Creative works on literature. Creative works on literature Love of the Master and Margarita: dedication and selflessness

The novel by Mikhail Bulgakov " The Master and Margarita”Made an indelible impression on me as a child, when I first opened this philosophically strong and completely incomprehensible book to me. The third, and I hope not the last time, I had to read this book quite recently.
So, in the novel "The Master and Margarita" the author uses the "book in the book" writing technique, where two parallel storylines of the past and the present are very clear, but smoothly. Almost all earthly feelings and topics for reflection are touched upon here: What is religion? How do you really perceive justice? What is the meaning of love and is it worthy of sacrifice?
Most of all, as a girl, of course, I was touched by the theme of the love of the Master and Margarita. They recognized each other by their deep loneliness, and their life has changed since the time when Margarita visited the Master. Having abandoned a luxurious life with a rich husband and prosperity, she forever, according to the author, left an unhappy life. Because for happiness she only needed him. Master. Margarita's loyalty consisted in those hours and moments of loneliness and languor without the opportunity to receive at least some news about the Master, in the second part of the book, in addition, fearlessness to life and death awoke from love in the heroine's life. The apogee of their love was the novel of the Master, a work that was dear to both himself and Margarita. She promised to protect him, save him from destruction. Interestingly, Bulgakov himself once burned the first version of the novel, and only two years later sat down for it again. So the author gives his hero a thread of his own experiences. As for sacrifice - here, Bulgakov, thanks to Margarita's deed, opens up her concept for us through the same love - when the time comes to ask, Margarita asks not for herself, I am filled with a new sense of philanthropy - asks for Frida. After all, the heroine herself does not need anything else, except to be close to the Master, "to take care of his sleep."
The tragedy of this love lies in the fact that the Master and Margarita were incomprehensible to those around them, they challenged the world, and were rewarded by Bulgakov. He sent them not to heaven, they did not deserve, not to Hell, the wonderful feelings in their souls were too strong, but "to rest."
In my opinion, this is a work for people of all ages. Everyone can find something interesting for themselves in it, touch mysterious and mystical circumstances, feel experiences, think about philosophy and religion. This is a reusable piece. With each new reading, it shines with other, previously unseen facets.

Lesson summary.

Literature lesson on the topic:

Goals:

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"Betrayal and loyalty in M. Bulgakov's novel" The Master and Margarita "."

Teacher: Roy Svetlana Mikhailovna.

Lesson summary.

Literature lesson on the topic:

"Betrayal and loyalty in the novel by M. Bulgakov" The Master and Margarita ".

Goals:

Analyzing the work, bring students to the answer to the question: "What is cowardice, betrayal and loyalty?";

Develop imaginative thinking, creativity of students, form the communicative culture of students;

To form a sense of responsibility towards time and people.

During the classes:

Updating students' knowledge.

- In what years did M. Bulgakov work on the novel "The Master and Margarita"? What time was it?

- Why was the novel not published during the life of the writer?

Motivation of students' activities.

- In the densely populated world of Bulgakov's novel The Master and Margarita, there are many heroes. Some of them remain faithful to their convictions, faithful to each other until the last days of their lives. Others became apostates and traitors.

How do traitors appear? And what is fidelity? Do you think it is necessary to talk about this today? I hope that we will be able to reasonably answer these questions at the end of the lesson.

Induction.

The teacher reads an excerpt from the novel (Chapter 2) "Why are you a vagrant ..."

I. Ehrenburg "Loyalty"

Loyalty to you only. Loyalty

To the century, to the seas, to fate,

If you endure. Without a fairy tale,

They ask - answer directly,

If to the post - without a bandage, -

Faithfulness knows how to look.

Self-construction.

- Which of the heroes in this scene behaves like a real hero, while remaining true to their beliefs? Who has deviated from their beliefs?

Now formulate what betrayal and loyalty are?

Group work.

1 group.

1. What surprised Pontius Pilate about Yeshua's story?

Track. How does Pilate behave during the interrogation of Ha-Nozri?

Why the procurator approved the death sentence of the Sanhedrin, although he knew Yeshua was not guilty.

Group 2.

How was Pilate punished for his betrayal?

Why does he have a dream, as if he did not send Yeshua to execution, as if they were walking together along the lunar path and talking peacefully?

What is the finale of Pilate's fate? Why was he forgiven?

How is Pilate's betrayal different from Judas' betrayal?

Group 3.

How did Yeshua Bulgakov portray? Where is this philosopher and healer unshakable?

What was Yeshua dangerous for totalitarian Rome? What is its strength?

Can we say that he "deserves the light"?

4 group.

Why was the persecution of the Master organized? What did not suit the writers in the novel written by the Master?

Why did the Master end up in a psychiatric clinic?

Why the Master “didn't deserve the light. He deserve some peace "?

5 group

How traitors and informers were punished by Woland in Moscow7

Which of the heroes is awarded eternal death? Why?

6 group

Can we say that Matthew Levi is a faithful disciple of Yeshua, and Ivan Ponyrev is a Master?

Prove that the love of the Master and Margarita was real, faithful and eternal.

Presentation of your work.

What is the meaning of the gospel story reproduced in the novel?

Why do apostates and traitors appear?

Creation.

Pupils complete the definitions written earlier.

Composition - miniature "Cowardice is the mother of cruelty."

Reflection.

What did today's lesson make us think about?

Homework.

History of the Master;

The depiction of the art world in the novel.

The problem of creativity in Bulgakov's novel The Master and Margarita.

> Compositions based on the Master and Margarita

Loyalty

Mikhail Bulgakov worked on the novel The Master and Margarita until the last day of his life. It was this work that brought him posthumous worldwide fame. In it, the author introduces us to sincerely loving heroes who are ready to go through many victims just to be together forever. Margarita is a beautiful, young woman who is married to a worthy man who gives her both prosperity and peace of mind. But the heroine does not love her husband. From the very first minute, he fell in love with a modest and unremarkable writer named Master.

In the course of the novel, we learn that the heroine is ready to live in a closet, endure material hardships, but only so that her beloved Master is always there. Such is the ideal love of MA Bulgakov, who endowed his heroes with extraordinary characters and inclinations. The phrase entered the world of Russian literature forever: “Follow me, reader! Who told you that there is no real, true, eternal love in the world? Let the liar cut off his vile tongue! " Poetic love, earthly love, heroic love - this is the force that drives all the events of the novel "The Master and Margarita".

However, for lovers, happiness is replaced by a bitter parting. Then the author sends them to help them the professor of black magic and the "prince of darkness" almighty Woland. The question arises: How could the author send dark forces to help such a bright feeling? Bulgakov had a special approach to love. He did not divide this feeling into light or dark, and generally did not attribute it to any category. Love is a feeling that could be considered on a par with life or death. She could be both vicious and divine. Also, the author uses the following epithets in relation to her: faithful, real, eternal, all-forgiving, redeeming.

Such was the love of the Master and Margarita, for which Woland gave them eternal happiness and eternal peace. For this, however, a price was paid. Concerned about the disappearance of her lover, Margarita agrees to everything that Woland's accomplices offer her. She turns into both a witch and a queen of the satanic ball, and drinks a blood drink from the glass-head of the late Berlioz, and wreaks havoc in the house of the critic Latunsky, because of which the Master began to have problems. The key scene in the novel is Satan's ball, during which Margarita acts not only as the queen of the celebration, but also as a direct participant at the reception of former sinners: murderers, executioners, robbers.

During the ball, her attention is attracted by one sad guest, whose name is Frida. Her sin is too grave. She is a child-killer who has been presented with the very handkerchief with which she strangled her own child for thirty years. Margarita sincerely pity her and, at the expense of her only desire, asks Woland to free this unfortunate woman from further suffering. At the same time, Messire understands that she sacrifices her personal happiness for the sake of a stranger, so he still returns the Master to her. The power of true love is great and can work miracles. As a reward for their loyalty and love, Bulgakov's heroes at the end of the novel received well-deserved peace.

The problem of moral choice in the novel by Mikhail Bulgakov "The Master and Margarita"

Moral choice ... How often a person finds himself in a situation where he needs to make the right decision, independently determining what is “bad” and what is “good”, what is “moral” and what is “immoral”! Loyalty or betrayal, conscience or dishonor, justice or cowardice. These and many other dilemmas stop a person at a crossroads.

The problem of moral choice is also key in the novel by MA Bulgakov "The Master and Margarita". Each of the heroes of the writer at a certain moment in his life must decide on something.

So, for example, it is extremely difficult to make a decision for Pontius Pilate: he must acquit an innocent wandering philosopher or still approve the death sentence.

Pontius Pilate is contradictory: two people coexist in him at the same time. On the one hand, an ordinary person who sympathizes with Yeshua, realizing the injustice of the sentence. The "balding" (household detail) Pontius Pilate, tormented by "terrible, evil" pains, is opposed to another Pilate - a government official who must strictly observe the laws of the Roman state.

The procurator's mental anguish is complicated by the fact that he is opposed to the people around him. M. Bulgakov shows this with the help of vivid epithets and lexical repetition: "Yershalaim, hated by him," "a myriad crowd," "the crowd is impatiently awaiting ..."

Pontius Pilate acts in the interests of the Roman government, he fears for his life, power, career, he is cowardly, not free in his choice, but at the same time in his hands the fate of other people. Fear and cowardice make him go against his conscience, suppress good undertakings in himself.

The risk of losing power, the position makes Pilate wise and cunning, we see the procurator as an excellent actor, diplomat, psychologist. Knowing in advance what decision the Sanhedrin will make, the hero with "great skill" is surprised, amazed, raising his eyebrows on his "haughty face." Pilate, grabbing at the last straw, uses different means: he carefully prepares for the conversation, and “gently” addresses the high priest, and insistently demands that the decision be repeated.

And now "it's all over," the internal struggle ended with the victory of Pilate, the procurator. Power, the position held are much more valuable things for the "hegemon" than justice, conscience, human life, in the end. Yeshua, on the other hand, does good, although stones are thrown at him and crucified. Freedom, truth and goodness are above all for the wandering philosopher.

The novel about Pontius Pilate is the creation of the Master, who in real life also has to choose. Feeling inner freedom, the Master begins to work on the piece. Remember how the literary world met the Master's version of Bible history? The novel was not accepted for publication. Editors, critics, members of the editorial board - everyone who read him fell upon the Master, wrote devastating articles in the newspapers. The critic Latunsky was especially furious. So M. Bulgakov emphasizes that in the world of art they are ready to destroy the living and talented for the sake of mediocrity, opportunism, profit.

Fear suppresses the Master's freedom over time. “So, for example, I became afraid of the dark. In a word, the stage of mental illness has come, ”says the hero. Fear makes the Master burn the novel, submit to the circumstances: "... I cannot remember my novel without a shudder." The master retreats, does not fight for his offspring to the end. He is even ready to refuse Margarita - he did not give her a message from the "house of sorrow."

The fate of a Master is the fate of a creative person in the world of unfreedom. For M. Bulgakov, this problem was one of the most important. Using the example of other writers who gathered in Griboyedov, the writer shows how often a person who has taken the path of creativity has to make a choice between talent, natural gift and mediocrity. Griboyedov's writers are most attracted by the "ordinary desire to live like a human being." And what is their idea of ​​"living like a human being"? Have a dacha, a sabbatical (up to two weeks for a short story, up to one year for a novel), tasty and cheap food. The moral essence of MASSOLIT members is emphasized by their surnames: Dvubratsky, Zagrivov, Glukharev, Bogokhulsky, Sladky, “merchant orphan Nastasya Lukinishna Nepremenova”.

Probably, it is no coincidence that evil spirits will deal with Berlioz so terribly, throwing him under the tram, and then stealing his head from the coffin. It was this hero who stood at the head of the Moscow writers - those people who have forgotten about the high purpose of the writer, have lost their shame and conscience. It was he, Berlioz, who taught young writers to think independently and freely, although he himself was an experienced, educated person.

M. Bulgakov reveals in his heroes greed, hypocrisy, frivolity, lust for power, the ability to betray and exalts love, goodness, truth, honesty.

So, between love and duty, Margarita chooses love. She says to Azazello: "My tragedy is that I live with someone whom I do not love, but I consider it unworthy to spoil his life." Still, the heroine decides to have a frank conversation with her unloved husband and leaves her beloved, plunging into madness, only for the night. Hatred of the Master's persecutors, the desire to take revenge on them - that is what then settles in the soul of Margarita. In spite of everything, mercy does not disappear. The heroine, having become a "witch", smashes Latunsky's apartment, but immediately calms the baby who has awakened in the next apartment. The only dream of the unfortunate woman is to return the Master. But first of all, Margarita asks for mercy for Frida. For patience, love, mercy, and it is these virtues that make up the moral essence of the heroine, Margarita was generously rewarded with the forces of evil.

So, M. Bulgakov puts many heroes in the situation of choice. What to prefer - loyalty or betrayal, decency or meanness, cruelty or mercy? Is this always the right choice? Someone is guided by conscience, justice, responsibility - someone, on the contrary, is cowardice, a desire to please. In order not to be mistaken at a crossroads, you need courage, intelligence, life experience, because very often the fate of people depends on the solution of a moral problem.

"The one who loves must share the fate of the one he loves"

Bulgakov's most famous novel The Master and Margarita is a multi-layered work in which there are several plans (including temporary ones), many themes, rich problems and a bitter satire on society under the yoke of the Stalinist regime. Writers who expose the vices of society, individual citizens or the political regime always want to ask: "Who is to blame - have we already understood what to do?" Unlike many of them, Mikhail Bulgakov gives the answer: salvation is in love. Not in religion, not in another political system, not in hermitism and oblivion, but in all-consuming, courageous, selfless love.

The relationship between the Master and Margarita is forbidden from the point of view of public morality. She is the wife of a successful man, he is lonely. The disgraced writer could not integrate into Soviet life, and it was dangerous to greet him. In the repressive Stalinist times, the authorities did not spare anyone: the victims of an unprecedented genocide (when the ruler exterminates his own people) number in the millions. It is not surprising that the Master wanted to save Margarita from the fate of the wife of a criminal, and perhaps a widow, an exiled, and a prisoner. Whole families took it. He could not offer the chosen one a tenth of what her husband provided her.

Margarita, in turn, could not just take and leave the family. With such a rash act, she would not have left her beloved with a choice, he would have to earn money, that is, he must stifle a creator, a thinking person, an honest and free man in himself. Could Margarita kill the Master in her lover? No. Therefore, they remained lovers and acutely felt their humiliating, slavish position; living a lie oppressed these sincere people. Thus, their union from the very beginning was doomed to martyrdom, even if they were united in a legal marriage.

But what is legal marriage? This society, ridiculed by Bulgakov, decides what is legal? Or a cruel government mired in vices? Probably, marriage can only be called a civil union, that is, relations between citizens. People are citizens in relation to the state. But what right does the state have to teach us about morality? Is this the state that exterminates, persecutes and humiliates us? No one, except the loving people themselves, can judge whether their feeling is moral. How many virtuous wives will share any fate with their husbands? Unfortunately no. Their vows are empty formalities. And Margarita, without promises and promises, made a deal with the devil, just to find out what happened to the Master. She donated not only her body, but also her soul. These two are bound by indissoluble ties.

The Master also donated. When he was arrested, and then in an insane asylum, he did not look for a way to inform Margot about his trouble. She, using her husband's connections and money, could do something for her lover, or at least brighten up his leisure time. But he, on the contrary, tried to erase her from memory, hoping that she would forget him, would live at least in safety and comfort. For the good of the beloved woman, the Master wanted to leave her heart, to free her, because without him Margarita could count on a calm, secure existence. The highest power of this love is in complete self-denial. The same silent feat was accomplished, for example, by Zheltkov in Kuprin's "Garnet Bracelet".

Margarita's love lies not only in sacrifice, but also in the fact that she accepted and understood the Creator in her beloved. She loved his novel, perceived his fate as her own. Destroying the apartment of the critic Latunsky, Margot took revenge for the insulted, unacceptable work of the Master, she took revenge for all the rejected and forgotten free art. In this fragment, she is the vengeful Clea - the muse of history. Under its blows, the deceitful opportunism that depicts culture before a dictator perishes. Not many women can share the calling of her husband, his divine destiny. Margot understands everything, and therefore takes care and protects the Master, who is less adapted to practical life.

Political realities, I must say, depend little on society. Also, society is little dependent on the individual. He comes into society and either accepts its charter, or brings his own and pays for it. If the situation in the outside world squeezes a person out of a slave, then how can you accept it? The only way to preserve identity and mental health is to love so much that the best qualities prevail over the worst, and the outside world fades into the background and could not take away freedom from the individual. Today, no one takes anything away, we ourselves give up independence for illusory goods, careers, ostentatious success and pseudo-happiness, indistinguishable from comfort. Bulgakov foresaw this and wanted to warn the reader. The most important thing is harmony in the inner world, it depends only on us and on our ability to accept love "like a killer from around the corner."