The menippea is extremely interesting for literary analysis. Combining unbridled fantasy with the formulation of global worldview problems, this genre deliberately creates provocative situations to confirm or refute certain philosophical ideas. One of the most important characteristics of the menippea is a moral-psychological experiment that involves a violation of the normal course of events. The mixing of reality with a fictional world, the combination of chronotopes make it possible to create conditions for testing traditional ideas about eternal values, about immutable truths. The features of the genre determine the plot and compositional originality of the work.
There are several chronotopes in Bulgakov's menippea. One of them is the Russian capital of the 30s of the XX century; the second - Yershalaim, the first three decades of our era (this is not real space and time, but the Master's novel); the third chronotope has conditional coordinates, it is most likely eternity and infinity. Bulgakov's prince of darkness resides here. He is provided with access to all spheres of human existence: to the artistic world of the history invented by the Master, to the specific space of the city in which the main characters live, and, amazingly, even to the sphere of mental illness. All these circumstances testify to the complexity of the author's methods of transforming the plot into a plot.
The composition can be called discrete: the main action is interrupted by the chapters of the novel about Pilate. The frame episodes are based on biblical reminiscence. The connection between these two storylines is determined by the common ideological concept and the presence of a fantastic element in them.
The most important semantic accents are concentrated in grotesque scenes; here the fantastic hero becomes a form of the author's presence. One of the episodes - a session of black magic - can serve as evidence. In this exciting fragment, fantasy helps the writer to expose the vices of the townsfolk. The technique of "tearing off the masks" before Bulgakov already existed in Russian literature, but the goal of the creator of The Master and Margarita, unlike his predecessors, was not only to punish the scoundrels. Woland in the novel represents a power not so much punishing as just, and therefore he allows himself to check whether mercy and compassion have been preserved in people. At this point, farce and buffoonery, based on fantasy, turn into a deep philosophical study of the real world.
Woland's words that Muscovites resemble people of the "former" ones become a plot motivation: there are points of contact between the world of Moscow and Yershalaim, they must be seen in order to understand the philosophical idea. What makes officials, who have settled in all metropolitan institutions, lose their human appearance? Thirst for power, material wealth, petty-bourgeois comfort. Why does Pontius Pilate, contrary to sincere inner impulses, go against his desires and conscience? He is hindered by spiritual lack of freedom (its reason, oddly enough, is also power, but more powerful than that of Moscow officials). Woland - a hero from an unreal world - discovers a connection between all human beings who have lost their purity of thoughts due to certain privileges; he deduces a philosophical axiom underlying several plot lines of the novel: a person cannot be free if the spiritual principle does not prevail in him. This means that the compositional unity of Bulgakov's menippea is explained by the fact that all its collisions are due to the verification of universal human truths.
Thus, another important feature of The Master and Margarita is revealed: the severity of conflicts in each storyline is based not on the ups and downs of the action, but on the difference in ideals. This is especially evident in the chapters about the ruler of Judah. There are two main conflicts here. The first is between the ideological positions of Yeshua and the procurator; the second is connected with the spiritual contradictions of Pontius Pilate himself. As a result, the main conflict of this part of the novel arises, and the reader comes to understand the difference between real and imaginary freedom.
In the plot of the novel, this theme passes through the real and retrospective chronotopes. There are other problems common to the entire plot space: evil and good, justice, mercy, forgiveness. That is why the author arranges the composition in such a way that the characters from different spatio-temporal planes unite in counterpoint - in a chapter symbolically called "Forgiveness and Eternal Refuge". In this episode, Bulgakov proves the thesis that sounds twice (but slightly differently) in the novel of the Master and in the novel about the Master ("To each according to his deeds" - "To each according to his faith").
Here, another important storyline comes to the end - love. The test of feeling is carried out in Woland's novel, so the author allows Margarita to stay in the fantasy world longer than all the other characters. The interweaving of several semantic lines in different episodes takes place not for the sake of exacerbating the plot, not for the sake of entertaining the reader - it's just that one and the same hero, the prince of darkness, conducts all moral and psychological experiments in the menippea.
Consequently, Woland, as well as the Master, Margarita, Pontius Pilate, Yeshua, can be attributed to the plot characters in the first place. Other characters have plot functions, but their role is still very significant. So, for example, "distorting mirrors" of a caricature image of reality are held by fantastic characters. Here, besides Woland, the inhabitants of the unreal world accompanying him are also important. Koroviev and Behemoth are brawling in "decent places" not for fun: they expose and punish, draw the reader's attention to ordinary abominations, which, unfortunately, have ceased to be considered vices in the real world.
All fantastic heroes of the novel can stay in reality, mix with it. To make this happen, Bulgakov builds the composition in a special way: the three worlds do not exist in parallel, but one in the other, all together, although in different space and time. The author uses discreteness and mystification when he connects reality with the Master's novel. The characters of the unreal world move freely throughout the artistic canvas, uniting heroes from different chronotopes in separate episodes of the work. The complex frame composition does not complicate, but facilitates the perception of the philosophical ideas that permeated The Master and Margarita.
Weaving real and fantastic storylines, Bulgakov relied on the experience of his predecessors, on the traditions of Russian classical literature; Saltykov-Shchedrin he considered his teacher. “I am a mystical writer,” said M. A. Bulgakov, and called his novel fantastic. Of course, this statement is justified, but such a definition does not reflect the whole diversity of the problematics of the work, does not explain its plot and compositional complexity.
The plot and composition of the novel "The Master and Margarita" was analyzed by Fyodor Korneichuk.
The work of M. A. Bulgakov "The Master and Margarita" is a complex, multi-layered novel. The novel is very unusual both in its content and in its composition. This is a novel within a novel: there are many lines in it, running parallel to each other and then intertwining at the end. First, the line of Pontius Pilate and Yeshua Ha-Nozri is clearly stated. This is a biblical line. Its chapters are practically separated and read as an independent novel. They tell how the procurator Pontius Pilate sentenced Yeshua Ha-Notsri to crucifixion. Note: not Jesus Christ, but Yeshua Ha-Nozri, since in the novel he differs from the biblical representation of God-man. Here he is a fairly simple person, who has a slightly different idea of people, of human destiny. He says that "there are no evil people in the world." For him, all people are kind. Because of the biblical line, the novel is sometimes called the "Gospel of Michael", but I believe that this should be handled with extreme caution, since M.A. Bulgakov hardly set himself the goal of writing a new gospel.
At the beginning of the second chapter, the writer shows us Pontius Pilate as sublime, powerful, even great, but rather quickly the image declines, I would even say, his “fall”, landing, remember how disgusting the procurator is the smell of rose oil. I believe that the writer makes this remark in order to show that even the greatest people are still ordinary people with their weaknesses. One very important thought follows from the biblical part of the plot (which Yeshua Ha-Nozri repeatedly expresses): the biggest sin is cowardice. All misfortunes come from her. In the novel, Pontius Pilate had to confirm the verdict against another high-ranking person, and since he was afraid for his position and for himself, he signed the verdict, although he doubted the guilt of Yeshua. After that, he immediately began to reproach himself for cowardice and could not sleep, staring at the moon.
There is also the line of Ivan Bezdomny in the novel. As his pseudonym shows, Ivan Nikolaevich Ponyrev is a man who has not found moral stability in life. He is a poet and writes poetry for an art magazine, of which Berlioz is the editor-in-chief. For Ivan Bezdomny, the incident at the Patriarch's Ponds (the meeting and conversation with Woland, the death of Berlioz and the pursuit of Woland, Koroviev and Behemoth) is a huge shock, because of which he ends up in Professor Stravinsky's psychiatric hospital. There, in prison and security, he rethinks his life, his points of view, not without the help of the Master, who comes to him at night through a common balcony. At the end of the novel, Ivan "finds himself" and becomes a man who has found moral support in life.
The line of the Master and Margarita in the novel is primarily a love line. The love of the Master and Margarita Nikolaevna is unusually strong. Margarita even leaves her husband, who loves her, to be with the Master. She agrees to become a witch and go to Woland's ball in exchange for the fulfillment of her desire to be with the Master. At the end of the novel, they are together again - they fly away with Woland and his retinue. But they didn't "deserve the light" because they both sinned: Margarita left her husband and sold her soul to the devil, and the Master refused to continue his romance about Jesus and burned it. He renounced his life purpose, got cold feet. But on the other hand, the Master and his beloved deserve eternal rest.
Line of Woland and his retinue. A variety of adventures, the most amusing stories meet here. But here are the important thoughts. During a performance organized by Woland and his entourage at the Variety Theatre, Woland observes people and their reactions and comes to the conclusion that people have not changed. He says: “Well then. They are people like people. They love money, but it has always been... Mankind loves money, no matter what it is made of, whether it is leather, paper, bronze or gold. Well, they are frivolous ... Well, then ... And mercy sometimes knocks on their hearts ... Ordinary people ... In general, they resemble the former ones ... "
Storylines There are two storylines in the work, each of which develops independently. The action of the first takes place in Moscow during several May days (days of the spring full moon) in the 30s. of our century, the action of the second takes place also in May, but in the city of Yershalaim (Jerusalem) almost two thousand years ago at the very beginning of a new era. The novel is structured in such a way that the chapters of the main storyline are interspersed with chapters that make up the second storyline, and these inserted chapters are either chapters from the master's novel, or an eyewitness account of Woland's events.
The hero Azazello Azazello is one of Woland's henchmen; a small, broad-shouldered man with fiery red hair, a fang sticking out of his mouth, claws on his hands, and a nasal voice. The name of the character is reminiscent of the demon of Jewish mythology, Azazel, who lives in the desert; this is one of the traditional names for the demon; in Bulgakov's novel it is used in an Italianized form. A. mainly performs assignments related to physical violence: he throws Likhodeev out of Moscow, beats and kidnaps Varenukha together with Behemoth, beats and pushes Poplavsky down the stairs, during the ball brings Woland a dish with the head of Berlioz, then kills Baron Meigel with a pistol. In addition, A. performs the functions of a servant and a messenger: he fries meat and treats Sokov to them when he comes to Woland, appears as a nurse to Professor Kuzmin, speaks to Margarita in the Alexander Garden, handing her a wonderful cream. He also meets Margarita at the cemetery, delivers her to apartment 50 of building 302-bis on Sadovaya Street. A. visits the master and Margarita, who have returned to the Arbat basement, and on behalf of Woland invites them for a walk. The heroes die after drinking the wine brought by A., and thus pass into other existence. A. sets fire to the basement and, together with the master and Margarita, rushes over the city on a black horse: they fly "in the black tail of his cloak." During the last flight, A., "shining with the steel of armor", takes on a true form: his eyes are "empty and black", and his face is "white and cold"; he appears "as a demon of the waterless desert, a murderous demon."
Hero Berlioz Mikhail Alexandrovich Berlioz is a writer, chairman of MASSOLIT. The surname of the character brings him closer to the famous composer, but precisely as an “anti-double”, marked by the sign of “non-musical” (cf. also the “musical” surnames of other characters: Rimsky, Stravinsky): B. is primarily a functionary, a literary official. On the other hand, the hero's name is associated with the author of the novel himself, and the initials M.A.B. completely coincide with Bulgakov's initials. B. lives in a “bad apartment” at 50 302-bis on Sadovaya Street; soon after moving in there, B.'s wife leaves him, ending up, according to rumors, "in Kharkov with some choreographer." At the very beginning of the novel, in the scene on the Patriarchs, B., in a conversation with Ivan Bezdomny, denies the historicity of Jesus Christ, and then, in a conversation with Woland, declares that “man himself” controls human life. Woland predicts his fate to the hero, and the prediction comes true: B. is “cut off her head” by a woman driving a tram, under which he falls, slipping on spilled oil. Woland and his retinue settle in the hero's apartment. B.'s remains are taken to the morgue and his head is sewn to his body for burial, but at night the head disappears, stolen by Behemoth. During the ball, Woland turns to the revived head of B., as if continuing the conversation begun at the Patriarchs. Then B.'s skull turns into a cup, which is filled with the blood of the murdered Meigel, "transformed" into wine: Woland "communes" Margarita with this wine.
Hero Varenukha Varenukha Ivan Savelyevich administrator of the Variety show. Together with Rimsky, V. waits for the appearance of the disappeared director of the Variety, Likhodeev; they receive telegrams from him from Yalta and try to come up with plausible explanations for what is happening. V. calls Likhodeev's apartment, talks to Koroviev, after which he goes to the GPU to report Likhodeev's mysterious disappearance. In a summer dressing room near Variety, V. is attacked by Behemoth and Azazello, who take him to apartment 50 of building 302-bis, where V. is kissed by the vampire witch Gella. After a session of black magic in the Variety, V. appears in Rimsky's office, and he notices that V. is not the one who does not cast a shadow. Acting as a "vampire gunner", V. waits for Gella, who is trying to open the office window from the outside; however, the crowing of a rooster makes them retreat, and V. flies out the window. In the scene after the ball, V. appears before Woland and asks to let him go, since "he cannot be a vampire", since he is "not bloodthirsty." His request is granted, but Azazello punishes V. from now on not to be rude and not to lie on the phone. Subsequently, V. again remains in the position of administrator of the Variety, and "acquires universal popularity and love for his incredible responsiveness and politeness."
The hero Woland Woland is a character who embodies the infinite and incomprehensible universe in the unity of indissoluble opposites, who is “beyond good and evil” and prefers justice to mercy. Wed the monumental true “look” of V., taken by him in the finale: “Margarita could not say what the reins of his horse were made of, and thought that perhaps these were moon chains and the horse itself was only a block of darkness, and the mane of this horse was a cloud, and the rider's spurs are white spots of stars.
The hero Gella Gella is Woland's maid, a vampire witch. The scar on her face is reminiscent of Goethe's Gretchen, executed for infanticide, whom Faust sees during Walpurgis Night. The name of the heroine causes a number of associations. In Greek mythology, G. and Frix are the children of the cloud goddess Nephele; fleeing death, they fly to Colchis on a golden-fleeced ram; G. dies, falling into the waters of the strait, which is named in her honor by the Hellespont (modern Dardanelles). In Germanic mythology, G. is the embodiment of hell and death. In the Encyclopedic Dictionary of Brockhaus Efron (Article "Sorcery") it is indicated that the name G. on the island of Lesbos was called vampire girls. In Bulgakov's novel, G. kisses Varenukha, who is taken to apartment 50, thus turning him into a vampire. During a session of black magic, she plays the role of the hostess of the "ladies' store". On the night after the session, G. tries to enter Rimsky's office through the window, and only the cry of a rooster saves him. When bartender G. Sokov visits apartment 50, he acts as a maid. Before the ball, she boils an ointment and rubs Voland's leg with it. After the ball, Behemoth, demonstrating the "art" of shooting from a revolver, wounds G. in the finger, and she attacks him in a rage. In the future, under the dictation of Behemoth, G. types a certificate for Nikolai Ivanovich on a typewriter, and then, together with Azazello and Behemoth, escorts the master and Margarita to the car.
Hero The Master The Master is the unnamed protagonist of the novel. In the Stravinsky clinic, after the disappearance of M., only his “dead nickname” remains: “Number one hundred and eighteenth from the first building.” The nickname "master" was given to the hero by Margarita and is similar to the traditional names "master", "maestro". What is important is the peculiar "duality" of M. and Woland (the symmetry of the letters "W" and "M", the coincidence of Woland's narrative and M.'s novel, etc.). The hero is given a portrait resemblance to Gogol, they are also related by the motif of the burnt manuscript. At the same time, M. is clearly an autobiographical hero; he is 38 years old, the same age as Bulgakov himself was in the year he began work on the novel and met E. S. Shilovskaya (later Bulgakova). Apparently, it is no coincidence that the hero appears for the first time in the 13th chapter. In the Stravinsky clinic, having made his way to the ward of Ivan Bezdomny, he tells that once, being a historian by training, he worked in one of the Moscow museums, and was married.
Hero Margarita Margarita Nikolaevna is the main character of the novel. There is no doubt a prototypical connection with E. S. Bulgakova, the third wife of the writer. The heroine is 30 years old. Since the age of 19, she has been the wife of a "very prominent specialist"; however, not loving her husband, she yearns and contemplates suicide. Going out into the street with a bouquet of mimosas, she meets with the master, becomes his "secret wife". It is she who inspires him to work on the novel, calling him a “master”, and when the novel is finished, she pushes him to fight for the book to be printed. M. decides to leave her husband, but the master's arrest violates her plans.
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.
Theme."Love is life!" The development of the love storyline in the novel "The Master and Margarita".
Goals: 1) follow the development of the storyline Master - Margarita; reveal the beauty, kindness and sincerity of Bulgakov's heroes. 2) develop the ability to analyze, prove and refute, draw conclusions, think logically. 3) cultivate respect for women, honesty, humanity, optimism.
Introduction by the teacher.
So, the novel The Master and Margarita is about God and the devil, about cowardice as one of the terrible vices, the indelible, terrible sin of betrayal, about Good and Evil, about repression, about the horror of loneliness, about Moscow and Muscovites, about the role of the intelligentsia in society , but first it is about the true and eternal, all-conquering power of love and creativity.
Follow me, my 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 I will show you such love!”
According to Bulgakov, love can withstand the elements of life. Love is "immortal and eternal."
Do you agree with this idea?
Our task is to prove this idea by reading, analyzing individual episodes of the novel.
The master tells Ivan Homeless his story. This is both a story about Pontius Pilate and a love story. Margarita is an earthly, sinful woman. She can swear, flirt, she is a woman without prejudice. How did Margarita deserve the special mercy of the higher powers that control the universe? Margarita, probably one of the one hundred and twenty-two Margaritas Koroviev spoke of, knows what love is.
The love story of the Master and Margarita is connected with the change of seasons. The time cycle in the hero's story begins with winter, when the Master won one hundred thousand rubles and, still alone, settled in the basement and began to compose a novel about Pontius Pilate. Then spring comes, "divided into green lilac bushes." “And then, in the spring, something much more delightful happened than getting a hundred thousand,” the Master met Margarita. The "golden age" of love lasted for the heroes, while "there were thunderstorms in May and ... the trees in the garden threw off their broken branches, white tassels after the rain," while the "stuffy summer" was going on. The Master's novel was completed in August, and with the onset of autumn in nature, autumn came for the heroes as well. The novel was angrily received by critics, the Master was subjected to persecution. "In the middle of October" the Master fell ill. The hero burned the manuscript of the novel and was arrested on the same evening on the denunciation of Aloisy Mogarych. The Master returns to his cellar, where others already live, in winter, when "the snowdrifts hid the lilac bushes" and the hero lost his beloved. A new meeting of the Master and Margarita takes place in May, after the spring full moon ball.
Love is the second path to superreality, just like creativity, it leads to the comprehension of the “third dimension”. Love and creativity - that's what can resist the ever-existing evil. The concepts of kindness, forgiveness, understanding, responsibility, truth, and harmony are also associated with love and creativity.
Analytical reading of individual chapters of the novel.
Chapter 13 "The fact is that a year ago I wrote a novel about Pilate" - "..and Pilate flew to the end."
What did you learn about the Master?
Why to the question of Ivan Bezdomny "Are you a writer?" the night visitor sternly replied, "I am the master"?
What does the Master's words "It was a golden age" mean?
In the same place, "White robe, bloody lining ..." - "She came to me every day, I started waiting for her in the morning."
Let us turn to the scene of the acquaintance of the Master and Margarita. The novel about Pilate was almost complete. For the Master, everything was clear, definite, although he was tormented by loneliness and boredom. And he went out for a walk. There were thousands of people around and disgusting yellow walls all around, and a woman was carrying disgusting yellow flowers…
What so struck the Master in Margarita? ("unusual, unseen loneliness in the eyes")
Was there anything unusual in their conversation? What is unusual about the flashed love of the characters?
The conversation is the most ordinary, there is nothing unusual in it, but the Master suddenly realized that "he loved this woman all his life." Unusual love of heroes, love at first sight. She strikes the heroes not as a beautiful vision “in the anxiety of worldly fuss,” but like lightning.
Teacher. Let's turn to the facts. Elena Sergeevna Bulgakova, the writer's wife, wrote in her diary: “It was in the 29th year in February, on oil. Some friends made pancakes. Neither I wanted to go, nor Bulgakov, who for some reason decided that he would not go to this house. But it turned out that these people managed to interest both him and me in the composition of the invitees. Well me, of course, his last name. In general, we met and were close. It was fast, extraordinarily fast, at least on my part, love for life ... "
What is the reality of the writer's life at this time? At this time, Bulgakov is in poverty. Neither fame, nor wealth, nor position in society could give Elena Sergeevna the author of The White Guard. His early feuilletons and stories sparkled and were forgotten, The White Guard remained underprinted, his plays were smashed, to say nothing of such things as The Heart of a Dog - silence, complete silence, and only because of Stalin's unusual love for the Days of the Turbins This play alone is on at the only theater in the country. Bulgakov met Elena Sergeevna in difficult, hungry years for him. And Elena Sergeevna in the early 30s was the wife of a major Soviet military leader of the Moscow Military District. Having intercepted the advance, Mikhail Afanasyevich Bulgakov once invited her to a glass of beer. They ate hard boiled eggs. But, according to her confession, how everything was festive, happy.
Bulgakov never lost himself outwardly. Many of the writer's contemporaries were simply shocked by polished shoes, a monocle, a strict triplet, intolerance to familiarity. And this was at a time when, for lack of funds, he was hired as a janitors, but even a person with such “White Guard glory” was not taken as a janitors. There were moments when I wanted to get a revolver from a hidden place. All this was not a secret either for Margarita from the novel, or for the real, smart, beautiful Elena Sergeevna.
But back to the heroes of the novel.
In the same place "Who is she?" - "... she said that in this novel - her life."
Why didn't Master answer Ivan's question "Who is she?"?
What are the happiest pages of the novel? (“She came and put on an apron as a first duty ...”)
What is happiness, because everything is more than prosaic: an apron, a kerosene stove, dirty fingers? Is it almost poverty?
Teacher: About the opportunity to be with a loved one in any conditions, even the most unfavorable, says a lot of literature, convinces life, reminds UNT. You know the Russian folk proverb "With a sweet paradise in a hut, it would be cute to your soul." Mikhail Afanasyevich said to Elena Sergeevna with gratitude: “The whole world was against me - and I am alone. Now we are together, and I'm not afraid of anything. In life, as in a novel, joy, happiness is not in wealth. Let us turn to the pages of the novel, which convince us of this.
Chapter 19
Was Margarita the only lover for the Master?
Teacher: And now the novel is written, given to the press. Master says: "I came into life holding it in my hands, and then my life ended." The novel was not published, but an article appeared in the newspaper "The Sortie of the Enemy", in which the critic warned everyone and everyone that the author "made an attempt to get an apologia for Jesus Christ into print." It's a tough time for the Master...
Chapter 13 "I got so carried away reading articles about myself ..." - "These were her last words in my life."
What was the expression of Margarita's complicity in the affairs of the Master?
Teacher: The Master's novel was persecuted, and then the Master disappeared: he was arrested on the denunciation of Aloisy Mogarych, who wanted to occupy the Master's apartment. The returned Master found that Mogarych occupied his apartment in the basement. Not wanting to cause misfortune to Margarita, realizing that he can give her nothing but love, the Master ends up in the Stravinsky psychiatric hospital. And what about Margarita?
Chapter 19
Why does Margarita curse herself?
Could she leave the Master?
Margarita "healed in the same place", but did her life remain the same?
Who did Margarita become for the Master?
Final word from the teacher.
In the basement of the Master, Margarita experienced the happiness of great love, renouncing all the temptations of the world in her name, plunging together with the Master into the thought of completing the book, which became the flesh and blood of her life, became its meaning. Margarita is not just the beloved of the Master, she became the guardian angel of the author of the novel about Pontius Pilate, the guardian angel of her beloved.
Summary of the lesson.
Theme. "Love is life!"
Goals: 1) reveal the kindness, beauty, sincerity of the feelings of Bulgakov's heroes; 2) develop the ability to analyze, prove and refute, draw conclusions, think logically; 3) to cultivate humanity, compassion, mercy.
“... Woland determines the measure of evil, vice, self-interest by the measure of truth, beauty, selfless goodness. He restores balancebetween Good and evil, and this serves good.
(V. A. Domansky)
I. Repetition.
How did the Master meet?and Margarita? Was it really an accident?
Tell the "story" of their love?
How do the Master and Margarita differ from the inhabitants of Moscow in the 1930s?
Were the Master and Margarita happy before they met each other? Is it only a lover
became Margarita for the Master.
Why did the Master disappear? What is the reason for such an act?
He simply could not see his beloved unhappy, could not accept her sacrifice. He's confused renounces his novel, burns it.
II. New topic.
1) The word of the teacher.
Margarita remains in the dark, feelings overwhelm her: she regrets the burnt manuscript,he is heartbroken for the health of his beloved, hopes to cure him, save him. Despair, confusionreplaced by determination to hope. The situation calls for action.
2)
Reading chapter 19 "Even I have a truthful person..." - ",.. and ringing in a dark room
the lock was closed”, (pp. 234-237 (484))
What feelings does Margarita experience after the disappearance of the Master?
What conclusion does she come to? What influenced it?
What does the fact that Margarita keeps the things of the Master mean?
3) But what does Margarita do to save love?
a) Ch. 19 p. 242246 (496) "Redhead looked around and said mysteriously..." - "... I agree to go to hell in the middle of nowhere" I won't give it back!
b) ch. 20 p. 247 “The cream was easily smeared” - “Goodbye. Margarita.
- How does the fact that she leaves her husband a note characterize Margarita?
in) ch. 20 p. 250 "At this time, behind Margarita's back." - "... jumped on the brush astride."
- Who does Margarita turn into for the sake of the Master?
4) The word of the teacher.
True love is always sacrificial, always heroic. No wonder so many legends have been created about her,No wonder so many poets write about her. True love overcomes all obstacles. By the power of love, the sculptor Pygmalion revived the statue he created - Galatea. By the power of love, they beat off the illnesses of loved ones, take them out of grief, save them from death.
Margarita is a very brave, determined woman. She knows how to engage in single combat, is ready to stand up for her happiness, stand up at any cost, even, if necessary, sell her soul to the devil.
The teacher's retelling of the episode of the destruction of the apartment of the critic Latunsky.
Analysis of the scene "Ball at Satan's".
a) Beginning of chapter 23 to "This will make them sick
Whathad to test Margarita before the ball?
What advice does Koroviev give her before the ball?
b) Guests at the ball pp. 283-287 "But suddenly something banged downstairs..." - "..her face was pulled into a motionless mask of greeting."
- Who were the guests at the ball?
Notorious villains gathered at the ball. Climbing up the stairs, they kiss the queen's knee Bala is Margot.
in) The trials that befell Margarita at the ball. Page 288 “Thus an hour passed, and a secondhour". - “... the flow of guests has thinned out.” pp. 289, 290.
- What physical tests fell on the lot of Margarita?
Page 291-294 "She, accompanied by Koroviev, again found herself in the ballroom." to the end of the chapter.
- What did Margarita have to experience at the ball? And all for what? Is the game worth the candle?
- Who did Margarita remember most at the ball and why?
Margarita had to endure many trials, probably shudder more than once, seeing the gallows, coffins. Before her eyes there was a murder Baron Meigel. But most of all she remembers young woman with restless eyes. Once, seduced by the owner of the cafe where she served, she gave birth and strangled the child with a handkerchief. And since then, for 300 years, waking up, she sees that nasal scarf with a blue border.
7)
After the ball. Ch. 24 strZOO-304 “Perhaps I have to go...»-«...
so it doesn't count, I'm fine
didn't do it."
Why does Margarita endure torment at the ball? What does she ask Woland about? Why?
Did anyone expect this request from her? How does this episode characterize Margarita? About whatspiritual quality does this act of Margarita speak? What is higher than love for her?
Why did Woland fulfill Margarita's request, moreover, did he allow Margarita to express her petition to Frida herself?
Everyone was touched by Margarita's mercy when she asked Woland, almost demanded, so that Frida would stop giving that handkerchief. Nobody expected this request from her. Woland thought that she would ask for the Master, but for this woman there is something that is higher than love.
Love for the Master? combined in the heroine with hatred for her persecutors. But even hatred is not able to suppress mercy in her. So, having destroyed the apartment of the critic Latunsky and frightening the adult inhabitants of the writer's at home, Margarita calms a crying child,
8) What qualities does the author endow his heroine with? For what purpose does shemade a deal with the devil?
Bulgakov emphasizes the uniqueness of his heroine, her boundless love for the Master, her faith in him talent. In the name of love, Margarita performs a feat, overcoming fear and weakness, conquering circumstances, not demanding anything for herself, she “creates her own fate, following high ideals beauty, goodness, justice, truth.
Sh. The result of the lesson
