Secrets of the master and margarita. The Big Deception of the Master and Margarita - fracking secrets of the "great" novel

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25.01.2012

The novel "The Master and Margarita" was the last for Bulgakov, it was the culmination of his work also because he wrote it for 12 years, constantly rewriting it, so that several of his editions have survived.

It is clear that Bulgakov wanted to convey to the reader some important ideas, and indeed to break through the Stalinist censorship, which he did not succeed. In the USSR, the novel was published only half a century after the death of the writer - in 1966 - during the liberal Brezhnev period.

Stalin was, of course, far from stupid and, most likely, grasped that the semantic and literal center of the novel is the Yershalaim chapters about Yeshua, which again and again pop up in the narrative. This in itself is a sign of their importance, and in terms of meaning, the ancient chapters are original.

In my opinion, one of the Bulgakov scholars Igor Sukhikh said this very well: "Although Yeshua acts in fact only in one big episode, his presence (or significant absence) turns out to be the semantic center of the entire Bulgakov book."

Bulgakov brilliantly showed the relevance of spiritual life, directly linking events from the life of Jesus Christ and modern Moscow, where the devil comes straight from the ancient chapters, a direct witness to the conversation between Pilate and Yeshua.

Perhaps the realism of the devil, and others, did not like Stalin, who was keen on educating a generation of atheists who would not be bothered by any "unnecessary" questions about the soul and eternal life.

In addition, Bulgakov "belittled" the moral image of the Soviet people, and where - in the capital of our Motherland, Moscow, whose residents are shown for the most part "spoiled by the housing issue", envious, greedy for money, constantly perceiving false information and having no idea about the true state of affairs. Probably, the main characters of the novel - the Master and Margarita - did not correspond much to the moral character of the builders of communism ...

If a devil, a magician, a wizard can appear in Soviet society, then he must, of course, be stupid, ridiculous and weak in comparison with the modern achievements of Soviet education, science and technology, as, for example, in L. Lagin's fairy tale "The Old Man Hottabych", published under life of Bulgakov, in 1938 ...

It is interesting that the heroes of the Yershalaim chapters have, as it were, parallels in modern Moscow, for example, Matthew Levi, who wrote for Yeshua, reminds the Master, also a languishing writer. But Pilate has no such obvious parallel. In my opinion, a modern Pilate can be called Stalin or any other atheistic ruler who, to a certain extent, “judges” spiritual culture, condemning it to execution or destruction “on behalf of the people”.

There is also no doubt that Bulgakov wanted to ridicule modern atheistic convictions and morals somewhat, punishing Woland and his retinue of modern Moscow figures right and left, and yet, I think, this is an accompanying idea of the work, not the main one.

This is the literature of trip, narcotic visions and insights, so characteristic of descendants, be it Tom Wolfe, William Burroughs, Aldous Huxley, Ken Kesey or Stephen King.

I cried, then laughed, then bristled like a hedgehog.

I read a lot under the pillow - crazy, what will you take!

It is with these words of Vysotsky that one can characterize the reading of Bulgakov's text “The Master and Margarita” in Soviet times by the average young man.

This "silent" regularly grows up, grows wiser, and, having decided to re-read MiM, suddenly discovers with surprise that now, for his matured consciousness, this "great novel of the 20th century" is simply inept, with repetitions and a lack of tedious logic, kilometers of lines about nothing, with secondary characters and trivial events, with primitive humor suitable for a pimply teenager ...

Fear and mysticism, the tension of the thriller and empathy for the drama - that which in his youth poked and made me tremble from the surging emotions - these feelings, too, suddenly did not exist.
There is a farce and a feeling of disbelief, disappointment, regret for the time spent ...

And by the way, dear viewers, below you can familiarize yourself with the introductory part of the entire series, which reveals the goals and objectives of one of our most rated material in recent years:

Oh, and the author of this unusual conspiracy thesis, Alexander Grinin, was tore to shreds by his traditionally-minded interlocutors - this is a must see !!! : yahoo:
Well, the soul of dissent on such a conceptual issue as the greatness of Mikhail Bulgakov in general, and the novel “The Master and Margarita” in particular, does not tolerate their soul of dissent, brought up on Soviet classics ... 😥

But great works cannot change so much and change the consciousness of the reader, they remain the same, rather they are obliged to strengthen the effect on the brain, on the psyche precisely because the experience of the past makes you both more honest and kinder, youthful maximalism and childish ruthlessness go away ...

And then everything died, both technically and ideologically.

Technically, it is a ragged, tattered narration, with repeated repetitions and speculation of eternal Soviet themes about housing, hunger, food, lordship and denunciations, about special services, terrible, but good, about party committees, house committees and social security ...
It’s not bad that Bulgakov writes about the actual, but the fact that he is boringly repeating himself and copy-pasting himself from chapter to chapter is technical primitivism ...

And ideologically:

- this is a complete religious and philosophical eclecticism, piled up in an unimaginable heap of strategic views of Christianity and its currents, now for the most part heretical, for two millennia zealously destroyed by the Bogomils, Pavlikians, Manichaeans and Albigensians ...

- this is a hodgepodge of Freemasonry and the teachings of secret conspiracy organizations;

- these are esoteric and mystical revelations and developments associated with them, this is Satanism, after all;

- these are the philosophical exercises of Grigory Skovoroda, the first Russian native-believer, and, more broadly, the Orthodox, we emphasize, the Orthodox, not Christian, world;

- these are sharply fashionable in those days ideas about the God-man, Frankenstein, Golem and other forerunners of the Terminator;

- after all, this is the literature of trip, narcotic visions and insights, so characteristic of his descendants, be it Tom Wolfe, William Burroughs, Aldous Huxley, Ken Kesey or Stephen King. After all, no one canceled his morphine past, although it is believed that he gave up at the end of the tenth years, and only the last years of his life passed in complete fog ...

By that time, most plots for literary innovation had been raped a million times, and the ambitious Bulgakov had no choice but to aim at a global unifying plot about everything and for everyone.

He swung, but it didn't work out - he strained and died, and the mediocre Elena Sergeevna “Margaritova-Nurenberg” found and attracted to baking pies from unripe Bulgakov's dough / text a whole cohort of literary and literary figures, who blinded according to their own understanding from what was “ the great novel of the 20th century ”…: mail:

However, it is better for you to evaluate the details and details of this discourse on your own in our large and very versatile series.

Concisely:

Khrushchev thaw - 1955 - 1964

"The Life of M. de Moliere" (novel, 1933, published in the USSR in 1962)
"Theatrical Novel" ("Notes of a Dead Man") (unfinished novel (1936-1937), published in the USSR in 1965)
"The Master and Margarita" (novel, 1929-1940, published in the USSR in 1966-1967, second version in 1973, final version in 1990)
"Heart of a Dog" (story, 1925, published in the USSR in 1987)
"To a secret friend" (unfinished story, 1929, published in the USSR in 1987)

BES Bulgakova Elena Sergeevna

BES - Elena Sergeevna Bulgakova (née Nurenberg, in the first marriage of Neyolova, by her second husband Shilovskaya; 1893 - 1970) - the third wife of the Russian writer and playwright Mikhail Afanasyevich Bulgakov, the keeper of his literary heritage. The main prototype of Margarita in the novel The Master and Margarita. Younger sister of Olga Sergeevna Bokshanskaya (1891-1948), employee of the Moscow Art Theater, personal secretary of Vladimir Ivanovich Nemirovich-Danchenko.

In 1961, the philologist A. Z. Vulis wrote a work on Soviet satirists and remembered the half-forgotten author of Zoyka's Apartment and Crimson Island. Woolis learned that the writer's widow was alive and established contact with her. After an initial period of mistrust, Elena Sergeevna gave the Master's manuscript to be read. Shocked, Vulis shared his impressions with many, after which rumors about a great novel began to circulate in literary Moscow. This led to the first publication in the Moscow magazine in 1966-1967. (circulation 150 thousand copies). It should be noted, however, that, despite the picturesque story about the role of A. Vulis, the key figures in the publication of the novel were still K. M. Simonov and E. S. Bulgakova, who were familiar since the Tashkent winter of 1942. E.S.Bulgakova has done a tremendous textual work to prepare the unfinished novel for publication.

“I would give you the manuscript, but I consulted with Him, - she looked at the portrait of an ironically smiling Bulgakov, which hung on the wall, - but He does not order.”

The chapter from the monograph "Soviet Satirical Novel", which detailed the plot of "The Master and Margarita" and examined its characters up close, was ahead of the first publication of the novel by almost two years.

There is no “romance”, there is a bunch of scattered pieces that can be composed in any order. There is no storyline, Margarita is a complete whore, the Master is zero without a wand, and the rest is rubbish on rubbish and contradiction on contradiction.

Where does this success come from then? The answer is obvious: a breath of fresh air. Nobody could read the musty Soviet "literature" at all, so they rushed to fresh meat, and even to anti-Sovietism.

Abram Zinovievich Vulis

Abram Zinovievich Vulis (September 7, 1928, Kiev - 1993, Krasnogorsk, Moscow region) - Soviet writer and literary critic.
Graduated from Central Asian State University (1951). Doctor of Philology. Member of the Writers' Union of the USSR (1960).

The author of the first works about the writer Mikhail Bulgakov. In 1961, A. Z. Vulis wrote a work on Soviet satirists and remembered the half-forgotten author of Zoyka's Apartment and Crimson Island. Woolis learned that the writer's widow was alive and established contact with her. After an initial period of mistrust, Elena Sergeevna gave the Master's manuscript to be read. Shocked, Vulis shared his impressions with many, after which rumors about a great novel began to circulate in literary Moscow. This led to the first publication in the Moscow magazine in 1966-1967 (circulation of 150 thousand copies). There were two prefaces: Konstantin Simonov and Vulis.

Vulis was a simple Soviet man from Tashkent, not an esthete, snob and literary gourmet - this is a happy fact in the literary fate of The Master and Margarita.

Later, when the wave raised by Vulis had already led to the publication of "Theatrical Novel" in the Novy Mir magazine, Elena Sergeevna began to let people see the book more often. In particular, "Akhmatov's youths", young poets, also read the novel. None of them, including Brodsky, liked the book.

Elena Sergeevna checked Vulis's work very strictly, fragments of the novel could not be taken away with them, the records were erased, taken away. And Vulis came up with a clever move. Once he brought a photographer with him, introduced him to his friend. Quite large chunks of the novel were filmed secretly, “in a spy way”.
Vulis told this with great pleasure.

Lydia Markovna Yanovskaya

Lydia Markovna Yanovskaya (nee Gurovich; 1926 - 2011) is a Soviet (since 1992 - Israeli) Russian writer, literary critic, researcher of the works of Ilya Ilf and Evgeny Petrov, Mikhail Bulgakov. Member of the International PEN Club, the Union of Russian-speaking Writers of Israel (URWI).

Since 1962, Lydia Yanovskaya has been working on the biography and creative heritage of Mikhail Bulgakov. From 1963 to 1968 she worked with M. Bulgakov's archive at the house of the writer's widow E. S. Bulgakova (up to the transfer of the archive to the V. I. Lenin State Library). The first and second editions of Lydia Yanovskaya's book "Mikhail Bulgakov" (1967 and 1971) were prepared for publication, but for ideological and censorship reasons they never came out. With the assistance of K. M. Simonov, it was possible to publish only the third book by Yanovskaya about Bulgakov, "The creative path of Mikhail Bulgakov," which became the first monograph about the writer in the USSR.

In 1988, having again gained access to the main archive of M. Bulgakov in the V. I. Lenin State Library, L. M. Yanovskaya discovered the loss of Bulgakov's most important manuscripts, appealed to law enforcement, state and public bodies of the USSR with a request to investigate and search for the missing unique documents. As a result of the unfolding print and public harassment, she was forced to emigrate.

The result of many years of work by L. M. Yanovskaya in Moscow, Kiev, Caucasian and other archives was the discovery of many unknown or forgotten works of M. Bulgakov. Yanovskaya first opened for the general reader "Khan's Fire", "Star Rash", "Red Crown", "Week of Enlightenment", "It was May ..." and other works that soon became an integral part of the writer's collected works.

Among the main textual works of L. Yanovskaya: the first restored original text of the novel "The Master and Margarita" (Kiev, 1989, Moscow, 1990), the first restored texts of "White Guard" and "Dog's Heart" by Mikhail Bulgakov, the first complete edition of "Notebooks" "Ilya Ilf, compilation and preparation for publication of the" Diary of Elena Bulgakova "(Moscow, 1990).

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Yesterday I watched Yuri Kara's film The Master and Margarita, which could not be released for 17 years. According to the director, there was enough mysticism on the set. The camera was consecrated by the father before filming, and for half a year everything was in order; but after the camera was changed, problems started. Some of the actors who starred in the film "The Master and Margarita" by Yuri Kara, and in the series of the same name by Vladimir Bortko, died suddenly.
Everything that concerns the novel by Mikhail Bulgakov "The Master and Margarita" is covered with mysticism and secrets.
Why?

Director Yuri Kara said that when they started filming ancient Judea in the famous Sudak fortress in Crimea, it suddenly started snowing, which is extremely rare in October. To top it off, the operator did not come and they forgot to bring the film.
When Yuri Kara went to Moscow for the film and the cameraman, right in front of Bulgakov's house on the Garden Ring, his new Volga broke down, the gearbox flew. After that, the film crew decided to shoot the desired scenes in the Holy Land in Israel.
The most dramatic scene of "The Crucifixion of Yeshua" was filmed in the desert near the Dead Sea in a 50-degree heat. Out of curiosity, Yuri Kara himself wanted to hang on the cross, but when, after 20 seconds, the earnest Burlyaev (in the role of Yeshua) began to yell “Take me off!”, He decided not to risk it.

Already finished, the film could not be released for 17 years. When the State Duma adopted a law according to which copyright has been protected for 70 years, the childless Bulgakov suddenly had “heirs”. Sergei Shilovsky - the grandson of Elena Sergeevna Bulgakova and Yevgeny Alexandrovich Shilovsky - the heir to their property, lives in America and runs the Mikhail Bulgakov Foundation. The one whose grandfather shot Bulgakov when Elena Sergeevna went to Mikhail Afanasyevich demanded, under a plausible pretext, the protection of the work from distortion, royalties for himself ...

Personally, the film “The Master and Margarita” by Yuri Kara seemed to me crumpled (in the film distribution), devoid of tragic depth. Most of all I liked Mikhail Ulyanov in the role of Pontius Pilate. Well, Nikolai Burlyaev as Yeshua Ha-Notsri. All the others were slightly replaying, turning the film adaptation into a comedy.
The music of Alfred Schnittke for the film seemed less expressive than the music of Igor Kornelyuk in the series of the same name by Vladimir Bortko. Yes, and the series "The Master and Margarita" itself, for all the television stretch, I liked more.

I have already watched four episodes of Yuri Kara's films on the Internet for a long time. I thought the movie would look better on the big screen. But, apparently, not all texts can be adequately filmed.
There are so many “shoals” in Yuri Kara's film that I don’t want to list them. It is impossible not to notice the disappearing and now appearing spots on the face of Ivan Homeless, talking with the Master. And the crosses standing in the middle of the deserted desert, made at the Gorky studio ...
And why did Yuri Kara need a gag in the form of Peter the Great, Vladimir Lenin, Joseph Stalin, Adolf Hitler, who were present at the ball at Satan's?
In short, this is a 1994 film.

The novel "The Master and Margarita" is a classic menippea (according to M.M. Bakhtin's definition, it is a philosophical genre of literature, "experimental fiction" for artistic analysis of metaphysical ideas and "the last questions of being"; "a genre that includes a" laughing element ", dreams , dreams, madness, scandalousness ... ").

In the novel "The Master and Margarita" there is a lot of unsaid, mysteries and mysticism. We can say that the meanings laid down by the author have not yet been deciphered.
So, for example, in the novel there are many characters, but only one has no name - the master.
Who is hiding behind this meaningful word?

The first versions of the book did not contain any "inner romance" about Yeshua and Pilate, or the story of the Master and Margarita.
In total, there are six author's editions of the novel (some have eight).

Bulgakov got the idea to write a novel about the devil back in the late 1920s. As a child, he watched the opera Faust 41 times!
Bulgakov began work on the novel (in the final edition called "The Master and Margarita") in 1928.

In the first edition, the novel had variants of titles: "Black Magician", "Engineer's Hoof", "Juggler with a Hoof", "V.'s Son", "Tour". The role of the master was performed by a humanities scientist named Fesya. According to Bulgakov's plan, he was a professor of the Faculty of History and Philology at the university, who possessed phenomenal erudition in the demonology of the Middle Ages, which made him look like Goethe's Wagner.
In 1929 Bulgakov sent the first edition of "The Engineer's Hoof" to the almanac "Nedra", and, of course, was refused.
On March 18, 1930, after receiving news of the ban on the play "Cabal of the Sanctifiers", he destroyed the first edition of the novel. Bulgakov said this in a letter to the government: “And personally, with my own hands, I threw a draft of the novel about the devil into the stove ...”.

Resumed work on the novel by M. Bulgakov in 1931. In the rough sketches, Margarita also appeared, and her then unnamed companion was the Master, but Woland acquired his own riotous retinue.
While in Leningrad with his wife, the writer took out an oilcloth general notebook and wrote on the title page “M. Bulgakov. Novel. 1932 "... During a few days in Leningrad, Bulgakov wrote and dictated to Elena Sergeevna (his third wife, nee Nurenberg) the first seven chapters.
The second edition, which was created before 1936, had the subtitle "Fantastic Novel" and variants of the titles "The Great Chancellor", "Satan", "Here I Am".

Bulgakov destroyed both the first and second editions of the novel.
Why?
Remains from the first two editions are kept in the manuscript department of the Russian State Library.

The third edition, launched in the second half of 1936, was originally called "The Prince of Darkness", but already in 1937 the title "The Master and Margarita" appeared.
The author's editing continued almost until the writer's death. Bulgakov stopped it with Margarita's phrase: “So this is, therefore, the writers are following the coffin?” ...

The dying Bulgakov was worried about only one thing: to finish writing before he died! "To know, to know ..." - he whispered to his wife, barely audible.

The full text of the novel The Master and Margarita was first reprinted on June 25, 1938 by the sister of Elena Sergeevna Bulgakova.

Obviously, in the third version, containing an "inner romance" about Pontius Pilate, as well as the story of the master and Margarita, Bulgakov described his life, or the life of someone else.

Like any writer, Bulgakov wrote mainly about what he came across personally. The White Guard, Theatrical Novel, The Master and Margarita are largely autobiographical works.
The prototype of the Behemoth cat was the big black dog Bulgakov, whose name was Behemoth. This dog was very smart. When Bulgakov celebrated the New Year with his wife, after the chiming clock, his dog barked 12 times, although no one taught her this.
The master's basement was copied mainly from the Topleninov brothers' mansion (9 Mansurovsky per.). The playwright Sergei Alexandrovich Ermolinsky (1900-1984), who served as the prototype for Aloisy Mogarych, also lived there.
Even Annushka s Sadovaya, who spilled the oil, and she really existed. Not to mention the prototypes of the chairman Massolit Berlioz, the critic Latunsky, the writer Lavrovich.
Bulgakov expressed himself in such a way that, they say, all of them will be reckoned with in the new novel The Master and Margarita.

At the time of the novel, the age of the master (“a man of about thirty-eight”) is exactly the age of Bulgakov in May 1929. The newspaper campaign against the Master and his novel resembles the newspaper campaign against Bulgakov in connection with the novel “Fatal Eggs”. The winning in the lottery by the Master of 100 thousand rubles fully corresponds to the 100-thousandth prize, for which Bulgakov worked on the "Course of the History of the USSR".

One of my acquaintances wrote her thesis on the theme "The linguistic personality of the character (based on the" Theatrical novel "by MABulgakov)". As a linguist, she analyzed the language of Bulgakov's characters. The language of each character, as well as the style of each author, is original and unique. Mikhail Bulgakov in the "Theatrical novel" in the image of Sergei Leontievich Maksudov expressed his life story and the production of "Days of the Turbins" on the stage of the Moscow Art Theater, relations with Stanislavsky and Nemirovich-Danchenko.

Bulgakov worked on the novel The Master and Margarita for twelve years. After his death, for twenty-three years, his last wife, Elena Sergeevna Bulgakova, worked on editing the novel.
Only twenty-six years after the death of the writer in 1966, the novel was published in the Moscow magazine, with a circulation of 150 thousand copies. The magazine "Moscow" was not sold in kiosks and was available only by subscription. Therefore, many typed the text on a typewriter and passed it on to each other.

At that time I was studying at the preparatory department of the Faculty of Philosophy. Mikhail Bulgakov was not studied either at school or at the university. The story "Heart of a Dog" was banned. Friends in the faculty let me read it in a typewritten reprint.

Like many others, I love Mikhail Afanasyevich Bulgakov's novel The Master and Margarita. For the first time I was able to read a novel in a typed reprint, which I have been given to this day. It seemed that this is the manuscript of Mikhail Afanasevich himself ... I read it in one day and two nights!

Already at the first reading, the novel "The Master and Margarita" surprised me with its versatility and some eclecticism. I was struck by the abundance of historical details, titles, names. However, later I found out that many of them are wrong and have nothing to do with the true history.

In Bulgakov's novel, Pontius Pilate says a phrase that the real Pilate could not utter in any way: "There has never been, is not, and will never be a greater and more beautiful power for people than the power of the Emperor Tiberius."
Emperor - means the winner. That was the name of the commander-in-chief of the Roman army. Therefore, the title "emperor" was not considered hereditary, and was not the most honorable.

What rank was Pontius Pilate? In one case, Bulgakov calls him a tribune (which corresponds to the rank of colonel), in the other case, the commander of a cavalry turma (which corresponds to a lieutenant).

Well, the famous white cloak with a bloody lining, which Bulgakov sometimes calls a mantle. Of course, men, especially military men, wore raincoats, but never a mantle! Because the mantle in ancient Rome was worn by women of brothels (lupanarii).

In Bulgakov's image, a bread shop in Jerusalem of the 1st century AD has nothing to do with historical reality. I saw in Jerusalem that bakers themselves sell bread, and only men, and only whole cakes or breads.

But what was my disappointment when I learned that the main ideas of the novel by Mikhail Bulgakov, to put it mildly, were borrowed from other authors.
This is, of course, not about primitive plagiarism, but about what was the source of inspiration. In the end, the whole culture is based on borrowing.
Fyodor Mikhailovich Dostoevsky, as you know, was also a talented interpreter of other people's ideas. The idea of the conversation between the Grand Inquisitor and Christ in the novel "The Brothers Karamazov", the story of a poor student and a prostitute in the book "Crime and Punishment" does not belong to him; as well as the plot with 100 thousand rubles in the novel The Idiot, which Nastasya Filippovna throws into the fire blazing in the fireplace.

But the talent of Dostoevsky, like Mikhail Bulgakov, lies in the fact that they wrote better, expressed the idea better. Therefore, they are read and remembered, but the "fathers of the idea" have been forgotten.

We still do not know for sure who the true author of the tragedies Hamlet and Romeo and Juliet is. They still argue over who the authorship of the novel "Quiet Flows the Don" belongs to.
I, too, preferred not to put my name on the title page, and under the copyright is the name of my friend who helped me publish the novel.

It is curious that Mikhail Bulgakov never mentions the name of the master. Although, was it difficult for him to come up with a "speaking" surname?
Or maybe Bulgakov did not want to reveal the name of the master, and therefore did not name him, leaving us to solve this mystery?

It is believed that Mikhail Bulgakov meant himself by the Master. He was a member of the Writers' Union. MASSOLIT stands for the Master of Socialist Literature.

"Are you a writer?" - asks the poet Homeless.
“I am a master,” the night visitor replies.

Some believe that the prototype of the master was Maxim Gorky. And the text contains a lot of hints at this. The same is the opinion of Alfred Barkov, the author of the book “The novel by Mikhail Bulgakov“ The Master and Margarita ”: an alternative reading”. He tries to prove that the writer's contemporaries are encrypted in the characters of the novel: Master - Maxim Gorky, Margarita - Maria Andreeva, Levi Matvey - Lev Tolstoy, Woland - Lenin, Ivan Homeless - Bulgakov himself.

Or maybe everything is simple, and Bulgakov really portrayed himself? The madhouse is the USSR, the devil is in the Kremlin, and he - Bulgakov - is a master, unlike many thousands of massolite writers ..?

Bulgakov scholars offer various concepts of reading the novel: historical and social (V.Ya. Lakshin), Marietta Chudakova - biographical; aesthetic with a historical and political context V.I. Nemtsev.

But even such a famous Bulgakov scholar as Marietta Chudakova, who wrote the book "The Biography of Mikhail Bulgakov" and personally knew the writer's wife Elena Sergeevna Bulgakova, will never tell the whole truth, will not reveal the secret of the writer's genius.

Nowadays, many books are devoted to the work of Mikhail Bulgakov. One of them is "The Life of Bulgakov" by Viktor Petelin. In it, in particular, he writes: “We know nothing about the conception of the second novel” (about Yeshua and Pontius Pilate - NK.)

How was the idea for the story of Yeush Ha-Nozri and Pontius Pilate born - the so-called "Gospel of Michael"?

Priest Andrei Kuraev in his book "The Master and Margarita": for Christ or against? " calls the novel in the novel (the Yershalaim story) "The Gospel of Satan." Indeed, in the early editions of the novel, the first chapter of Woland's story was called "The Gospel of Woland" and "The Gospel of the Devil."

Viktor Petelin (author of the book "The Life of Bulgakov) tells how a familiar artist N.A. Ushakova presented Mikhail Afanasyevich with a book for which she was making a cover -" Venediktov, or Memorable Events of My Life. " The author, who has not been discovered anywhere, is Professor Alexander Vasilyevich Chayanov.

“N. Ushakova, illustrating the book, was amazed that the hero, on whose behalf the story is being told, bears the surname Bulgakov. Mikhail Afanasyevich was no less amazed by this coincidence.
The whole story is connected with Satan's stay in Moscow, with Bulgakov's struggle for the soul of his beloved woman, who fell under the control of the Devil. "
“I say with full confidence that this little story served as the birth of the idea, the creative impetus for writing the novel“ The Master and Margarita ”.

“L.E.Belozerskaya (the second wife of M.A.Bulgakov), comparing the speech structure of Chayanov's story and the first edition of The Master and Margarita, comes to the conclusion:“ Not only the speech structure is the same, but also the content of the introduction: the same fear, that an author, an unprofessional writer, cannot cope with the description of the "memorable things" of his life. "

“Words have their own conscience,” said Akhmatova and Mandelstam. In the film "Black Snow" Mikhail Bulgakov's confession is heard that he, of course, "got his mouth dirty"!

Irina Lvovna Galinskaya (author of the book "Cryptography of the novel" The Master and Margarita "by Mikhail Bulgakov), analyzing the sources on the Albigensian wars and, in particular, the" Song of the Albigensian Crusade "of the 15th century, finds the construction of the murder of Judas by Bulgakov in the real murder of the Roman legate de Castelnau ".

The text that we all read was edited by AA Sahakyants - editor of the publishing house "Khudozhestvennaya literatura".
As a result of Sahakyants' work, 25 sentences disappeared from the manuscript, 65 new sentences were inserted instead. She changed 317 Bulgakov's words, replaced 115 grammatical constructions and made 500 lexical replacements.
As a result, the text, in my opinion, acquired a more correct artistic form, but lost the author's "breath".

A.A. Sahakyants said: “The novel“ The Master and Margarita ”can be called a story-driven thing, but internally not completely completed, that is, it has been brought to an end, but Bulgakov returned to many of its chapters again and again, because the novel was written for more than ten years ...
Moreover, it is curious that all the corrections, sometimes even completely new pieces, refer only to the "Moscow" pages, that is, living and changing modernity; "Yershalaim" pages - about Pontius Pilate and Yeshua - remained absolutely unchanged, they settled in the mind of the writer once and for all ... "

Already ill in 1939, Bulgakov dictated the last changes to his wife. She entered them in a notebook. “On the margins of the typescript there is a reference to 'notebook No. 2', but this notebook was not found in Bulgakov's archives. ES Bulgakova transferred its archive in ideal (! - NK) order to the Manuscript Department of the Lenin Library. "

Why did notebook number 2 disappear, and what was in it?

Once on a literary forum I read that the image of the Master had a real prototype. This man was an officer in his youth, then he retired, took office, began to write a novel about Pontius Pilate, and even got a business trip for a trip to Jerusalem. But the revolution began, he returned to Russia, where he could no longer find a place for himself, and hid in an insane asylum. From there he was taken away by a patronizing woman, from whom he allegedly lived, almost in the same house with Mikhail Bulgakov. Bulgakov, it seems, even knew him, and after his death, he used the remaining manuscripts and the very story of his life.

It is known that it is easier and easier to use a real story than to make it up.

Why did Bulgakov destroy the first two editions of the novel and many drafts?
It turns out that the manuscripts are burning ?!

I will quote several eloquent facts from the Bulgakov Encyclopedia.

“A major role in the interpretation of the early history of Christ in the novel“ The Master and Margarita ”was played by Sergei Chevkin's play“ Yeshua Ganotsri. An Impartial Discovery of Truth (1922) ... Chevkin's play has numerous parallels with the Yershalaim part of The Master and Margarita. From this source Bulgakov drew the principle of different from the Gospel transcription of names and geographical names ... "

“At the feet of Pontius Pilate, a puddle of red wine from a broken jug is a reminder of Yeshua Ha-Nozri's innocent blood just spilled. The episode associated with the emergence of this puddle has a clear parallel in Chevkin's play. "

“Most likely, like the Falernian, the Cecubian wine was white. But Bulgakov deliberately sacrificed the detail for the sake of the symbol ... The master and Margarita Azazello poisoned with red Falernian wine, which does not exist in nature ”.

"Chevkin and Bulgakov have the same not only symbolism, but also psychological motivation."

"An unconventional interpretation of the behavior of a disciple who betrayed Yeshua, given by Chevkin, was partially reflected in Bulgakov's image of Judas of Kiriath, while in Pontius Pilate of the scenes of Yershalaim, the influence of the poem" Pilate "by Georgy Petrovsky (1893-1894) is noticeable."

"An important role in the interpretation of Christ in" The Master and Margarita "was played by Bulgakov's acquaintance with the story of Anatole France" The Procurator of Judea "(1891) ... The cordon of Bald Mountain near Bulgakov exactly repeats the cordon of Mount Gazim in The Procurator of Judea."

"... came into Bulgakov's novel from Flaubert's story" Herodias "(1877) ..., probably, such a significant detail of Pontius Pilate's clothing as a bloody lining on a white cloak - a harbinger of the forthcoming shedding of innocent blood."

"The very construction of the scene of the interrogation of Yeshua by Pilate in Bulgakov's novel is also connected with the work of DF Strauss" The Life of Jesus ".

"In" The Master and Margarita "there are surprising similarities with the book of the famous Russian writer, poet and thinker Dmitry Sergeevich Merezhkovsky (1865-1941)" Jesus the Unknown ", published in Belgrade in 1932"

“… A number of specific coincidences with Merezhkovsky's book appeared in The Master and Margarita in the mid-1930s, probably under the influence of his acquaintance with Jesus the Unknown.
The image of Pontius Pilate in Merezhkovsky and Bulgakov turned out to be practically identical. "

“Quote from Goethe's Faust:“ ... so who are you, finally? “I am part of the power that always wants evil and always does good,” came into Bulgakov’s novel as an epigraph also from “Jesus the Unknown”.

“The author of The Master and Margarita borrows from Merezhkovsky some of the realities of the era, such as the mosaic in the praetorium, where the procurator is interrogating, or the marching chair of the centurion, on which Afranius sits during the execution. The order of the procurator to untie Jesus' hands is also from "Jesus the Unknown".

The purpose of this article of mine was not to expose the plagiarist, but to understand the mechanisms of the origin of the idea and how it is embodied in a finished work.

I read the novel "The Master and Margarita" several times, and was so inspired by it that ten years later I wrote my own research novel "Alien, Strange Incomprehensible Extraordinary Stranger". It also has a story about Jesus Christ. I have kept all eleven editions of a novel that I have been writing for six years.

From the mass of books read, I, like Mikhail Bulgakov, most liked the work of the English researcher F. Farrar "The Life of Jesus Christ." This book convinces with its historical facts. But in this book I was attracted by the fact that both the robber Bar-Rabban and the preacher Ha-Nozri had the same name - Jesus (as Farrar claims). On this I built the conflict of my plot.

Of course, I was impressed not only by the novel "The Master and Margarita", but also by Dostoevsky's "legend about the Grand Inquisitor" from the novel "The Brothers Karamazov", watched many films about Jesus Christ, attended the play by Yuri Lyubimov "The Master and Margarita" ...
But I deliberately did not read other people's novels about Jesus Christ, so that it would not affect my own vision. I read the story "Judas Iscariot" by Leonid Andreev later.

And so, when, on the night of Good Friday before Easter, a story about two Jesus was written in one breath, putting an end to it, I felt that the novel would definitely see the light of day. Although there was no reason for this - after the disaster I was a lonely invalid with broken legs.
And it's still a miracle for me that the novel has been published!

“Alien, strange, incomprehensible, extraordinary alien” is also a menippea, but not a classical one, although it is devoted to the eternal question - Why does a person live ?!
The conclusion that I came to as a result of writing the novel - LOVE TO CREATE A NECESSITY!

But to understand this, one had to die, be resurrected, go the long way of being crucified with Christ ...

“My spirit hovers over the fallen people crowding around the cross of shame. Calvary and suffering are behind, but salvation and freedom are ahead. I love, loving, I am saved by love, only because I believed in her. Like a bird I am inspired by love, because I have entrusted my soul to God. I believed without a doubt in my soul that God would hear all my prayers, and would not leave one in trouble, giving me a cross instead of a battlefield. A miracle has happened! The shameful cross became the Triumph of Love instead of humiliation. Jesus Christ, take me with you, freeing my spirit for Ascension. "
(from my novel "A strange strange strange unusual stranger" on the site New Russian Literature. You can follow the discussion of this entry using. Comments and notifications are now closed.

Director Yuri Kara said that when they started filming ancient Judea in the famous Sudak fortress in Crimea, it suddenly started snowing, which is extremely rare in October. To top it off, the operator did not come and they forgot to bring the film.
When Yuri Kara went to Moscow for the film and the cameraman, right in front of Bulgakov's house on the Garden Ring, his new Volga broke down, the gearbox flew. After that, the film crew decided to shoot the desired scenes in the Holy Land in Israel.
The most dramatic scene of "The Crucifixion of Yeshua" was filmed in the desert near the Dead Sea in a heat of 50 degrees. Out of curiosity, Yuri Kara himself wanted to hang on the cross, but when 20 seconds later the earnest Burlyaev (in the role of Yeshua) began to yell "Take me off!", He decided not to risk it.

Already finished, the film could not be released for 17 years. When the State Duma adopted a law according to which copyright has been protected for 70 years, the childless Bulgakov suddenly had "heirs". Sergei Shilovsky - the grandson of Elena Sergeevna Bulgakova and Yevgeny Alexandrovich Shilovsky - the heir to their property, lives in America and runs the Mikhail Bulgakov Foundation. The one whose grandfather shot Bulgakov when Elena Sergeevna went to Mikhail Afanasyevich demanded, under a plausible pretext, the protection of the work from distortion, royalties for himself ...

Bulgakov destroyed both the first and second editions of the novel.
Why?
Remains from the first two editions are kept in the manuscript department of the Russian State Library.

The dying Bulgakov was worried about only one thing: to finish writing before he died! "To know, to know ..." - he whispered to his wife, barely audible.

The full text of the novel The Master and Margarita was first reprinted on June 25, 1938 by the sister of Elena Sergeevna Bulgakova.

Obviously, in the third version, containing an "inner romance" about Pontius Pilate, as well as the story of the master and Margarita, Bulgakov described his life, or the life of someone else.

At the time of the novel, the age of the master ("a man of about thirty-eight") is exactly the age of Bulgakov in May 1929. The newspaper campaign against the Master and his novel is reminiscent of the newspaper campaign against Bulgakov in connection with the novel "Fatal Eggs". The winning in the lottery by the Master of 100 thousand rubles fully corresponds to the 100-thousandth prize, for which Bulgakov worked on the "Course of the History of the USSR".

Like many others, I love Mikhail Afanasyevich Bulgakov's novel The Master and Margarita. For the first time I was able to read a novel in a typed reprint given to me, which I still keep. It seemed that this is the manuscript of Mikhail Afanasevich himself ... I read it in one day and two nights!

Already at the first reading, the novel "The Master and Margarita" surprised me with its versatility and some eclecticism. I was amazed by the abundance of historical details, titles, names. However, later I found out that many of them are wrong and have nothing to do with the true history.

In Bulgakov's novel, Pontius Pilate says a phrase that the real Pilate could not utter in any way: "There has never been, is not, and will never be a power greater and more beautiful for people than the power of the Emperor Tiberius."
Emperor - means the winner. That was the name of the commander-in-chief of the Roman army. Therefore, the title "emperor" was not considered hereditary, and was not the most honorable.

What rank was Pontius Pilate in? In one case, Bulgakov calls him a tribune (which corresponds to the rank of colonel), in the other case, the commander of a cavalry turma (which corresponds to a lieutenant).

We still do not know for sure who the true author of the tragedies "Hamlet" and "Romeo and Juliet" is. They still argue over who the authorship of the novel "Quiet Flows the Don" belongs to.
I, too, preferred not to put my name on the title page, and under the copyright is the name of a friend of mine who helped me publish the novel.

It is believed that Mikhail Bulgakov meant himself by the Master. He was a member of the Writers' Union. MASSOLIT stands for the Master of Socialist Literature.

"Are you a writer?" - asks the poet Homeless.
“I am a master,” the night visitor replies.

Some believe that the prototype of the master was Maxim Gorky. And the text contains a lot of hints at this. This is the opinion of Alfred Barkov, the author of the book "The novel by Mikhail Bulgakov" The Master and Margarita ": an alternative reading". He tries to prove that the writer's contemporaries are encrypted in the characters of the novel: Master - Maxim Gorky, Margarita - Maria Andreeva, Levi Matvey - Lev Tolstoy, Woland - Lenin, Ivan Homeless - Bulgakov himself.

How was the idea for the story of Yeush Ha-Nozri and Pontius Pilate born - the so-called "Gospel of Michael"?

“Words have their own conscience,” said Akhmatova and Mandelstam. In the film "Black Snow" Mikhail Bulgakov's confession is heard that he, of course, "got his mouth dirty"!

Why did notebook number 2 disappear, and what was in it?

It is known that it is easier and easier to use a real story than to make it up.

Why did Bulgakov destroy the first two editions of the novel and many drafts?
It turns out that the manuscripts are burning ?!

I will quote several eloquent facts from the Bulgakov Encyclopedia.

“A major role in the interpretation of the early history of Christ in the novel“ The Master and Margarita ”was played by Sergei Chevkin's play“ Yeshua Ganotsri. An Impartial Discovery of Truth ”(1922) ... Chevkin’s play has numerous parallels with the Yershalaim part of The Master and Margarita. From this source Bulgakov drew the principle of different from the Gospel transcription of names and geographical names ... "

"Chevkin and Bulgakov have the same not only symbolism, but also psychological motivation."

"An important role in the interpretation of Christ in" The Master and Margarita "was played by Bulgakov's acquaintance with Anatole France's story" The Procurator of Judea "(1891) ... The cordon of Bald Mountain near Bulgakov exactly repeats the cordon of Mount Gazim in The Procurator of Judea."

"... came into Bulgakov's novel from Flaubert's novel" Herodias "(1877) ..., probably, such a significant detail of Pontius Pilate's clothing as a bloody lining on a white cloak - a harbinger of the forthcoming shedding of innocent blood."

"The very construction of the scene of the interrogation of Yeshua by Pilate in Bulgakov's novel is also connected with the work of DF Strauss" The Life of Jesus ".

"In" The Master and Margarita "there are surprising overlaps with the book of the famous Russian writer, poet and thinker Dmitry Sergeevich Merezhkovsky (1865-1941)" Jesus Unknown ", published in Belgrade in 1932"

"A quote from Goethe's" Faust: "... so who are you, finally? “I am part of the power that always wants evil and always does good," came to Bulgakov's novel as an epigraph also from "Jesus the Unknown."

The purpose of this article of mine was not to expose the plagiarist, but to understand the mechanisms of the origin of the idea and how it is embodied in a finished work.

Of course, I was impressed not only by the novel "The Master and Margarita", but also by Dostoevsky's "legend about the Grand Inquisitor" from the novel "The Brothers Karamazov", watched many films about Jesus Christ, attended the play by Yuri Lyubimov "The Master and Margarita" .. ...
But I deliberately did not read other people's novels about Jesus Christ, so that it would not affect my own vision. I read the story "Judas Iscariot" by Leonid Andreev later.

But to understand this, one had to die, be resurrected, walk the long path of co-crucifixion with Christ ...

“My spirit hovers over the fallen people crowding around the cross of shame. Calvary and suffering are behind, but salvation and freedom are ahead. I love, loving, I am saved by love, only because I believed in her. Like a bird I am inspired by love, because I have entrusted my soul to God. I believed without a doubt in my soul that God would hear all my prayers, and would not leave one in trouble, giving me a cross instead of a battlefield. A miracle has happened! The shameful cross became the Triumph of Love instead of humiliation. Jesus Christ, take me with you, freeing my spirit for Ascension. "
(from my novel "A strange strange strange strange unusual stranger" on the site New Russian Literature

Before his death, Mikhail Afanasevich said: "I wanted to serve the people ... I wanted to live and serve in my corner ... I did no harm to anyone ...".

P.S. I would be grateful to everyone who will add or clarify the content of this article of mine.

The immortal novel by M.A. Bulgakov's The Master and Margarita is experiencing its rebirth. A new rethinking of the world masterpiece belongs to Boris Sokolov. His fascinating detective story "Secrets of the Master and Margarita". Deciphered Bulgakov "aroused great interest and rapidly growing popularity among fans of Mikhail Afanasyevich.

Mikhail Bulgakov gained worldwide fame, undoubtedly, thanks to his novel The Master and Margarita. Few people did not hold the legendary work in their hands. We get to know him as schoolchildren, but he attracts us so much that it simply takes us prisoner and never lets go.

True, many, opposing its power, call the novel fantastic nonsense and seek to quickly throw it out of their heads. But true connoisseurs of Mikhail Afanasyevich's work return to the pages of The Master and Margarita again and again. His heroes entered our lives, and the words became winged.

M. Bulgakov became famous almost immediately after the release of the novel, but the author received universal gratitude only after his death. For a long time, the work was banned, censors constantly forced M. Bulgakov to cut out more or less suspicious episodes from the work.

For the first time an abridged version of the novel appeared in 1967 in the Moscow magazine. In the future, the book has undergone about 8 editions. There is no strictly canonical novel, since it was not completed by the author, the endings were added by the editors.

But they also had to work on this text - it is impossible to publish everything one to one. The 70s were marked by the peak of the popularity of "The Master and Margarita", everyone just read this work. This was also due to the fact that Soviet literature seemed to be something exotic.

In 1967, Boris Sokolov also read the famous novel for the first time. From that moment on, he began to study the work of M. Bulgakov. In 1981, he found an interesting source for the play "Running", wrote an article on this subject, which he published only in 1985. And since then he has become quite closely engaged in the study of the life path and work of the great writer.

First, he mastered the topic "Bulgakov and the Civil War", then mainly - "The Master and Margarita". But B. Sokolov studied all the works of Mikhail Afanasyevich to one degree or another, even published some of them.

For example, the editions of screenplays for the works of Nikolai Gogol "The Inspector General" and "Dead Souls". In 1988, the publishing house "Vysshaya Shkola" commissioned B. Sokolov to write a commentary on the novel "The Master and Margarita", which prompted the creation in 1991 of his first book "The novel" The Master and Margarita ": Sketches of a Creative History".

This work was soon forgotten, and most of its editions were sent to Hungary, where there was tremendous interest in The Master and Margarita. Only by the end of the 70s, the novel was reprinted 5 times and was released in two languages. In the same year B. Sokolov published a short biography of M. Bulgakov.

In his new book B. Sokolov reveals the secrets of The Master and Margarita.

After all, everything that happens in M. Bulgakov's novel is not a continuous fiction of the author. This is an encrypted symbolic romance. In it, Mikhail Afanasevich shows a complex interweaving of real prototypes, literary and historical sources.

Throughout his life, he read about ten thousand books. He embodied all his knowledge in the novel. While writing it, Mikhail Afanasyevich could not even imagine that someday his riddles would be solved.

B. Sokolov reveals that V. I. Lenin served as Woland's prototype. The famous police bloodhound Tuzbuben was looking for Woland based on the work “The Master and Margarita”.

In Bulgakov's archive B. Sokolov discovered a clipping from the newspaper Pravda dated November 6-7, 1921, which tells how Lenin and Zinoviev were hiding from the provisional government in Finland. At that moment, the entire bourgeois press wrote that the well-known police bloodhound Tref had been brought in to capture them. MA Bulgakov removes direct names and dates, but everyone understood what the author wanted to say by this.

Mentioned in the novel and about I.V. Stalin, about whom Woland spoke with respect: "He is doing his job right ... it's time for us to leave Moscow." But later M. Bulgakov cut out this paragraph from the novel, believing that it would not pass the censorship.

“Someone is now proving that Woland’s words were not addressed to Joseph Stalin, but to an unnamed fighter pilot. Funny. But I have studied M. Bulgakov enough not to be serious about such assumptions, ”said Boris Sokolov at the presentation of his book.

The next secret that a modern author reveals is the structure of the work. B. Sokolov claims that the novel is strictly threefold. Throughout the book, there is the number “three”. First of all, this is the existence in the novel of three worlds: modern Moscow, ancient Yershalaim, otherworldly timeless. But the author does not deny the existence of a fourth world, an imaginary one, associated with minor characters.

The main discovery of B. Solovyov is the discovery of the internal chronology of the novel, which he found confirmation in the many drafts of M. Bulgakov. It has been proven quite convincingly that the scenes of Yershalaim take place during the four April days of 29 AD. And the action of the Moscow scenes - from May 1-5, 1929 (if according to the old style, then this is April). The interval between them is exactly 1900 years.

Irrespective of B. Sokolov, this was also discovered by Olga Soloukhina. She published her work much earlier, so the author of The Secrets of The Master and Margarita had to mention her name in the list of references.

In his book, B. Sokolov convincingly proved that the novel "The Master and Margarita", perceived by everyone as a fantastic satire, is nothing more than a complex interweaving of historical plots and prototypes.

Alena Kulikova

Secrets of the master and margarita. The Big Deception of the Master and Margarita - fracking secrets of the "great" novel

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I cried, then laughed, then bristled like a hedgehog.

I read a lot under the pillow - crazy, what will you take!

And two more important points: