Mikhail Afanasyevich Bulgakov is an unsurpassed creator. He is the author of various works. But perhaps the most famous is The Master and Margarita.

The plot of the novel falls into two parallel lines: the first tells how Satan Woland and his retinue traveled sparklingly around Moscow in the 30s, the second is a story about Yeshua Ha-Nozri and the ruler of Judea, Pontius Pilate, who sentenced an innocent preacher to death .

If the first branch of the plot of the work is an absolute invention of a brilliant author, then the second has a historical justification and has been haunting mankind for many centuries. Consider how masterfully Mikhail Bulgakov reproduces this eternal story on the pages of The Master and Margarita.

Known to more than one generation, Jesus is named in the novel Yeshua. It is unfair to blame the writer for changing his name, since the Greek transcription of "Jesus" sounds exactly like Yeshua.

So, before us appears a young man, a preacher, leading a wandering lifestyle. At the denunciation of Judas, he was arrested and sentenced to death. According to the laws of this time, the death sentence must be approved by the Roman procurator. He was also at that time Pontius Pilate. It is with the interrogation scene that our acquaintance with Yeshua begins. This young healer considers all people to be kind: the governor, and Judas, and Mark the Ratslayer, who tortures him. Punishment does not change his mind, he only stands firmer. From interrogation, we learn that Yeshua travels from city to city and preaches. But people who listen to him are confused. Levi Matthew writes for Yeshua, but when he accidentally looks into the parchment, he discovers that there is not even a word from what he said.

The words of the arrested person irritate Pontius, as he is tormented by unbearable headaches. Yeshua delivers him from this uncomfortable state. Everything passes in an instant. A wandering healer boldly expresses his opinion about the loneliness of Pontius and that he seems to him a reasonably reasonable person and ruler.

Pilate understands that he must let Yeshua go, that he is absolutely innocent. But suddenly he receives a new denunciation. Now even more dangerous reflections of the preacher are being revealed: power is violence against people, so Yeshua believes. And this is already a crime against the state, and the procurator cannot risk his position. And although the healer asks to let him go, he can no longer do this. And affirms the earlier death sentence.

You should pay attention to the place where these events unfold. The city of Yershalaim, the prototype of which was Jerusalem, is gloomy and sinister. A crowd of people have fun on the bright holiday of Easter and do not remember Yeshua. The image of this city is easily correlated with Moscow, where Woland travels. Here flash the same faces that are alien to pity. True, the beginnings of mercy still appear when they ask to spare the entertainer Bengalsky.

Nevertheless, we can say that mercy permeates both one and the other plot planes.

In the novel "The Master and Margarita" the themes of history and religion, creativity and everyday life are closely intertwined. But the most important place in the novel is occupied by the love story of the master and Margarita. This storyline adds tenderness and poignancy to the work. Without the theme of love, the image of the master could not be fully revealed. The unusual genre of the work - a novel within a novel - allows the author to both distinguish and unite the biblical and lyrical lines, to develop them fully in two parallel worlds.

fatal meeting

Love between the master and Margarita broke out as soon as they saw each other. “Love jumped out between us, like a killer jumping out of the ground ... and hit us both at once!” - this is how the master tells Ivan Bezdomny in the hospital, where he ends up after the rejection of his novel by critics. He compares the surging feelings with lightning or a sharp knife: “This is how lightning strikes! This is how the Finnish knife strikes!

The master first saw his future beloved on a deserted street. She attracted his attention because she "carried in her hands disgusting, disturbing yellow flowers."

This mimosa became, as if a signal to the master, that in front of him was his muse, with loneliness and fire in his eyes.

Both the master and the unhappy wife of a rich but unloved husband, Margarita, were completely alone in this world before their strange meeting. As it turns out, the writer was previously married, but he does not even remember the name of his ex-wife, about whom he does not keep in his soul, neither memories nor warmth. And he remembers everything about Margarita, the tone of her voice, the way she spoke when she came, and what she did in his basement room.

After their first meeting, Margarita began to come every day to her lover. She helped him in the work on the novel, and she herself lived by this work. For the first time in her life, her inner fire and inspiration found their purpose and application, just as the masters listened and understood for the first time, because from the first meeting they spoke as if they parted yesterday.

The completion of the master's novel was a test for them. But already born love was destined to pass it, and many other tests, in order to show the reader that a true kinship of souls exists.

The Master and Margarita

The true love of the master and Margarita in the novel is the embodiment of the image of love in the understanding of Bulgakov. Margarita is not just a beloved and loving woman, she is a muse, she is the inspiration of the author and his own pain, materialized in the image of Margarita the witch, which in righteous anger destroys the apartment of an unjust critic.

The heroine loves the master with all her heart, and seems to breathe life into his small apartment. She gives her inner strength and energy to the novel of her lover: “she sang and loudly repeated certain phrases ... and said that her life was in this novel.”

The refusal to publish the novel, and later the devastating criticism of the passage, it is not known how it got into print, hurts both the master and Margarita equally painfully. But, if the writer is broken by this blow, then Margarita is seized by insane rage, she even threatens to "poison Latunsky." But the love of these lonely souls continues to live its own life.

Test of love

In The Master and Margarita, love is stronger than death, stronger than the master's disappointment and Margarita's anger, stronger than Woland's tricks and the condemnation of others.

This love is destined to pass the flame of creativity and the cold ice of critics, it is so strong that it cannot find peace even in heaven.

The heroes are very different, the master is calm, thoughtful, he has a soft character and a weak, vulnerable heart. Margarita is strong and sharp, more than once describing her, Bulgakov uses the word "flame". Fire burns in her eyes and brave, strong heart. She shares this fire with the master, she breathes this flame into the novel, and even the yellow flowers in her hands resemble lights against the background of a black coat and a slushy spring. The master embodies reflection, thought, while Margarita embodies action. She is ready for anything for the sake of her beloved, and sell her soul, and become the queen of the devil's ball.

The strength of the feelings of the master and Margarita is not only in love. They are so close spiritually that they simply cannot exist separately. Before their meeting, they did not experience happiness, having parted after - they would not have learned to live separately from each other. Therefore, probably, Bulgakov decides to end the life of his heroes, in return giving them eternal peace and solitude.

findings

Against the backdrop of the biblical story of Pontius Pilate, the love story of the master and Margarita seems even more lyrical and poignant. This is love for which Margarita is ready to give her soul, since she is empty without a loved one. Being insanely lonely before their meeting, the heroes gain understanding, support, sincerity and warmth. This feeling is stronger than all the obstacles and bitterness that befalls the fate of the main characters of the novel. And it is this that helps them to find eternal freedom and eternal peace.

The description of love experiences and the history of the relationship of the main characters of the novel can be used by students of grade 11 while writing an essay on the topic “Love of the Master and Margarita”

Artwork test

The novel "The Master and Margarita" is a work that reflects philosophical, and therefore eternal themes. Love and betrayal, good and evil, truth and lies, amaze with their duality, reflecting the inconsistency and, at the same time, the fullness of human nature. Mystification and romanticism, framed in the writer's elegant language, captivate with a depth of thought that requires repeated reading.

Tragically and ruthlessly, a difficult period of Russian history appears in the novel, unfolding in such a homespun side that the devil himself visits the halls of the capital in order to once again become a prisoner of the Faustian thesis about a force that always wants evil, but does good.

History of creation

In the first edition of 1928 (according to some sources, 1929), the novel was flatter, and it was not difficult to single out specific topics, but after almost a decade and as a result of difficult work, Bulgakov came to a complexly structured, fantastic, but because of this no less life story.

Along with this, being a man overcoming difficulties hand in hand with his beloved woman, the writer managed to find a place for the nature of feelings more subtle than vanity. Fireflies of hope leading the main characters through diabolical trials. So the novel in 1937 was given the final title: The Master and Margarita. And that was the third edition.

But the work continued almost until the death of Mikhail Afanasyevich, he made the last revision on February 13, 1940, and died on March 10 of the same year. The novel is considered unfinished, as evidenced by numerous notes in the drafts kept by the writer's third wife. It was thanks to her that the world saw the work, albeit in an abridged magazine version, in 1966.

The author's attempts to bring the novel to its logical conclusion testify to how important it was to him. Bulgakov burned out the last of his strength into the idea of ​​​​creating a wonderful and tragic phantasmagoria. It clearly and harmoniously reflected his own life in a narrow room, like a stocking, where he fought the disease and came to realize the true values ​​​​of human existence.

Analysis of the work

Description of the artwork

(Berlioz, Ivan the homeless and Woland between them)

The action begins with a description of the meeting of two Moscow writers with the devil. Of course, neither Mikhail Alexandrovich Berlioz nor Ivan the homeless even suspect who they are talking to on a May day at the Patriarch's Ponds. In the future, Berlioz dies according to Woland's prophecy, and Messire himself occupies his apartment in order to continue his practical jokes and hoaxes.

Ivan the homeless, in turn, becomes a patient in a psychiatric hospital, unable to cope with the impressions of meeting with Woland and his retinue. In the house of sorrow, the poet meets the Master, who wrote a novel about the procurator of Judea, Pilate. Ivan learns that the metropolitan world of critics is cruel to objectionable writers and begins to understand a lot about literature.

Margarita, a childless woman of thirty, the wife of a prominent specialist, yearns for the disappeared Master. Ignorance brings her to despair, in which she admits to herself that she is ready to give her soul to the devil, just to find out about the fate of her beloved. One of the members of Woland's retinue, the waterless desert demon Azazello, delivers a miraculous cream to Margarita, thanks to which the heroine turns into a witch in order to play the role of a queen at Satan's ball. Having overcome some torment with dignity, the woman receives the fulfillment of her desire - a meeting with the Master. Woland returns to the writer the manuscript burned during the persecution, proclaiming a deeply philosophical thesis that "manuscripts do not burn."

In parallel, a storyline develops about Pilate, a novel written by the Master. The story tells of the arrested wandering philosopher Yeshua Ha-Nozri, who was betrayed by Judas of Kiriath, handing over to the authorities. The procurator of Judea administers court within the walls of the palace of Herod the Great and is forced to execute a man whose ideas that are disdainful of the power of Caesar, and power in general, seem to him interesting and worthy of discussion, if not fair. Having coped with his duty, Pilate orders Aphranius, the head of the secret service, to kill Judas.

The plot lines are combined in the last chapters of the novel. One of Yeshua's disciples, Levi Matthew, visits Woland with a petition to grant peace to those in love. That same night, Satan and his retinue leave the capital, and the devil gives the Master and Margarita eternal shelter.

main characters

Let's start with the dark forces appearing in the first chapters.

Woland's character is somewhat different from the canonical embodiment of evil in its purest form, although in the first edition he was assigned the role of a tempter. In the process of processing material on satanic topics, Bulgakov molded the image of a player with unlimited power to decide fate, endowed, at the same time, with omniscience, skepticism and a bit of playful curiosity. The author deprived the hero of any props, such as hooves or horns, and also removed most of the description of the appearance that took place in the second edition.

Moscow serves Woland as a stage on which, by the way, he does not leave any fatal destruction. Woland is called by Bulgakov as a higher power, a measure of human actions. He is a mirror that reflects the essence of other characters and society, mired in denunciations, deceit, greed and hypocrisy. And, like any mirror, messire gives people who think and tend to justice the opportunity to change for the better.

An image with an elusive portrait. Outwardly, the features of Faust, Gogol and Bulgakov himself intertwined in him, since the mental pain caused by harsh criticism and non-recognition caused the writer a lot of problems. The master is conceived by the author as a character whom the reader rather feels as if he is dealing with a close, dear person, and does not see him as an outsider through the prism of a deceptive appearance.

The master remembers little about life before meeting his love - Margarita, as if he did not really live. The biography of the hero bears a clear imprint of the events of the life of Mikhail Afanasyevich. Only the ending the writer came up with for the hero is lighter than he himself experienced.

A collective image that embodies the female courage to love in spite of circumstances. Margarita is attractive, brash and desperate in her quest to reunite with the Master. Without her, nothing would have happened, because through her prayers, so to speak, a meeting with Satan took place, her determination led to a great ball, and only thanks to her uncompromising dignity did the two main tragic heroes meet.
If you look back at Bulgakov’s life again, it’s easy to note that without Elena Sergeevna, the writer’s third wife, who worked on his manuscripts for twenty years and followed him during his lifetime, like a faithful, but expressive shadow, ready to put enemies and ill-wishers out of the light, it wouldn’t have happened either. publication of the novel.

Woland's retinue

(Woland and his retinue)

The retinue includes Azazello, Koroviev-Fagot, Behemoth Cat and Hella. The latter is a female vampire and occupies the lowest rung in the demonic hierarchy, a minor character.
The first is the prototype of the demon of the desert, he plays the role of Woland's right hand. So Azazello ruthlessly kills Baron Meigel. In addition to the ability to kill, Azazello skillfully seduces Margarita. In some way, this character was introduced by Bulgakov in order to remove characteristic behavioral habits from the image of Satan. In the first edition, the author wanted to name Woland Azazel, but changed his mind.

(Bad apartment)

Koroviev-Fagot is also a demon, and an older one, but a buffoon and a clown. His task is to confuse and mislead the venerable public. The character helps the author provide the novel with a satirical component, ridiculing the vices of society, crawling into such cracks where the seducer Azazello will not get. At the same time, in the finale, he turns out to be not at all a joker in essence, but a knight punished for an unsuccessful pun.

The cat Behemoth is the best of jesters, a werewolf, a demon prone to gluttony, every now and then making a stir in the life of Muscovites with his comical adventures. The prototypes were definitely cats, both mythological and quite real. For example, Flyushka, who lived in the Bulgakovs' house. The writer's love for the animal, on behalf of which he sometimes wrote notes to his second wife, migrated to the pages of the novel. The werewolf reflects the tendency of the intelligentsia to transform, as the writer himself did, receiving a fee and spending it on buying delicacies in the Torgsin store.

"The Master and Margarita" is a unique literary creation that has become a weapon in the hands of the writer. With his help, Bulgakov dealt with the hated social vices, including those to which he himself was subject. He was able to express his experience through the phrases of the characters, which became a household name. In particular, the statement about manuscripts goes back to the Latin proverb "Verba volant, scripta manent" - "words fly away, what is written remains." After all, burning the manuscript of the novel, Mikhail Afanasyevich could not forget what he had previously created and returned to work on the work.

The idea of ​​a novel in a novel allows the author to lead two large storylines, gradually bringing them together in the timeline until they intersect "beyond", where fiction and reality are already indistinguishable. Which, in turn, raises the philosophical question of the significance of human thoughts, against the background of the emptiness of words that fly away with the noise of bird wings during the game of Behemoth and Woland.

Roman Bulgakov is destined to go through time, like the heroes themselves, in order to again and again touch on important aspects of human social life, religion, issues of moral and ethical choice and the eternal struggle between good and evil.

From that very night, Margarita for a long time did not see the one for whom she wanted to leave her husband, leaving everything behind; one for which she was not afraid to ruin her own life. But neither in her nor in him did the great feeling that arose at the first chance meeting disappear. The master, being in a clinic for the mentally ill, did not want to tell Margarita about himself, fearing to hurt her, to destroy her life. She desperately tried to find him. Their life was destroyed by the same unnatural order, which not only did not allow art to develop, but also did not allow people to live in peace, roughly penetrating even where there is no place for politics. Bulgakov did not accidentally choose a similar plot for the novel.

He himself experienced a lot in life. He was familiar with the mediocre insulting reviews of critics in the newspapers, where his name was declined undeservedly, he himself could not find a job, realize his potential.

But Bulgakov did not end his novel with the separation of the Master and Margarita. In the second part, love finds a way out of the dirt of the surrounding reality. But this exit was fantastic, since the real one was hardly possible. Without regret and without fear, Margarita agrees to be the queen at Satan's ball. She took this step only for the sake of the Master, about whom she never stopped thinking and about whose fate she could learn only by fulfilling Woland's conditions. Being a witch, Margarita took revenge on the critic Latunsky, who did a lot to destroy the Master. And not only Latunsky received what he deserved in the course of the development of the plot of the novel. For her service, Margarita received what she had dreamed of for so long. The main characters were together. But they would hardly be able to live in peace in the atmosphere of the then reality. Obviously, therefore, according to the fantastic plan of the writer, they leave this world, finding peace in another.

The master could not win. By making him a winner, Bulgakov would have violated the laws of artistic truth, betraying his sense of realism. But from the final pages of the book does not breathe pessimism. Let us not forget those views that were pleasing to the government. In addition, envious people appeared among the critics and writers of the Master, striving by all means to prevent the recognition of the new author. These people, for whom it was most important to receive material benefits from their position in society, did not strive and could not create anything worthy of the high artistic level that the Master achieved in his novel. Their articles came out one after another, each time becoming more and more offensive. The writer, who lost hope and the goal of his future literary activity, gradually began to feel more and more depressed, which affected his mental state. Driven to despair, the Master destroyed his work, which was the main work of his life. All this deeply shocked Margarita, who admired the work of the Master and believed in his great talent.

The situation that knocked the Master out of his normal state was noticeable everywhere, in various spheres of life. Suffice it to recall the barman "with fish of the second freshness" and gold tens in hiding places; Nikanor Ivanovich, chairman of a housing association, who settled evil spirits in a house on Sadovaya Street for a lot of money; the entertainer of Bengal, narrow-minded, dim-witted and pompous; Arkady Apollonovich, chairman of the acoustic commission of Moscow theaters, often secretly from his wife spending time with a pretty actress; morals existing among the population of the city. These morals were clearly manifested at the performance arranged by Woland, when the inhabitants greedily grabbed the money flying from under the dome, and the women went down to the stage for fashionable rags, which could be obtained free of charge from the hands of foreign magicians. The Master came across these morals very closely when he had a friend - Aloisy Mogarych. This man, whom the Master trusted and whose intelligence he admired, denounced the Master in order to move into his apartment. This denunciation was enough to ruin a man's life. Some people came to the Master at night and took him away. Such cases were not uncommon at the time.

Mikhail Afanasyevich Bulgakov repeatedly addressed the theme of the artist and society, which found its deepest embodiment in the writer's main book. The novel The Master and Margarita, on which the author worked for twelve years, remained in his archive and was first published in 1966-1967 in the Moscow magazine.

In this book, happy freedom of creativity and at the same time the severity of the compositional, architectural design reign. There the great ball of Satan rules, and the inspired Master, a contemporary of Bulgakov, writes his immortal novel. There, the procurator of Judea sends Christ to be executed, and next to him, quite earthly citizens, inhabiting Sadovye and Bronny streets of the 20-30s of our century, fuss, fawn, adapt, betray. Laughter and sadness, joy and pain are mixed together there, as in life, but in that high degree of concentration that is available only to a fairy tale, a poem. "The Master and Margarita" is a lyrical-philosophical poem in prose about love and moral duty, about the inhumanity of evil, about true creativity, which is always overcoming inhumanity, always an impulse towards light and goodness.

The main characters of the novel - the Master and Margarita - live in an atmosphere of some kind of emptiness and dullness, from which both are looking for a way out. This outlet for the Master was creativity, and then for both of them it was love. This great feeling filled their lives with new meaning, created around the Master and Margarita only their little world, in which they found peace and happiness. However, their happiness was short-lived. It lasted only as long as the Master was writing his novel in a small basement, where Margarita came to see him. The Master's first attempt to publish the finished novel brought him great disappointment. Even more disappointment awaited him after some editor printed a large excerpt from the work. The novel about Pontius Pilate, which has moral and artistic value, was doomed to condemnation. He could not fit into that environment of literature, where above all was not the talent of the writer, but his political views; on the ground, the Master left a student, his sight Ivan Ponyrev, the former Homeless; on earth, the Master has left a novel that is destined for a long life. Bulgakov's novel gives rise to a sense of the triumph of justice and the belief that there will always be people who stand above baseness, vulgarity and immorality, people who bring goodness and truth to our world. Such people above all put love, which has great and beautiful power.

Bulgakov wrote the brilliant novel The Master and Margarita. This novel has been revised several times. The novel is not divided into two parts: the biblical story and the love of the Master and Margarita. Bulgakov asserts the priority of simple human feelings over any social relations in the novel itself. Mikhail Afanasyevich plays in this work some of the main motives of all creativity.

The main characters of the novel Master and Margarita are married people, but their family life was not very happy. Maybe that's why the heroes are looking for what they lack so much. Margarita in the novel has become a beautiful, generalized and poetic image of a Woman who Loves. Without this image, the novel would lose its appeal. This image rises above the layer of the satirical everyday life of the novel, the embodiment of living hot love. A fantastic image of a woman, so inspiringly turning into a witch, with the fury of her reprisal against the enemy of the Master Latunsky, with her tender readiness for motherhood. A woman who doesn’t have to say anything to the devil: “Dear, dear Azazello!”, Because he planted in her heart the hope that she would see her lover.

In the novel, with the brightness of her natural love, she is opposed to the Master. She herself compares fierce love with Matvey's fierce devotion. Margarita's love, like life, is all-encompassing and, like life, is alive. Margarita is opposed to the warrior and commander Pilate with her fearlessness. And defenseless and powerful in its humanity - to the all-powerful Woland.

The master is in many ways similar to Goethe's Faust and the author himself. At first he was a historian, and then he suddenly felt his writing vocation. The master is indifferent to the joys of family life, he does not even remember the name of his wife, he does not strive to have children. When the Master was still married, he spent all his free time in the museum where he worked. He was lonely, and he liked it, but when he met Margarita, he realized that he had found a kindred spirit. There was a major mistake in the fate of the Master, which is worth thinking about. He is deprived of light, true knowledge, the Master only guesses. This mistake is in refusing to fulfill the difficult task of writing, from the daily struggle for the light of knowledge, for truth and love, for your novel and the story of the courage of Margarita, who saved the desperate, tormented Master. In real life, the Master is a man of rare talent, virginal honesty and spiritual purity. The Master's love for Margarita is in many ways unearthly, eternal love. It has nothing to do with creating a family. In general, it should be noted that in the novel none of the characters is connected by other family ties. It can be said that the image of the Master is a symbol of suffering, humanity, a seeker of truth in a vulgar world. The master wanted to write a novel about Pontius Pilate, but this work was not accepted by critics. He sold his soul to Woland to write his novel. Mental suffering broke the Master, and he never saw his work. The Master can find romance again and connect with his beloved only in the last shelter provided by Voland.

Why did love break out between these heroes? It must be that in the eyes of the Master, as well as in the eyes of Margarita, some kind of incomprehensible light was burning, otherwise there is no way to explain the love that “jumped out” in front of them and struck both at once. One could expect that since such love broke out, it would be passionate, stormy, burning both hearts to the ground. Neither the joyless black days when the Master's novel was crushed by critics and the life of lovers stopped, nor the serious illness of the Master, nor his sudden disappearance for many months, did not extinguish it. This love turned out to have a peaceful domestic character. Margarita could not part with the Master even for a minute, even when he was gone and, one had to think, never would be. She could only mentally beg him to let her go free. The witch really wakes up in Margarita with the hope of seeing the Master again or at least hearing something about him, even at some incredible price: “Oh, really, I would pawn my soul to the devil just to find out if he is alive or not !" she thinks. Having finally broken with her husband, with whom she was connected only by a feeling of gratitude for all the good done for her, on the eve of the meeting with the Master, for the first time she experiences a feeling of complete freedom. The story of the Master and Margarita is the most important in the novel. Being born, she, like a transparent stream, crosses the entire space of the novel from edge to edge, breaking through the rubble and abysses on her way and leaving for the other world, for eternity. Margarita and the Master were victims of temptation, so they did not deserve the light. Yeshua and Woland rewarded them with eternal rest. They wanted to be free and happy, but in a world where everything was consumed by evil, this was not possible. In a world where the role and action of a person are determined by his social position, there is still good, love, creativity, but they have to hide in the other world, seek protection from the devil himself - Woland. M.A. Bulgakov described heroes full of life, joy, capable of taking an extreme step for the sake of love. By the strength of their love, they became among the immortal heroes - Romeo and Juliet and others. The novel once again proves that love will conquer death, that it is true love that pushes people to various feats, even if they are meaningless. The author penetrated into the world of human feelings and showed, if I may say so, the ideals of real people. A person is free to choose between good and evil, and the memory of a person plays an important role: it does not allow black forces to take possession of a person. The tragedy of the Master and Margarita is in the misunderstanding of the surrounding world. They challenged the whole world and heaven with their love.

Composition Bulgakov M.A. - The Master and Margarita

Topic: - The plot and compositional originality of Bulgakov's novel "The Master and Margarita"

Bulgakov's novel "The Master and Margarita" was published in 1966-1967 and immediately brought world fame to the writer. The author himself defines the genre of the work as a novel, but genre uniqueness still causes controversy among writers. It is defined as a myth novel, a philosophical novel, a mystical novel, and so on. This is so because the novel combines all genres at once, even those that cannot exist together.

The narrative of the novel is directed to the future, the content is both psychologically and philosophically reliable, the problems raised in the novel are eternal. The main idea of ​​the novel is the struggle between good and evil, the concepts of inseparable and eternal.

The composition of the novel is as original as the genre - a novel within a novel. One about the fate of the Master, the other about Pontius Pilate. On the one hand, they are opposed to each other, on the other, they seem to form a single whole. This novel in the novel collects global problems and contradictions. The masters are concerned with the same problems as Pontius Pilate. At the end of the novel, you can see how Moscow connects with Yershalaim, that is, one novel is combined with another and goes into one storyline.

Reading the work, we are immediately in two dimensions: the 30s of the twentieth century and the 30s of the 1st century AD. We see that the events took place in the same month and a few days before Easter, only with an interval of 1900 years, which proves a deep connection between the Moscow and Yershalaim chapters. The action of the novel, which is separated by almost two thousand years, harmonizes with each other, and their fight against evil, the search for truth and creativity connect them. And yet the main character of the novel is love. Love is what captivates the reader. In general, the theme of love is the most beloved for the writer. According to the author, all the happiness that has fallen in a person's life comes from their love. Love elevates a person above the world, comprehends the spiritual. Such is the feeling of the Master and Margarita. That is why the author included these names in the title. Margarita completely surrenders to love, and for the sake of saving the Master, she sells her soul to the devil, taking on a huge sin. Nevertheless, the author makes her the most positive heroine of the novel and takes her side himself.

Using the example of Margarita Bulgakov, he showed that each person must make his own personal choice, not asking for help from higher powers, not waiting for favors from life, a person must make his own destiny.

There are three storylines in the novel: philosophical - Yeshua and Pontius Pilate, love - Masters and Margarita, mystical and satirical - Woland, all his retinue and Muscovites. These lines are closely connected with Woland's image. He feels free both in the biblical and in the contemporary writer's time.

The plot of the novel is the scene at the Patriarch's Ponds, where Berlioz and Ivan Homeless argue with a stranger about the existence of God. To Woland’s question about “who governs human life and the whole order on earth,” if there is no God, Ivan Bezdomny answers: “The man himself governs.” The author reveals the relativity of human knowledge and at the same time affirms the responsibility of a person for his own destiny. What is true the author narrates in the biblical chapters that are the center of the novel.

The course of modern life lies in the Master's story of Pontius Pilate.

Another feature of this work is that it is autobiographical. In the image of the Master, we recognize Bulgakov himself, and in the image of Margarita - his beloved woman, his wife Elena Sergeevna. Perhaps that is why we perceive the characters as real personalities. We sympathize with them, we worry, we put ourselves in their place. The reader seems to move along the artistic ladder of the work, improving along with the characters.

The storylines come to an end, connecting at one point in Eternity.

Such a peculiar composition of the novel makes it interesting for the reader, and most importantly - an immortal work.