Concept image of Yeshua in the novel by M. Bulgakov "The Master and Margarita" is interpreted and evaluated by researchers in different ways depending on the chosen criteria:

• some, like I. Vinogradov, understand the image of Yeshua as an image first of all man, God-man, accepting and emphasizing the human earthly principle in it, and this thought seems to be fair, consonant with the novel: "Bulgakov's Yeshua is an extremely accurate reading of the main legend of Christianity, a reading in something much deeper and more true than its gospel presentations ... God- the person who visited the earth had to be on it, of course, only an ordinary earthly person - not just a mortal person, but a person who knows nothing about the fact that he is the son of God" 1 ;
• others, including G.A. Leskis, argue thought about deep traditional religiosity author of "The Master and Margarita": "In the literature about Bulgakov, the idea of ​​​​the atheism of this writer is still widespread, that religious motives and themes in his works are only techniques and means to show something in an unusual perspective ... Meanwhile , we run the risk of not understanding anything not only in the works of Blok, Bulgakov, Pasternak about the Russian revolution, if we deny these authors deep religiosity" 2;
• from the point of view of the third, the novel by M. Bulgakov, on the contrary, deeply anti-religious. And O. Zapalskaya, for example, claims: "The position of the Master is not Christian, since the Christian position is determined not by the recognition of the real existence of Jesus and not by reverent admiration for the moral beauty of this image, but by faith in him as God, savior and redeemer 3 ". The master guessed what happened two thousand years ago. But from the point of view of a believer, he did not guess everything. The truth was revealed to him as historical and moral truth, but not the full truth of a true Christian. He didn't have faith. I. Kirillova agrees with her, believing that Bulgakov’s Yeshua is given in the spirit of Christ from Ernest Renan’s book The Life of Jesus (1863, published in 1906): “Handsome, young, poetic, compassionate, sensitive, preaching a “charming theology of love”… His death causes pity, sadness, bewilderment, but not horror ... This is an image of a beautiful dream. However, such an image is available. It does not require confession of faith. The death of Christ on the Cross is considered as the final event "4". And, finally, even more categorically formulates this idea M. M. Dunaev: “For us, the work “The Master and Margarita” is the greatest temptation; well, and if we take into account that the threads from any of our deeds stretch into a different, spiritual world, then we can assume that for the immortal soul of Mikhail Afanasyevich this is the greatest tragedy "5".

The question of the admissibility (canons) of the image of Jesus Christ in literature and fine arts is not easy. Should his image be conditional, symbolic in the spirit of Russian icon painting, or should it convey the visible human features of the God-Man as fully as possible? As is known, the image of Christ the God-man in his human hypostasis triumphed in the Renaissance and in the subsequent time, until that time the images of Jesus were conventionally symbolic. The humanism of the Renaissance is anthropocentric - it placed at the center of the universe a man equal to God. And Jesus for the humanists is a beautiful, perfect man, which was expressed, in particular, in his external flesh. See, for example, Rubens's painting "The Descent from the Cross", where Jesus is so human, so materially bodily tangible that for those who remove him from the cross, this procedure is hard physical work.

This line - focusing on the human in Jesus - received its logical conclusion in such paintings as A. Montaigny's "Dead Christ" (1500, Milan) and Holbein the Younger's "Dead Christ" (1521, Basel). On these canvases - in accordance with the name - not the crucified Jesus, who should rise on the third day according to Scripture, but simply the corpse of a man who died a terrible death. Such a Christ cannot be resurrected. Prince Myshkin in "The Idiot" by F. M. Dostoevsky remarks that "from this picture, another may still lose faith."

In this regard, it is logical to assume that M. Bulgakov, who was born into a deeply religious family, most likely could not help thinking about it, not seeing the danger for a Christian of humanizing Christ, and this is one of the reasons why the writer does not bring his hero Masters in the finale of the novel to the "light" (here - Paradise), since the Master did not "guess" everything in those events that took place two thousand years ago.

Read also other articles on the work of M.A. Bulgakov and the analysis of the novel "The Master and Margarita":

• 3.1. The image of Yeshua Ha-Nozri. Comparison with the gospel Jesus Christ
• 3.2. Ethical problems of the Christian doctrine and the image of Christ in the novel
• 3.3. The image of Yeshua in the novel as assessed by critics

There is a clear parallel between the fate of Yeshua and the suffering life of the Master. The connection between the historical chapters and the contemporary chapters reinforces the philosophical and moral ideas of the novel.

In the real plan of the narrative, Bulgakov depicted the life of Soviet people in the 20-30s of the twentieth century, showed Moscow, the literary environment, representatives of different classes. The central characters here are the Master and Margarita, as well as Moscow writers in the service of the state. The main problem that worries the author is the relationship between the artist and the authorities,

Individuals and societies.

The image of the Master has many autobiographical features, but an equal sign cannot be put between him and Bulgakov. In the life of the Master, the tragic moments of the fate of the writer himself are reflected in artistic form. The master is a former unknown historian who renounced his own surname, “as well as from everything in life in general”, “had no relatives anywhere and had almost no acquaintances in Moscow.” He lives, immersed in creativity, in understanding the ideas of his novel. He, as a writer, is concerned with eternal, universal problems, questions of the meaning of life, the role of an artist in society.

The very word "master" acquires

symbolic meaning. His fate is tragic. He is a serious, deep, talented person, existing in a totalitarian regime. The master, like Faust I. Goethe, is obsessed with a thirst for knowledge and the search for truth. Freely navigating the ancient layers of history, he searches for eternal laws in them, according to which the society of people is built. For the sake of knowing the truth, Faust sells his soul to the devil, and Bulgakov's Master meets Woland and leaves this imperfect world with him.

The Master and Yeshua have similar traits and beliefs. The writer gave these characters little space in the overall structure of the novel, but in terms of their meaning, these images are the most important. Both thinkers have no roof over their heads, rejected by society, both betrayed, arrested and, innocent, destroyed. Their fault is incorruptibility, self-esteem, devotion to ideals, deep sympathy for people. These images complement each other and feed each other. At the same time, there are differences between them. The master was tired of fighting the system for his novel, voluntarily retired, while Yeshua goes to execution for his beliefs. Yeshua is full of love for people, forgives everyone, the Master, on the contrary, hates and does not forgive his persecutors.

The Master professes not religious truth, but the truth of fact. Yeshua is a tragic hero created by the Master, whose death he thinks is inevitable. With bitter irony, the author introduces the Master, who appears in a hospital gown and tells Ivan himself that he is crazy. For a writer to live and not create is tantamount to death. Desperate, the Master burned his novel, which is why "he did not deserve the light, he deserved peace." The heroes have one more thing in common: they do not feel who will betray them. Yeshua does not realize that Judas has betrayed him, but he anticipates that misfortune will happen to this man.

It is strange that the closed, distrustful by nature Master converges with Aloisy Mogarych. Moreover, already being in a lunatic asylum, the Master “still” “misses” Aloysius. Aloysius "conquered" him "with his passion for literature." “He did not calm down until he begged” the Master to read to him “the whole novel from cover to cover, and he spoke very flatteringly about the novel ...”. Later, Aloysius, “having read Latunsky’s article about the novel,” “wrote a complaint against the Master with the message that he kept illegal literature.” The purpose of the betrayal for Judas was money, for Aloysius - the apartment of the Master. It is no coincidence that Woland argues that the passion for profit determines people's behavior.

Yeshua and the Master each have one disciple. Yeshua Ga-Notsri - Levi Matthew, Master - Ivan Nikolaevich Ponyrev. The students were at first very far from the position of their teachers, Levy was a tax collector, Ponyrev was a poorly gifted poet. Levi believed that Yeshua is the embodiment of Truth. Ponyrev tried to forget everything and became an ordinary employee.

Having created his heroes, Bulgakov traces the change in the psychology of people over many centuries. Master, this modern righteous man, can no longer be as sincere and pure as Yeshua. Pontius understands the injustice of his decision and feels guilty, and the persecutors of the Master triumph confidently.

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There is a clear parallel between the fate of Yeshua and the suffering life of the Master. The connection between the historical chapters and the contemporary chapters reinforces the philosophical and moral ideas of the novel.
In the real plan of the narrative, he depicted the life of Soviet people in the 20-30s of the twentieth century, showed Moscow, the literary environment, representatives of different classes. The central characters here are the Master and Margarita, as well as Moscow writers in the service of the state. The main problem that worries the author is the relationship between the artist and the authorities, the individual and society.
The image of the Master has many autobiographical features, but an equal sign cannot be put between him and Bulgakov. In the life of the Master, the tragic moments of the fate of the writer himself are reflected in artistic form. The master is a former unknown historian who renounced his own surname, "as well as everything in life in general", "had no relatives anywhere and had almost no acquaintances in Moscow." He lives, immersed in creativity, in understanding the ideas of his novel. He, as a writer, is concerned with eternal, universal problems, questions of the meaning of life, the role of an artist in society.
The very word "master" takes on a symbolic meaning. His fate is tragic. He is a serious, deep, talented person, existing in a totalitarian regime. The master, like Faust I., is obsessed with a thirst for knowledge and the search for truth. Freely navigating the ancient layers of history, he searches for eternal laws in them, according to which the society of people is built. For the sake of knowing the truth, Faust sells his soul to the devil, and Bulgakov's Master meets Woland and leaves this imperfect world with him.
The Master and Yeshua have similar traits and beliefs. The writer gave these characters little space in the overall structure of the novel, but in terms of their meaning, these images are the most important. Both thinkers have no roof over their heads, rejected by society, both betrayed, arrested and, innocent, destroyed. Their fault is incorruptibility, self-esteem, devotion to ideals, deep sympathy for people. These images complement each other and feed each other. At the same time, there are differences between them. The master was tired of fighting the system for his novel, voluntarily retired, while Yeshua goes to execution for his beliefs. Yeshua is full of love for people, forgives everyone, the Master, on the contrary, hates and does not forgive his persecutors.
The Master professes not religious truth, but the truth of fact. Yeshua is a tragic hero created by the Master, whose death he thinks is inevitable. With bitter irony, the author introduces the Master, who appears in a hospital gown and tells Ivan himself that he is crazy. For a writer to live and not create is tantamount to death. Desperate, the Master burned his novel, which is why "he did not deserve the light, he deserved peace." The heroes have one more thing in common: they do not feel who will betray them. Yeshua does not realize that Judas has betrayed him, but he anticipates that misfortune will happen to this man.
It is strange that the closed, distrustful by nature Master converges with Aloisy Mogarych. Moreover, already being in a lunatic asylum, the Master “still” “misses” Aloysius. Aloysius "conquered" him "with his passion for literature." “He did not calm down until he begged” the Master to read to him “the whole novel from cover to cover, and he spoke very flatteringly about the novel ...”. Later, Aloysius, "having read Latunsky's article about the novel," "wrote a complaint against the Master with the message that he kept illegal literature." The purpose of the betrayal for Judas was money, for Aloysius - the apartment of the Master. It is no coincidence that Woland argues that the passion for profit determines people's behavior.
Yeshua and the Master each have one disciple. Yeshua Ga-Notsri - Levi Matthew, Master - Ivan Nikolaevich Ponyrev. The students were at first very far from the position of their teachers, Levy was a tax collector, Ponyrev was a poorly gifted poet. Levi believed that Yeshua is the embodiment of Truth. Ponyrev tried to forget everything and became an ordinary employee.
Having created his heroes, Bulgakov traces the change in the psychology of people over many centuries. Master, this modern righteous man, can no longer be as sincere and pure as Yeshua. Pontius understands the injustice of his decision and feels guilty, and the persecutors of the Master triumph confidently.

The Master and Margarita is the last work of Mikhail Bulgakov. So say not only writers, but he himself. Dying from a serious illness, he said to St.

Yeshua Ga-Notsri in Bulgakov's The Master and Margarita: characterization of the image

By Masterweb

The Master and Margarita is the last work of Mikhail Bulgakov. So say not only writers, but he himself. Dying from a serious illness, he said to his wife: “Perhaps this is right. What else could I create after the "Master"? Indeed, what else could the writer say? This work is so multifaceted that the reader does not immediately understand what genre it belongs to. An amazing plot, deep philosophy, a bit of satire and charismatic characters - all this created a unique masterpiece that is read all over the world.

An interesting character in this work is Yeshua Ha-Nozri, who will be discussed in the article. Of course, many readers, captured by the charisma of the dark lord Woland, do not particularly pay attention to such a character as Yeshua. But even if in the novel Woland himself recognized him as his equal, we should certainly not ignore him.

two towers

"The Master and Margarita" is a harmonious intricacies of opposite principles. Fantasy and philosophy, farce and tragedy, good and evil... Spatial, temporal and psychological characteristics are shifted here, and there is another novel in the novel itself. Before the eyes of readers, two completely different stories that were created by one author echo each other.

The first story takes place in Bulgakov's contemporary Moscow, and the events of the second take place in ancient Yershalaim, where Yeshua Ha-Nozri and Pontius Pilate meet. Reading the novel, it is hard to believe that these two diametrically opposed novellas were created by one person. Events in Moscow are described in a living language, which is not alien to the notes of comedy, gossip, devilry and familiarity. But when it comes to Yershalaim, the artistic style of the work changes dramatically to a strict and solemn one:

In the early morning of the fourteenth day of the spring month of Nisan, in a white cloak with a bloody lining, shuffling gait, the procurator of Judea, Pontius Pilate, came out into the covered colonnade between the two wings of the palace of Herod the Great... (adsbygoogle = window.adsbygoogle || ).push(());

These two parts should show the reader what state morality is in and how it has changed in the last 2000 years. Proceeding from this intention of the author, we will consider the image of Yeshua Ha-Nozri.

Doctrine

Yeshua arrived in this world at the beginning of the Christian era and preached a simple doctrine of goodness. Only his contemporaries were not yet ready to accept new truths. Yeshua Ha-Nozri was sentenced to death - a shameful crucifixion on a pole, which was intended for dangerous criminals.

People have always been afraid of what their mind could not comprehend, and for this ignorance an innocent person paid with his life.

Gospel of...

Initially, it was believed that Yeshua Ha-Nozri and Jesus are one and the same person, but the author did not want to say this at all. The image of Yeshua does not correspond to any Christian canon. This character includes many religious, historical, ethical, psychological and philosophical characteristics, but still remains a simple person.

Bulgakov was educated and knew the gospel well, but he did not have the goal of creating another copy of spiritual literature. The writer deliberately distorts the facts, even the name Yeshua Ha-Nozri in translation means “savior from Nazareth”, and everyone knows that the biblical character was born in Bethlehem.

Inconsistencies

The above was not the only discrepancy. Yeshua Ha-Notsri in the novel "The Master and Margarita" is an original, truly Bulgakovian hero who has nothing in common with the biblical character. So, in the novel, he appears to the reader as a young man of 27 years old, while the Son of God was 33 years old. Yeshua has only one follower, Levi Matthew, Jesus had 12 disciples. In the novel, Judas was killed on the orders of Pontius Pilate, while in the Gospel he committed suicide.

With such inconsistencies, the author tries in every possible way to emphasize that Yeshua Ha-Notsri is, first of all, a person who was able to find psychological and moral support in himself, and he remained true to his convictions to the very end.

Appearance

In the novel The Master and Margarita, Yeshua Ha-Notsri appears to the reader in an ignoble external image: worn-out sandals, an old and torn blue tunic, a white bandage with a strap around his forehead covers his head. His hands are tied behind his back, there is a bruise under his eye, and an abrasion in the corner of his mouth. By this, Bulgakov wanted to show the reader that spiritual beauty is much higher than external attractiveness.

Yeshua was not divinely imperturbable, like all people, he felt fear of Pilate and Mark the Ratslayer. He did not even know about his (possibly divine) origin and acted in the same way as ordinary people.

Divinity is present

In the work, much attention is paid to the human qualities of the hero, but with all this, the author does not forget about his divine origin. At the end of the novel, it is Yeshua who becomes the personification of the power that told Woland to give the Master peace. And at the same time, the author does not want to perceive this character as a type of Christ. That is why the characterization of Yeshua Ha-Nozri is so ambiguous: some say that the Son of God was his prototype, others claim that he was a simple man with a good education, and still others believe that he was a little crazy.

moral truth

The hero of the novel came into the world with one moral truth: every person is kind. This position was the truth of the whole novel. Two thousand years ago, a “means of salvation” (that is, repentance for sins) was found that changed the course of all history. But Bulgakov saw salvation in the spiritual feat of man, in his morality and steadfastness.

Bulgakov himself was not a deeply religious person, he did not go to church, and before his death he even refused unction, but he did not welcome atheism either. He believed that the new era in the twentieth century is the time of self-salvation and self-government, which once appeared to the world in Jesus. The author believed that such an act could save Russia in the 20th century. It can be said that Bulgakov wanted people to believe in God, but not blindly follow everything that is written in the Gospel.

Even in the novel, he openly declares that the gospel is a fabrication. Yeshua evaluates Levi Matthew (he is also an evangelist who is known to everyone) with the following words:

He walks and walks alone with goat parchment and writes incessantly, but once I looked into this parchment and was horrified. Absolutely nothing of what is written there, I did not say. I begged him: burn your parchment for God's sake! var blockSettings13 = (blockId:"R-A-116722-13",renderTo:"yandex_rtb_R-A-116722-13",horizontalAlign:!1,async:!0); if(document.cookie.indexOf("abmatch=") >= 0)( blockSettings13 = (blockId:"R-A-116722-13",renderTo:"yandex_rtb_R-A-116722-13",horizontalAlign:!1,statId: 7,async:!0); ) !function(a,b,c,d,e)(a[c]=a[c]||,a[c].push(function()(Ya.Context. AdvManager.render(blockSettings13))),e=b.getElementsByTagName("script"),d=b.createElement("script"),d.type="text/javascript",d.src="http:// an.yandex.ru/system/context.js",d.async=!0,e.parentNode.insertBefore(d,e))(this,this.document,"yandexContextAsyncCallbacks");

Yeshua himself refutes the authenticity of the gospel testimony. And in this his views are one with Woland:

Someone already, - Woland turns to Berlioz, and you should know that absolutely nothing of what is written in the Gospels actually ever happened.

Yeshua Ha-Nozri and Pontius Pilate

A special place in the novel is occupied by Yeshua's relationship with Pilate. Yeshua said to the latter that all power is violence against people, and one day the time will come when there will be no power left except the kingdom of truth and justice. Pilate felt a grain of truth in the prisoner's words, but still he cannot let him go, fearing for his career. Circumstances pressed on him, and he signed a death sentence for the rootless philosopher, which he greatly regretted.

Later, Pilate tries to atone for his guilt and asks the priest to release this condemned man in honor of the holiday. But his idea was not crowned with success, so he ordered his servants to stop the suffering of the condemned and personally ordered that Judas be killed.

Getting to know each other better

You can fully understand Bulgakov's hero only by paying attention to the dialogue between Yeshua Ha-Nozri and Pontius Pilate. It is from him that you can find out where Yeshua was from, how educated he was and how he relates to others.

Yeshua is just a personified image of the moral and philosophical ideas of mankind. Therefore, it is not surprising that in the novel there is no description of this man, there is only a mention of how he is dressed and that there are bruises and abrasions on his face.

You can also learn from a dialogue with Pontius Pilate that Yeshua is lonely:

There is no one. I am alone in the world.

And, strangely, there is nothing in this statement that could sound like a complaint about loneliness. Yeshua does not need compassion, he does not feel like an orphan or somehow defective. He is self-sufficient, the whole world is before him, and he is open to him. It is a little difficult to understand the integrity of Yeshua, he is equal to himself and the whole world that he has absorbed. He does not hide in the colorful polyphony of roles and masks, he is free from all this.

The strength of Yeshua Ha-Nozri is so enormous that at first it is mistaken for weakness and lack of will. But he is not so simple: Woland feels himself on an equal footing with him. Bulgakov's character is a vivid example of the idea of ​​a god-man.

The wandering philosopher is strong in his unshakable faith in the good, and neither the fear of punishment nor apparent injustice can take away this faith from him. His faith exists in spite of everything. In this hero, the author sees not only a preacher-reformer, but also the embodiment of free spiritual activity.

Education

In the novel, Yeshua Ha-Nozri has developed intuition and intelligence, which allows him to guess the future, and not just possible events in the next few days. Yeshua is able to guess the fate of his teaching, which is already incorrectly expounded by Matthew Levi. This man is so internally free that even realizing that he is facing the death penalty, he considers it his duty to tell the Roman governor about his meager life.

Ha-Notsri sincerely preaches love and tolerance. He does not have those to whom he would give preference. Pilate, Judas and Ratslayer - they are all interesting and "good people", only crippled by circumstances and time. Conversing with Pilate, he says that there are no evil people in the world.

The main strength of Yeshua is in openness and spontaneity, he is constantly in such a state that at any moment he is ready to meet halfway. He is open to this world, therefore he understands every person with whom fate confronts him:

The trouble is, - continued the unstoppable bound man, - that you are too closed off and have finally lost faith in people.

Openness and isolation in Bulgakov's world are two poles of good and evil. Good always moves towards, and isolation opens the way for evil. For Yeshua, truth is what it really is, overcoming conventions, liberation from etiquette and dogmas.

Tragedy

The tragedy of the story of Yeshua Ha-Nozri is that his teaching was not in demand. People were simply not ready to accept his truth. And the hero even fears that his words will be misunderstood, and the confusion will last for a very long time. But Yeshua did not renounce his ideas, he is a symbol of humanity and perseverance.

The Master experiences the tragedy of his character in the modern world. One can even say that Yeshua Ha-Nozri and the Master are somewhat similar. Neither of them abandoned their ideas, and both paid for them with their lives.

The death of Yeshua was predictable, and the author emphasizes its tragedy with the help of a thunderstorm, which ends the storyline and modern history:

Dark. Coming from the Mediterranean Sea, it covered the city hated by the procurator... An abyss descended from the sky. Yershalaim disappeared - the great city, as if it did not exist in the world ... Darkness devoured everything ...

Moral

With the death of the protagonist, not only Yershalaim plunged into darkness. The morality of its citizens left much to be desired. Many residents watched the torture with interest. They were not afraid of either the hellish heat or the long journey: execution is so interesting. And approximately the same situation occurs 2000 years later, when the people are eager to attend the scandalous performance of Woland.

Looking at how people behave, Satan draws the following conclusions:

... they are people as people. They love money, but it has always been ... humanity loves money, no matter what it is made of, whether it is leather, paper, bronze or gold ... Well, frivolous ... well, and mercy sometimes knocks on their hearts.

Yeshua is not a fading, but a forgotten light, on which shadows disappear. He is the embodiment of kindness and love, an ordinary person who, despite all the suffering, still believes in the world and people. Yeshua Ha-Nozri are powerful forces of good in human form, but even they can be influenced.

Throughout the novel, the author draws a clear line between the spheres of influence of Yeshua and Woland, but, on the other hand, it is difficult not to notice the unity of their opposites. Of course, in many situations Woland looks much more significant than Yeshua, but these rulers of light and darkness are equal. And thanks to this equality, there is harmony in the world, because if there were no one, the existence of the other would be meaningless. The peace that the Masters were awarded is a kind of agreement between two powerful forces, and two great forces are driven to this decision by ordinary human love, which is considered in the novel as the highest value.

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YESHUA GA-NOZRI

The character of the novel "The Master and Margarita", ascending to Jesus Christ of the Gospels. The name "Yeshua Ha-Notsri" Bulgakov met in Sergei Chevkin's play "Yeshua Ganotsri. The Impartial Discovery of Truth" (1922), and then checked it against the writings of historians. The Bulgakov archive preserved extracts from the book of the German philosopher Arthur Drews (1865-1935) "The Myth of Christ", translated into Russian in 1924, where it was stated that in Hebrew the word "natsar" or "natzer" means "branch “or “branch”, and “Yeshua” or “Joshua” - “help to Yahweh” or “help of God”. True, in his other work, “The Denial of the Historicity of Jesus in the Past and Present,” which appeared in Russian in 1930, Drew preferred a different etymology for the word “natser” (another option is “notser”) - “guard”, “shepherd ”, joining the opinion of the British biblical historian William Smith (1846-1894) that even before our era there was a sect of Nazarenes, or Nazarenes, among the Jews, who revered the cult god Jesus (Joshua, Yeshua) “ga-notsri”, i.e. . "Guardian Jesus" The writer's archive also contains extracts from the book of the English historian and theologian, Bishop Frederick W. Farrar, The Life of Jesus Christ (1873). If Dreve and other historians of the mythological school sought to prove that the nickname of Jesus the Nazarenes (Ha-Nozri) was not of a geographical nature and had nothing to do with the city of Nazareth, which, in their opinion, did not yet exist in gospel times, then Farrar, one of the most prominent adherents of the historical school (see: Christianity), defended the traditional etymology. From his book, Bulgakov learned that one of the names of Christ mentioned in the Talmud - Ga-Notsri means Nazarene. Farrar translated the Hebrew “Yeshua” somewhat differently than Drewe, “whose salvation is Jehovah.” With Nazareth, the English historian connected the city of En-Sarid, which Bulgakov also mentioned, forcing Pilate to see in a dream "a beggar from En-Sarid." During the interrogation by the procurator I.G.-N. the city of Gamala, mentioned in the book of the French writer Henri Barbusse (1873-1935) "Jesus against Christ", appeared as the birthplace of the wandering philosopher. Extracts from this work, published in the USSR in 1928, are also preserved in the Bulgakov archive. Since there were different, contradictory etymologies of the words "Yeshua" and "Ha-Notsri", Bulgakov did not in any way reveal the meaning of these names in the text of "The Master and Margarita". Due to the incompleteness of the novel, the writer did not make his final choice on one of the two possible birthplaces of I. G.-N.

In the portrait of I. G.-N. Bulgakov took into account the following message from Farrar: “The Church of the first centuries of Christianity, being familiar with the graceful form in which the genius of pagan culture embodied his ideas about the young gods of Olympus, but also recognizing the fatal depravity of the sensual image in it, apparently with particular perseverance tried to free herself. from this idolization of bodily qualities, and took for the ideal of Isaiah the image of a stricken and humiliated sufferer or David's enthusiastic description of a man despised and reviled by people (Ex., LIII, 4; Ps., XXI, 7,8,16,18). His beauty, says Clement of Alexandria, was in his soul, but outwardly he was thin. Justin the Philosopher describes him as a man without beauty, without glory, without honor. His body, says Origen, was small, lean, and ugly. "His body," says Tertullian, "had no human beauty, much less heavenly splendor." The English historian also cites the opinion of the Greek philosopher of the 2nd century. Celsus, who made the tradition of the simplicity and ugliness of Christ the basis for denying His divine origin. At the same time, Farrar refuted the assertion based on an error in the Latin translation of the Bible - the Vulgate - that Christ, who healed many from leprosy, was himself a leper. The author of The Master and Margarita considered the early evidence of the appearance of Christ reliable, and made his I.G.-N. thin and inconspicuous with traces of physical violence on his face: the man who appeared before Pontius Pilate “was dressed in an old and torn blue tunic. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back. The man had a large bruise under his left eye, and an abrasion with dried blood in the corner of his mouth. The man brought in looked at the procurator with anxious curiosity. Bulgakov, unlike Farrar, strongly emphasizes that I. G.-N. - a man, not God, therefore he is endowed with the most unattractive, unmemorable appearance. The English historian was convinced that Christ "could not be in his appearance without the personal majesty of the prophet and high priest." The author of The Master and Margarita took into account Farrar's words that Jesus Christ had been beaten twice before being interrogated by the procurator. In one version of the 1929 edition, I. G.-N. He directly asked Pilate: “Only don’t beat me hard, otherwise I was already beaten twice today...” After the beatings, and even more so during the execution, Jesus’ appearance could not contain any signs of the greatness inherent in the prophet. On the cross at I. G.-N. rather ugly features appear in the appearance: “. ..The face of the hanged man was revealed, swollen from bites, with swollen eyes, an unrecognizable face, "and" his eyes, usually clear, were now unclear. External ugliness I. G.-N. contrasts with the beauty of his soul and the purity of his idea of ​​the triumph of truth and good people (and evil people, in his opinion, do not exist in the world), just as, according to the Christian theologian of the 2nd-3rd centuries. Clement of Alexandria, the spiritual beauty of Christ is opposed to his ordinary appearance.

In the image of I. G.-N. reflected the arguments of the Jewish publicist Arkady Grigoryevich (Abraham-Uria) Kovner (1842-1909), whose polemic with Dostoevsky was widely known. Probably, Bulgakov was familiar with the book dedicated to Kovner by Leonid Petrovich Grossman (1888-1965) "Confession of a Jew" (M.-L., 1924). There, in particular, a letter from Kovner was cited, written in 1908 and criticizing the arguments of the writer Vasily Vasilyevich Rozanov (1856-1919) about the essence of Christianity. Kovner stated, addressing Rozanov: “Undoubtedly, Christianity has played and is playing a huge role in the history of culture, but it seems to me that the personality of Christ has almost nothing to do with it. Not to mention the fact that the personality of Christ is more mythical than real, that many historians doubt its very existence, that it is not even mentioned in Jewish history and literature, that Christ himself is not the founder of Christianity at all, since the latter was formed into a religion and the church only a few centuries after the birth of Christ - not to mention everything this, because Christ himself did not look upon himself as the savior of the human race. Why, then, do you and your relatives (Merezhkovsky, Berdyaev, and others) place Christ as the center of the world, a God-man, holy flesh, a monoflower, etc.? so that you and your relatives sincerely believe in all the miracles that are told in the Gospels, in the real, concrete resurrection of Christ. good, ideally pure person, which, however, world history knows many? How many good people died for their ideas and beliefs? How many of them endured all sorts of torments in Egypt, India, Judea, Greece? How is Christ higher, holier than all martyrs? Why did he become a god-man?

As for the essence of Christ's ideas, as far as they are expressed by the Gospel, his humility, his complacency, then among the prophets, among the Brahmins, among the Stoics you will find more than one such complacent martyr. Why, again, is Christ alone the savior of mankind and the world?

Then none of you explains: what was the world before Christ? How many thousands of years has mankind lived on something without Christ, but four-fifths of mankind live outside of Christianity, and therefore without Christ, without his redemption, i.e. without needing him at all. Are all the countless billions of people perished and doomed to perish only because they were born before the Savior-Christ, or because they, having their own religion, their prophets, their own ethics, do not recognize the divinity of Christ?

Finally, after all, ninety-nine hundredths of Christians to this day have no idea about true, ideal Christianity, the source of which you consider Christ. After all, you know very well that all Christians in Europe and America are rather worshipers of Baal and Moloch than the monoflower of Christ; that in Paris, London, Vienna, New York, St. Petersburg and now they live, as the pagans used to live in Babylon, Nineveh, Rome and even Sodom ... What results gave holiness, light, God-manhood, the redemption of Christ, if his worshipers remain pagans still?

Have courage and answer clearly and categorically to all these questions that torment unenlightened and doubting skeptics, and do not hide behind expressionless and incomprehensible exclamations: the divine cosmos, the God-man, the savior of the world, the redeemer of mankind, the monoflower, etc. Think of us hungering and thirsting for righteousness, and speak to us in human language."

I. G.-N. in Bulgakov, he speaks with Pilate in a completely human language, and speaks only in his human, and not divine, incarnation. Outside the novel are all the gospel miracles and the resurrection. I. G.-N. does not act as the creator of a new religion. This role is prepared for Levi Matthew, who "wrongly writes down" for his teacher. And nineteen centuries later, even many of those who consider themselves Christians continue to be in paganism. It is no coincidence that in the early editions of The Master and Margarita, one of the Orthodox priests arranged a sale of church valuables right in the temple, and the other, Father Arkady Elladov, persuaded Nikanor Ivanovich Bosoy and other arrested people to hand over the currency. Subsequently, these episodes from the novel left because of their obvious obscene language. I. G.-N. - this is Christ, cleansed of mythological layers, a good, pure man who died for his conviction that all people are good. And only Levi Matthew, a cruel man, as Pontius Pilate calls him, and who knows that "there will still be blood," is able to found a church.

Bulgakov Encyclopedia. - Academician. 2009 .

See what "YESHUA HA-NOZRI" is in other dictionaries:

Yeshua ha Notzri: Yeshua ha Notzri (ישוע הנוצרי), Yeshua of Nazareth reconstructed original form (reverse translation) of the gospel nickname of Jesus Christ (Greek Ἰησους Ναζαρηνος, Jesus of Nazarene). Yeshu (ha Notzri) character Toledot ... ... Wikipedia

The central character of the novel by M.A. Bulgakov "The Master and Margarita" (1928 1940). The image of Jesus Christ appears on the first pages of the novel in a conversation between two interlocutors at the Patriarch's Ponds, one of whom, the young poet Ivan Bezdomny, composed ... ... literary heroes

This term has other meanings, see Yeshua Ha Notzri. Yeshua, nicknamed Ga Nozri (Hebrew ישוע הנוצרי) ... Wikipedia

Ga Notsri is one of the characters in Mikhail Bulgakov's The Master and Margarita. It is an analogue of Jesus Christ in an alternative interpretation of scripture. The uncensored version of the Babylonian Talmud mentions a preacher named Heb. ‎יש ו‎… … Wikipedia

Yeshua Ga Notsri is one of the characters in Mikhail Bulgakov's The Master and Margarita. It is an analogue of Jesus Christ in an alternative interpretation of scripture. The uncensored version of the Babylonian Talmud mentions a preacher named Heb. ‎יש… … Wikipedia

A world religion that unites followers of the teachings of Jesus Christ, set forth in the New Testament of the four Gospels (from Matthew, Mark, Luke and John), the Acts of the Apostles and some other sacred texts. The sacred book X. is recognized ... ... Encyclopedia Bulgakov

Novel. During Bulgakov's lifetime it was not completed and was not published. For the first time: Moscow, 1966, No. 11; 1967, No. 1. The time of the beginning of work on M. and M. Bulgakov in different manuscripts dated either 1928 or 1929. Most likely, it refers to 1928 ... ... Encyclopedia Bulgakov