and the other. With each eradicated vice disappears the corresponding virtue. "

Woland performs the instructions of Yeshua Ga-Nozri - this original way of the Bulgakov carries out the complementarity of good and evil principle. This idea, in all likelihood, was suggested by a passage of Yezides from the labor of the Italian missionary Maurizio Gardzoni, which remained among the materials to Pushkin's "journey to Arzrum" (1836). It was noted there that "Yezida think that God commands, but the fulfillment of his commanders entrusts the deel authorities."

Yeshua, through Levi, Matvey asks Woland to take Masters and Margarita. From the point of view of Ga-Nozri and his only student, award, awarded to the master, a few damage - "he did not deserve light, he deserved peace." And from the point of view of Voland, the rest surpasses the "naked light", for it leaves the opportunity for creativity, in which Satan is convinced by the author of the novel about Pontius Pilate: "... Why chase in the footsteps of what is already completed? (I.e. To continue the already completed novel) ... about three times a romantic master, really you don't want to walk with your girlfriend under the cherries who are starting to bloom, and in the evening listen to the music of Schubert? Is it really you will not be nice to write with a goose pen's candlelight? Do you really do not want Like a thumb, sit over the retort in the hope that you will be able to cut a new homuncule? "
Woland, as well as Yeshua, understands that only a devotee is able to enjoy "bare light", but dogmatic Levy Matvey, and not a brilliant master. It was Wolve with his skepticism and doubt that the world in all its contradictions (how his true artist sees himself), it is best to provide a worthy award to the chief hero.
Words of Woland in the theater Variety: "The townspeople changed a lot ... outwardly, I say, like the city itself, however. The costumes have nothing to say, but these appeared ... as they ... trams, cars ... but Of course, I'm not so much interested buses, phones and other ... Equipment ... How much more important question: did these citizens changed internally? " The thoughts of one of the founders of the German existentialism of Martin Heidegger (1889-1976), expressed in the work of the "source of artistic creation" (1935-1936): "Airplanes and radio receivers, really belong to the number of nearest things, but when we think about the last Things, we remember otherwise. The last things are death and court. "

At Bulgakov, Woland literally revives the magician Master's novel. The product of artistic creativity, which remains only in the head of the Creator, materializes again, turns into a tangible thing.

Woland, unlike Yeshua Ga-Nozri, considers all people not kindly, and evil. The purpose of his mission in Moscow is just to identify an evil principle in man. Woland and his retinue provoke Muscovites for non-residential acts, convincing in complete impunity, and then parody themselves punish them.

Woland often demonstrates good knowledge of human nature, has the ability to explore and disclose "motifs and passions, both spiritual and all that is associated with living human life." All his knowledge, striking in the depths of the idea, are brought, of course not from the other world, but from a rich knowledge of living observations over the life of Bulgakov himself. Everything that happens on the pages of the novel is just a game in which readers are involved.

The appearance of Voland is also causing and compromise: traditionally, the presence of noticeable physical disadvantages (the mouth curve, different eyes, eyebrows), the predominance of clothing and appearance of black and gray colors: "He was in an expensive gray suit, in foreign, in the color of the costume of shoes, Gray takes him a famously lit for the ear, under the arm carried a cane with a black knob in the form of a poodle head.<...> The mouth of some curve. Will shave smoothly. Brunette. Right eye black, left for some reason green. Black eyebrows, but one above another "(p. 13). "Two eyes rested Margarita in the face. Right with gold spark on the bottom, drilling anyone to the bottom of the soul, and the left is empty and black, it seems like a narrow needle, as an exit to the bottomless well of any darkness and shadows. The face of Woland was bevelled to the side, the right corner of the mouth is drawn down the book, deeply parallel wrinkles are cut on a high bald forehead. The skin on the face of Voland as if forever burned the tan. "

In Woland's outfit, the author uses the reception of contrast: Woland - "The embodiment of the contradictions of life (with his dominant - the rule of hell)." It is characterized in different ways in various situations, appears in the dynamics, changes his appearance. During his first meeting with Berlioz and Ivan the homeless. Woland says he is in Yershalaima incognito. This means that he was not just invisible (as it could be suggested), namely, was present, but not in his usual, but in a grass-traveled appearance. And in Moscow, Woland arrived under the guise of Professor of Black Magic - consultant and artist, that is, also incognito, and therefore, too, not in his own guise. There is no likely to meet a person in Yerschalaim, directly similar to Moscow Voland: Satan, undoubtedly, changed one mask to another, while the attribute of Satan Masquerade may be not only clothes, but also the features of the face, voice. Woland has different voices: In the main narrative, he speaks a low "opera" voice, but in the narration of the execution of Yeshua, where he, according to E. M. Gasparov, acts as Aphron, he has a high voice.

Movement of demons and Voland's visit himself in Moscow pursue, of course, a certain goal is to expose the deceptions of reality. In this regard, consideration of V. I. German Kantian theory of the game, developed by F. Schiller, deserves attention. "Since a person is a child of material and at the same time perfect worlds, he constantly stays in two spheres. The game makes it possible to master the bibinability of behavior, which is possible only with the help of imagination. She plays Wanda, especially in the first chapters of the novel, when he argues with the writers and tells them the story of Yeshua and Pilate, written by the master. With the help of the game of Voland, assistants reveal flaws of reality in their most significant plan - moral (emphasized by the author). The usual fler of the current life is not able to cover all the ulcers and scars, because it is not an obstacle to feel pain. For the conscience, the barriers do not exist at all. "

M. Bulgakov in his novel seemed to be divided into his novel, then in the guise of a real master, then a fantastic Voland. Woland came to the land to execute and kindly, and he knows who and for what to execute, who and for what to be pregnant. But the author only hints at the fact that Woland openly fulfills his own centered desires. Therefore, wave does not acquire a living character, remaining an allegory of the author's conscience and wisdom. So, we can assume that in all this, it would seem mysterious and wonderful, there is nothing mystical.

Summing up all the activities of Voland, I would like to highlight a number of important points. First, in my opinion, Woland is not a devil in a wide understanding of this word. His main difference from the traditional Satan is that it is not directly interested in any failures of man. And those destruction left by his retinue, or cut off the head of Berlioz, or the transformation of the Chervonsev in the candy caught and without the participation of Woland. Let him not so soon (after all, the entire effect of the novel unfolds in 4 days), but the punishment would come. And the devil wave is called not because he is so angry, but because he is forced to punish the people who have committed such devil dees. He is rather the devil is not on his own affairs, but on the current circumstances.

Secondly, remember that Jesus Christ, the prototype of Yeshua, not only healed people, but also destroyed the temple in which enterprising people organized a brisk trading. So, the "punishment" of the gangs of Koroviev and Hippopotamus, from which many "innocent" people suffered, fully comply with the deeds of God, which sometimes cruelly punishes those who guessed. In the book "Master and Margarita", Bulgakov holds a parallel between Yeshua, personifying Christ, and Woland, personifying the devil. But here they, as it were, complement each other, putting "true" or sincere conviction as Yeshua, or sobering a punishment, like Woland and his gang. In any case, the function and Voland, and Yeshua one and the same - make a person more perfect, make him abandon their dark ways to search for space under the sun.

And thirdly, the very essence of Voland explains the epigraph to the novel: "I am part of the strength that he always wants evil and always makes benefit." Here the devil is useful to the world just as the wolf is useful as a Sanitar Forest. It is no coincidence that the words "waga" and "wolf" are consonant. Therefore, in the Roman Wolda, being the span of darkness, makes good things, because evil often can be destroyed only by evil, and this is eliminated by similar. So, the Lord of Darkness in the book is the same Yeshua, only after 2000, because the wave essentially does everything to restore justice in this world. Let both of them, but this is the case when the goal justifies the means.

2. Sweet Voland.

Azazello

The name of Azazello and its titles are taken from religious books. It is formed by Bulgakov from the Old Testament name of Azazel (or azazel). So the name of the negative hero of the Old Testament Apocrif's book of Enoch, the fallen angel, who taught people to make weapons and decorations. Thanks to Azazello, women mastered the "crop art" to paint face.

It may be because M. Bulgakov transmits Margarita cream changing her appearance, precisely Azazello. "Azazello cream" makes it not only invisible, but also gives new, witch beauty.

In the novel, Azazello is the right hand of Voland, performs his instructions. Assello is Margarita in the garden, gives a magic cream and leads to the ball, and also kills Marona Maygel and transfers lovers to the world other with the help of poisoned wine. Unlike Koroviev and hippopotamus, the image of Azazello is not comic.

In the book I. Ya. Porfiryev "Apocrofic legends on wind turbines and events" (1872), the famous, most likely, the author of the "Master and Margarita", noted, in particular, that

Azazel "taught people to make swords, swords, knives, shields, armor, mirrors, bracelets and different decorations; taught to paint eyebrows, use precious stones and all kinds of decorations, so the land corrupted."
Bulgakov attracted a combination in one character of the ability to share and murder. It is behind the insidious seduder that accepts Azazello Margarita during their first meeting in the Alexander Garden. But the main function of Azazello in the novel is associated with violence. He throws Stepan Bogdanovich Lyarkheev from Moscow in Yalta, expelled from a bad apartment Uncle Mikhail Alexandrovich Berlioz Poplavsky, kills Marona Maygel from the revolver.
In the early editors, this murder of Azazello performed with the help of a knife, more appropriate to him as the inventor of the entire cold weapon in the world. However, in the final text of "Master and Margarita", Bulgakov took part that the prototype of Barona Mayegel B. S. Steiger was shot during the creation of the novel, and forced Azazelo to kill the traitor not a knife, but a bullet.

In some preserved fragments of the editorial office of "Master and Margarita", 1929. The name Azazello wore Satan - the future wave. Here, Bulgakov, obviously, tested the instructions of I. Ya. Porfiryev for the fact that Muslims Azazel is the highest angel, who after his fall was called Satan. Azazello then and later, up to 1934, called Phyello (Fihello). Perhaps the name Phyello, translated from Latin meaning "Son", appeared under the influence of the message I. Ya. Porfiryev that there are two Latin names in Enha, the Fillius Hominis (Son of Man) and Fillius Mulieris (Son of Wife). The name Phelo shall the subordinate position of the future Azazello in relation to future Voland (then Azazelo), and on the other hand parody equalized him to the Messiah.
In the book of Enoch, according to the translation I. Ya. Porfiryev, the Lord says Archangel Rafail: "Tie Azaziel and throw it into darkness and conclude (run) to the desert." In this case, Azazello is likened to the scapegoat from the canonical Old Testament Book Levit. There, Azazel is a scapegoat, which takes all the sins of the Jewish people and annually driven into the wilderness. W.

I. Ya. Porfiryev is also given by the Slavic Old Testament Apocryon about Abraham, where it says that "the Divor was azazil, in the form of a unclean bird, and began to tempt Abraham: what do you, Abraham, at the heights of the saints, do not eat in them; In them, the food of a human goose, Wsi Si fire is thought and punish ". Therefore, in the last flight Azazello acquires the appearance of a demon of anhydrous desert. Azazello in the image of a "unclean bird" Sparrow appears in front of Professor Kuzmin, then turning into a strange sister of mercy with a bird paw instead of hand and a dead, demonic look.
Apparently, the apocryon about Abraham was reflected in the Bulgakov black sketch,

dated 1933:
"Meeting of the poet with wave.
Margarita and Faust.
Black mass.
You do not raise to heights. You won't listen to Mass. But you will listen to romantic ...
Margarita and goat.
Cherry. River. Dreaming. Poems. History with lipstick. "
Here the devil did not let the master (poet, Faust) to the "Holy Heights", where there is no "human food", but sent it to create in the last romantic shelter with earth fruits (cherries) and the river from which water can be drunk. Azazelo here, obviously, turned into a goat, i.e. He found his traditional appearance, and as a wonderful cream there is a lipstick, which he also gave people azazel.
Plots with ointment Azazello, turning a woman in a witch, and with the transformation of Azazello in Sparrow, have ancient mythological roots. It can be noted "Luki, or the Donkey" of an ancient Greek writer II century. Lukian and "Metamorphosis" of his contemporary Romanna Apulean.
Lukiana Hippark's wife undressed, "then the naked went to the light and, taking two grains of Ladan, threw them into the fire of the lamp and he sentenced to the fire for a long time. Then he opened the bulk casket, in which there were many jars, and took one of them. What I did not know, but by smell it seemed to me that it was the oil. Having gained it, she got all over, starting with the fingers of his feet, and suddenly she began to grow feathers, the nose became a crow and curve - in a word, she acquired all properties And signs of birds: she became anything else, as a night ravener. When she saw that the whole was covered with feathers, she painted terribly and, bouncing like a crow, flew out the window. "
Just in the same way, Margarita is rubbed by Azazello cream, but not turning into a crow, and in the witch, too, gaining the ability to fly. Azazello himself in the receptionist Professor Kuzmina appeals first in the sparrow, and then in a woman in the gosshka of the sister of mercy, but with a male mouth, and the mouth of this "curve, to ears, with one fang." Here, the order of transformation is reverse than in Lukian, and reduced - instead of a crow - sparrows. Interestingly, the episode with the punishment of Azazello Professor Kuzmin Bulgakov was dictated in January 1940 after visiting Professor V. I. Kuzmina, unsuccessfully treated the author of the "Master and Margarita" from Nesklerosis and did not hide from the writer that it was not long left.
Bulgakov, describing the Margarita rushing with Azazello cream, took into account the transformation of the pampphila wizard, which observes the louches in the "Metamorphosis" Apulela: "First of all, pamphila drops off all clothes and, opening some kind of casket, takes out a lot of drawers, removes the cover with One of them and by typing out of it, at first she rubs her for a long time between his palms, then lubricates his entire body from the tips of the nails to the top of the top, he whisper with his lamp for a long time and begins to tremble with all the members. And while they are slightly shuddering, they are gentle. The guns, and strong feathers grow, the nose bends and hardening, the curves of claws appear. Pamphila appeals to Orsu. After writing a plaintive cry, here it already tries his strength, slightly bouncing over the earth, and soon, rising up, dismissed both wings, flies. "
Another episode of "Metamorphosis" was reflected in the "Master and Margarita" in the scene of the murder of Azazello Barona Mayegel. At Bulgakov, "Baron began to fall back, Alay blood splashed from him from his chest and poured the starch shirt and vest. Koroviev substituted the bowl under the beating stream and transferred the filling Clasp Woland.
At Apulua, the same murder of one of the characters occurs in the same way, Socrates: "And, turning the right side of Socrates, she (measure, killer) in the left side of the neck, he immersed the sword and the fleeing blood diligently accepted into the small fur brought to the wound, so So nowhere else can not be seen. " In both cases, the blood killed is going not only to conceal the traces of the crime, but also for the preparation of magical drugs.

In the epilogue of the novel, this fallen angel appears before us in a new appearance: "On the side of all flew, the blistest steel of armor, Azazello. The moon changed his face. Differently disappeared without a trace, and the curlsia turned out to be false. Both eyes Azazello were the same, empty and black, and the face is white and cold. Now Azazello flew in his present form, as a demon of anhydrous desert, demon-killer. "

Koroviev

Koroviev-Fagot - the character of the novel "Master and Margarita", a senior of subordinate to Voland Demons, the devil and the knight, which is a translator with a translator at a foreigner professor and the former regent of the church choir.
Surname Koroviev designed by the sample name of the story of Alexei Konstantinovich Tolstoy (1817-1875) "Ghir" (1841) of the State Advisor of Tellyaev, who turns out to be a knight as an amvelone and vampire. Interestingly, the calls of one of the visitors of the restaurant Griboedov's restaurant, praising his kitchen at the very beginning of the novel. In the final, the visit to this restaurant hippopotamus and Korovyova-Fagota ends with the fire and the death of Griboedov's house, and in the final stage of the last flight of Koroviev-Fagot, as well as calves in A. K. Tolstoy, turns into a knight.

The Korovyev-Fagoty knight has many literary hatters. In the last flight, the Physur Koroviev is transformed into a gloomy dark purple knight with a never smiling face. This knight "once unsuccessfully joked ... His pun, which he composed, talking about the light and darkness, was not quite good. And the knight had to post a little more and longer than he expected," the Margarita wave The history of punishment Koroviev-Fagota.

Here is his portrait: "... a transparent citizen of the posed species, on a small head Jockey Cartuznik, a checkered krugy jacket ..., a citizen of growth in the soot, but in the shoulders of narrow, it is incredible, and physiognomy, I ask to notice, mumble"; "... His mustache, like chicken feathers, small eyes, ironic and semipal."

One of the names of Koroviev-Fagota - Fagot dates back to the name of the Music Inventory of the FAGOTA, invented by the Italian monk Affranio. Due to this circumstance, the functional connection between the Korovyevaya Faghoth and Afran is negated. Korovyeva-Fagota has even some similarity with a fagot - a long thin tube, threefolded. Bulgakovsky Character Hood, high and in the imaginary subrange, it seems to be ready to work out before the interlocutor threefold (so that he is calm for him to attack).

Koroviev, this performer of Voland's will is comical, but also quite cruelly costs the Moscow bribe bureaucracy. Recall at least the episode of the meeting of Koroviev and Nicano Ivanovich, administrator No. 302-bis on Sadovaya Street. Here, our assistant devil performs two tasks: gives managers to understand that Woland stays in Apartment No. 50 on legal grounds, when he who takes the letter to the manager's portfolio, and performs the will of Messira, making Nicano Ivanovich "Zagrebral" agents Behind the Chervonsev's duplicated packs, then turned into forbidden dollars:

"At the table of the deceased, a unknown, skinny and long citizen in the checkered jacket, in a jockey hat and in Pensne ... Well, in a word, that very.

Who will you be, a citizen? - Nikanor Ivanovich asked frightened.

Ba! Nikanor Ivanovich, "an unexpected citizen immediately shouted with a rattling tenor and, jumped, welcomed the chairman of violent and sudden handshake. Greetings did not at all delight Nicano Ivanovich.

I apologize, "he spoke suspiciously, - who will you? Are you the official face?

Eh, Nikanor Ivanovich! - Sincerely exclaimed unknown. - What is the official or not official? It all depends on what point of view to look at the subject, all this, Nikanor Ivanovich, conditionally and Zybko. Today I am an informal face, and tomorrow, you look, official! And on the contrary, Nikanor Ivanovich. And as happens! "

"He wrote Nicano Ivanovich with a request to register a foreigner temporarily, as long as Lyarkheev himself will go to Yalta.

I didn't write anything to me - the chairman said in amazement.

And you will get into my portfolio, Nikanor Ivanovich, - Sweets offered Koroviev.

Nikanor Ivanovich, shrugging, opened the portfolio and discovered a letter of Lyarkheev in him.

How did I forget about him? - Stupidly looking at the opened envelope, muttered Nikanor Ivanovich. "

"And then it happened, according to later the chairman, a miracle: a pack herself crawled into his portfolio."

It is known that then it was with the manager. Korovyev roughly so straightens with all those who take bribes, lying, steals, in general, who has a full bouquet of human defects.

Koroviev-Fagot - this is from the sultry Moscow air dam (unprecedented heat for May at the time of his appearance - one of the traditional signs of approaching the unclean strength). Prudent Voland is only needed by various masks of larva: drunkard-regent, Gair, a dexterous fraudster, translator proners with a famous foreigner and others. Only in the last flight Koroviev-Fagot becomes the one who is in fact - a gloomy demon, knight Fagotom, no worse than his Mr. Knowing the price of human weaknesses and virtues.

Behemoth Cat
This cat-waswolf and favorite Satan's Moon, perhaps the most funny and memorable of Sweet Woland.

Information about hippos by the author "Master and Margarita" learned from the book MA Orlova "History of human relations with the devil" (1904), extracts from which are preserved in the Bulgakov archive. There, in particular, described the case of French Igumeny, who lived in the XVII century. and an obsessed family devils, and the fifth demon was hippopotamus. This demon was depicted in the form of monsters with an ivory head, with a trunk and fangs. His hands had a human style, and an outstanding belly, a short tail and thick rear paws, like a hippopotamus, reminded that they were wearing a name.

According to the testimony of the second wife of the writer L. E. Belozerskaya, the real prototype of hippopotamus served as their homemade cat Flyushka - a huge gray animal. In the final of the Hippo, like other members of Sweet Voland, disappears before sunrise in a mountain failure in a deserted terrain in front of the garden, where, in full compliance with the story of Enoch's book, the eternal shelter "righteous and selected" - Master and Margarita are prepared.

Bulgakov hippopotama has become huge sizes with a black cat, so that black cats according to tradition are considered to be associated with unclean power. This is what we see it for the first time: "... At the jewelery Pufa in the jungle pose, someone collapsed about the third, it was - a terrible sizes of a black cat with a stack of vodka in one paw and a fork, which he managed to make a pickled mushroom, in another."

Hippopotamus in the demonological tradition is the demon desires of the stomach. Hence his extraordinary gluttony, especially in Torgsin, when he swallows everything edible without parsing. Bulgakov is ironic over the visitors of the currency store, including over themselves. On the currency received from foreign producers of Bulgaki plays, the playwright with his wife sometimes did

shopping in Torgsin. People seemed to have trampled the Eugene demon, and they hurry to buy delicacies, whereas outside the capitals, the population lives the injignment.

Why did the author incorporate this image in his romance? Probably everything is clear here without additional deviations. Eugene shootout with detectives in Apartment No. 50, a chess duel with Woland, a contest for shooting with Azazello - all this is purely humorous scenes, very funny and even to some extent to the sharpness of those everyday, moral and philosophical problems that the novel puts before reader.

In the last flight, the reincarnation of this merry-baleuarura is very unusual (like most of the plot strokes in this fantastic novel): "The night pulled out a fluffy tail from the hippopotamus, sorted from him wool and rake her shreds on the swamps. The one who was a cat who flew to Prince Darkness was now a slender young man, a Page demon, the best joke, which ever existed in the world. "

But the cat, like Koroviev, performs the orders of Voland to identify human not very good deeds and words. When the hippopotet came to the chairman of the commission, "Prokhor Petrovich flashed again:" I'm busy! " And then, think only, answers: "You are not busy ..." And? Well, here, of course, the patience of Prokhor Petrovich burst, and he cried: "Yes, what is it? To bring it out, devils would take me! " And he, imagine, smiled and says: "The devils to take? And what, it is possible! " And, fuck, I did not have time to scream, I watch: I don't have it with a cat face and si ... Sits ... Suit ... "

"For a huge writing desk with a massive inkwell, a blank suit was sitting and did not dry in the ink with a dry pen drove through paper. The costume was at the knastper, out of a pocket of the costume was a self-sash feather, but there was no neck, no head over the collar, as of the cuffs did not look out of the hand brushes. The costume was immersed in the work and absolutely did not notice the cattle, which reigned around. "

Here the cat showed himself in all his pluts ...

Says the cat is also ridiculous, even a few in the clown: "And I really look like a hallucination. Pay attention to my profile in the moonlight - the cat climbed into the lunar post and wanted something else to say, he was asked to silence, and he, answering: - Good, good, ready to be silent. I will be silent hallucination, - silent. "

Despite the Schuteskaya image of the cat, in an episode with a sitting jacket hippopotamus exposes the disgusting qualities of a person - foul language and bureaucracy. This jacket is like the personification of all bureaucrats that brake promotion.

Korovyev and Hippopotamus are ledge of lies, hypocrisy, greed and other human vices. They play their roles, amaged by human nonsense and ignorance.

Gella is a member of the Woland Sweet, a Vampire Woman.

The name "Gella" Bulgakov learned from the article "The magazine" of the encyclopedic dictionary of Brockhaus and Efron, where it was noted that on Lesbos, they called the untimely dead girls, after the death of the vampires.

When Gella, together with the administrator of the theater in the vampire, tries in the evening after a black magic session to attack the Fielder of Roman, on her body, the traces of the body decomposition clearly appear: "The phondar desperately looked back, retreating to the window leading to the garden, and in this window, Flipped by the Lunion, saw the face of a naked maiden's face attached to the glass and her naked hand, seeking in the window and trying to open the lower valve ... Varenuha ... Skeid and Smokal, winking the girl in the window. That he settled, lasted a redhead in the window, stretched out how much Could a hand, nails began to scratch the lower schingalet and shock the frame. Her hand began to lengthen, like a rubber, and covered with a body greenery. Finally, the green fingers were dead with the head of the spinlet, turned her, and the frame began to open ...

The frame was widely opened, but instead of the nightness and aroma of Lipa, the smell of the cellar burst into the room. The deceased joined the windowsill. Roman clearly saw the stains on her chest.

And at this time, an unexpected crick of the rooster flew from the garden, from the low building for the tire, where the birds participated in the programs. Gorough trained rooster of a pipe, arranged that dawn rolling to Moscow from the east.

Wild rage distorted the girl's face, she walked hoarse swearing, and Varenuha screamed at the door and fell out of the air to the floor.

The crock of the rooster repeated, the girl clicked his teeth, and her hair was on end. With the third crude rooster, she turned and flew out. And after he, bouncing and stretching horizontally in the air, reminding the flying Cupid, floated slowly into the window through the written table of Varenuha. "

The fact that the Crock of the Rooster makes the Gella and Her Friendly Varenuhu, fully conforms to the widespread Petuha Association with the Sun in the pre-Christian tradition - he announces his singing the arrival of dawn from the east and then all the evil spirits, including the revived Vampire Dead, are removed To the West, under the patronage of the devil.

Characteristic features of vampire behavior - Clospey's teeth and combining Bulgakov, may have borrowed from the story of Alexei Konstantinovich Tolstoy (1817-1875) "Gryar" (1841), where the chief hero threatens death from the gaps (vampires). Here the girl-vampire kiss draws his beloved in the vampire - from here, obviously, the cat's fatal kiss for the Varenuhi.

Gella, the only one of the Woland Sweet, is missing in the last flight stage. The third wife of the writer E. S. Bulgakova believed that this is the result of the work of work on the "Master and Margarita". According to memories V. Ya. Lakshin, when he pointed to her for the absence of Gella in the last stage, "Elena Sergeyevna looked at me confused and suddenly exclaimed with an unforgettable expression:" Misha forgot Hella !!! ".

But it is possible that Bulgakov deliberately removed Gella from the last flight scene as the youngest member of the Sweet, performing only auxiliary functions and in the variety theater, and in a bad apartment, and on great ball at Satan. Vampires are traditionally the lowest discharge of unclean power.

In addition, Gelle was uncomfortable in the last flight, it, like Varenuha, turning to the vampire (revived dead), retained his original appearance. When the night "exposed all the deceptions," Gell could only become a dead girl again. It is also possible that the absence of gella means its immediate disappearance (as unnecessary) after the end of the Woland mission and its companions in Moscow.

III. Satan's Great Ball as an apotheosis of the novel.

The Grand Ball of Satan - the Ball, which in the "Master and Margarita" novel gives Woland in a bad apartment in an infinitely last midnight Friday, May 3, 1929.

According to the memoirs of the third wife of the writer E. S. Bulgakova (in the record V. A. Chebotareva), in the description of the Great Bala, Satan used the impressions of admission to the American Embassy in Moscow on April 22, 1935. US Ambassador William Bullit (1891-1967) Invited a writer with his wife for this solemn event.

In order to accommodate the Grand Ball of Satan in a bad apartment, it was necessary to push it to supernatural sizes. As Koroviev-Fagot explains, "those who are familiar with the fifth dimension, do not extend the room to the desired limits."

For a semi-wiring writer, what was the Bulgakov, reception in the American Embassy - an almost incredible event, comparable to Satan's ball. Soviet visual propaganda of those years often portrayed "American imperialism" in the appearance of the devil. In Great Ball, Satan has real signs of the alignment of the American ambassador to the details and images of distinctly literary origin.

Here I remember the Roman "Invisible Man" (1897) Herbert Wells (1866-1946), where the main character of Griffin talks about his invention, allowing to achieve invisibility: "I found the general law of pigments and refractiveness of light, formula, a geometric expression, including four dimensions . Fools, ordinary people, even ordinary mathematicians and are not suspected of what value can have some general expression for studying molecular physics. " Bulgakov goes on the English science fiction, increasing the number of measurements with enough traditional four (you can recall the stereotypical "world in the fourth dimension") to five. In the fifth dimension, the giant halls are becoming visible, where Satan's great ball takes place, and the ball members themselves, on the contrary, are invisible for those who surround people, including for the agents of the OGPU, on duty at the doors of the bad apartment.

Understanding the ballrooms with roses, Bulgakov took into account the complex and multifaceted symbolism associated with this flower.

In the cultural tradition of many nations, roses are the personification of both mourning and love and purity. With this in mind, the roses on the Great Ball of Satan can be viewed as a symbol of love Margarita to the master, and as the foresight of their early death. Roses here - and the Allegory of Christ, the memory of spilled blood, they were long included in the symbolism of the Catholic Church.

The Grand Ball of Satan, in particular, can be represented as the fruit of the imagination of Margarita, going to commit suicide. To her, as a queen (or queen), the Bala is suitable for many famous velmp-criminals, but all Margarita prefers their beloved - the brilliant Writer of the Master. It should be noted that the Great Ball of Satan is preceded by a black magic session in the Circus Theater variety, where the Musicians play the Musicians in the final (and the Barabanov role is always great in the works of this genre).

A series of guests who pass in front of Margarita on Great Balle at Satan, it is not sufficient. The procession opens "Mr. Jacques with his wife", "One of the most interesting men", "a convinced fake, the state traitor, but a very thorough alchemist", which "became famous for ... What poisoned the royal mistress." Here we are talking about the well-known French state-owned XV century. Jack Le Coera (1400-1456).

In the Bulgakov archive, discharge from Brockhaus and Efron dedicated to the "Mr. Jacques" were preserved: "... a fake, alchemist and a state traitor. The most interesting person. Poisoned the royal mistress." Bulgakov, undoubtedly, knew that the real Kor was not such an ominous figure and that accusations against him remained unproved and were generated, first of all, hobbies of eminent debtors. But at Great Ball, Satan, he deliberately invests in the mouth of Korovyeva-Fagota as a whole, the negative characteristic of Coure - a man gifted. Here the connection of talent with the unclean force (in such a connection and in the Middle Ages, and later the crowd usually believed). The Great Balle of Satan and his retinue is provided by patronage, both criminals and the wonderful personalities of the past who were unreasonably accused of various crimes. In the nature of those who appear before Margarita, good and evil turn out to be closely intertwined.

During the Great Ball, Satan in front of Margarita pass not only imaginary evidence and killers, but also genuine villains of all times and peoples. Interestingly, if all the imaginary statements on the ball are men, then all the true poisoners are women. The first protrusion "Mrs. Tofan". Information about this famous Italian Author "Master and Margarita" led from the article by the encyclopedic dictionary of Brockhaus and Efron "Aqua Tofan" (this is the name of the poison, in the literal translation - the water of Tofans). Extracts from this article have survived in the Bulgakov archive. It was reported that in 1709 Tofan was arrested, subjected to torture and strangled in prison (this version is reflected in the text "Masters and Margarita"). However, in Brockhause and Efron, it was noted that according to other data, the Sicilian poisoner in 1730 was held in the dungeon and, most likely, she died there with his death.

On Great Bale, Satan is also present to Sakuratov-Belsky (Grigory Lukyanovich Skuratov-Belsky), the nearest associate of the king of Ivan Grozny (1530-1584) in all his atrocities, who died in 1573 in the siege of the Vesense castle in Livonia, in connection with which the certificate TRIZNU for the deceased foreshield, the king ordered to betray the painful execution of all prisoners. In the encyclopedic dictionary of the Brockhaus and Efron, it was reported that "the memory of the Malute Skuratov and his atrocities was preserved in folk songs and even the very name became the numerous name of the villain." Even in the play "Running" (1928), Bulgakov sprocked the name, patronymic and surname Malyutov Skratov in general Gregory Lukyanovic Charnote (Charnota - Belsky), who had one of the prototypes of the nademagative executioner - Ya. A. Slaryzheva.

The fact that the Great Ball of Satan in front of Margarita passes a strip of murderers, poisoners, executors, sparsers and summers, not at all by chance. The Bulgakovskaya Heroine suffers because of the betrayal of her husband and, let it be subconsciously, his misconduct puts in one row with the greatest crimes of the past and present. The abundance of poisoners and evidence, genuine and imaginary, is a reflection in the brain of Margarita thoughts about possible suicide along with the master with the help of poison. At the same time, the subsequent poisoning of them, implemented by Azazello, can be considered imaginary, and not valid, since almost all state-male states on the Great Ball at Satan are imaginary. Another explanation of this episode is the suicide of the Master and Margarita. Woland, acquaintance with heroine with famous villains and depravants, strengthens the flour of her conscience. But Bulgakov, as it were, leaves and an alternative opportunity: Satan's great ball and all the events related to it occur only in a sick imagination of Margarita, tormented due to the lack of news of the master and guilt in front of her husband and subconsciously thinking about suicide. A similar alternative explanation in relation to the Moscow adventures of Satan and his priestly author "Master and Margarita" offers a novel in the epilogue, it is clear to understand that it does not exhaust what is happening. Also, any rational explanation of the Great Bala in Satan, according to the author's intent, can not be complete.

A special role on Great Bale in Satan is played by Frida, showing Margarita version of the fate of the one who crosses a certain Dostoevsky face in the form of tears of an innocent child. Frida, as it were, repeats the fate of Margarita of the Gohevsky "Faust" and becomes a mirror mapping of Margarita. In her biography, the fates of two women were reflected from the book of the Swiss Psychiatrist and public figure of August (Auguste) Trout (1848-1931) "Sexual question" (1908), one of the first works in sexology. In the archive of Bulgakov, an extract from this work was preserved: "Frida Keller - killed the boy, Koniezko - she helped the baby with a nasal handkerchief." In the image of Frida contaminated both of these stories.

To Frida, the Great Ball in Satan Margarita exhibits mercy to which trout calls for Frida Keller. And again, Bulgakov punishes the Guest of the Great Bala in Satan is severe than it was in life. In the Note 1908, Trout noted that the Intelligent Canton Saint-Gallen's intellectual circles are more and more convicted, and expressed the hope that the "poor Frida Keller", which the death sentence was replaced by life imprisonment, will soon be released. Bulgakov also his Frido, like Goette his Margarita, executed to give her the opportunity to be on the great ball at Satan (only revived the dead in Balka).

And yet the main on the ball is the queen of Margarita. She is the ideal of a woman primarily because she is capable of deep, devoted, selfless love. She throws her husband, but only when he understands what the master needs, that he will disappear without it. She comes into collusion with Satan, but already in order to save the wizard. She moves love. And therefore it is morally invulnerable. "Acquaintance with Volandam did not bring her any damage," unlike many others. Just as Yeshua remains a person, even being in the murderers, and one of them sympathizes and helps, so Margarita, hitting the monstrous company of disburses, evidence and merger of all times and peoples, remains a person: none of them is anticipate, she Trying to understand them, sympathize with them. She lost the most expensive - his master, but did not climb in her grief: she sees the mountain of another person (Frida) and actively sympathizes him.

Perhaps the Ball of Satan was needed Bulgakov exactly as the test of Margarita: a person manifests itself in the tests, only so you can reveal its core ...

IV. Sample of the life-affirming power of good and mercy.

Evil, on Bulgakov, not in power, not in government, not in a particular social structure, but in humans, as a person of this society.

As K. Icramov says: "The responsibility for the work performed in the world is not strong and even non-mighty, but weak and even insignificant." The evil is that people are human weak, insignificant, cowardly, that they are not very people, not exactly the soul. " Such people cannot be happy, from such rotting "living material" good life will not build.

How to defeat evil? For this, first of all, the approval in the society of the principles of justice is necessary, that is, the inevitability of the exposure of the defaults, punishment of adhesion, fohalimacy and lies. However, this is still not the final celebration of good. Finally, good can enter the world only love and mercy - it is mercy and love calls on the basis of human relations and a public device of Bulgakov.

One of the bright paradoxes of the novel is that, pretty spinning in Moscow, Schaka Voland at the same time returned decency to life, honesty and cruelly punished evil and not the right, serving as it were to the approval of the millennial moral commandments. Woland destroys the routine and carries punishment by vulgar and fitness. And if his retinue still appears in the larva of small demons, it is not indifferent to arson, destruction and pacifications, then the Messir himself invariably retains some majesty. He observes the Bulgakovskaya Moscow as a researcher who makes scientific experience, as if he really sent on a business trip from the Heavenly Office. At the beginning of the book, the fool of Berlioz, he claims that he arrived in Moscow to study the manuscripts of Herbert Avrylaksky, "he is going on a scientist, experimental, magician. And his powers are great: he has the privilege of a punishing act, which is not with the hands of the Higher contemplative good.

In the epilogue of the novel on the wings of Tuchi Satan and his retinue leave Moscow, carrying out with them into their eternal world, in the last shelter Masters and Margarita. But those who have deprived the masters of normal life in Moscow, have raised and forced to look for the refuge at the devil - they remained.

The devil and his retinue in the novel - a perfect, disinterested and incorruptible car, which punishes everyone who was weak, did not resist the temptation of this devil himself. In Varyt, the crowds of the people rushed to the stage for the "Darm" outfits, and when money fell from the ceiling, then, as children, have grabbed them. Here it is - manifestation of the true nature of people, their greedy, caustic and thirst for profit. Woland arranges this performance with one goal - to check people, test them on the strength of "copper pipes". But, alas, Messir makes a disappointing conclusion: "Well, well," the one thought thoughtfully - they are people like people. They love money, but it has always been ... Humanity loves money, of which they would be made, from leather leather, from paper, from bronze or gold. Well, frivolous ... Well, well ... and mercy sometimes knocks on their hearts ... Ordinary people ... in general, remind the same ... the apartment only spoiled them ... "

The dark forces are tempted by everyone who is faced with them, who lies in Apartment No. 50. And - an amazing case - all blindly take these temptations! Indeed, according to the Bible, it was the devil that Adama and Eve silent to eat forbidden fruit. And they did not resist, for which they paid, hitting the Earth. And in the novel, it is the devil - Woland and his retinue punish everyone who did not pass the test. So, Bulgakov Satan performs some functions of divine power.

Note that the Messiir and his servants do not punish the one who, in spite of any tests, cannot be sophisticated. This person turns out to be Margarita - sincere soul, she is ready to give everything to save the wizard. Not myself, but the master. No matter how tempting her wave and a sweat on the ball, Margarita for himself I did not want anything. She tried to help Frida, a poor girl, who became a victim of circumstances ... The same selfless good man was Jushua. Here he is the ideal of moral purity and selflessness! So he is a sample of the life-affirming power of good and mercy!

Ultimately, whatever people, life makes them think about the true human values, and the tests that have fallen into their share reveal the true essence of the person.

List of used literature

1. Bulgakov M. A. Master and Margarita. - M.: Fiction, 1988.

2. Vadim Slutsky Problems of the novel "Master and Margarita" Newspaper "Literature" 2002 No. 27-28

3. "Bulgakovskaya Encyclopedia" compiler B.V. Sokolov - M. Lockid, Myth, 1997

(as well as based on the materials of Bulgakov.ru)

4. Akimov V. Himself man and manages! Master and Margarita Mikhail Bulgakov. - L.: Neva, 1988.

5. Levina L. A. The moral meaning of cantial motifs in the philosophy of the "Master and Margarita" novel. - M.: Higher School, 1991

6. PETELIN V. V. Mikhail Bulgakov. A life. Personality. Creation. - M.:

Moscow worker, 1989.

7. Levandovsky A. A. Russia in the twentieth century. - M.: Enlightenment, 2001.

8. Yanovskaya L. Creative path of Mikhail Bulgakov. M.: Soviet writer. 1983.

and in Russian folk fairy tales, in which some philosophy can also be obtained, but in that whole thing and the thing that Roman Bulgakov about the devil is not a fairy tale, but the name of the social structure of the Soviet society, where good and evil sometimes change beyond recognition in their The appearance and take truly bizarre forms.

The heroes of the novel become the procurator of the Jews Pontius Pilate, Yeshua, and representatives of the Russian creative intelligentsia. Philosophical meditation is also present in the disputes of the procurator with Yeshua, and in the conversations of Woland with the townspeople. The time interval with a length of almost two millennia shares the effect of the novel about Jesus and Pilate and the novel about the wizard. It is possible that with the help of this Bulgakov wants to show the eternity of the struggle of the positive and negative in man, freedom and not freedom of the human spirit, as well as the attitude of him with society.

In his philosophical quest, the writer puts the master in a situation similar to Christ's fate. The master also on his field is subjected to great trials. Bulgakov on bright images in artistic and philosophical terms shows the true and imaginary human strength on Earth, genuine and imaginary freedom of his spirit. For example, Pontius Pilate, who has the authorities over Yeshua and the presenter of his interrogation, suddenly begins to feel the superiority of the spirit of the poor philosopher over himself, the great ruler of people. Undoubtedly, the author and the fact that the true greatness of the Spirit may not inspire the feeling of respect and even fear of the strong world of this world.

Pontius Pilate, despite his suffering, can not retain sincere equilibrium in verbal duel with a poor philosopher. The ruler does not help his philosophy of slave owner. He feels that he is defenseless with this philosophy before the highest truth and harmony of the world. On the other hand, Yeshua remains faithful to his truth even in the face of death, and not just before the procurator.

Interestingly, pilate is a very complicated personality. He is not just a villain and a coward. He is a person whom the social conditions that have developed before him are held in certain framework. His soul begins to rebel, feeling the rightness of Yeshua. But Bulgakov definitely does not notice this and mercilessly condemns the Pilate for his act: the death sentence of Yeshua. In this case, Bulgakov-Filosies fall into the place of Yeshua, and, despite the objective and subjective conditions for which the Pilate cannot do otherwise, the author claims the highest philosophical law, according to which there can be no two right decisions at a certain moral level, and there is only the only one Step to the highest truth.

true, but his faith in what manuscripts are not lit, if it is honest books, leaves him the right to understand the future of the highest truth and harmony of the world.

All the oddities and deformities of the existence of their contemporaries of Bulgakov writes with a smile in which, however, it is easy to distinguish and sorrow, and bitterness. It's a different thing when the look does it fall on those who have perfectly adapted under these conditions and flourishes: on bribery and fraudsters, bunching fools and chinush. On them a writer and imparts an unclean power, as it was conceived from the first days of work on the novel.

Hell's forces play the "Master and Margarita" somewhat unusual role for them. They are not so much knocked out of the way of the righteous people of good and decent, how many are removed on clean water and punished sinners already consisted.

Unclean power learns in Moscow, by the will of Bulgakov, a lot of different disgraces. To the Woland, the writer was not wonderful with his violent retinue. Specialists of different profiles are collected in it: the master of mischievous tricks and the hippopot cat, eloquent koroviev, who owns all the adverbs and jargons - from semi-graded to greatness, gloomy azazello, extremely inventive in the sense of raising of different sinners from Apartments No. 50, from Moscow, even with That is the light. And, alternating, then speaking together or threesomes, they create situations, sometimes scratched, as in the case of Roman, but more often comic, despite the devastating consequences of their actions.

Stepa Lyarkheev, director Varette, is discharged by the fact that the Assistants of Woland will cover it from Moscow to Yalta. And his sins have a whole WHO: "... In general, they," reports Koroviev, talking about the steppe in the plural, - recently creep into a terribly. Drink, enter in connection with women, using their position, not the feature do not do, and they can not make a damn, because nothing is sense in what they are instructed. The bosses rub the glasses.

"The car is in vain chasing the government! - Sounded and cat "

And so for all this is just a forced walk in Yalta. Without heavy consequences, there is a meeting with unclean power and Nicano Ivanovich, who does not indulge with currency, but bribes still take, and Uncle Berlioz, a cunning hunter for the Moscow apartment of the nephew, and leadership of the spectacular commission, typical bureaucrats and loafers.

inside. Findrector Vary Roman, trying to invent "Ordinary explanations of unusual phenomena", Woland's Assistants arrange such a scene of horrors that he turns into a gray head in a matter of minutes with a shaking head. They are absolutely ruthless to a buffetbie variety, that he himself says the famous words about sturgeon of the second freshness. For what? The buffet is just stealing and frauds, but not the very hard of his vice - in the scopeidomination, in the fact that he robes himself. "Something, the will of yours," wave notes, is unkinded in men who avoid wine, games, lovers of adorable women, a feast conversation. Such people or are seriously ill or in secret hate others. "

this is an incorrigible dogmat, which recognizes only postponed truths. Raising the sliced \u200b\u200bhead of Berliosa on a great ball, Woland appeals to it: "Everyone will be given by his faith ...". It seems to me that only at this moment is the first real meeting of Berlioz with Woland.

With the apparent omnipotence, the devil in Soviet Moscow his court and reprisals. Thus, Bulgakov gets the opportunity to arrange, albeit only verbally, a certain court and retribution of literary rods, administrative rogues and all the inhuman-bureaucratic system, which only the court of devil and is subject to.

With the help of Assistants, Voland Bulgakov leads its satirco-humorous review of the phenomena of Moscow life. Union with wave is needed to him for other, more serious and important goals.

In one of the last chapters, Roman Bulgakov shows us a dialectical unity, complementarity of good and evil. To Voland, on behalf of Yeshua Ga-Nozri, is the Levie Matvey to ask for the master: "I am to you, the spirit of evil and the Lord of Shadows ..." - You said our words, - Wanda notes, - as if you do not recognize shadows, as well as evil. Would you be so kind to think about the question: what would your good do if evil did not exist, and how would the earth looked like, if the shadows disappeared from it? After all, the shadows are obtained from items and people. Here is a shadow from my sword. But there are shadows from trees and from living beings. Do you want to beat the whole globe, having demolished all the trees from him and all the living because of your fantasy to enjoy naked light? " Here is another example of ballkins, only with a diametrically opposite side. It is clear to achieving your goal, regardless of anything and anyone.

Bulgakov least elevated the pleasure of naked light, even though he has not so much overwhelmed them. He was expensive what Yeshua preached, - good, mercy, the kingdom of truth and justice, where no power will not be needed at all. With the help of Yeshua and the Master of Bulgakov, ethics preach, morality. But this was not exhausted by the fact that, according to his conviction, it was necessary to people for the completeness of life, for the eternal movement of the thought and eternal work of imagination, and ultimately for happiness. Without the game of light and shadows, without fiction, without unusualness and mysteries, life, on Bulgakov, can not be full. And all this is already under the department of Satan, Prince Darkness, the owner of the shadows.

Sections: Literature

"I am part of the strength that always wants
evil and always commits good
Goethe "Faust"

I. Beginning of the lesson. 5 minutes

1. Organizational moment.

The lesson begins with the establishment of contact with students. Hello, remember the excellent results that the class showed at last lessons (the composition of the novel, the character system, the fate of the master).

2. Questions for the identification of perception.

- What is the Master of Master?

- How does Yeshua develop the concept of truth?

- What is afraid of Pondi Pilate?

- What is the Roman M. Bulgakov dedicated?

In the rapid exchange of replicas we restore the main conclusions of past lessons: Roman Masters - about Pontius Pilate; The concept of the truth of Yeshua is developing: no one can dispose of his life ("Cut the hairs ... Maybe only the one who suspected"), he believes due to the word, to the truth is ready to go with the help of conviction, words; Pondi Pilate is afraid of losing power (being a bold warrior, he becomes a coward when it comes to power), therefore, he is a non-free person; He is punished for cowardice, and punished by immortality, the flour of conscience; Bulgakov is convinced that cowardice is one of the most terrible vices; The novel is devoted to eternal problems, and they exist in the present just as many centuries ago.

3. Formulation of the lesson theme, its goals and tasks.

We collectively formulate the subject of the lesson, based on its main goal: the problem of mercy, all-sucking, justice. We put the tasks:

• what do we find out today? (We find out why the master does not deserve light; what is peace; what is the rod theme of the novel)
• what will we learn today? (Teach the dialogue, relying on the primary perception of the text, give a personal assessment of the heroes and their actions)
• what does each of us be able to do? (Everyone will try to express their attitude towards eternal topics affected in the novel, give a personal assessment).

II. Primary actualization of knowledge. 7 minutes

The task of this stage of the lesson: Express estimated judgments.

Work with written responses of students (checking homework). At home, the guys tried to understand the question: why in a novel dedicated to life problems included fantastic paintings related to the stay in Moscow "unclean strength"? I give the opportunity to listen to each other, argue. The main provisions that can be allocated in the responses of students are: Bulgakov portrayed the life that is not considered normal. It is absurd, is irreal. If this life can be called hell, then the appearance of the prince of Darkness is natural. Fantastic paintings are exposed to reality, represent it in grotesk form and make it be terrified by what they often pass without noticing.

III. System actualization. 10 minutes

A task: To enable students to conduct a training dialogue, comment on your thoughts, to answer the questions of the teacher.

- Which of the heroes of the novel, written by the master, reminds Margarita in his desire to save the beloved? Margarita is also brazed as Levi Matvey, who tried to save Yeshua.

- How will love she return? People did everything to separate the lovers, and the wicked power will help to return the wizard.

- Recall how Did Margarita with Woland got? Margarita does not know many months where the master disappeared. "Ah, right, the devil I would have laid the soul to just know, he is alive or not!" And the fool's devil here is like here. For information about the beloved Margarita, should pay the presence of the Balu at Satan. With dignity it will take this terrible night. But there is no masters, and it cannot ask about it.

- Woland promises Margarita to fulfill only one of her desire. What is asking for Margarita? Release Frida.Why? She promised her. Margarita lives in the shower hatred of the master of the master, but did not disappear with mercy.

- Probably, the person would take advantage of Margarita, but not the devil. He must return her masters. But he promised to fulfill only one promise. How to be? Forgive Frida will be Margarita itself. There is a symbolic meaning: the person will forgive the person. And her desire will perform wave.

- And here is the master here, in front of her and wave. A miraculous way will be a revived and burned novel ("manuscripts are not burning!") What does the Bulgakov want to emphasize this detail? ( the idea of \u200b\u200bthe immortality of art is approved - this is one of the indigenous ideas of the novel)

- What is the amazed margarita, finally seen his beloved? Master is broken. He will say Woland that the novel who has recently recently was the meaning of his life, now he is hateful.

- Let us turn to the 29th chapter. What request to Voland comes Levi Matvey? Give the master to peace.

- Why didn't the master deserve the light? This question cannot be given a definite answer. Probably the Master did his job on earth: he created a novel about Yeshua and Pilate; It showed that the life of a person can decide one of his act, which either will be elevated and indifferent to him, or makes losing peace for life and suffer from acquired immortality. But at some point the master retreated, broke, failed to fight for his brainchild. Maybe so he does not deserve light?

- What is peace? Refuge for a tired, immensely exhausted soul. (Let us remember Pushkin: "There is no happiness in the world, but there is peace and will ...") The rest is worthy of those who do not unhand the flour of conscience.

- Is it worthy of the Master of his hero Yeshua? Yes and no. Yeshua, who did not retreat from the truth, earned the light, and the master is only peace.

IV. Stage of learning new material (10 minutes)

The task of this stage:formation of students in the ability to generalize, draw conclusions using the reception of the integrated solution of several tasks.

- Let's talk about how to relate in the novel the concept of "mercy", "all-sucking", "justice". (To discuss this issue, you should remember the lexical significance of these words, because they seem to be guys understandable, but their accurate interpretation will help answer more consciously).

Display on the screen:

• Unforgettable - Full forgiveness
• Mercy - willingness to help
• Justice is an impartial effect in line with the truth.

- Let us return to the question of the ratio in the novel of these three concepts. Who is such a wave is a carrier of evil or good? Welder - an evil spirit, should destroy and punish, and he rewards - in this Roman's mystery. Good is impossible without evil, they are always there. It is thanks to Woland that is being revived. His justice is cruel, but without her, people would not have opened. It is the forces of evil who are endowed with Bulgakov to legal justice, i.e. It is severely punished for evil and generously reward for good. Woland - artist "Dirty" work. And Yeshua preaches mercy and all-sucking. He believes in a person and says that it is impossible to answer evil to evil. Justice is punished. Mercy makes it possible to redeem the guilt. We must be able to forgive, you can not always wear offense in my soul. The world should keep the balance between mercy and justice. As often we forgive those who should not be forgiven, and condemn those who deserve forgiveness.

- We come to the conclusion: wave - evil, which is necessary for the existence of good.

Recall the epigraph of Roman Goethe, who served as an epigraph and for our lesson: "I am part of the strength that he always wants evil and always makes benefit." For the sake of truth, sometimes you have to destroy and build again ( "The temple of the old faith collapses and a new temple of truth will be created").

V. The final stage of the lesson. Generalization, summing up. 0 minutes

A task: Final speeches of students, teacher's comments.

In connection with the definite loss of the tempo of the lesson caused by the fatening of students, somewhat changing the "scenario" of the lesson: the students seem to "disassemble" the roles: Some express their own point of view, others act as critics, third experts, assess the answers to comrades.

- It is time to summarize the conversation about the novel M. Bulgakov. Let's return to where they started familiarizing with heroes - to the question of what truth is.

On the screen - the picture of M.Churlenis "Truth" (against the background of a person's face is a burning candle and flying on the flame of a moth. He will die, but can not fly into the light).

- Which of the heroes of the novel reminds you of this moth? Yeshua Ga-Nozri - knows what the desire threatens to speak to him only the truth, but otherwise he can not behave. And vice versa - it is worthwhile at least once once, as Pontius Pilate, and the conscience will not give you peace.

- What is the rod idea of \u200b\u200bthe novel? The idea of \u200b\u200bthe internal freedom of a person who must do under any circumstances as it finds for itself the only possible. He carries good - and let him not understand him, but freedom, truth above all, they are immortal.

- Why does the novel ends with a scene associated with not so important at first glance hero, like Ivan homeless? As with Yeshua, the master has a follower who leaving this world, the master leaves a person in him who stopped engaged in poetry, became an employee of the Institute of History and Philosophy.

- What is the meaning of the replacement name of Ivan Homeless to Ivan Nikolayevich Ponyrav? Homeless - This surname spoke about the lack of a soul, about the absence of his own look at life. Acquaintance with the master reborn this person. Now it is he who can bear the word of truth into the world.

- So, what is the truth? In the celebration of good, mercy, all apartments. These three qualities, interconnected with each other, make a person beautiful. These three qualities are beauty itself.

In conclusion, we read fragments from Chapter 32 - about Voland and its satellites who leave Moscow. These lines end the conversation about the novel M. Bulgakov "Master and Margarita".

Vi. Homework, evaluations for work in the lesson. 3 minutes

Written work-thinking "What is good and evil" (on literary material or on life impressions).

Answer from Eergey Ryazanov [Guru]
The central problem of the novel is the problem of good and evil. Why is there an evil in the world, why does it often triumph over good? How to defeat evil and is it possible at all? What is good for a person and what is evil for him? These questions are worried about each of us, and for Bulgakov, they acquired a special sharpness because his whole life was crippled, cried with the evil triumphant and in his country.
Central to understand this problem image in the novel is, of course, the image of Voland. But how to treat him? Is evil really embodied in it? And what if Wolve is a positive hero? In that house in Moscow, where the once writer lived and where there is a "bad" apartment number 50, on the wall in the entrance already in our time someone portrayed the head of Voland and wrote under it: "Wanda, come, too much rubbish divorced" (21, p. 28). This, so to speak, the folk perception of Voland and his role, and if it is true, then Woland is not only not an incarnation of evil, but he is the main fighter with evil! Is it so?
If you allocate in the novel scene "Residents of Moscow" and "unclean strength", what did the writer mean them? Why did he at all need Satan and his candy? In society, in that Moscow, whom the writer depicts, reign scoundrels and insignificance, hypocrites and adapts: Nikanors Ivanovichi, Alias, Mogarychi, Andry Fokichi, Varenuhi and Lyarkayev - they lie, head, steal, take bribes, and until Faced with prudent Satans, they are quite successful. Aloiezia Mogarych, who wrote a denunciation on the masters, puts up in his apartment. Step Lyarkheev, a fool and a drunkard, well-being working as director of variety. Nikanor Ivanovich, a representative of such an unloved Bulgakian tribe of the shopkeepers, prescribes for money and gracious.
But here "unclean power" appears, and all these chambers of the WMIG are exposed and punished. Programmer Voland (like he himself) is all-wire and all-in-law. Anyone they see through, it is impossible to deceive them. But the scoundrels and nothingness only lie and live: a lie is a way of their existence, it is the air to which they breathe, these are their protection and support, their shell and their weapons. But against the "department of Satan" this weapon, such a perfect in the world of people, is powerless.
"Only the Chairman left the apartment, a low voice came from the bedroom:
- I didn't like this Nikanor Ivanovich. He burns and plow "(1, p. 109).
The instant and accurate definition - and the punishment should be strictly relevant for "merit". Step Lyarkayeva is thrown in Yalta, Varenuhu make a vampire (but not forever, since it, apparently, would be unfair), Maximilian Andreevich, the Kiev Uncle Berlioz, to the death of frightening, be expelled from the apartment, Berlioz himself sent to non-existence. Each deserver.
Is it not true, it is very reminded by a punitive system, but is absolutely perfect, ideal? After all, Woland and his retinue also protect the masters. So - they are good in the novel? "People's perception" turns out true? No, not everything is so simple.
With the "People's" perception of Voland as Sanitar Society, Literary Literary L. Levin did not agree, for which Woland - Traditional Satan (10, p. 22). "Satan is (according to Cant) a person's prosecutor," she writes (10, p. 18). It is also a tempter, seducer. Woland, on Levina, in everything and all sees the bad side. Assuming evil in people, he provokes its appearance (10, p. 19). At the same time, L. Levina believes that "the refusal of Christ (Yeshua) and - as an inevitable consequence - the values \u200b\u200bof the human person puts heroes to the vassal dependence on the prince of Darkness" (10, p. 20). That is, after all, evil is that people refuse Christ. However, L. Levin sees evil rather in unclean strength, and people seem to justify. And there is a reason for this: after all, Satan's servants really provoke people, pushing them on the nasty actions, - as in the scene in the variety, as in the scene "Koroviev and Nikanor Ivanovich", when a bribe, even crawled to the portfolio of the house.

Among the marked literary criticism of the laws of creativity is one, the nature of which still remains to the end of the unknown: the impact of the composition on the Creator himself and that he surrounds. It happens that the work creates around itself a miracle aura, a magic scattering zone, in which the most unexpected transformations are possible.

It has long been noticed that in the biography of Bulgakov there are mysterious non-infractions, failures and non-core coincidences. Some of them belong to the strange feeling of his fate with the personality of a man in a mustache and with a tube whose portrait was familiar to everyone. He was a mighty force, angry strength, but belonged to Bulgakov, so Elena Sergeyevna thought, if not with sympathy, then with respect and secret curiosity. It seems that Mikhail Afanasyevich himself thought as well.

Kabala Svyatosh pursued the Moliere, whereas from the king could still be waiting for the unknown grace to him. It would be in vain to look for in this Bulga-king motive of historical truth. Rather, there was an irrational sense of complacency, instinctive protection searches. After all, the demon evil - Woland could help restore justice. Bulgakov was not evil and unkind and still did not forgive him the evil had caused by his resentment, especially since his wounds were not allowed to drag on to the end of life: it was not possible to forgive it easily. Because he was so trended by the theme of Retribution, at least late and restoring justice only on the sheet of papers.

The fact that Mikhail Afanasyevich Bulgakov was noticed with the unclean power and did not insult, but donomed her, domesticated and picked up, as a mumping korovyva, arrogant Azazello or an unceremonious cat, rebuilt around him all life and gestures, people and a situation around him.

Even Elena Sergeyevna Bulgakov, who is known to the whole world as Margarita (when she arrived in Hungary, an article "Margarita in Budapest" appeared in the newspaper), a little, I turned around next to Mikhail Afanasyevich in a creature - I'm afraid to crumble, Chur, Chur! .. - Well, let's say, partly the occult sense. Perhaps she was not born in a witch, and who knows whether she had a tiny tail from her birth. But I rebuilt in the witch, and that there is very authoritative literary evidence.

The purpose of this work is to disclose the topic: "The Devil and his retinue in the" Master and Margarita "novel M. A. Bulgakov." To disclose this topic, we will need:

· Analyze the story of the creation of a novel.

· Consider ideologous - artistic image used by Bulgakov to describe the forces of evil.

· Consider the prototypes and the characters acting in the novel.

· Determine the role and importance of the "dark forces" of Bulgakov in the novel "Master and Margarita".

This work was prepared on the basis of reviews, critics and articles on the novel M. A. Bulgakov "Master and Margarita".

1. The history of the creation of the novel "Master and Margarita"

Mikhail Afanasyevich Bulgakov "Master and Margarita" was not completed and did not publish during the life of the author. For the first time, it was published only in 1966, 26 years after the death of Bulgakov, and then in a reduced journal version. The fact that this is the greatest literary work reached the reader, we owe the wife of the writer Elena Sergeyevna Bulgakova, who in the difficult Stalin's times managed to keep the manuscript of the novel.

The time to start working on the "Master and Margarita" of Bulgakov in different manuscripts dated then 1928, then 1929 In the first edition, the novel had the names of the name "Black Mag", "hoof engineer", "juggler with hoof", "Son V.", "Gastro." The first edition of the "Master and Margarita" was destroyed by the author on March 18, 1930. After receiving the news of the ban on the "Kabala Svyatosh" play. Bulgakov reported this in the letter to the government: "And personally, I, with my own hands, threw a draft of the novel about the devil ..."

Work on the "Master and Margarita" resumed in 1931. Black sketches were made to the novel, and Margarita and her nameless satellite were already appeared here - the future master, and Woland got his violent retinue. The second editors, created until 1936, had a subtitle "Fantastic Romance" and the names of the name "Great Chancellor", "Satan", "That I", "Black Mag", "Consultant Consultant".

The third edition, started in the second half of 1936, was originally called "Prince of Darkness", but already in 1937 there was now a well-known title "Master and Margarita". In May - June 1938, the full text was first reprinted. The author's right lasted almost until the death of the writer, Bulgakov stopped her on the phrase of Margarita: "So it became, the writers behind the coffin go?"

Bulgakov wrote "Masters and Margarita" a total of more than 10 years.

From the history of the creation of the novel, we see that he was conceived and was created as "Roman about the Devil." Some researchers see in it the devil's apology, admoniming the dark power, the surrender in front of the evil world. In fact, Bulgakov called himself a "mystical writer", but this mysticism did not quit the mind and did not intimidate the reader.

It is worth recalling that the work on the novel was completed in 1937-1938. A satirical image of reality, which is "majestic and beautiful," was more than dangerous in those years. And although Bulgakov did not count on the immediate publication of the novel, it may be involuntarily, and may consciously soften the satirical attacks against certain phenomena of this reality.

All the oddities and deformities of the existence of their contemporaries of Bulgakov writes with a smile in which, however, it is easy to distinguish and sorrow, and bitterness.

It's a different thing when the look does it fall on those who have perfectly adapted under these conditions and flourishes: on bribery and fraudsters, bunching fools and chinush. On them a writer and imparts an unclean power, as it was conceived from the first days of work on the novel.

The novel is written in this way, "like the author, feeling in advance that this is his last work, wanted to invest in him without a rest all the sharpness of his satirical eye, the unrestrainedness of fantasy, power of psychological observation." Bulgakov pushed the boundaries of the genre of the novel, he managed to achieve an organic connection of the historical and epic, philosophical and satirical began. At the depth of the philosophical content and the level of artistic skills "Master and Margarita", it is right in one row with the "Divine Comedy" of Dante, "Don Quixote" of Cervantes, the hetev "Faust", the Tolstsky "War and Mir" and other "Eternal Satellites of Mankind in His quest for the truth of freedom. "

The number of studies dedicated to the novel Mikhail Afanasyevich Bulgakov is huge. Even the way out of the Bulgakov encyclopedia did not put the point in the work of researchers. The thing is that the novel is quite complicated by the genre and therefore difficult to analyze. According to the British Researcher of Creativity M. A. Bulgakov, J. Kurtis, given in her book "Last Bulgakovsky Decade: Writer as a hero" The "Master and Margarita is a property of a rich field, where they still have no revealed minerals. Both the form of the novel, and its contents highlight it as a unique masterpiece: it is difficult to find parallels with him both in the Russian and Western European cultural tradition. "

Characters and plots "Masters and Margarita" are projected at the same time on both the gospel, and on the legend of Faust, on the specific historical identities of the contemporaries of Bulgakov that gives the novel by paradoxical and sometimes controversial. In one field, holiness and demonism, miracle and magic, temptation and betrayal are inevitably connected.

2. Idean-artistic image of evil forces

It is customary to talk about the three plans of the novel - ancient, Yerschalaim, eternal otherworldly and modern Moscow, who are surprisingly concerned, are related to each other, the role of this ligament is performed by the world of unclean forces, which is headed by majestic and royal wave. But "no matter how many plans in the novel have allocated, and no matter how napped, it is indisputable that the author meant show the reflection of eternal, supreme images and relations in the briefing of the surface of historical being."

The image of Jesus Christ as the ideal of moral perfection invariably attracts many writers and artists. Some of them adhered to the traditional, canonical interpretation, based on four Gospels and apostolic messages, other pains to apocryphal or simply heretic scenes. As well known, M. A. Bulgakov went on the second path. Jesus himself, what he revealed in the novel, rejects the reliability of the evangelion of the Gospel of Matthew (let's remember the words of Yeshua about what he saw, looking into the goat Parchment Levie Matvey). And in this regard, he shows the striking unity of views with Woland-Satan: "... who is someone, - turns to Berliosa, - and you should know that exactly nothing of what is written in the Gospels did not happen In fact, never .... Woland is the devil, Satan, Prince of Darkness, the Spirit of evil and the Lord of Shadows (all these definitions are found in the text of the novel). "Undoubtedly ... that not only Jesus, but also Satan in the novel is presented not in the New Testament interpretation." Woland is largely focused on Mephistofel, even the name of Woland is taken from the poem Goethe, where it is mentioned only once and in Russian translations usually falls. The goeta poem reminds the novel epigraph. In addition, researchers find that creating Woland, Bulgakov also remembered about the Opere of Charles Guno, and about the modern Bulgakov version of the "Faust", written by the writer and journalist E. L. Mindlin, the beginning of the novel whose novel was published in 1923. Generally speaking, the images of the unclean power in the novel carry a lot of alley - literary, opera, musical. It seems that none of the researchers remembered that the French composer Berlioz (1803-1869), whose name bears one of the characters of the novel, is the author of the opera "Condemnation of Dr. Faust".

And yet, Woland is primarily Satan. With everything, the image of Satan in the novel is not traditional.

Non-traditional Woland is that he, being a devil, endowed with some explicit attributes of God. And Voland-Satan himself thinks himself with him in the "cosmic hierarchy" about equal. No wonder wave notes Levy Matvey: "I don't care anything."

Traditionally, the image of the trait was drawn in the literature comical. And in the editorial office of Roman 1929-1930. Woland possessed a number of declining features: Giggal, spoke with a "plutical smile", used the spaticrous expressions, calling, for example, the homeless "manned pigeant." And the buffet of the juice is preferable to complaining: "Ah, a bastard people in Moscow!", And cryingly begging on his knees: "Do not destroy the sirot." However, in the final text of the Roman Wolda, became other, majestic and royal: "He was in an expensive gray suit, in foreign, in the color of the costume of shoes, gray takes the famously born behind the ear, under the arm carried a cane with a black knob in the form of a poodle head. The mouth of some curve. Will shave smoothly. Brunette. Right eye black, left for some reason green. Black eyebrows, but one above the other. " "Two eyes rested Margarita in the face. Right with gold spark on the bottom, drilling anyone to the bottom of the soul, and the left is empty and black, it seems like a narrow needle, as an exit to the bottomless well of any darkness and shadows. The face of Woland was bevelled to the side, the right corner of the mouth is drawn down the book, deeply parallel wrinkles are cut on a high bald forehead. The skin on the face of Voland as if forever burned the tan. "

Woland Multiple, as befits the devil, and in conversations with different people, various masks put on. At the same time, Voland's omniscience is quite preserved (he and his people are well aware of both the past and the future life of those who come into contact, the text of the Master's novel, literally coincides with the "Gospel of Voland", thereby that it was described Unlucky writers on the patriarchs).

3. Woland and his retinue

The commentators of the novel "Master and Margarita" still paid attention to the advantage of the literary sources of the Figure of Voland; Worried the shadow of the Creator of the "Faust", interrogated medieval demonologists. The relationship of artistic creation with an era is complex, and more frequent, and maybe it is worth reminding another real source for the construction of a mighty and gloomy-fun Voland's image.

Which of the readers of the novel will forget the scene of mass hypnosis, which Muscovites underwent in Varieta due to the manipulation of the "consultant with hoof"? In the memory of Contemporaries Bulgakov, which I had to ask, it is associated with the figure of Ornaldo hypnotist (N. A. Alekseeva), which in the 30s they spoke a lot in Moscow. Speaking in the foyer of cinemas and houses of culture, Ornaldo has been done with the public experiments, something resembling Voland's representation: he did not just guess, but he checked and exposed. In the mid-1930s, he was arrested. Further fate is dark and legendary. They said that he hypnotized the investigator, came out of his office, as nothing had happened by the guard and returned home. But then again mysteriously disappeared from sight. Life, which, perhaps, suggested something to the author, the fantastic patterns on the familiar canvas.

Woland observes Bulgakovskaya Moscow as a researcher who puts scientific experience as if he was really sent on a business trip from the Heavenly Office. At the beginning of the book, the fool of Berlioz, he claims that he arrived in Moscow to study the manuscripts of Herbert Avrylaksky, "he is going on a scientist, experimental, magician. And his powers are great: he has the privilege of a punishing act, which is not with the hands of the Higher contemplative good.

To services of such a Voland, it is easier to resort and desperate in justice Margarita. "Of course, when people are completely robbed, as we with you - she shares with the master, they are looking for salvation among otherworldly." Bulgakovskaya Margarita in the mirror-inverted form varies by the story of Faust. Faust sold the soul to the devil for the sake of passion to knowledge and betrayed the love of Margarita. In the novel, Margarita is ready for a deal with Woland and becomes a witch for the sake of love and loyalty to the master.

Unclean power learns in Moscow, by the will of Bulgakov, a lot of different disgraces. A violent retinue is unfailed to Voland. It contains specialists from different profiles: a master of mischievous tricks and raffles - a hippopot cat, eloquent korovyev who owns all the adverbs and jargons - from semi-graded to a great-grandmother, gloomy azazello, extremely inventive in the sense of raising of various sinners from Apartments No. 50, from Moscow, even From this to that light. And then alternating, then speaking together or threesomes, they create situations, sometimes scratched, as in the case of Roman, but more often comic, despite the destructive consequences of their actions.

The fact that Woland is not one to Moscow, but surrounded by the Sweets unusually for the traditional embodiment of the feature in the literature. After all, Satan usually appears in itself - without accomplices. The Bulgakov feature has a retinue, and the retinue, in which the strict hierarchy reigns, and everyone has its own function. The closest to the Devil on the situation is Koroviev-Fagot, the first rank among the demons, the chief assistant of Satan. Fagotot obey Azazello and Gella. A somewhat particular position occupies a hoppoon hopp, a favorite jester and a kind of forever "Prince Darkness".

And it seems that Koroviev, he is a baroon, - the most eldest of the subordinate Voland demons, which is a translator with a translator with a foreigner professor and the former regent of the church choir, has a lot of similarities with the traditional embodiment of a small demon. The reader is supplied to the whole logic of the novel to the thoughts not to judge the heroes in appearance, and as confirmation of the correctness of the involuntarily arising guesses looks like a final scene of the "transformation" of unclean power. Primary Voland is only needed by various masks of larva: drunkard-regent, Gair, a dexterous fraudster. And only in the final chapters of the Roman Koroviev dumps her own larva and appears in front of the reader a dark purple knight with never smiling face.

Surname Koroviev Designed by the sample name of the character of the story A.K. Tolstoy "Ghoul" (1841) of the State Advisor of Tellyev, which turns out to be a knight and a vampire. In addition, in the story F.M. Dostoevsky "Village Stepanchikovo and its inhabitants" there is a character on the name Korovkin, very similar to our hero. The second its name comes from the name of the Music Instrument of the FAGOTA, invented by the Italian monk. Korovyeva-Fagota has some similarity with the fagot - a long thin tube, threefolded. Bulgakovsky Character Hood, high and in the imaginary subrange, it seems to be ready to work out before the interlocutor threefold (so that he is calm for him to attack).

Here is his portrait: "... a transparent citizen of the posed species, on a small head Jockey Cartuzik, a checkered coupie jacket ..., a citizen of growth in a sage, but in the shoulders of narrow, it is incredible, and physiognomy, I ask to see, mumble"; "... His mustache, like chicken feathers, small eyes, ironic and semipal."

Koroviev-Fagot - this is from the sultry Moscow air dam (unprecedented heat for May at the time of his appearance - one of the traditional signs of approaching the unclean strength). Prudent Voland is only needed by various masks of larva: drunkard-regent, Gair, a dexterous fraudster, translator proners with a famous foreigner and others. Only in the last flight Koroviev-Fagot becomes the one who is in fact - a gloomy demon, knight Fagotom, no worse than his Mr. Knowing the price of human weaknesses and virtues.

Cat-waswolf and favorite Satan Jester, perhaps, the most fun and memorable of Sweet Woland. Information about the hippos by the author "Master and Margarita" learned from the book MA Orlova "History of human relations with the devil" (1904), extracts from which were preserved in the Bulgakov archive. There, in particular, described the case of French Igumeny, who lived in the XVII century. and an obsessed family devils, and the fifth demon was hippopotamus. This demon was depicted in the form of monsters with an ivory head, with a trunk and fangs. His hands had a human style, and an outstanding belly, a short tail and thick rear paws, like a hippopotamus, reminded that they were wearing a name. Bulgakov hippopotama has become huge sizes with a black cat, so that black cats according to tradition are considered to be associated with unclean power. This is what we see it for the first time: "At the jewelery trouser Pyfa, someone's cunning pose collapsed in the jewelpick pose, it was a terrible sizes of a black cat with a pile of vodka in one paw and a fork to which he managed to make a pickled mushroom, in another." Hippopotamus in the demonological tradition is the demon desires of the stomach. Hence his extraordinary gluttony, especially in Torgsin, when he swallows everything edible without parsing.

Eugene shootout with detectives in Apartment No. 50, a chess duel with Woland, a contest for shooting with Azazello - all this is purely humorous scenes, very funny and even to some extent to the sharpness of those everyday, moral and philosophical problems that the novel puts before reader.

In the last flight, the reincarnation of this merry-baleuarura is very unusual (like most of the plot strokes in this fantastic novel): "The night pulled out a fluffy tail from the hippopotamus, sorted from him wool and rake her shreds on the swamps. The one who was a cat who flew to Prince Darkness was now a slender young man, a Page demon, the best joke, which ever existed in the world. "

These characters have a novel, it turns out that there is a story not related to the biblical history. So the purple knight, as it turns out, pays for some joke that is unsuccessful. The hippopot cat was a personal Papel Knight. And only the transformation of another servant of Voland does not occur: the changes that occurred with Azazello did not turn him into a person, as other Satellites of Voland - in a farewell flight over Moscow we see a cold and impassive Demon Demon.

The name of Azazello is formed by Bulgakov from the Old Testament name of Azazel. So the name of the negative hero of the Old Testament Book of Enha, the fallen angel, who taught people to make weapons and decorations. Probably, Bulgakov attracted a combination in one character of the ability to dedication and to the murder. It is for the insidious seduder that we accept
Azazello Margarita during their first meeting in the Alexandrovsky Garden:
"This neighbor turned out to be a little growth, flame-growing, with a fang, in starch linen, in a striped-free suit, in lacquered shoes and a bowler on the head. "Completely robbing ..." - Margarita thought "But the main function of Azazello in the novel is associated with violence. He throws Lyarkayev from Moscow to Yalta, expelled from the bad apartment with Uncle Berlioz, kills Marone Maygel from the revolver. Azazello also invented the cream, which he gives Margarita. Magic cream not only makes the heroine invisible and able to fly, but also gives it a new, witch beauty.

In the epilogue of the novel, this fallen angel appears before us in a new appearance: "On the side of all flew, the blistest steel of armor, Azazello. The moon changed his face. Differently disappeared without a trace, and the curlsia turned out to be false. Both eyes Azazello were the same, empty and black, and the face is white and cold. Now Azazello flew in his present form, as a demon of anhydrous desert, demon-killer. "

Gella is a member of Sweet Woland, a Vampire woman: "I recommend the servant to my gella. Distribution, dirty and there is no such service that she could not have render. " The name "Gella" Bulgakov learned from the "Charger" of the encyclopedic dictionary of Brockhaus and Efron, where it was noted that on Lesbos, they called the untimely dead girls, after the death of the vampires.

Green-eyed beauty Gella is fluent in air, thereby gaining similarity and with a witch. The characteristic features of the behavior of vampires - click the teeth and the combination of Bulgakov, may have borrowed from the story of A.K. Tolstoy "Ghoul". There is a vampire girl with a kiss draws his beloved in a vampire - from here, obviously, the cattle for the Varenuhi kiss Gella.

Gella, the only one of the Woland Sweet, is missing in the last flight stage. "The third wife of the writer believed that this was the result of the work of work on the" Master Margarita ". Most likely, Bulgakov deliberately removed it as the youngest member of the sweet, performing only auxiliary functions and in the theater Varieta, and in a bad apartment, and on the great ball at Satan. Vampires are traditionally the lowest discharge of unclean power. In addition, Gelle is not someone to turn into the last flight - when the night "exposed all the deceptions," she could only become a dead girl again.

4. Dialectic unity, complementarity of good and evil

An interesting observation is made by one of the researchers: "" And finally, Woland flew in his own guise "What? This does not say a word. "

Similarly, the images of unclean strength also in the fact that "usually unclean power in Bulgakov's novel is not at all inclined to do what according to tradition it is absorbed - the temptation and temptation of people. On the contrary, the challenge of Voland protects the integrity, the purity of the morals. In fact, than, by the benefit, he and his candy in Moscow are occupied, for what purpose did the author go for four days to walk and dissolve in the capital? ".

In fact, Ada's forces play in the "Master and Margarita" somewhat unusual role for them. Actually, only one scene in the novel - the scene of mass hypnosis in variety - shows the devil completely in his original amplua of the tempter. But Woland and here comes in exactly as a corrector of the morals or, otherwise to say how the Satir writer is very high in his hand invented his author. "Woland, as it were, intentionally narrows its functions, he is inclined not to seduce so much how much to punish." He exposes low lusts and trust only to stick them with contempt and laugh. They are not so much knocked out of the way of the righteous people of good and decent, how many are removed on clean water and punished sinners already consisted.

Stepa Lyarkheev, director Varette, is discharged by the fact that the Assistants of Woland will cover it from Moscow to Yalta. And his sins have a whole WHO: "... In general, they," reports Koroviev, talking about the steppe in the plural, - recently creep into a terribly. Drink, enter in connection with women, using their position, not the feature do not do, and they can not make a damn, because nothing is sense in what they are instructed. The bosses rub the glasses. - Machine in vain chasing the government! - Nayabed and cat. "

And so for all this is just a forced walk in Yalta. Without heavy consequences, there is a meeting with unclean power and Nikanor Ivanovich Bosoma, who does not indulge with currency, but the bribes still takes, and Uncle Berlioz, a cunning hunter for the Moscow apartment of the nephew, and the leaders of the spectacular commission, typical bureaucrats and loafers .

But extremely severe punishments fall out to those who do not steal and seem to be a stepe vices are not smeared, but it has one as if a harmless disadvantage. The master determines it like this: a man without a surprise inside. The Finnirer varnishes Roman, trying to invent "ordinary explanations of the phenomena of unusual", Svita Woland arranges such a scene of horrors that he turns into a gray head with a shaking head in a gray head. They are absolutely ruthless to a buffetbie variety, that he himself says the famous words about sturgeon of the second freshness. For what? The buffet is just stealing and frauds, but not the very hard of his vice - in the scopeidomination, in the fact that he robes himself. "Something, the will of yours," wave notes, is unkinded in men who avoid wine, games, lovers of adorable women, a feast conversation. Such people or are seriously sick or in secret hate others. "

But the saddest fate falls the head of massolite Berlioz. Berliosis fault is that he, a person who has grown back in Russia's speakers, in the hope of adapting to the new government frankly changed his belief (he, of course, could be an atheist, but not to assert that the story of Jesus Christ, on which All European civilization has developed - "Simple fiction, the most ordinary myth".) And began to preach what this power will require him. But it is also a special demand, because this is the head of the writer organization - and his sermons are tempted by those who are only attached to the world of literature and culture. How not to remember the words of Christ: "Mount to those who are small inch. It is clear that the choice made by Berlioz consciously. In exchange for the betrayal of the literature, he is given a lot of power - a position, money, the ability to hold a guidance station.

It is interesting to observe how the death of Berliosis is predicted. "The stranger followed Berlioz look, as if she was going to sew a suit, through his teeth murmured something like:" Once, two ... Mercury in the second house ... The moon went away ... Six - misfortune ... Seven Evening ... "- and happily announced: - You will cut your head! "

This is what we read in the Bulgakovsky encyclopedia: "According to the principles of astrology, twelve houses are twelve parts of ecliptic. The location of those or other luminaries in each of their homes reflects certain events in the fate of a person. Mercury in the second house means happiness in trade. Berlioz is really punished for introduced into the church of the literature of trading - members of the mass meditance, concerned only by receiving material goods in the form of cottages, creative business trips, vouchers in the sanatorium (Mikhail Aleksandrovich is thinking about such a ticket in the last hours of his life) " .

The writer Berlioz, like all the writers from Griboyedov's house, decided for himself that the writer's affairs matter only for the time in which he lives himself. Next is non-existence. Raising the sliced \u200b\u200bhead of Berlioz on the great ball, Woland turns to her: "Everyone will be given according to his faith ..." Thus, it turns out that "justice in the novel consistently celebrates victory, but it is achieved most often by witchcraft, incomprehensible way."

Woland turns out to be a carrier of fate, and here the Bulgakov turns out to be in line with the traditions of Russian literature, binding fate not with God, but with the Devil. With the apparent omnipotence, the devil in Soviet Moscow his court and reprisals. Generally speaking, good and evil in the novel we are doing the hands of the person himself. Woland and his retinue only make it possible to manifest themselves to the vices and virtues that are laid in people. For example, the cruelty of the crowd in relation to George Bengali in the theater variability is replaced by mercy, and the initial evil, when the unfortunate entertainer wanted to tear the head, becomes a prerequisite for goodness - pity for the raised head of the entertainer.

But the unclean power in the novel not only punishes, forcing people to suffer from their own viciousness. She also helps those who can not stand up for themselves in the fight against the struggling all moral laws. Bulgakov Woland literally revives the burnt of the Master - the product of artistic creativity, which remains only in the head of the Creator, materializes again, turns into a tangible thing.

Dialectic unity, the complementarness of good and evil is most closely revealed in the words of Voland, addressed to Leviy Matvey, who refused to wish the "Spirit of evil and the Lord of Shadows": "Would you like to think about what you would do good if it didn't exist Evil, and how would the earth looked like, if the shadows disappeared from it? After all, the shadows are obtained from items and people. Here is a shadow from my sword. But the shadows are from trees and living beings. Do you want to beat the whole globe, having dried off all the trees and all the living because of your fantasy to enjoy naked light. You're stupid".

Thus, the eternal, traditional oppression of good and evil, light and darkness in the Bulgakov novel is missing. The forces of darkness, with all that evil, which they bring to the Soviet capital, turn out to be assistants of the forces of light and good, because they are fighting with those who have long had to distinguish between both - with the new Soviet religion, which has crossed the entire history of mankind that has canceled and rejected the entire moral experience of previous generations.

5. Satan Ball as apotheosis of the novel

Satan's Great Ball - Ball, which in the "Master and Margarita" novel gives Woland in a bad apartment in an infinitely definitive midnight Friday, May 3, 1929

According to memories E.S. Bulgakova In the description of the ball, the impressions of the reception in the American embassy in Moscow were used on April 22, 1935. US Ambassador William Bullitis invited Writers with his wife for this solemn event. From the memories "once a year, Bullit gave large techniques about the national holiday. Writers were invited. Once we received such an invitation. In the hall with columns dancing, with a chorus - the searchlights of multi-colored. Behind the grid - birds - mass - flutter. Orchestra, discharged from Stockholm. MA Plenged most of all the perierry fraction - to the spots. Dinner in specially attached to this ball to the Embassy mansion of the dining room, on some tables. In the corners of the dining room - the wagons are small, they are kids, sheep, bearish. Through the walls of the cells with roosters. Harmonics and roosters began to play at three hours. Russs style. Mass of tulips, roses - from Holland. In the upper floor - skewer. Red roses, red french wine. Below - everywhere champagne, cigarettes. About six we got into their Embassy Cadillac and went home. They brought a huge bouquet of tulips from the Embassy Secretary. "

For a semi-wiring writer, what was the Bulgakov, reception in the American Embassy - an almost incredible event, comparable to Satan's ball. Soviet visual propaganda of those years often portrayed
"American imperialism" in the appearance of the devil. In Great Ball, Satan has real signs of the alignment of the American ambassador to the details and images of distinctly literary origin.

In order to accommodate the Grand Ball of Satan in a bad apartment, it was necessary to push it to supernatural sizes. As Koroviev-Fagot explains, "those who are familiar with the fifth dimension, do not extend the room to the desired limits." Here I remember the novel "The Invisible Man" (1897) Herbert Wells. Bulgakov goes on the English science fiction, increasing the number of measurements with enough traditional four to five. In the fifth dimension, the giant halls are becoming visible, where Satan's great ball takes place, and the ball members themselves, on the contrary, are invisible for those who surround people, including for the agents of the OGPU, on duty at the doors of the bad apartment. Understanding the ballrooms with roses, Bulgakov took into account the complex and multifaceted symbolism associated with this flower. In the cultural tradition of many nations, roses are the personification of both mourning and love and purity. With this in mind, the roses on the Great Ball of Satan can be viewed as a symbol of love Margarita to the master, and as the foresight of their early death.
Roses here - and the Allegory of Christ, the memory of spilled blood, they were long included in the symbolism of the Catholic Church.

The election of the Margarita of the Queen of the Great Ball in Satan and its likelihood of one of the French Korolev who lived in the XVI century, is associated with the encyclopedic vocabulary of Brockhaus and Efron. Bulgakovskiy discharge from articles of this dictionary dedicated to the two French Queen, who wearing the name of Margarita - Navarre and Valua. Both historical margarises patronized writers and poets, and Bulgakovskaya Margarita turns out to be associated with a brilliant master, the extraction of which from the hospital it seeks after the Great Bala in Satan.

Another source of the Great Bala at Satan - a description of the Bala in the Mikhailovsky Palace, given in the book of Marquis Astolf de Kyustina "Russia in 1839" (1843) (This work was used by Bulgakov and when creating the film "Dead Souls"): "A large gallery designed for dances was decorated with exceptional luxury. One and a half thousand rods and pots with rarest flowers formed a fragrant boss. At the end of the hall, in the thick shadow of exotic plants, a pool was seen from which the fountain jet had continued. Water splashes lit by bright lights sparkled like diamond dust, and refreshing the air ... It is difficult to imagine the magnificence of this picture. Completely lost an idea of \u200b\u200bwhere you are. All boundaries disappeared, everything was full of light, gold, colors, reflections and charming, magical illusion. " A similar picture sees Margarita on Great Ball at Satan, feeling in the rainforest, among hundreds of flowers and multi-colored fountains and listening to the music of the world's best orchestras.

Depicting the Grand Ball of Satan, Bulgakov took into account the traditions of Russian symbolism, in particular the symphony of the poet A. White and the play L. Andreeva "Human Life".

The Grand Ball of Satan can be represented as the fruit of the imagination of Margarita, going to commit suicide. To her, how many famous sponsor-criminals are suitable for the Bala king, but all Margarita prefers the brilliant writer Master. It should be noted that the ball is preceded by a black magic session in a circus theater Variety, where in the final the musicians play march (and in the works of this genre, the role of drums is always great).

It should be noted that the Great Ball of Satan has musical geniuses that are not directly related in their work with the motives of Satanism. Margarita meets here "King Waltz" Austrian composer Johann Strauss, Belgian violinist and composer Henri Vietan, and the best musicians of the world play the orchestra. Thus, the Bulgakov illustrates the idea that any talent is in something from the devil.

The fact that the Great Ball of Satan in front of Margarita passes a strings of murderers, poisoners, executors, parliavers and summits, not at all by chance. The Bulgakov heroine is suffering because of the betrayal of her husband and, let it be subconscious, puts his act in one row with the greatest crimes of the past and present. The abundance of poisoners and evidence, genuine and imaginary, is a reflection in the brain of Margarita thoughts about possible suicide along with the master with the help of poison. At the same time, the subsequent poisoning of them, implemented by Azazello, can be considered imaginary, and not valid, since historically all state-male states on Great Ball at Satan are imaginary poisoners.

But Bulgakov leaves an alternative opportunity: Satan's great ball and all the events related to it occur only in a sick imagination of Margarita, tormented due to the lack of news of the master and guilt in front of her husband and subconsciously thinking about suicide. A similar alternative explanation in relation to the Moscow adventures of Satan and his priestly, the author of the Master and Margarita offers a novel in the epilogue, it is clear to understand that it does not exhaust what is happening. Also, any rational explanation of the Great Bala in Satan, according to the author's intent, can not be complete.

Conclusion

Of all the abilities, what gifted magicians and wizards, the simplest and most common gift - prunes. In addition, prophecy is the favorite theme of poetry. Bulgakov reasonably reasoned that manuscripts were not burning, and faithfully furified the future and his books.

When we find out that this is the devil who visited us "from the comrades" to rejuvenate the mockery in full Sattle - the author seems to be not happy with it. He is cheerful, careless and mil in all the descriptions of the gang, followed by almost a reporter pleasure. Its tone is calm and mocking. Why is it? The first thought naturally coming to the head - from despair. I hit my forehead like Pushkin Eugene, and "Zahlotal". But, it seems, there is no hysteria here. The speech is fast, but smooth and clear. From indifference? Maybe this is already indifferent laughter over a vaga of human effort, with astral height, where and Russia - "Tlen and Justa"? Also, it's not like this: the author in people, they described, too interested, does not let them go without examination, sighs: "Gods, the gods of my ..." All their joy and chagrins are ready to divide. Why then?

One detail as if it gives an understanding the first step. We notice that he laughs over the devil. Strange for serious literature of the XX century turn, where the devil was used to respect. Bulgakova is not at all something. He laughs at the forces of decomposition, it is quite innocent, but it is extremely dangerous for them, because the principle is solidifying in passing.

After the first amazement of the impunity of the whole "Devilish" company, our eye is beginning to distinguish between them, it turns out, where people themselves burned over them; that they only eat them long left.

Note: Nowhere has not touched Woland, the Bulgakovsky Prince of Darkness, to the one who is aware of the honor lives it and comes. But he immediately seeps where he was left by the gap, where they retreated, broke up and imagined that they were hidden: to a buffet with a "fish of the second freshness" and golden tens of caches; to the professor, a little subfolded hippocratov oath; To the most intelligent specialist in the "exposure" of the values \u200b\u200bhe himself, separating his head, gladly sends to "nothing."

The work is destroyed - but only among the decay committed already. Without this, there is simply no condition; He is everywhere, as noted behind him, without shadow, but this is because he himself is only a shadow, gaining the power where there is a missing for the forces of good, where he did not find himself due, did not realize, got lost or allowed to pull himself off there, Where - felt - it will be true. This is where "Yon", as one grandmother said about the devil, she grabbed.

One way or another, but all the idea of \u200b\u200bthe thought is: height from the company Woland only play the roles that we ourselves wrote for them. Where the situation is relatively normal, they walk to the degree of sparrobe and cat; Where more stiffer - there is already running jolly and giggle "checkered" with a fanging partner, and where it is completely hard - black wave is thickened, taking the empty eye on this point.

But everywhere, no matter how disgusting evil spirits, it remains to admit that the source of disasters by it is not in it. No wonder the unfortunate poet homeless, chasing the servants of Voland, flies his head on the glass, its own head, which is destined only to catch up; They are only glad to these persecution. Because here, the main reason for the pursuers is completely lost from the eye, the real reason for the destruction, aware of which is not easy to be: your own scattering and empty, desire to be rightful and pick any value as a toy, which, they say, just cunning The secret and nothing special, and breaking - "there she and the road", the word, the fact that another Russian writer determined as "we die ... from disrespecting themselves."

However, Bulgakov did not think that we would die. It is precisely that the decomposition is allowed here in different, invisible to the eye to show themselves to show themselves, reveal - and, however, it becomes nothing decisive, it becomes clear that it is influenced by the borders that it can move, but not to translate. We are present, approached and see how this remarkably interesting force acts in a whole series of images and changed persons; As she, barely wakes up a true, immediately hurries to him to join him, but someone shall be shared - quickly crashes him, corrosive, mock and bop. As she crawls around, looking for a gap, monkey, pretending to be a friend, etc. But no more: it can never grasp it genuine him began. And it means that all his cunning - only cleans, burns its weakness. Ruthlessly corrected that I did not want to fix myself. Its own position remains unenviable; As the epigraph says to the book: "Part of the strength, which always wants evil and always makes benefit." Everything ruined by it is restored, the burned shoots spare again, the interrupted tradition comes to life.

Of course, the source of copyright calm from there. It is also from afar - is connected to the beginning, which decomposition is not allowed. The novel is filled with this mood that does not speak directly, but gives him all his inner run.

1. Bulgakov M. A. Master and Margarita - M.: Pan Press, 2006

2. Galinskaya I. L. Riddles of famous books - M.: Science, 1986

3. Groznova N. A. Creativity Mikhail Bulgakov: research. Materials. Bibliography - L.: Science, 1991

4. Sokolov B. V. Bulgakovskaya Encyclopedia - M.: Myth, 1997

5. Sokolov B. V. Three lives of Mikhail Bulgakov - M.: Ellis Lak, 1997

6. Shneiberg L. Ya. From Gorky to Solzhenitsyn - M.: Higher School, 1995

Galinskaya I. L. Riddles of famous books - M.: Science, 1986 p.46

Groznova N. A. Creativity Mikhail Bulgakov: research. Materials. Bibliography - L.: Science, 1991 p.25

Bulgakov M. A. Master and Margarita - M.: Pan Press, 2006 p.112

Bulgakov M. A. Master and Margarita - M.: Pan Press, 2006 P.92

Sokolov B. V. Bulgakovskaya Encyclopedia - M.: Myth, 1997 p.96