The theme of talent in the work of the master and margarita. True and False Creativity

03.03.2020

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The theme of creativity worried Mikhail Afanasyevich Bulgakov throughout his life. Deep thoughts about the fate of the artist and his destiny, the desire to comprehend the full responsibility of the writer to the people and humanity never left Mikhail Afanasyevich, and in the last years of his life they became especially painful.

It fell to Bulgakov to live and create in an unusually harsh time. The revolution and civil war, which brought death and physical suffering, attempts to build a new state, which turned into chaos, devastation and brutal repression, responded with incredible pain in the soul of the humanist artist and were reflected in his immortal creations. However, the most terrible thing that the era of terror brought was the spiritual decomposition of the personality, which, according to the writer, could only be stopped by the great power of art, because the creator is like God: he creates the world and man in it with the Word.

It is difficult to read the tablets of the future, but the best writers and thinkers of the first third of the 20th century, not indifferent to the fate of the Fatherland, foresaw the coming misfortunes. Mikhail Bulgakov dreamed of a humane and harmonious society in which the field of artistic creation would be devoid of ideological pressure.

The "disgusting world" of false art

From the first pages of the novel "The Master and Margarita" the reader enters the contemporary author's "world of literature" and meets a great many characters: Ivan Nikolaevich Ponyrev, Mikhail Aleksandrovich Berlioz, Zheldybin, Beskudnikov, Dvubratsky, Nepremenov, Poprikhin, Ababkov, Glukharev, Denis-kin , Lavrovich, Ahriman, Latunsky, Ryukhin and others. The first in the gallery of characters are Berlioz, editor of a Moscow magazine, chairman of MASSOLIT, and Ponyrev, a young poet. Mikhail Aleksandrovich, a well-fed, orderly citizen with huge glasses, on a hot spring day at the Patriarch's Ponds, conducted a conversation with Ivan Nikolaevich about Jesus Christ. Like most writers of his time, Ivan Bezdomny received an order from the editor to create an anti-religious poem. Homeless fulfilled the order, but Berlioz remained quite uncomfortable. pleased with the composition of his student. Ivan had to convince the mass reader that Jesus was a product of human fantasy, a fairy tale for the ignorant, and from the poet's pen appeared “completely alive” Jesus, albeit endowed with all negative qualities.

The history of the creation of the "unfortunate poem" pushes the reader to a huge moral problem of the 20th century - mass nihilism, a general lack of faith in either God or the devil.

The chairman of MASSOLIT, in a dispute with Ivan, mobilized all his knowledge of a "very educated person." Referring to Philo of Alexandria, Josephus Flavius, Berlioz tried to prove to the poet that Jesus Christ never existed. Even the story of Tacitus in the Annals about the execution of Jesus is, in the opinion of the editor, a gross forgery. “We are atheists,” Berlioz proudly declares to the suddenly appeared Woland. "There is no devil!" - picks up Ivan Homeless. “What is it you have, whatever you miss, there’s nothing!” Woland sums up. The writers with enviable persistence prove to Satan that "... human life and the entire routine on earth" is governed by man. For them, there is no miracle, an event where unforeseen conditions converge in such a way that they produce sudden - happy or unhappy - consequences. (“Berlioz’s life developed in such a way that he was not used to extraordinary phenomena”), Berlioz and others like him turned art into a servant of ideology. The creative process in the understanding of Mikhail Alexandrovich is not an amazing discovery coming from the depths of the soul and inspired by duty and conscience, but a rationalistic act subordinated to a certain ideology. The chairman of MASSOL IT has become an “engineer of human souls”.

The monstrous invention of ideologists from art - socialist realism - gave rise to a plan-order, which strictly stipulates the nature of the future work.

Rejecting religion as a combination of unprovable postulates and harmful feelings, the Berlioses surprisingly quickly eradicated from the people the belief in a higher power, which holds everything in its power, "beneficially" influencing morality. The people are transformed into a faceless mass - the "population". M. Bulgakov shows that rudeness, immorality, cynicism and depravity are the result of the loss of faith.

It should be noted that the editor Berlioz, as a product of the era of lies and nihilism, is only outwardly confident and invulnerable. Somewhere in the depths of his mind there is a guess that God and the devil do exist. This is evidenced by the following facts:

1. Verbally, not believing in anything, Berlioz mentally recalls the line: "Perhaps it's time to throw everything to hell and to Kislovodsk ...".

2. Incomprehensible fear that suddenly gripped the writer.

3. "Living eyes, full of thoughts and suffering" on the dead face of Berlioz.

If there was no God, not a devil, and, consequently, no retribution for a lie, if man himself controlled his life, where would fear come from? Hypothetically, Berlioz could think like this: perhaps, somewhere in the beyond world, there is a kingdom of Light and Darkness, but here, on earth, there is no evidence of this. Aloud the apologist of atheism stubbornly repeated: "... in the field of reason, there can be no proof of the existence of God."

The guilt of Berlioz and others like him before the people is enormous, and it is not surprising that the editor was punished so severely. Naturally, an apple tree grows from an apple seed, a nut tree sprout will appear from a nut, and emptiness will appear from a lie (that is, spiritual emptiness). This simple truth is confirmed by the words of Woland. At the end of the Great Ball, Satan pronounces the verdict: "... everyone will be given according to his faith." Berlioz, the main ideologist of emptiness, for the spiritual corruption of the people, for the web of lies receives a worthy reward - nothingness, he turns into nothing.

Numerous literary men, rank-and-file members of MASSOLIT, have also gone not far from Berlioz. The muse has not visited the monastery of MASSOLIT for a long time - the House of Griboyedov. The hierarchy of the House of Writers excluded all thoughts of creativity. "Rybno-dachnaya section", "Housing question", "Perelygino", a restaurant - all these colorful corners beckoned to themselves with extraordinary force. The distribution of dachas in the village of Perelygin took on the character of violent battles, giving rise to hatred and envy. Griboyedov's house is becoming symbols of greed: "I spent two hours pushing through at Griboyedov's yesterday." - "So how?" - "I got it for a month in Yalta." - "Well done!".

The shuttle dance of the writers in the Griboyedov restaurant resembles Satan's ball: “The faces covered with sweat seemed to glow, it seemed that the horses painted on the ceiling seemed to come to life, the lamps seemed to have added light, and suddenly, as if breaking loose from the chain, both halls danced, and behind them the veranda also danced. "

Contempt is aroused by these false writers, who have forgotten their destiny, in pursuit of portioned goons, who have lost (if any) their talent.

Terrible dreams of Ivan Bezdomny

From the faceless mass of artisans, the poet Ivan Ponyrev stands out from the art. The only thing known about the origin of the hero is that his uncle lives in the Russian outback. When meeting Ivan, the master asked: "What is your surname?" - "Homeless" - was the answer. And this is not an accidental pseudonym, not a tribute to the literary fashion of those years. This is the tragic attitude of the hero, who has neither a material home with a warm hearth and family comfort, nor a spiritual haven. Ivan does not believe in anything, he has no one to love and no one to lay his head to. Ivan is the fruit of the era of unbelief. His conscious years were spent in a society where temples were destroyed, where religion was declared "opium for the people", where everything around was poisoned by the poison of lies and suspicion (Ivan takes Woland for a spy; "Hello, pest!" - this is how the poet greets Dr. Stravinsky) ...

The reader will have to decide for himself how Ivan gets into MASSOLIT. In this organization, he is considered a talented poet, his portrait and poems were published in the Literaturnaya Gazeta. However, the works of Homeless are far from true creativity. M. Bulgakov repeatedly emphasizes the underdevelopment of Ivan's mind (the master calls him a "virgin", "ignorant" person), his habit of going with the flow. But, despite this, the soul of a writer is alive, open and trusting. He blindly surrenders to the power of the dogmatist Berlioz and becomes his obedient student. But the author of The Master and Margarita does not in any way justify Homeless, he is not a stupid child who is being deceived by shameless adults. Ivan Bezdomny bears the high title of a poet, but in reality he turns out to be only a successful writer who does not think about serious problems. Ivan does not have solid ground under his feet, he is not a leading link, but a driven one.

But despite this, Ivan Bezdomny is one of Bulgakov's favorite heroes, his hope for the revival of the human spirit. Ivan is young - he is twenty-three years old, and he has a chance to be reborn. The meeting with Voldemort and the death of Berlioz under the wheels of the tram served as a powerful impetus to the search for the truth. The run of Ivan Homeless behind Woland's retinue becomes symbolic: this is the path from an intuitive premonition of truth (after all, he made Christ alive!) To the knowledge of real truth, goodness and beauty.

The very first thing Ivan gets rid of is a lie. Once in a psychiatric clinic, he begins to tell the truth. Homeless characterizes his fellow writer, the poet Alexander Ryukhin: “A typical fist in its psychology, and, moreover, a fist carefully disguised as a proletarian. Look at his lean physiognomy and compare with those sonorous verses that he composed for the first day! .. "Get up!" yes "develop!" ... and you look inside him - what he thinks there ... you will gasp! " ...

On the way from the clinic, where Ryukhin leaves Ivan, Alexander thinks about his life. He is thirty-two years old, he is not known to anyone, but that is not the poet's trouble. Riukhin's tragedy is that he knows what kind of poetry he is. But the thought of creativity as the highest goal leading to truth never occupied Alexander. Poetry for him is the most accessible way to achieve fame. Hatred and envy take possession of Ryukhin at the sight of the monument to Pushkin. The glory of Pushkin, the writer concludes, is nothing more than luck and simple luck. Ignorant Ryukhin cannot understand the depth of the people's poet's creations, evaluate his civic position: "This White Guard shot, shot at him and shattered his thigh and ensured immortality ...". The vain Riukhin sees only the outer side of glory, he has no desire to serve his people, and therefore his lot is loneliness and obscurity.

Rejecting lies, Ivan Homeless goes to the end - he refuses to write (decides not to write more "monstrous" verses). Ivan's meeting with the master only strengthens this decision and becomes a kind of dedication to the secrets of creativity, the life-giving spirit of truth revealed to the master, penetrates into Ivan's soul, and Ivan is transformed. Behind negative external changes (Ivan turned pale and haggard) there are deep internal changes: eyes that look “somewhere into the distance, over the surrounding world, then inside the youngest person”.

Visions began to visit the homeless man: "... he saw a strange, incomprehensible, nonexistent city ..." - ancient Yershalaim. The hero saw Pontius Pilate, Bald Mountain ... The tragedy at the Patriarch's Ponds no longer interested him. “I am now interested in something else ... - I want to write something else. While I was lying here, you know, I understood a lot, ”- Ivan says parting to the master. “You will write a continuation about him,” the teacher bequeathed to Ivan.

In order to write a sequel, you need knowledge, courage and inner freedom. Ivan gained knowledge - he became an employee of the Institute of History and Philosophy, a professor. But Ivan Nikolaevich Ponyrev never found spiritual freedom and fearlessness, without which true creativity is inconceivable. The professor's life drama is that “he knows and understands everything,” but he is unable to isolate himself from society (as the master went to the basement on the Arbat).

And only during the spring full moon did Ivan Nikolaevich "... fight ... with himself ... not have to." The "punctured memory" makes him once again go through the same path in the hope of finding freedom and fearlessness. The professor has the same dream: a terrible executioner "stabs with a spear in the heart of Gestas, who is tied to a post and has lost his mind." The fate of Ponyrev is somewhat similar to the bitter fate of the robber Gestas. The totalitarian system does not know regalia and ranks; it deals with the unwanted in the same way. And the executioner is a symbol of the cruelty of society. The system does not release Ivan, it always has a “syringe in alcohol and an ampoule with a liquid of thick tea color” ready.

After the injection, Ivan Nikolaevich's dream changes. He sees Yeshua and Pilate, the master and Margarita. Pontius Pilate pleads with Yeshua: "... tell me there was no (execution)! .. - I swear, - the companion answers." Master Ivan Nikolaevich “eagerly asks:
- So, this is how it ended?

This is how it ended, my student, - number one hundred and eighteen answers, and the woman comes up to Ivan and says:

Of course, this. Everything is over and everything is over ... And I will kiss you on the forehead, and everything will be as it should be. "

This is how the great romance of Mercy, Faith and Good ends. The teacher and his girlfriend came to Ivan Nikolaevich, granting him freedom, and now he sleeps peacefully, despite the "fury" of the moon, personifying a sick society.

Mikhail Afanasyevich Bulgakov believed in the victory of the human spirit, so the reader closes the book with the hope that Ivan Nikolayevich Ponyrev will complete and publish the master's novel.

The Master's Riddle

To the world of literary conjuncture, which covers up its inner squalor with the high word "art", Mikhail Bulgakov contrasted the image of the master, the protagonist of the novel "The Master and Margarita". But the master enters the scene only in the eleventh chapter. The author shrouds the image of his hero in an aura of mystery: in the ward of the Stravinsky clinic, where Ivan Bezdomny was taken, a mysterious visitor appears under cover of night. He "shook his finger at Ivan and whispered:" Shhh! " In addition, the guest entered not through the front door, but through the balcony. The appearance of a mysterious hero prompts the reader's thought to intense work, to co-creation.

The writer first outlines the outline of the master's image. The hospital environment surrounding the hero is intended to emphasize the tragedy of a person who has been erased from society. The Stravinsky clinic becomes for the master the only refuge among the crazy world with its cruel laws.

The image of the master gave rise to numerous versions in literary criticism about the prototypes of the hero. Some researchers believe that the fate of the author of "The Master and Margarita" served as the prototype for the master, others include Jesus Christ, NV Gogol, G.S. Skovoroda, M. Gorky, S. S. Topleninov among the prototypes of the hero.

A literary hero can have several prototypes, so it is entirely fair to draw parallels between the fate of the master and the above-mentioned creators. However, first of all, the image of a master is a generalized image of an artist who is called upon to live and create in the difficult conditions of a totalitarian society.

M. Bulgakov draws the image of the artist using various means, among which are a portrait, a description of the situation, nature.

PG Pustovoit in the book “IS Turgenev - the artist of the word” notes that “a literary portrait is a three-dimensional concept. It includes not only the inner traits of the hero, which constitute the essence of a person's character, but also external, complementary, embodying both the typical and the characteristic, the individual. In appearance, in facial features, in clothes, the manner of behavior and speech of the heroes, the peculiarities of the characters usually appear ”.

The portrait of the protagonist of "The Master and Margarita" consists of direct characteristics (the author's speech) and indirect (self-disclosure of the hero, dialogues, description of the environment, lifestyle). M. Bulgakov gives a very short, just a few lines, description of the appearance of the master. First of all, the author draws the face of the master, then - his clothes: “... a shaved, dark-haired, with a sharp nose, anxious eyes and a lock of hair hanging over his forehead, a man of about thirty-eight ... the visitor was dressed in hospital. He was wearing underwear, shoes with bare feet, and a brown robe thrown over his shoulders ”(I, p. 459-460). Such repetitive psychological details of the hero's portrait as “very restless,” “cautiously looking eyes,” interspersed with the narrative, carry a huge semantic load. The appearance of the protagonist of M. Bulgakov's novel leads readers to the idea that its owner is a creative person who, by the will of fate, found himself in a house of sorrow.

The rich inner world of the image is revealed with the help of various forms of psychologism. Of all the wealth of means of psychologism, M. Bulgakov singles out the forms of dialogue and confession, which make it possible to fully illuminate the facets of the master's character.

The core of the character of Bulgakov's hero is the belief in the inner strength of man, it is no coincidence that Ivan Bezdomny "felt trust" in his guest. The master takes the poet's confession to heart. The protagonist of The Master and Margarita turns out to be the only person who listened to Ivan's confession from beginning to end. The "grateful listener" "did not dress Ivan as crazy", encouraged him to a more detailed story. The master opens the eyes of the young man to the events that have taken place, helps to understand the most difficult situation. Communication with the master becomes for the Homeless a guarantee of spiritual rebirth and further internal development.

The master pays with frankness for Ivan's sincere story. The artist told his companion in misfortune the story of his life, the measured speech of the master, smoothly turning into improperly direct speech, makes it possible for the hero to freely express himself, to fully reveal the inner features of the image.

The master is a talented, intelligent person, a polyglot. He leads a lonely lifestyle, "having no relatives anywhere and almost no acquaintances in Moscow." The writer highlights this trait of the master's character for a reason. It is designed to emphasize the philosophical mindset of the hero.

The master worked in a Moscow museum, made translations from foreign languages. But such a life weighed heavily on the hero. He is a historian by education, and a creator by vocation. Having won one hundred thousand rubles, the master gets the opportunity to change his life. He quits the service, changes his place of residence and devotes himself entirely to his beloved work.

From the "damned hole" - a room on Myasnitskaya Street - the hero moves to an alley near the Arbat, where he rents two basement rooms. With reverence turning into delight, the artist describes to Ivan the uncomplicated interior of his new dwelling: "a completely separate apartment, and another one in the front, and there is a sink with water in it." From the windows of the apartment, the master could admire the lilac, linden and maple. Such a combination of interior details and landscape helps M. Bulgakov to emphasize the priority of spiritual values in the life of a hero who is ready to spend all his savings on books.

At one fine moment, the master is faced with a moral choice: to serve the present or the future. Having chosen the first, he will have to obey the laws of his society. But Bulgakov's hero, as a true creator, chooses the latter. Therefore, in the basement on the Arbat, far from the hustle and bustle, a great truth is born, ah. the master becomes a creator, an artist. In solitude, the hero's thoughts develop, mature and clothe themselves in the images of Yeshua Ha-Nozri, Pontius Pilate, Matthew Levi, Judas, Afranii, Mark the Rat-slayer. The master "restores the truth about the teachings, life and death of Yeshua" and dreams of bringing his discoveries to the sick consciousness of humanity.

“Having embarked on the path of creativity, the master enters the path of spiritual evolution, which will lead the hero to moral and creative freedom. The artist's word is called with great difficulty to pave the way for truth in the deep forest of human life. The mighty word of the creator should charge the hearts and souls of the weak with spiritual energy, nourish the strong.

In the novel The Master and Margarita, M. Bulgakov develops the previously formulated principle of creativity: “what you see, write, and what you don’t see, you should not write”. According to the writer, the creator should be endowed with the gift of spiritual, moral vision. Renouncing the vain, the protagonist of Bulgakov's novel plunges into philosophical reflections. His soul sees people, life circumstances, objects in their real light. An impartial voice of conscience is heard in the artist's soul, laying a saving bridge between the creator and humanity. The soul of the creator, impelled by conscience and duty, creates an amazing novel, and the word of truth seen by it should become the font of rebirth for human souls.

Looking ahead, it should be noted that the story of the master's novel shows that the word of the creator is incorruptible: It cannot be drowned out by the slander of low people, it does not perish in the fire and time has no power over it.

Art, creativity become the meaning of the life of the master. He feels himself to be a creator who has come into the world for a lofty goal, just as spring comes, awakening nature from winter sleep.

Spring, which came into its own, brought with it bright colors and an amazing scent of lilacs. The artist's sensitive soul responded to the renewal of nature - the novel, like a bird, “flew to the end”.

One of the wonderful spring days, the master went for a walk and - met his fate.

The heroes could not pass each other. Margarita (that was the name of the stranger) was unusually beautiful, but that was not what attracted the artist. Her eyes, in which an abyss of loneliness lurked, made the hero realize that the stranger is the only one who is able to understand his innermost thoughts and feelings, because she is part of his soul. The master "quite unexpectedly" decided for himself that "he loved this woman all his life!"

The genius master was at the height of happiness: he found a kindred spirit and finished his creation. Schiller said: "A genius must be naive, otherwise it is not a genius." And Bulgakov's hero flew out to people with his novel on the wings of happiness, naively believing that they needed his discoveries. People rejected the novel about Pontius Pilate and Yeshua Ha-Notsri, and this made the master deeply unhappy.

However, the artist did not lose faith in the power of art, in the fact that its fruits can make people's lives cleaner and kinder. He fought for his novel, he did his best to get it published. But the efforts of the master were smashed against the wall of hatred that the ideologues of false art had erected between the novel and the world. They are unable to create spiritual values and appreciate the contribution of others to the treasury of culture. The master, who entered into a tragic conflict with opportunists from MASSOLIT, was attacked by critics Latunsky, Ariman, Lavrovich with a number of dirty articles. They did not forgive the hero for refusing to create according to the laws of false art, according to which inspiration is replaced by an order, fantasy - by a lie. The master creates his own humanistic laws based on love for a person, faith and mercy.

The “golden age” of the master's life was replaced by “joyless autumn days”. The feeling of happiness was supplanted by melancholy and gloomy forebodings. M. Bulgakov reproduces the process of the hero's spiritual experiences with medical accuracy. At first, the slander made the master laugh. Then, as the flow of lies increased, the attitude of the hero changed: surprise appeared, and then fear came. The master was threatened with physical destruction. This gave the hero the opportunity to realize the true scale of the total system of violence, that is, as M. Bulgakov writes, to understand other things that are completely unrelated to the articles and the novel. But it was not the physical death that frightened the master. He was seized by fear for humanity, who found itself on the edge of the abyss. A mental illness sets in - a consequence of an absolute misunderstanding, rejection of the artist's work.

Nature is no longer pleasing to the eye of the master. His inflamed brain identifies the nature and the system of violence: the hero thinks “that the autumn darkness will squeeze out the windows, pour into the room,” and the “cold” octopus, personifying the totalitarian state, will approach his very heart. But the worst thing was that there was no girlfriend next to the master. From loneliness, he tries to "run to someone, at least to ... the developer upstairs."

In this state, the master puts the manuscript on fire. If society does not need a novel, then, according to the creator, it should be destroyed. But then a miracle happens. Margarita appears - the master's hope, his dream, his star. She rips out the remains of the manuscript from the fire and convinces the author that the work was not written in vain.

In turn, the novel saves Margarita - it helps her to reject the lie. “I don’t want to lie anymore,” says the heroine. The energy of the novel fills the master's friend with determination. She is ready to go with the master to the end, because "the one who loves must share the fate of the one he loves." The heroine leaves into the night, promising to return in the morning. Her image leaves in the memory of her beloved an inextinguishable strip of light, symbolizing the beginning of a new life.

But fate decreed otherwise. The craftsmen were arrested. They released him three months later, mistaking him for a madman. The artist returned to his house, but Aloisy Mogarych had already settled in it, having written a denunciation against the master. Darkness and cold become the main motives of the artist's confession. Behind him, he had difficult months of imprisonment, as evidenced by the bright details of the master's costume - torn off buttons. Blizzard snow, like an accomplice of the system, covered the lilac bushes, hiding the traces of a happy moment of the hero's life. Ahead, the master saw nothing but dim lights kindled by Mogarych in his rooms. Therefore, the main character of "The Master and Margarita" goes to the clinic of Professor Stravinsky, where he meets Ivan Bezdomny. This is how the master's confession ends intriguingly, revealing the secret of patient number one hundred and eighteen.

The next meeting of the reader with the master takes place in chapter twenty-four - "Extracting the master." Margarita, who agreed to play the role of queen at Satan's ball in the hope of saving her beloved, receives her beloved as a reward. Woland “extracts” the hero from the clinic, and he appears before his girlfriend “in his hospital dress”: a dressing gown, shoes and the invariable black cap. "His unshaven face twitched with a grimace, he looked madly and fearfully at the lights of the candles, and the moon stream boiled around him."

The devil invites Margarita to fulfill any of their wishes. Woland would have paid dearly for the smallest request of the master. However, the artist does not ask for anything. He retains his spiritual freedom, and Satan is forced to return the heroes to the basement on the Arbat. But, as the master said, "it does not happen that everything becomes as it was." Yeshua, having read the master's novel, through Matthew Levi asks the devil to take the author with him, rewarding him with peace.

Heroes, having passed the path of spiritual evolution, become absolutely free. In the finale of M. Bulgakov's novel, the master and his girlfriend fly to their eternal home. They change outwardly. The creator of the novel likened the appearance of the master to the ancient sages. "His hair was now whitening in the moonlight and was gathered behind him in a braid, and she flew in the wind."

The master strives towards peace and quiet, so necessary for true creativity. And MABulgakov knows that the master will have everything “as it should”.

Mikhail Afanasyevich Bulgakov all his life was deeply convinced that fate leads people to a good goal. (“Everything will be right, the world is built on this,” says Woland.) However, high demands are placed on a person. It is necessary that people be kind to each other, know how to forgive and, most importantly, strive not only for their own well-being. The goal of everyone's life should be the happiness and harmony of all mankind. By humanity, the thinker understood not a mass of faceless human beings, but a community of intelligent and humane individuals. Their souls should see the universal torment, be ill with human misfortunes, just as the soul of M.A. Bulgakov also ached.

The writer worshiped the great miracle - art, was confident in its reviving power. “Everything will pass,” walls of lies and violence will fall, - asserts M. Bulgakov in his works, - and art will live forever. Its invincible strength leads souls to the good, which is necessary, like air, for universal harmony.

The theme of art in M. Bulgakov's novel "The Master and Margarita" // Zar. lyt. in navch. prl. - 2001. - No. 4. - S. 56-60.

The "disgusting world" of false art

From the first pages of the novel "The Master and Margarita" the reader enters the contemporary author's "world of literature" and meets a great many characters: Ivan Nikolaevich Ponyrev, Mikhail Aleksandrovich Berlioz, Zheldybin, Beskudnikov, Dvubratsky, Nepremenov, Poprikhin, Ababkov, Glukharev, Deniskin, Lavrovich , Ahriman, Latunsky, Ryukhin and others. The first in the gallery of characters are Berlioz, editor of a Moscow magazine, chairman of MASSOLIT, and Ponyrev, a young poet. Mikhail Aleksandrovich, a well-fed, orderly citizen with huge glasses, on a hot spring day at the Patriarch's Ponds, conducted a conversation with Ivan Nikolaevich about Jesus Christ. Like most writers of his time, Ivan Bezdomny received an order from the editor to create an anti-religious poem. Homeless fulfilled the order, but Berlioz remained quite uncomfortable. pleased with the composition of his student. Ivan had to convince the mass reader that Jesus was a product of human fantasy, a fairy tale for the ignorant, and from the poet's pen appeared “completely alive” Jesus, albeit endowed with all negative qualities.

The history of the creation of the "unfortunate poem" pushes the reader to a huge moral problem of the 20th century - mass nihilism, a general lack of faith in either God or the devil.

The monstrous invention of ideologists from art - socialist realism - gave rise to a plan-order, which strictly stipulates the nature of the future work.

1. Verbally, not believing in anything, Berlioz mentally recalls the line: "Perhaps it's time to throw everything to hell and to Kislovodsk ...".

2. Incomprehensible fear that suddenly gripped the writer.

3. "Living eyes, full of thoughts and suffering" on the dead face of Berlioz.

Contempt is aroused by these false writers, who have forgotten their destiny, in pursuit of portioned goons, who have lost (if any) their talent.

Terrible dreams of Ivan Bezdomny

So that was the end of it?

This is how it ended, my student, - number one hundred and eighteen answers, and the woman comes up to Ivan and says:

Of course, this. Everything is over and everything is over ... And I will kiss you on the forehead, and everything will be as it should be. "

Mikhail Afanasyevich Bulgakov believed in the victory of the human spirit, so the reader closes the book with the hope that Ivan Nikolayevich Ponyrev will complete and publish the master's novel.

The Master's Riddle

M. Bulgakov draws the image of the artist using various means, among which are a portrait, a description of the situation, nature.

Art, creativity become the meaning of the life of the master. He feels himself to be a creator who has come into the world for a lofty goal, just as spring comes, awakening nature from winter sleep.

One of the wonderful spring days, the master went for a walk and - met his fate.

Roman M.A. Bulgakov's The Master and Margarita, on which the author worked until the last day of his life, remained in his archive and was first published in 1966-1967 in the Moscow magazine. This novel brought the author posthumous worldwide fame.

Bulgakov wrote his work as a reliable book about that time, about its people and combined grotesque, fantasy, real events and facts in it. At the same time, The Master and Margarita is a novel about true creativity, the world of art, and literary reality.

The main feature of the work is a kind of image of the literary world, people of culture and art of the Soviet era, or rather, the 30s of the XIX century.

The world of writers in the novel is represented by members of the MASSOLIT organization. This is the name of the Moscow Association of Writers, invented by Bulgakov. The members of MASSOLIT were those writers who did not have a special literary talent, but who wrote books that were convenient and necessary for the authorities.

No "initiative" was allowed in this society. That is why the master, who brought his novel about Pontius Pilate to the editorial office of MASSOLIT, was greeted very wary.

He says about it this way: "I first got into the world of literature, but now that everything is over, I remember it with horror!" Members of the editorial board sent the master from one to another, and "two weeks later he was received by some girl with eyes slanted to her nose from constant lies." In the end, the editors refused to publish his novel, although they returned it "rather greasy and disheveled."

The environment of MASSOLIT writers not only alienated the Master, this organization radically changed his destiny, broke him. In the dialogue of patients of a psychiatric clinic, the words are heard: "Are you a writer?" The guest darkened his face and shook his fist at Ivan, then said: "I am a Master ...". It was not by chance that Bulgakov called his hero “Master”, because the word “writer” he calls the members of MASSOLIT - people petty, limited and selfish.

Very symbolically, with irony, the author depicts the atmosphere prevailing in the house of literary workers: “the visitors' eyes began to scatter from the inscriptions on the doors:“ Fish and dacha section ”,“ Housing issue ”,“ Full-volume creative vacations from two weeks to one year " etc. There is a queue at every door. Thus, the writers turned from literary men into people preoccupied with getting vouchers, dachas, apartments - everything except art.

The precisely chosen names of the characters give them such a complete characterization that the images of the heroes are immediately drawn vividly. For example, "the most prominent representatives of the poetic subdivision of MASSOLITA - Pavianov, Bogokhulsky, Sladky, Shpichkin, Adelfina Buzdyak." The author with these invented surnames expressed his attitude towards writers.

MASSOLIT was located in the famous house of Griboyedov. Its main attraction was the restaurant, which the author gives the following description: “In all fairness, it was the best in Moscow. The first person who came from the street could not get there, the quality of his provisions Griboyedov beat any restaurant in Moscow, as he wanted, and this food was released at the most similar, by no means burdensome price. Thus, from writers and creative workers, writers and poets turned into people who chew.

It was not only members of the Writers' Association who compromised themselves in the novel. Other creative workers are also comically depicted, for example, directors of an entertainment theater and variety show, employees of the "Commission of Spectacles and Amusements of the Light Type". The bassoon describes them as follows: “In general, they have been terribly piggy lately. They get drunk, use their position, don't do a damn thing, and they can't do anything, because they don't understand anything about what is entrusted to them. The bosses are rubbing glasses! The cars are only in vain to drive the cauldrons. "

Thus, Bulgakov shows that art has become a source of enrichment and satisfaction of irrepressible needs.

But the author shows in the novel a heterogeneous literary world. On the one hand, these are writers, owners of MASSOLIT membership cards, on the other, talented people, true masters. These include the Master and the young poet Ivan Bezdomny, whom the Master calls his disciple.

All random people "from art" in the novel are overtaken by retribution. But it is not terrible, the author simply laughs at these heroes, puts them in ridiculous situations and denounces their vices. With all its content, the novel says that not everything in society is so hopeless and "mercy knocks at human hearts."

The work "The Master and Margarita" can rightfully be called the final in Bulgakov's life. The author has been working on it for 12 years. It is no coincidence that this novel is the favorite book of many people. It combines the author's ideas about good and evil, justice and love. However, of course, the theme of creativity in the novel "The Master and Margarita" is the main one.

The beginning of the novel. Acquaintance with representatives of the writing fraternity

At the very beginning of his work, the author introduces us to the head of the MASSOLIT literary association, Mikhail Aleksandrovich Berlioz, and the poet. The author shows the reader his ironic attitude towards Berlioz, the one-sidedness of his education and narrow outlook. It is he who is the main opponent of the publication of the novel created by the Master.

True and False Creativity

The theme of creativity in the novel "The Master and Margarita" (an essay with this name is often written by schoolchildren) is one of the most important. The work contains a conflict between true and false creativity. The author was very sensitive to this issue. It is no coincidence that researchers believe that the Master is the prototype of Bulgakov himself.

The main attraction of Moscow was a huge restaurant, which served zander, sterlet, cocotte eggs. The members of MASSOLIT were concerned mainly with their satiety, and not with the quality of spiritual food.

The theme of creativity in the novel "The Master and Margarita". Master image

The master is portrayed by the author as a true creator who, as is usually the case, cannot find understanding among ordinary writers, poets and editors. The Master's work is very psychological, it shows the subtleties of the relationship between the punishing party and the condemned person who is innocent, the procurator. The Master's ingenious novel did not meet with support from MASSOLIT. Persecutors of the author, driven by envy, write incriminating articles. Criticism drives the Master to a madhouse.

Intervention of higher powers in the fate of the Master

The theme of creativity in the novel "The Master and Margarita", or to be more precise, the theme of true creativity, is associated with the image of the Master. The work created by him finds support and helps to restore justice. They deal with Berlioz, at the end of the work the house of Griboyedov is on fire.

Love and creativity

The theme of creativity in the novel "The Master and Margarita" is connected with the theme of love. Feeling Margarita helps to overcome disappointment in life, gives strength. She believes that the Master's novel is truly a work of genius.

Meeting Woland turns Margarita into a witch. To save the Master, she flies to Satan's ball, which appears before the readers as a just judge. He helps Margarita return her beloved and does everything so that the hardships of the last days do not bother them: the Master is no longer listed in the clinic, their nest, basement, again free, five burned copies of the manuscript are now in his hands.

In addition, it was decided upstairs to give the lovers eternal peace and the opportunity to enjoy life.

Completion of the novel

The theme of creativity in the novel "The Master and Margarita" permeates the entire work. The book ends very happily for the Master and his beloved. Genuine creativity triumphs over the false. The Master and Margarita leave the time in which they lived and find eternal peace. The master finds what is very important for a true artist - freedom, not limited by the framework of the political system.

So, the theme of creativity in the novel "The Master and Margarita" is highlighted. Briefly in this article, we have already described how it can be traced in this work. Now let's turn to the history of the creation of the novel.

About the history of the creation of the novel

The famous was published only in the sixties. The time of the beginning of work on the novel should be considered 1928-1929, since the author himself dated the first manuscripts first one year, then another. Initially, the work received several variants of titles: "Engineer's Hoof", "Black Magician", "Juggler with a Hoof", "Tour".

Bulgakov burned his novel in the spring of 1930, announcing when he received the news that the play "Cabal of the sanctimonious" was banned. Work on the work was resumed in 1931. It was then that Margarita and her companion appeared in the book, who was later named the Master. Woland had a retinue. The 1936 edition, the second in a row, was entitled Fantastic Novel.

The third edition was originally called "Prince of Darkness". The work was titled The Master and Margarita in 1937. At the beginning of the summer of 1938, the text of the novel was first published in full, which was edited almost until the last days of the writer's life.

The hero of the Master is very autobiographical, which is once again confirmed by the information about his age reported in the novel. According to the text of the work, the Master was a man for about thirty-eight years. The same age was for Bulgakov when he began to work on this book.

It is believed that the author was inspired to create the image of Satan by the opera by Charles Gounod, which greatly impressed him as a child, as well as the poem by I.V. Goethe's Faust. It is interesting that Bulgakov was strongly impressed by the novel by A.V. Chayanov, the main character of which bears the surname Bulgakov. On the pages of the book, he is confronted with devilish power. The coincidence of the names greatly agitated the writer.

It is noteworthy that Woland in the first editions bore the name Astarot, but later this name was changed.

According to the writer's widow, Bulgakov's last words about the work "The Master and Margarita" were: "To know ..."

Now in Moscow on Bolshaya Sadovaya there is a "Bulgakov House". This is a museum that tells about the work and life of the writer. Quite often there are small theatrical performances, improvisations based on the writer's works.

The theme of creativity in the novel "The Master and Margarita" (the arguments for this were given above) is the main one. In addition, the author originally planned to raise many social problems in the novel, among them the issue of the difficulties of the work of Russian writers in Russia, who were subjected to real persecution by the state. In the edition known to us, the author writes about the fate of a gifted person under the rule of tyranny, which, however, strongly echoes the original idea.

The theme of creativity in the novel "The Master and Margarita" is the key, leading one. It is closely intertwined with the theme of love of the heroes of this magnificent work. The feeling of Margarita saves the Master. The creation created by Bulgakov impresses contemporaries like no other. The novel enjoys a bad reputation among filmmakers, but there are daredevils in whom the desire to make a film based on this work overcomes superstitious fear. The last film adaptation of the novel in 2005 shocked the viewer with its detail, the number of special effects, and the skill of the cast.

Introduction Creativity as understood by Berlioz Creativity for Ivan Homeless Creativity and master Conclusions

Introduction

The novel "The Master and Margarita" raises many problems, the relevance of which does not fade over time. Creativity in the novel The Master and Margarita is one such theme. The way of its disclosure is interesting for readers and criticism. Mikhail Bulgakov depicts the concept of creativity using the example of three people: the critic and editor Berlioz, the free poet Ivan Bezdomny and the real creator - the master. These people are completely

different, their fates and way of life differ no less than their attitude to what they do.

Creativity as understood by Berlioz

The theme of creativity in the novel "The Master and Margarita" rises from the first pages.

The first chapter of the novel begins with the appearance of Berlioz. Considering that in the same chapter “the chairman of the board of one of the Moscow literary associations and the editor of Tolstoy's art magazine” will unexpectedly and completely stupidly die, it may seem that his character is insignificant. In fact, this is absolutely not the case. The image of Berlioz embodies all the bureaucracy and belittling of the role of creativity and the creator that both Bulgakov himself and his master had to endure.

For the first time, the reader sees Berlioz in a conversation with Homeless, at the Patriarch's Ponds. Mikhail Bulgakov portrays the editor as a person who is confident in himself and his knowledge. He talks about Jesus, denying his existence, giving examples and enjoying the effect reproduced on the young poet. As for creativity, for Berlioz it is work that consists of narcissism and complete tyranny. Describing the chairman Massolit, Bulgakov resorts to the subtlest irony. Just what is the phrase "Mikhail Alexandrovich climbed into the jungle, into which he can climb, without risking breaking your neck, only a very educated person." With his education and erudition, Berlioz boasted as if he were a valuable treasure, replacing true knowledge with passages and quotations from books he had read, the essence of which remained “behind the scenes” for him.

In addition to the image of the “writing fraternity” Mikhali Bulgakov introduces the image of the young poet Ambrose. Describing him as "ruddy-lipped" and "lush-cheeked", the writer sneers at the purely bodily, base beginning of the pseudo-poet.

Creativity for Ivan Bezdomny

Ivan Ponyrev, writing under the sonorous pseudonym Homeless, embodies the image of modern youth of the Bulgakov period. He is full of zeal, a desire to create, but blind adherence to the criteria and requirements of Berlioses and “thick magazines” turns him not into a free artist, but an experimental mouse running in a wheel of criticism.

The problem of creativity in the novel by the example of Homeless is the road on which the poet stands. As a result, already in the hospital, he realizes that his poems are "monstrous", and he still made a mistake in choosing the path. Mikhail Bulgakov does not blame him for a perfect mistake, and does not sneer. Perhaps the master could have followed this path if his inner fire had not been stronger than conventions and traditions.

Having reached the realization of the erroneousness of his striving for fame, Ivan completely changes as a person. He realizes the depth of creativity and spirituality. He is not destined to become a poet, but he is able to subtly feel the very essence of creativity and the subtle spiritual world. The refusal of the Massolite ticket is reminiscent of the disregard for the money of Matthew Levi, a disciple and friend of Yeshua.

Creativity and master

Of course, in the novel “The Master and Margarita” the problem of creativity is revealed most fully on the example of the master. He cannot be called a writer, he is truly a master. For him, creativity is not a way of self-affirmation at someone else's expense, as in the case of Berlioz, and not an opportunity to lead a bohemian lifestyle, as for Ponyrev-Bezdomny at first. It is not for nothing that the chapter in which the master appears is called “The Appearance of the Hero”. He is truly a true hero and creator. The master does not write a novel, he lives by it to such an extent that the rejection of the novel and devastating articles wound him to the very heart, and resentment and bitterness materializes into "an octopus with very long and cold tentacles", which he begins to see everywhere, "as soon as the lights go out." ... The master writes a novel, and seems to live by it. When Margarita appears, love and creativity are woven into one ball. They walk side by side, for Margarita, love for the master extends to his novel, which once again confirms that the master puts his soul and heart into his work.

Margarita helps him, is imbued with his work because it is the master. When the romance is over, “bleak days have come” for this couple, they are devastated, confused. But their love does not fade away and will save them.

conclusions

Mikhail Bulgakov masterfully reveals the theme of creativity in the novel. He shows her from the perspective of three people. For Berlioz, Massolit is just a way of self-expression and satisfaction of his mundane desires. As long as the magazine is run by such an editor, there is no place for real artists in it. The writer knows what he is writing about. He had to deal with such would-be editors more than once. His great novel, too, will not be immediately understood and published thanks to people who hold the reins of government in organizations, in the essence of which they see only a way to satisfy their own interests, but not as a service to creativity.

Ivan Bezdomny treats his gift with trepidation, he dreams of the poet's laurels, but gets entangled in the intricacies of the real and the fake, exchanging his talent for “custom poems” and, in the end, realizes that his poems are “monstrous” and he writes more of them will not.

On the example of the master, the acuteness of the problem of creativity reaches its climax. He writes not because he wants to become an author, he writes because he cannot help writing. The novel lives its own life, and the master puts all his strength and energy into it. He does not remember his name or the name of his ex-wife, but he knows every line of the novel by heart. Even when burned, this work continues to live its own life, until Woland resurrects it from the ashes, as when the novel “The Master and Margarita” itself rose from the ashes.