THE PROBLEM OF CREATIVITY AND THE FATE OF THE ARTIST IN M. A. BULGAKOV’S NOVEL “MASTER AND MARGARITA”
In the novel by M. Bulgakov "The Master and Margarita" there is a hero who is not named. He himself and those around him call him the Master. The word is written with capital letter because the power of this man's talent is extraordinary. It appeared in the novel about Pontius Pilate and Yeshua. He is not called by name, apparently because he is the personification of the tragic fate of the artist in the world into which he comes with his novel.
Note that for the first time we meet the Master in psychiatric hospital, which in the novel is called “the house of sorrow”. This is a continuation of the terrible real world already because, when accepting patients, here they ask first of all whether they are members of a trade union.
The life of the Master, a historian by education, was colorless. However, he had a dream - to write a novel about Pontius Pilate, to embody his own vision of a story that took place two thousand years ago in an ancient Jewish city. Soon the opportunity presented itself to fulfill this dream - he won one hundred thousand rubles. The master devoted himself to work. Together with creativity comes to him real love He meets Marguerite. It was Margarita who called him the Master, hurried him, promised him glory.
The novel has been completed. “Iya came into life holding it in his hands, and then my life ended!” Tests begin: the novel was not accepted for publication, only a part of it was printed, criticism responded to the publication with devastating articles. The master is arrested, ends up in a psychiatric hospital. “My poor bloodied Master!” - says M. Bulgakov in a play about Molière. According to M. Bulgakov, “bloodedness”, severe trials are a guarantee of the authenticity of the artist’s fate.
Against the background of other MASSOLIT writers, the Master stands out precisely for his authenticity. M. Bulgakov shows that these so-called creative people not creative at all. They dream only of dachas (“there are only twenty-two dachas, there are three thousand of us in MASSOLIT”), of creative holidays (everything is precisely calculated here: up to two weeks for a short story, up to one year for a novel), about delicious and cheap food. The reader has the opportunity to observe how only one evening passes in MASSOLIT, but after the author is ready to exclaim: “In a word, hell ... Oh gods, my gods, poison me, poison ...” But this is not enough. They create in conditions of lack of freedom, and it seems to them quite normal. The themes of the works are imposed on the writers, as well as the performance: it is not for nothing that Berlioz at the beginning of the novel reprimands Bezdomny for not being able to write, as required, the religious poem ordered to him. These authors (in any case, many of them, such as Bezdomny, Ryukhin) are well aware that they have no talent, they do not believe in what they write.
Quite different with the work of the Master. He freely chooses the theme of his novel, but this freedom is not so simple. Let us note that the text of the Master's novel in Bulgakov's novel exists, as it were, apart from the Master. At first, we learn this text from Woland's story, then from Homeless's dream, and only at the end, when we know that the novel was burned, from the manuscript restored by Boland. This situation is symbolic: “manuscripts do not burn,” because the authentic artistic creativity exists not only on paper and even not only in the mind of the artist. It exists objectively, as a reality equal in rights to life, and the writer does not so much create it as guesses (“How I guessed everything!” says the Master).
Woland, turning to the Master, remarked: "Your novel will bring you more surprises." This happened with the books of M. Bulgakov himself. Now Russian literature of the 20th century is unthinkable, unimaginable without the “White Guard”, “ dog heart”, “Masters and Margaritas”.
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Introduction
The novel "The Master and Margarita" raises many problems, the relevance of which does not fade with time. Creativity in the novel "The Master and Margarita" is one of such topics. The way of its disclosure is interesting for readers and critics. Mikhail Bulgakov depicts the concept of creativity on 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 the attitude to what they do.
Creativity in the understanding of 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. Taking into account the fact that in the same chapter "the chairman of the board of one of the Moscow literary associations and the editor of a thick art magazine" suddenly and completely stupidly dies, 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 the role of creativity and the creator, which both Bulgakov himself and his master had to endure.
For the first time the reader sees Berlioz in a conversation with Bezdomny, on Patriarch's Ponds. Mikhail Bulgakov portrays the editor as a man confident in himself and his knowledge. He talks about Jesus, denying his existence, giving examples, and enjoying the effect it has on the young poet. As for creativity, for Berlioz this is work, consisting in narcissism and perfect tyranny. Describing the chairman of the Massolit, Bulgakov resorts to the subtlest irony. What is the phrase “Mikhail Aleksandrovich climbed into the jungle, into which he can climb without risking breaking your neck, only very educated person". Berlioz boasts of his education and erudition, as if he were a valuable treasure, replacing true knowledge with passages and quotations from books he read, the essence of which for him remained “behind the scenes”.
In addition to the image of the “writing brethren”, Mikhali Bulgakov also introduces the image of the young poet Ambrose. Describing him as "ruddy-lipped" and "puffy-cheeked", the writer ironically over the purely bodily, base beginnings of the pseudo-poet.
Creativity for Ivan Homeless
Ivan Ponyrev, who writes under the sonorous pseudonym Bezdomny, embodies the image of modern youth of the Bulgakov period. He is full of zeal, the desire to create, but blindly following the criteria and requirements of the Berlioz and "thick magazines" turns him not into freelance artist, but an experimental mouse running around in the wheel of criticism.
The problem of creativity in the novel on the example of Homeless is the crossroads on which the poet stands. As a result, already in the hospital, he understands that his poems are "monstrous", and he still made a mistake in choosing the path. Mikhail Bulgakov does not blame him for the mistake he made, and does not sneer. Perhaps the master could go along this path, if he inner fire was not stronger than conventions and traditions.
Having reached the realization of the fallacy of his desire for fame, Ivan completely changes as a person. He is aware of 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 subtle spiritual world. The rejection of the Massolite ticket is reminiscent of Levi Matthew's disdain for money, 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. You can't call him a writer, he really is a master. For him, creativity is not a way of self-affirmation at the expense of others, as in the case of Berlioz, and not an opportunity to lead a bohemian lifestyle, as for Ponyrev-Bezdomny at first. Not for nothing, the chapter in which the master appears is called "The Appearance of a Hero." He really real hero and creator. The master does not write a novel, he lives by it so much that the rejection of the novel and devastating articles hurt him to the very heart, and resentment and bitterness materializes in “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 it. When Margarita appears, love and creativity are intertwined 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 heart and soul into his work.
Margarita helps him, imbued with his work because it is - and there is a master. When the novel is over, for this couple "joyless days have come", 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 point of view of three people. For Berlioz, Massolit is just a way of expressing himself and satisfying his mundane desires. As long as such an editor manages the magazine, there is no place for real artists in it. The writer knows what he is writing about. He had to deal with such unfortunate editors more than once. His great romance will also not be immediately understood and published thanks to the people who hold the reins of government of 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 reverently, he dreams of the laurels of a poet, but gets entangled in the intricacies of the real and the false, exchanging his talent for "poems to order" and, in the end, realizes that his poems are "monstrous" and he writes them more will not be.
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 own name or his own ex-wife but knows by heart every line of the novel. 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.
Artwork test
The problem of creativity and the fate of the artist in the novel by M. A. Bulgakov - "The Master and Margarita". Subject tragic love Master and Margaret.
Target: to analyze the images of the main characters of the novel "The Master and Margarita", to consider how the writer reveals the problem of freedom of creativity and the fate of the artist, to acquaint students with Bulgakov's concept of love, to trace the love story of the main characters of the novel, to show how they high love comes into conflict with the surrounding vulgarity, develop the creative thinking of students, the ability to analyze, draw conclusions, cultivate interest in Bulgakov's work.
Equipment: the text of the novel "The Master and Margarita", a portrait of the writer M. A. Bulgakov; illustrations of students for the novel "Master and Margarita", film by V. Bortko "Master and Margarita" (2005), writing on the board "Manuscripts do not burn ..."
Lesson type: a lesson in the assimilation of new knowledge and the formation of skills and abilities based on them.
During the classes
Message about the topic and purpose of the lesson.
Checking homework. It is carried out during the lesson.
Motivation of educational activity.
“Manuscripts do not burn” - with this belief in the stubborn, indestructible power of art, the writer Mikhail Bulgakov died, all of whose main works at that time lay unpublished in the drawers of his desk and only a quarter of a century later, one after another, came to the reader. “Manuscripts do not burn” - these words, as it were, served the author as a spell from the destructive work of time, from the deaf oblivion of the deathbed and dearest work to him - the novel “The Master and Margarita”. And the spell worked, the prediction came true. Time has become an ally of M. Bulgakov, and his novel not only managed to be published, but also became relevant, causing a lot of controversy and questions.
And yet, why "manuscripts do not burn"? Why is this book attracting the attention of more and more readers? How does the novel reveal the problem of creativity and the fate of the artist, the theme of conscience? We will find answers to all these questions in the course of the lesson.
Work on the topic of the lesson
Introductory speech of the teacher
The word "Master" is not accidentally taken out by Bulgakov in the title of his famous novel "The Master and Margarita". The master is indeed one of the central figures in Bulgakov's work. Some critics consider his image to be autobiographical, reflecting the real experiences and life conflicts of Bulgakov himself. Others are looking for a prototype of the master in the literary environment of Bulgakov. But it is obvious to everyone that Bulgakov drew a typical tragic fate honest writer in a totalitarian society.
What do we know about the Master from the novel? Using homework, tell the biography of the Master.
Ch. 13 "The Appearance of a Hero"
The Master appears in the episode "Meeting Ivan Bezdomny in a Psychiatric Hospital".
“A historian by education, two years ago he worked in one of the Moscow museums, and besides, he was engaged in translations. He knew five languages: English, French, German, Latin and Greek, he also read Italian.
“The historian lived alone, having no relatives anywhere and almost no acquaintances in Moscow. And, imagine, once he won a hundred thousand rubles, ”for a bond that they gave him in the museum.
“Having won a hundred thousand, Ivan’s mysterious guest did this: he bought books, left his room on Myasnitskaya ... and hired two rooms in the basement from a developer in a lane near the Arbat little house at kindergarten. He quit his job at the museum and began writing a novel about Pontius Pilate.
“Ah, it was a golden age,” the narrator whispered with sparkling eyes, “a completely separate apartment, and also a front one, and in it a sink with water,” he emphasized with particular pride for some reason, “there are small windows above the sidewalk leading from the gate . Opposite, four steps away, under the fence, lilac, linden and maple ...
And then, last spring, something much more delightful happened than receiving a hundred thousand rubles.
Lilac smells amazing! And my head became light from fatigue, and Pilate flew to the end ... I went out for a walk. One hundred thousand is a huge amount, and I had a beautiful gray suit ... "
Role-playing game"Meeting of the Master with Margarita".
She carried disgusting, disturbing yellow flowers in her hands. The devil knows what their names are, but for some reason they are the first to appear in Moscow. And these flowers stood out very distinctly against her black spring coat. She carried yellow flowers! Bad color. She turned off Tverskaya into an alley and then turned around ... Thousands of people were walking along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by her beauty as by the extraordinary, unseen loneliness in her eyes! Obeying this yellow sign, I also turned into an alley and followed in her footsteps. We walked silently along the crooked, boring lane, I on one side and she on the other. And there was not, imagine, not a soul in the alley. I was tormented because it seemed to me that it was necessary to talk to her, and I was worried that I would not utter a single word, and she would leave, and I would never see her again.
And, imagine, suddenly she spoke:
margarita Do you like my flowers?
Master- No.
margarita- You don't like flowers at all?
Master- No, I like flowers, but not like that.
margarita- And what?
Master- I love roses.
(Margarita smiled guiltily and threw her flowers into the ditch. A little confused, I nevertheless picked them up and handed them to her, but she, grinning, pushed the flowers away, and the Master carried them in her hands. So they walked in silence for some time, until she took out from flowers from my hands, did not throw them on the pavement, then put her hand in a black glove with a bell into mine, and we walked side by side)
Master (returning)
I suddenly, and quite unexpectedly, realized that I had loved this particular woman all my life. Love jumped out in front of us, like a murderer jumping out of the ground in an alley, and hit us both at once! So lightning strikes, so strikes Finnish knife! She, however, later asserted that this was not so, that, of course, we loved each other a long time ago, without knowing each other, never seeing, and that with yellow flowers in her arms she came out that day for me to finally find her.
teacher's word
Tell us how the life of the main characters changed after the meeting? How did their relationship develop? Why did they need each other? What happened to the Master when the novel was written?
Margarita came to the Master every day, and the writer began to wait for her in the morning. “She entered the gate once, and before that I experienced at least ten heartbeats.” They fell in love with each other so deeply that they became completely inseparable. The lovers came to the conclusion that fate itself pushed them at the corner of Tverskaya and the lane and that they were created for each other forever. The master worked, and she reread what she had written, and after rereading it, she sewed a hat for the Master. She promised glory, she urged him on, and that's when she began to call him a master. The novel was completed in the month of August, was given to the typist, and she reprinted it in five copies. And finally, the hour came when I had to leave the secret shelter and go out into life.
(Insert: episode 4, 36:22, 38:55, 40:56 - pause)
The master wrote a brilliant novel about Pontius Pilate. But he was extremely impractical, naive, timid in worldly affairs. He naively believed that this novel would be needed by someone, that it would be printed and read simply because it good romance. But it turned out that no one needed his work, with the exception of Margarita alone, that he only evoked bitterness and attacks from critics. The novel was not accepted for publication, criticism denigrated the author as a "bogomaz". This broke the Master, deprived him of the will to live. Therefore, he doomed himself to voluntary seclusion in the clinic.
The newspaper campaign against the Master and his novel about Pontius Pilate is reminiscent of the newspaper campaign against Bulgakov, when his novels The Fatal Eggs, the plays Days of the Turbins, The Run, and others were no longer published and staged on the stages of theaters throughout the USSR.
(Insert: episode 4, 41 - 43:55 - conversation with Berlioz) (episode 4, 45:30 - Reading newspaper articles about the novel)
Teacher's word.
What were the writers who branded the Master's novel? Describe the atmosphere in literary circles, using the text of the chapter “There was a case in Griboedov” (chapter V)
Individual task
In the Griboedov House, Bulgakov captured the so-called Herzen House (located in Moscow at 25 Tverskoy Boulevard), which housed a number of literary organizations in the 1920s. It was not in vain that Bulgakov chose a Russian classic with a gastronomic surname for his name: it points to main passion members of MASSOLIT - the desire to eat well. The Griboyedov House is an evil satire on society, where a person is defined as a writer only by having a certificate of a member of a literary organization, where officials or writers and mediocre critics determine which topic can be written on and which one cannot be written on, where the main criterion for the artistry of a work is the correct the ideological position of the author.
The master who wrote about greatest event in the spiritual life of mankind - the history of Jesus Christ, turns out to be a stranger in the writer's environment. His contemporaries renounced God - they do not need him (The country building socialism conducts atheistic propaganda). They don't need the Master's novel either, and that's why they pounce on him so unanimously.
The morals prevailing in the writer's environment are subjected to particularly sharp and merciless criticism in the novel. Paradoxically, but writers, called to reflect on the highest things in life - on the purpose of a person, on his place in the world around him, on the ways of development of society, M. A. Bulgakov is concerned about something completely different: they achieve profitable business trips, high fees, expansion housing, obtaining garden plots and so on. None of them ever thinks about literature, with the exception of Berlioz and Ivan Bezdomny. MASSOLIT members are mediocre and spiritual philistines and townsfolk who dream of benefits and material goods and for their sake they are ready to slander and slander anyone. This is what happened to the Master: critics Latunsky, Ariman and others defame his book even before it was published and brought the author to a psychiatric hospital, to a mental breakdown, when he destroyed his own offspring with his own hands. And it is quite natural that at the end of the novel, Woland's henchmen start a fire (first in a restaurant) in the Griboyedov House.
Teacher's word.
What role did love for Margarita play in the fate of the Master? How does Margarita enter the battle for her lover? What is she willing to do for him?
Follow me, reader! Who told you that there is no true, true, eternal love in the world? Let the liar cut out his vile tongue! Follow me, my reader, and only me, and I will show you such love!”
The name of this love is Margarita. What does it mean, according to Bulgakov, real Love?
Individual task
Probably disinterested, selfless, able to accept the interests and aspirations of a loved one as her own, to live his life and help in everything you can, be able to share not only joys, but also failures, in difficult moments be the support of your loved one.
Such was Margarita's love before separation from the Master. The definition of "faithful" is revealed in the second part of the novel, when the woman is left alone and has no news of the Master. She is not only true to her feelings, but also does not lose hope for a meeting, and it is completely indifferent to her in what world this will happen. "Eternal" love becomes when Margarita passes the test of freedom from all norms and laws and the test of meeting with eternal forces. Margarita enters the battle for her lover. For him, she is ready for anything. Having turned into a witch, becoming a queen at the ball at Satan's (Woland),
(Insert: Episode 7, 29:30 - 30:45 - Satan's Ball)
she is looking forward to asking Woland about the promised meeting with the Master. And this meeting took place. Woland gives them, exhausted and tormented by a hostile world, great happiness: having finally met, they find the peace they deserve outside existing society. (Insert: episode 8, 10:35 - 16:45 - Margarita asks Woland for a meeting; “Manuscripts do not burn ...”)
Teacher's word: So what is the meaning of the novel's ending?
And the society deprived the Master and Margarita of its support. Therefore, both of them are forced to go under the care of Woland, the powerful prince of darkness in a world of chaos, lawlessness, moral and physical oppression.
Love, like creativity, that is, the two highest manifestations of human spirituality, is thrown out of the interests of this society and is forced to go to Satan for help. Margarita says: "I became a witch from the grief and disasters that struck me." And the heroes leave the society where there is no place for creativity and love. Death is given to the Master and Margarita as peace and rest, as freedom from earthly ordeals, grief and torment. (Insert: Episode 9, 48:20 - 50)
Why did Bulgakov refuse the LIGHT to the Master, but gave him PEACE?
Individual task
The master, talking about the path to the light, himself could not withstand this path, he does not even suspect that the idea of his novel affected deeper and wider original intention. The novel about Pontius Pilate grew into a work about the causes of human tragedy in any despotic society, regardless of time and place. Wrestlers get the light strong personalities, and the Master is weak. He is not able to fight for his love, for his romance, so he deserves peace. Yeshua asks for him, believing that the master is unworthy of the light. Margarita, with her love, helps the Master to get what he deserves. But the reward for the hero here is not light, but peace, and in the kingdom of peace, in Woland's last shelter, or, more precisely, on the border of two worlds - light and darkness - Margarita becomes the guide and guardian of her beloved.
(Insert: episode 10, 31:30 – 32:22)
Love Master and Margarita. What is she? Working with a diagram.
Reflection. Summing up the lesson.
"Microphone"
So what is love according to Bulgakov?
Continue the sentence: "Love is..."
What is the meaning of the ending?
Generalizing word of the teacher
"Manuscripts don't burn..."
Bulgakov's novel The Master and Margarita, having survived decades of oblivion, is still addressed to us today, in our time. And today, when there is a struggle for a person, Bulgakov's novel is of particular relevance, because it puts before us main problem of life are the problems of a free man in free society.
Homework.
Work through pages 252-255 of the textbook
Individual tasks for students on the topic "Master and Margarita" by M. N. Bulgakov as a modernist novel (according to various sources)"
Topics for the control essay:
Write a literary screenplay "Session in Variety".
Write a letter or diary piece from any of the secondary characters novel about the tricks of Woland's gang.
Write a letter to the writer Bulgakov: “I want to tell you (about the time, about myself, using the stylistic devices of Bulgakov’s satire).
Heraldry - a description of coats of arms and their history. Coat of arms - a distinctive sign of the state, city, class, etc. Come up with Bulgakov's coat of arms, describe and defend it in the final lesson.
What did M. A. Bulgakov's novel The Master and Margarita reveal to me in the world and man?
G. E. Fefilova "All the lessons of literature" Grade 11
Kharkiv, Osnova, 2011
N. S. Polulyakh. Literature. Lesson development.
"Ranok", 2011
L. P. Levitskaya, L. E. Solovieva, N. P. Lisovaya .. Literature of the XX century, tutorial. Grade 11
Donetsk, Center for the preparation of applicants.
The Master and Margarita is a masterpiece of Russian literature, where the present and the past are intertwined. The author worked on his creation most life and as a result gave readers a grandiose and unique work full of colors. A variety of characters that attract attention with their fantastic and unusual. This is Bulgakov's novel, where they rise different topics with all its problems, about which we will write ours.
Master and Margarita problems
As we have already said, in his novel Bulgakov raises various problems, which, with the help of his characters, their images and actions, the writer reveals them and looks for solutions. Thus, in the novel The Master and Margarita reveals such problems as the problem of choice, the problems of good and evil, the problems of love and loneliness, the problems of creativity and morality. Let's consider everything in more detail.
Reading Bulgakov's work, we notice the first problem that the writer raises and this is the problem of choice. Bulgakov constructs the plot in such a way that his fate depends on each character and according to what laws life will develop. The writer gives each of his characters the opportunity to change lives for the better, but not every one of them uses this chance. After all, everyone is faced with a choice. This is Margarita, who needs to choose life with her husband in wealth, or live with a poor Master. This is also the choice that Pontius Pilate had to make. The choice that Riukhin and Homeless had to make. Having finished reading Bulgakov's work, we saw that each of the heroes nevertheless made his personal choice, and he was right for everyone in his own way.
The key element in the novel is moral problem when each person must determine for himself what is good and what is bad, take the path of betrayal or remain true to his ideals, be a coward or take the right path. All heroes at some point in their lives decide for themselves moral questions choosing one path or the other. So Pontius must decide for himself whether to acquit the innocent or to pass a death sentence. The master must make a choice either to abandon his work, submitting to censorship, or to defend own novel. Margarita needs to decide to be with her husband or share her fate with her beloved Master. At the same time, all the characters are faced with the moral side of the problem.
Another one of eternal problems what Bulgakov revealed was the problem of good and evil. This topic interested many writers and was relevant at all times. Bulgakov also did not stay away from the problem of good and evil and revealed it in his own way, using the life and choice of his characters. Two different forces that should be in balance and cannot exist one without the other, the author embodies in the images of Yeshua from Yershalaim and Woland. We have seen that the two forces are equal and stand on the same level. Woland and Yeshua do not rule the world, but only coexist and oppose, arranging disputes. At the same time, we can safely say that the struggle between good and evil is eternal, since there is not a single person in the world who would not commit a sin, just like there is no one who would never do good in his life. The main thing is to be able to recognize these two forces and choose the right path. Just the novel helps readers understand what is good and what is evil.
The author did not stand aside from the problem of creativity either. Already from the first pages we notice the raised problem of false and true creativity. This topic also worried and was painful for Bulgakov. Apparently, therefore, many readers and literary critics see Bulgakov himself in the image of the Master.
Reading the work, we see the members of MASSOLIT who care not about what to write, but how to fill their pockets. The author depicts writers for whom the restaurant, which is located on the ground floor, has always been a temple of culture and its attraction at all times. But the true writer is the Master, in his image is depicted real artist pen that wrote truly Good work. But the mediocre massites did not appreciate her, moreover, they drove the character to madness. However, the author says that the time will come and hack-work will be punished, higher power everyone will be rewarded for their deeds. The work focuses on the fact that manuscripts do not burn, which means that every person who has associated himself with literature should treat creativity responsibly. Justice was restored thanks to Woland and his retinue. The whole hotbed of lies and hack-work was on fire. And let the new building be rebuilt, new hacks will come, but for a while the truth has triumphed. And real talents have a little time to bring their masterpieces to the world.
Love is a feeling that excites everyone, and the problem of love was also revealed in the novel The Master and Margarita. Love is truly strong feeling that pushes people to do different things. Bulgakov reveals the theme of love with the help of images of two heroes: Margarita and the Master. But there are obstacles in the way of their common happiness. Firstly, the heroine's marriage, and secondly, the Master's stay in a psychiatric hospital. But the love of the characters is so strong that Margarita decides to make a deal with the devil. She sells her soul to him, if only he would return her loved one. How do we see love in the novel? First of all, this is love, which does not make the characters worse or better, it just makes them different. The writer's love is selfless, disinterested, merciful, eternal and faithful.
The novel by M. A. Bulgakov "The Master and Margarita" is to some extent autobiographical, since the Master is Bulgakov's double. No, this is not the shadow of the author, not his copy, this is - living face. It is both similar and unlike its creator. But be that as it may, it was to the Master that the author gave his cherished images and the “Yershalaim” chapters of the novel. The story of Pontius Pilate has, as it were, a double authorship. It came from the pen of Bulgakov, but at the same time belongs to the Master, Bulgakov's favorite hero. There are points of view that the main characters of the novel are Woland, Pontius Pilate, even Ivan Bezdomny, but the author himself refutes these opinions by naming the chapter where we get to know the Master, “The Appearance of the Hero”.
In one of the chapters, the Master admits that he does not consider himself a writer. He is only the creator of the novel about Pontius Pilate. Indeed, besides this novel, he did not write a single line, he had no other creations. The story about Pontius Pilate and Yeshua was also not invented, it was “guessed”. This is confirmed by Woland, who was personally present at the events described in the manuscript.
So, the Master writes in his basement on the Arbat. Margarita helps him, supports him, does not let him stop. Their whole life is contained in the novel that has not yet been completed, they exist for the sake of it. The manuscript belongs to Margarita no less than to the Master, making up an integral part of her being. The novel has not yet been completed, but the ending is already known: “The cruel fifth procurator of Judea, the horseman Pontius Pilate.” This means that the novel already exists independently of the author and is only waiting for its implementation on paper. The master cannot yet predict what will be in the manuscript, but he knows for sure that it will be completed. And it happened. The work of life was finally carried out, and all that remained was to submit the manuscript for publication.
And then disaster strikes. talented person created what he was going for long years. While he was writing in his basement, there were no obstacles in his way. But he never rotated in the so-called “ literary world". The master is dumbfounded by how his creation is perceived by the editors. He, of course, did not expect that, when the painstaking work was completed, such obstacles would arise in the way. The master could not even think about all the behind-the-scenes intrigues of the publishing world.
And so one of the editors decides to print a large excerpt from the novel. Now it's all up to the critics. But their accusations are stupid, meaningless and, according to by and large have nothing to do with the essence of the novel. All this happens at a time when Soviet country atheism was planted everywhere, churches were blown up, clergymen were shot. Therefore, the reaction to “an attempt to push an apology of Christ into the press” was natural. No one would have had the courage to support the “anti-Soviet” romance. A person who was either very brave or very naive could dare to publish a novel about Jesus.
The Master himself said that the bitterness of critics is not caused by the fact that they do not like the novel, but by the fact that they say something that is not what they think. Involuntarily, an association arises with Pontius Pilate, who did not dare to admit that he believed Yeshua. The master is like Ga-Notsri - an innocent defenseless person who tries to say what he cannot but say, and is sent to execution for it.
Returning to the critics, it must be said that it was not at all natural malice that pushed them to attack the Master with accusations. None of them dared to stand out from the crowd. If you don't start persecuting the author, then they will persecute you yourself.
Master's initial reaction to critical articles about myself - laughter - was replaced by surprise, and then fear. This fear in the form of a huge octopus with long cold tentacles begins to haunt the Master at night. Loss of faith in yourself and, even worse, in your creation. Margarita feels the fear and confusion of her lover, but he does not admit to her what the matter is, and therefore she is powerless to help.
Finally, a terrible night comes when the Master destroys the manuscript. This chapter is somewhat autobiographical. Bulgakov himself burned his novel and then restored it. Perhaps he was pursued by the same octopus.
But the Master, performing his crazy act, does not yet know that "manuscripts do not burn." Woland throws this phrase later when he shows the Master copies of the novel. But even if these copies did not exist, it would not play any role. The master remembers his creation word for word, it cannot be erased from memory and cannot be written.
Whatever the experiences of the Master, no matter how bitter his fate, but one thing is indisputable - everything “ literary society”, the regulars of MASSOLIT, fail to kill the talent. The Master's manuscript cannot burn, because it contains the truth. Many of the people who live near the “literary feeder” are simply insignificant creatures, they cannot overcome genius.
Creative personality you can curse, forbid her creations, bring to crazy house but it is impossible to destroy what she created. The proof of the aphorism: “Manuscripts do not burn” is the novel “The Master and Margarita”, burned by Bulgakov himself and restored by him, because what was created by a genius cannot be killed.
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