Three worlds in the work of the master and margarita. Three worlds in the novel "The Master and Margarita" - composition

Lesson 4 (65). Three worlds in the novel "The Master and Margarita"

Lesson Objectives: understand the intention of the writer; to notice and comprehend the echoes of the lines of the novel.

Methodical methods: work with the text, analysis of the stylistic features of the novel.

Epigraph on the board:

“Why, why, where does evil come from?

If there is a God, how can there be evil?

If there is evil, how can there be a God?

M. Yu. Lermontov

During the classes

I. teacher's word

As we found out, the novel "The Master and Margarita" has several plans, its composition is unusual and complex. Literary critics find three main worlds in the novel: "ancient Yershalaim, eternal otherworldly and modern Moscow".

II. Discussion of homework questions

How are these three worlds related?

(The role of the connecting link is performed by Woland and his retinue. Time and space either shrink, or expand, or converge at one point, intersect, or lose their boundaries, that is, they are both concrete and conditional.)

Why does the writer make such complex constructions? Let's try to figure it out.

The first world is Moscow. This is where the action of the novel begins. Let's pay attention to the title of the first chapter - "Never talk to strangers." Even before the story begins, the author addresses the reader with a warning. Let's see how the author leads in the future.

In this world, there are quite modern people, busy with momentary problems. Chairman of the board of Massolit, editor of the thick magazine Berlioz, whose namesake, according to Bezdomny, is the composer (remember Hoffmann and Schiller from Gogol's Nevsky Prospekt) - an intelligent and educated person.

What does the Master say about Berlioz? Why?

(The master speaks of him as a “well-read” and “very cunning” person. Much has been given to Berlioz, and he deliberately adapts himself to the level of the worker poets he despise. His assertion that there was no Jesus at all is not so harmless. For him there is neither God nor the devil, nothing at all, except for everyday reality, where he knows everything in advance and has quite real power, if not unlimited, none of his subordinates is engaged in literature: these are the regulars of Griboyedov's restaurant, "engineers of human souls", who are only interested in the sharing of material goods and privileges. Bulgakov parodies the "Last Supper" (more precisely, this is Berlioz blasphemously trying to parody): Berlioz is sure that "at ten o'clock in the evening there will be a meeting in Massolite", and he will "preside over it". twelve writers will not wait for their chairman.)

Why is Berlioz so terribly punished?

(For being an atheist? For adapting to the new government? For seducing Ivanushka Bezdomny with unbelief?

Woland is annoyed: “What is it with you, whatever you miss, there is nothing!” Berlioz receives "nothing", non-existence. He receives according to his faith.)

The critics Latunsky and Lavrovich are also people invested with power, but deprived of morality. They are indifferent to everything except their career. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of vicious power. History sends such people into oblivion.

The actions of people throughout history are driven by the same constant and primitive springs. And it doesn't matter where and when the action takes place. Woland says: “The townspeople have changed a lot, outwardly, I say, like the city itself, however ... a much more important question: have these townspeople changed internally?

(Let's try to find the answer to Woland's question.

Answering this question, the evil spirit enters into action, conducts one experiment after another, arranges "mass hypnosis", a purely scientific experiment. I. people show their true face. The reveal session was a success.

Woland sums up: “Well, they are people like people ... They love money, but it has always been ... Ordinary people ... in general, they resemble the former ones, the housing problem only spoiled them ... ".)

What does the evil spirit make fun of, scoff at? By what means does the author portray the inhabitants?

(Caricature, grotesque, fantasy serve to depict the Moscow bourgeoisie. The adventures and antics of the inhabitants of the other world are perceived as cleverly performed tricks. However, the fantastic nature of what is happening has a completely realistic explanation (recall the episode with the expansion of the apartment, the mysterious transfer of Styopa Likhodeev to Yalta, the incident with Nikanor Ivanovich.)

Fantasy is also a means of satire. Let's find an episode (Chapter 17) where the suit of the chairman of the commission (by the way, it doesn't matter which commission) independently signs resolutions.

Whose traditions does Bulgakov continue here?

(Saltykov-Shchedrin (“History of a City”). Fantastic, phantasmagoric is Moscow life itself, the life of the inhabitants, the structure of society. What is the peculiar model of this society, Massolit, one of the writers' organizations, numbering three thousand one hundred and eleven members.)

What lies at the basis of human behavior - a combination of circumstances, a series of accidents, predestination or following chosen ideals, ideas? Who controls human life?

If life is woven from accidents, is it possible to vouch for the future, to be responsible for others? Are there any immutable moral criteria, or are they changeable and a person is driven by fear of power and death, a thirst for power and wealth?

In what way do you see the difference between the "evangelical" and "Moscow" chapters?

(If the Moscow chapters leave a feeling of frivolity, unreality, then the very first words of the novel about Yeshua are weighty, chased, rhythmic: “In a white cloak with bloody lining, shuffling with a cavalry gait, in the early morning of the fourteenth day of the spring month of Nisan ...”. If in “ In the Moscow chapters, there is an active mediator, a narrator leading the reader, as if involving the reader in the process of the game, a narrator whose intonation can be ironic (“Eh-ho-ho ... Yes, it was, it was! .. Moscow old-timers remember the famous Griboedov! ”) and lyrical (“Gods, my gods!”), then there is no intermediary, no game in the “evangelical” chapters. Everything here breathes authenticity.)

Ivan Bezdomny experiences an aesthetic shock: the surrounding reality loses its meaning, the story of Yeshua and Pontius Pilate becomes the center of his life (remember, at the end of the novel, Ivan Nikolaevich Ponyrev is a professor of history).

The philologist and philosopher P. V. Palievskiy writes: “He (Yeshua) is far away, too, although he is emphatically real. This reality is special, somehow bordering or sharply delineated: after all, nowhere did Bulgakov say: “Yeshua thought,” nowhere are we present in his thoughts, we do not enter his inner world - it’s not given. But we only see and hear how his mind is tearing the veil, how the familiar reality and the connection of concepts crack and spread, but from where and by what - it is not clear, everything remains framed "(" Sholokhov and Bulgakov "// Heritage. - M., 1993 - p. 55). Betrayed into the hands of Jewish fanatics by the unjust judgment of Pilate and doomed to a painful death, Yeshua-Christ from afar sets a great example for all people. Including the master, Bulgakov himself, and his favorite hero.

Through the image of Yeshua, Bulgakov conveys his conviction that "any power is violence against people and that the time will come when there will be no power of either Caesar or any other power." The personification of power, the central figure is Pontius Pilate, procurator of Judea. Imperial service obliges him to be in Jerusalem, which he hates.

What kind of person is Pilate in Bulgakov's image?

(Palat is cruel, they call him a “fierce monster.” Even after all, the law of force rules the world with this nickname. Pilate has a long life of a warrior behind him, full of struggle, hardship, mortal danger. Only the strong, who knows no fear and doubt, wins in it, pity and compassion. Pilate knows that the victor is always alone, who cannot have friends, only enemies and envious people. He despises the mob. He indifferently sends some to execution and has mercy on others.

He has no equal, there is no person with whom he would just want to talk. He knows how weak a person is before any temptation, be it money or fame. He has a living being, to which he is very attached - this is a faithful and devoted dog. Pilate is sure that the world is based on violence and power.)

And now fate gives him a chance. Find the interrogation scene (Chapter 2). Yeshua, sentenced to death, is brought before Pontius Pilate. He must approve the verdict. When Yeshua addresses him with the words “Good man!”, Pilate orders Ratslayer to explain to the arrested man how to talk to the procurator, to explain, that is, to beat him. The interrogation continues. And suddenly Pilate discovers with amazement that his mind no longer obeys him. He asks the accused a question that should not be asked in court.

What is this question?

("What is truth?")

And then Yeshua says to Pilate: "You give the impression of a very intelligent person." This is a very important characteristic of Pilate. After all, you can call him a primitive villain. This happened to him for the first time. He met a man who spoke frankly to him, despite the fact that he was physically weak and suffered from beatings. “Your life is poor, hegemon,” these words do not offend Pilate. Suddenly, insight comes - the thought "of some kind of immortality, and immortality for some reason caused unbearable longing."

Pilate wants nothing more than to be near Yeshua, talk to him and listen to him. Pilate's life has long been at an impasse. Power and greatness did not make him happy. He is dead at heart. And then a man came who lit up life with a new meaning. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sanhedrin does not change its mind.

Why does Pilate approve the death sentence?

(He convinces himself that he did everything in his power: he persuaded Kaifa, threatened him. What else could he do? Revolt against Tiberius? It was beyond his strength. He washes his hands.)

However, after the execution, after five hours of pain on the cross, Pilate grants Yeshua an easy death. He orders the burial of the bodies of the executed in secret. Assigns to Aphranius the duty to kill Judas - the man who betrayed Yeshua.

Why was Pilate punished?

(“Cowardice is the most serious vice,” Woland repeats (chapter 32, scene of a night flight). Pilate says that “more than anything in the world he hates his immortality and unheard of glory.” And then the Master enters: “Free! Free! He is waiting you! Pilate is forgiven.)

III. teacher's word

What do we, the people of the 20th century, care about the tragic spiritual duel between Yeshua and Pontius Pilate? You need to know about the deserted top of the mountain, where a pillar with a crossbar is dug. We must remember about bare, joyless stones, about chilling loneliness, about conscience, a clawed beast that does not let you sleep at night.

Homework

Prepare for the Master and Margarita test.

Questions for preparation:

1. Moscow and Muscovites in the novel.

2. The symbolism of the novel.

3. Dreams and their role in the novel.

4. Bulgakov's artistic skill in the novel "The Master and Margarita".

6. Personality and the crowd in the novel.

7. Literary reminiscences in the novel.

8. Epigraph and its meaning in the novel.

9. How are Yeshua and Woland related in the novel?

10. The problem of loneliness in the novel.

11. Time and space in the novel.

12. Why did the Master “not deserve light”, but “deserve peace”?

Lesson 5 (66). Love and creativity in the novel

Lesson Objectives: to understand the moral lessons of Bulgakov, the main values ​​that the writer speaks of; test knowledge of the content of the novel.

Methodical methods: work with text, lecture with elements of conversation; test.

During the classes

I. Working with the text of the novel

1. Teacher's word

Forgiveness for Pilate comes from the Master, it is he who sets him free. The novel was not invented by the Master, but guessed (“Oh, how I guessed! Oh, how I guessed everything!”). You don't need a membership card to be a writer. With this certificate, they are allowed into a restaurant, but not into History.

2. Analysis of the episode of chapter 28

Dostoyevsky died, - said the citizen, but somehow not very confidently.

I protest! - hotly exclaimed Behemoth. - Dostoevsky is immortal!

It turns out that "a writer is not at all determined by his identity, but by what he writes." Only not everyone is able to soberly assess the fact that oh it was possible. He agrees that he is "an ignorant man" (chapter 13) and promises to "write no more" poetry. He parted with his profession, as if imposed by someone, with a sense of liberation, relief. The mediocre Riukhin (Chapter 6), realizing the insignificance of his talent, is not able to change. He continues to envy Pushkin. "Lucky, lucky!" - Ryukhin concludes venomously and understands that "it is already impossible to fix anything in his life, but you can only forget."

What else do you see as a connection between Ryukhin and Homeless?

(Essentially, Ryukhin is the twin of Homeless, his reflection (Ryukhin is 32 years old, Ivan is 23), a spiritual dead end that Ivan managed to avoid. A miracle happens to Ivan. Getting into a lunatic asylum, Ivan outlives Ryukhin in himself. To Ivan’s question “You a writer?" the answer was: "I am a master. Some researchers believe that Ivan reincarnates into another double - the Master.)

The master comes to Ivan not from outside, but from his own visions and dreams. Chapter 13 Ivan's dream space, his visions.

Whose traditions does Bulgakov continue here?

(This tradition comes from Dostoevsky, it was he who developed the complex interaction of the real and the unreal. Let us recall Ivan Karamazov (also Ivan) and his double. Karamazov's guest is a nightmare, Ivan Bezdomny's guest is a revelation, the embodiment of a divine spark. Karamazov hates the guest, denies him, Homeless - listens eagerly, does not doubt his existence. Through the double, the hero comes to know himself, and the reader comes to know the hero.)

Do other characters in the novel have doppelgangers?

(We find a whole system of correspondences, reflections, fate options. Master and Yeshua, Aloysius and Judas, Berlioz and Meigel, Ivan and Levi Matvey, Natasha and Gella. B. Sokolov finds up to eight triads in the novel: Pontius Pilate - Woland - Stravinsky, Ratslayer - Azazello, Archibald Archibaldovich, dog Banga, cat Behemoth, dog Tuztuben, etc.)

There are also doubles in the novel. Let's find them.

(The knife stolen by Levi Matvey appears at the end of the novel, in a store where Koroviev and Behemoth are outrageous. Jazz orchestra in Griboyedov and at Woland's ball. Thunderstorm in Moscow and Yershalaim.)

Does Margarita have a double?

(This is the only character without a double. Bulgakov emphasizes the chosenness, uniqueness of Margarita and her feelings, deep, reaching complete self-sacrifice. After all, Margarita, in the name of saving the Master, concludes an agreement with the devil and thereby destroys her immortal soul. This is a romantic heroine, outlined brightly: yellow flowers (the color of the moon), a black coat (reflection of the abyss), loneliness in the eyes that no one has ever seen... As often happens with Bulgakov, the heroes act under the influence of a sudden flash, insight: “Love jumped out in front of us, like a murderer jumping out of the ground in an alley, and struck us both at once. This is how lightning strikes, this is how a Finnish knife strikes! "- says the Master. The fatal predestination of the meeting, the excess of feelings, the unprecedented love story, the ideality of the beloved - the embodiment of a dream.) lesson development By Russian literature XIX century. 10 Class. 1st semester. - M.: Vako, 2003. 4. Zolotareva I.V., Mikhailova T.I. lesson development By Russian literature ...

“Roman Woland and his retinue” - The name Azazello was formed by Bulgakov from the Old Testament name Azazel. Probably, Bulgakov was attracted by the combination in one character of the ability to seduce and kill. Woland is a character in the novel The Master and Margarita, who leads the world of otherworldly forces. Woland is largely focused on Mephistopheles "Faust" by Johann Wolfgang Goethe.

"Bulgakov's novel Master and Margarita" - Heroes of the novel. Real Moscow 20 - 30 years of the XX century. Master. Last flight. Goethe. "Faust". Pilate and Yeshua. 1928 - 1938 8 editions. 1931 - 1932 Continuation of work, the appearance of images of the Master and Margarita. Azazello. 1928 Concept. 1930 burned the manuscript. Why is Woland interested in the Master's novel? The novel The Master and Margarita.

"Master and Margarita" - Anti-creativity. Such is the feeling of the Master and Margarita. Saadi. MASSOLIT and Master. But now the novel is over, so what? The ulcers are familiar to you, the balm is also familiar! The symbol of writers - varnishers of reality - in the novel is MASSOLIT. Master. Follow me, reader! What sacrifices is a loving person ready for? And it was Margarita's love, the ability to sacrifice herself that made the Master's revival possible.

"Love of the Master and Margarita" - Self-examination. Master's novel. Pontius Pilate is one of the main characters in Bulgakov's The Master and Margarita. Bulgakov's Modernity (30s of the 20th century). Mystical. The forces of hell in the novel. CD-disk with a recording of the novel, 2009 Woland personifies the norms of Christian morality. The distant past has not gone irrevocably, but exists in parallel with the present.

"Mikhail Bulgakov Master and Margarita" - The story "The Devil". 1924 - Divorce from T.N. Lappa and the beginning of a life together with L. E. Belozerskaya. Faust. Woland is at the head of the force that implements the motive of retribution - the court. Two worlds in the novel "Master and Margarita": light and darkness. Azazello. M. A. Bulgakov. The story "Fatal eggs". Bulgakov leaves medicine and is engaged only in journalism and literary work.

"Margarita Bulgakov" - He does not understand that he has come into contact with the devilish world. Conclusion. Intertwining fantasy and reality. Portrait of Margaret. The Master and Margarita is clearly divided into two parts. History of the Master and Margarita. The novel "The Master and Margarita" went to the reader for a long time. Bulgakov's Master is a philosopher. Koroviev-Fagot.

In total there are 7 presentations in the topic

Lesson Objectives:

• Show the genre and compositional originality of M. Bulgakov's novel "The Master and Margarita".
• Philosophical understanding of the number "three" in M. Bulgakov's novel "The Master and Margarita".
• Understand the features of the interpenetration of the three worlds in the novel.
• Learn moral lessons, the main values ​​that the writer talks about.
• To promote the development of interest in the personality and work of the writer.

Lesson equipment: a multimedia installation, a CD with a recording of an electronic lesson, an exhibition of books-works of the writer, a stand “Life and work of M.A. Bulgakov”, a newspaper “Satire in M. Bulgakov’s novel “The Master and Margarita”, an installation on the topic.

Lesson plan.

Introduction by the teacher.

Hello, dear children, dear guests! Grade 11B of secondary school No. 78 of the Privolzhsky district of Kazan welcomes you to a lesson on the topic: “Three worlds in the novel by M. Bulgakov“ The Master and Margarita ”.

Today we will continue the study of the novel created by M. Bulgakov. So, the objectives of our lesson are as follows:

1. Show the genre and compositional originality of M. Bulgakov's novel "The Master and Margarita".

2. Pay attention to the symbolism of the number "three" in M. Bulgakov's novel "The Master and Margarita".

3. To comprehend the interpenetration of the three worlds.

4. Learn moral lessons, the main values ​​that the writer is talking about.

We have three groups that will represent the three worlds of the novel:

Yershalaim world;

Moscow reality;

Fantasy world.

1) Messages from prepared students (philosophy of P. Florensky, G. Skovoroda about the trinity of being)

2) Group work

So, the first group works.

Teacher:

How does his portrait reveal Pilate's character?

How does Pilate behave at the beginning of the meeting with Yeshua and at the end of their meeting?

What is Yeshua's main belief?

The idea of ​​the work: any power is violence against people, "the time will come when there will be no power of either Caesar, or any other power."

Who is the personification of power?

The personification of power, the central figure is Pontius Pilate, procurator of Judea.

How does Bulgakov portray Pilate?

Pilate is cruel, they call him a ferocious monster. He only boasts of this nickname, because the law of force rules the world. Behind Pilate's shoulders is the great life of a warrior, full of struggle, deprivation, and mortal danger. Only the strong, who does not know fear and doubt, pity and compassion, wins in it. Pilate knows that the winner is always alone, he cannot have friends, only enemies and envious people. He despises the mob. He indifferently sends some to execution and has mercy on others. He has no equal, there is no person with whom he would just want to talk. Pilate is sure: the world is based on violence and power.

Compiling a CLUSTER.

Please find the interrogation scene (chapter 2) Pilate asks a question that should not be asked during an interrogation. What is this question?

"What is truth?"

Pilate's life has long been at an impasse. Power and greatness did not make him happy. He is dead at heart. And then a man came who lit up life with a new meaning. The hero is faced with a choice: save an innocent wandering philosopher and lose his power, and possibly his life, or save his position by executing an innocent and acting against his conscience. In fact, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth is dearer to him than life. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sanhedreon does not change its mind.

Why does Pilate approve the death sentence?

Why was Pilate punished?

“Cowardice is the most serious vice,” Woland repeats (Chapter 32, night flight scene). Pilate says that “more than anything in the world he hates his immortality and unheard-of glory” And then the Master enters: “Free! Free! He is waiting for you!" Pilate is forgiven.

Never talk to strangers.

PRESENTATION.

What does the Master say about Berlioz? Why?

Students:

The master speaks of him as a well-read and very cunning person. Much has been given to Berlioz, but he consciously adapts himself to the level of the worker poets he despised. For him there is no God, no devil, nothing at all. Except ordinary reality. Where he knows everything in advance and has, if not unlimited, but quite real power. None of the subordinates is engaged in literature: they are only interested in the division of material goods and privileges.

Why is Berlioz so terribly punished?

Because he's an atheist? For the fact that he adapts to the new government? For seducing Ivanushka Bezdomny with unbelief?

Woland gets annoyed: “What do you have, whatever you miss, there’s nothing!” Berlioz receives “nothing”, non-existence. He receives according to his faith.

Each will be given according to his faith (Ch. 23) Insisting that Jesus Christ did not exist, Berlioz thereby denies his preaching of kindness and mercy, truth and justice, the idea of ​​good will. Chairman of MASSOLIT, editor of thick magazines, living in the power of dogmas based on rationality, expediency, devoid of moral foundations, denying belief in the existence of metaphysical principles, he instills these dogmas in human minds, which is especially dangerous for a young, fragile consciousness, therefore the “murder” of Berlioz Komsomol member acquires a deeply symbolic meaning. Not believing in other existence, he goes into non-existence.

What are the objects and techniques of Bulgakov's satire?

• Styopa Likhodeev (ch. 7)
• Varenukha (ch.10,14)
• Nikanor Ivanovich Bosoy (Ch. 9)
• Bartender (ch.18)
• Annushka (ch.24,27)
• Aloisy Mogarych (ch.24)

The punishment is in the people themselves.

The critics Latunsky and Lavrovich are also people invested with power, but deprived of morality. They are indifferent to everything except their career. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of vicious power. History sends such people into oblivion.

The townspeople have changed a lot on the outside...a much more important question: have these townspeople changed on the inside?

Answering this question, the evil spirit enters into action, conducts one experiment after another, arranges mass hypnosis, a purely scientific experiment. And people show their true face. The reveal session was a success.

The miracles demonstrated by the Woland retinue are the satisfaction of people's hidden desires. Decency flies from people, and eternal human vices appear: greed, cruelty, greed, deceit, hypocrisy ...

Woland sums up: “Well, they are people like people ... They love money, but it has always been ... Ordinary people ... in general, they resemble the former ones, the housing problem only spoiled them ...

What does the evil spirit make fun of, scoff at? How does the author portray the inhabitants?

The image of Moscow philistinism is served caricature, grotesque. Fiction is a means of satire.

Who told you that there is no true, true, eternal love in the world?

Let the liar cut out his vile tongue!

Margarita is an earthly, sinful woman.

How did Margarita deserve the special mercy of the higher powers that control the universe?

Margarita, probably one of those one hundred and twenty-two Margaritas that Koroviev spoke about, knows what love is.

Love is the second way to super-reality, just like creativity - that's what can resist the ever-existing evil. The concepts of goodness, forgiveness, responsibility, truth, harmony are also connected with love and creativity. In the name of love, Margarita performs a feat, overcoming fear and weakness, overcoming circumstances, demanding nothing for herself. Margarita is the bearer of great poetic and inspirational love. She is capable not only of boundless fullness of feelings, but also of devotion (like Matthew Levi) and the feat of fidelity. Margarita is able to fight for her Master. She knows how to fight, defending her love and faith. Not the Master, but Margarita herself is now associated with the devil and enters the world of black magic. Bulgakov's heroine takes this risk and feat in the name of great love.

Find evidence for this in the text.

The scene of the ball at Woland's (chapter 23), the scene of Frida's forgiveness (chapter 24).

Margarita values ​​the novel more than the Master. By the power of his love, he saves the Master, he finds peace. The true values ​​affirmed by the author of the novel are connected with the theme of creativity and the theme of Margarita's love: personal freedom, mercy, honesty, truth, faith, love.

Compiling a CLUSTER.

So, what is the leading issue that comes up in the real plan of the story?

The relationship between the creator-artist and society.

How is the Master similar to Yeshua?

They are related by truthfulness, incorruptibility, devotion to their faith, independence, the ability to empathize with someone else's grief. But the master did not show the necessary fortitude, did not defend his dignity. He did not fulfill his duty and was broken. That's why he burns his novel.

PRESENTATION.

With whom did Woland come to earth?

Woland did not come to earth alone. He was accompanied by beings who in the novel mostly play the role of jesters, arrange all kinds of shows, disgusting and hated by the indignant Moscow population (they simply turned human vices and weaknesses inside out).

What was the purpose of Woland and his retinue in Moscow?

Their task was to do all the dirty work for Woland, serve him, prepare Margarita for the Great Ball and for her and the Master's journey to the world of peace.

Who made up Woland's retinue?

Woland's retinue consisted of three “chief jesters: the Cat Behemoth, Koroviev-Fagot, Azazello and another vampire girl Gella.

The problem of the meaning of life.

Woland's gang, which commits murders, abuses, deceptions in Moscow, is ugly and monstrous. Woland does not betray, does not lie, does not sow evil. He reveals, reveals, reveals the vile in life in order to punish it all. On the chest is the mark of a scarab. He has powerful magical powers, learning, the gift of prophecy.

Compiling a CLUSTER.

What is the reality in Moscow?

A real, catastrophically developing reality. It turns out that the world is surrounded by grabbers, bribe-takers, sycophants, swindlers, opportunists, self-interested people. And now Bulgakov's satire is ripening, growing and falling on their heads, the conductors of which are aliens from the world of Darkness.

Punishment takes many forms, but it is always just, done in the name of good, and deeply instructive.

How are Yershalaim and Moscow similar?

Yershalaim and Moscow are similar in landscape, in the hierarchy of life, and in morals. Common are tyranny, unfair trial, denunciations, executions, enmity.

3) Analysis of individual works:

Compilation of clusters (images of Yeshua, Pontius Pilate, Master, Margarita, Woland, etc.);

Presentation of student work.

4) The results of the lesson, conclusions.

• all plans of the book are united by the problem of good and evil;
• themes: the search for truth, the theme of creativity
• all these layers and space-time spheres merge at the end of the book.

Genre Synthetic:

And a satirical novel

And comic epic

And a utopia with elements of fantasy

And historical narrative.

INSTALLATION and ANSWER TO THE MAIN QUESTION OF THE LESSON

So in the name of what can one ascend Golgotha? In the name of what did Jesus Christ, Yeshua, the writer's contemporaries, M.A. Bulgakov himself go to torment?

Main conclusion:

You can climb Golgotha ​​in the name of TRUTH, CREATIVITY, LOVE - the author believes.

5) Homework: an essay on the topic: “Human mercy” (a fragment of the feature film by V. Bortko “The Master and Margarita” - The Master forgives P. Pilate).

LITERATURE

1. Andreevskaya M. About the “Master and Margarita”. Lit. Review, 1991. No. 5.

2. Belozerskaya - Bulgakova L. Memories. M. Hood. Literature, 1989. S. 183 - 184.

3. Bulgakov M. Master and Margarita. M. Young Guard. 1989. 269 p.

4. Galinskaya I. Riddles of famous books. M. Nauka, 1986. S. 65 - 125.

5. Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969. S. 261

6. Gudkova V. Mikhail Bulgakov: expansion of the circle. Friendship of peoples, 1991. No. 5. pp. 262 - 270.

7. Gospel of Matthew. “Collection on the night of Nisan 14” Yekaterinburg Middle-Ural. kn.izd-vo 1991 S. 36 - 93.

8. Zolotonosov M. Satan in unbearable splendor. Lit. review. 1991. No. 5.

9. Karsalova E. Conscience, truth, humanity. Bulgakov's novel "The Master and Margarita" in the senior class. literature at school. 1994. No. 1. P.72 - 78.

10. Kryvelev I. What history knows about Jesus Christ. M. Sov. Russia. 1969.

11. Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991, p. 41

12. Frans A. Procurator of Judea. Collection “On the night of Nisan 14” Ekaterinburg. Middle-Ural. book. ed. 1991. P. 420 - 431.

13. Chudakova M. Mikhail Bulgakov. The era and fate of the artist. M.A. Bulgakov. Favorites Sh.B. M. Enlightenment S. 337 -383.

14..Internet sites:

• uroki.net.
• 5 ka.at.ua
• referatik.ru
• svetotatyana.narod.ru

"... trinity is the most general characteristic of being."

P. A. Florensky

The Master and Margarita is a satirical novel, a fantasy novel, a philosophical novel. A novel about love and creativity... About death and immortality... About strength and impotence... What is guilt and retribution? What is power? What is fearlessness, fear, cowardice? What is the flow of time? And what is a man in time? What is it - the truth or the path to the truth?

The "three-dimensional" structure of the novel expresses Bulgakov's philosophy. The writer argued that the trinity corresponds to the truth. Both the space-time and ethical concept of the novel are based on the trinity.

The three worlds of The Master and Margarita correspond to three groups of characters, and representatives of different worlds form a kind of triad. They are united by their role and similar interaction with other characters, as well as by the Elements of portrait likeness. Eight triads are presented in the novel: Pontius Pilate, procurator of Judea - Woland, "prince of darkness" - Professor Stravinsky, director of a psychiatric clinic; Aphranius, Pilate's first assistant - Fagot-Koroviev, Woland's first assistant - doctor Fyodor Vasilyevich, Stravinsky's first assistant; centurion Mark Krysoboy - Azazello, the demon of the waterless desert - Archibald Archibaldovich, director of the restaurant "House of Griboedov"; dog Buncha - cat Behemoth - police dog Tuztuben; Nisa, agent Aphranius - Hella, maid Fagot-Koroviev - Natasha, maid Margarita; Chairman of the Sanhedrin of Kaif - Chairman of the MASSOLIT Berlioz - unknown in Torgsin; Judas from Kiriath - Baron Meigel - journalist Aloisy Mogarych; Levi Matthew, follower of Yeshua - poet Ivan Bezdomny, disciple of the Master - poet Alexander Ryukhin.

Let us turn to one of the significant triads of the novel: Pontius Pilate - Woland - Stravinsky. “In a white cloak with bloody lining” appears in the world of Yershalaim Pontius Pilate. In the Moscow world, the action takes place thanks to Woland, who, like the procurator of Judea, has his own retinue. Stravinsky manages his clinic, determines the fate of those who came to him as a result of communication with Satan and his servants. It seems that the course of events in the clinic is directed by the actions of Stravinsky, a "small" likeness of Woland. Woland is a “small” likeness of Pilate, for the “prince of darkness” is almost completely devoid of any experiences with which the procurator of Judea, tormented by pangs of conscience for his momentary cowardice, is so richly endowed (courage on the battlefield and civil cowardice - as he often observed such is Bulgakov among his contemporaries). Pilate tries to save Yeshua, but, forced in the end to send him to his death, involuntarily becomes immortal. And in modern Moscow, the eternal Woland saves the Master and gives him a reward. But the creator must die, and with him Margarita. They receive retribution in the other world. Immortality gives the Master a brilliant novel written by him, and Margarita - her true sincere love. Stravinsky also "saves" the Master, who has become a victim of evil spirits; only "salvation" is parodic, for the professor can offer the Master the absolute inactive peace of the asylum.

The power of each of the powerful characters of this triad turns out to be imaginary. Pilate is unable to change the course of events and save Yeshua. Woland, in turn, only predicts the future. So, Berlioz dies under the wheels of a tram, not because Satan "gave" him a tram and Annushka, but because he slipped on oil. Stravinsky's power is generally illusory: he is not able to deprive Ivan Bezdomny of his memories of Pilate and the death of Yeshua, of the Master and his beloved, he is not able to prevent the Master's earthly death and his transition to the other world. material from the site

There is also a portrait resemblance between these heroes: Woland "looks over forty years old" and "smoothly shaved." Stravinsky is "a carefully shaven man of about forty-five, like an actor." Satan's "right eye is black, the left one is green for some reason", and "the right one with a golden spark at the bottom, drilling anyone to the bottom of the soul ...", the professor's eyes are "pleasant, but piercing". The outward resemblance of Stravinsky to Pilate is noted by Ivan Bezdomny (Stravinsky, like the procurator, also speaks Latin). Pilate and Woland are also similar. During the interrogation of Yeshua, Pilate's face turns from yellow to brown, and "the skin on Woland's face seemed to be burned forever by a tan."

Eternal once and for all this strict hierarchy reigns in the other world, reflecting the hierarchy of the ancient Yershalaim world and the modern Moscow one.

Bulgakov's contemporary world is also hierarchical: the Variety Theatre, Stravinsky's clinic, MASSOLIT. And only the Master, Yeshua and Margarita are ruled by love. The Master and Yeshua have no place in a world where there is a hierarchy. And yet the author is convinced that above all social, political, everyday problems are feelings: love, joy.

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The Master and Margarita novel is a mystery. Each person who reads it discovers his own meaning in it. The text of the work is so full of problems that it is very difficult to find the main one, I would even say it is impossible.

The main difficulty is that several realities are intertwined in the novel: on the one hand, the Soviet life of Moscow in the 20-30s, on the other, the city of Yershalaim, and finally, the reality of the all-powerful Woland.

First world - Moscow 20-30s.

Satan came to Moscow to do justice, to rescue the Master, his masterpiece and Margarita. He sees that Moscow has become something like a Grand Ball: it is inhabited by traitors, scammers, sycophants, bribe-takers, money-changers. Bulgakov presented them both as individual characters and as employees of the following institutions: MASSOLIT, the Variety Theater and the Spectacle Commission. Every person has vices that Woland exposes. A more serious sin was committed by the workers of MASLIT, who call themselves writers and scientists. These people know a lot and at the same time deliberately lead people away from the search for truth, make the brilliant Master unhappy. For this, punishment overtakes the House of Griboyedov, where MASSOLIT is located. The Moscow population does not want to believe in anything without evidence, neither in God nor in the devil. In my opinion, Bulgakov hoped that someday people would realize the horror that consumed Russia for many years, as Ivan Bezdomny realized that his poems were terrible. But this did not happen during Bulgakov's lifetime.

The second world is Yershalaim.

Yershalaim is associated with many characteristic, inherent in it and at the same time uniting with Moscow details. This is the scorching sun, narrow tangled streets, terrain. The similarity of some elevations is especially surprising: Pashkov's House in Moscow and Pilate's palace, located above the roofs of city houses; Bald Mountain and Sparrow Hills. You can also pay attention to the fact that if in Yershalaim the hill with the crucified Yeshua is surrounded, then in Moscow with Woland leaving it. Only three days are described from the life of the city. The struggle between good and evil does not stop and cannot stop. The protagonist of the ancient world, Yeshua, is very similar to Jesus. He is also a mere mortal who remained misunderstood. Yershalaim, invented by the Master, is fantastic. But it is he who looks the most real in the novel.

The third world is the mystical, fantastic Woland and his retinue.

Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. The underworld is headed by Woland. He is the devil, Satan, "prince of darkness", "spirit of evil and lord of shadows". The evil spirit in The Master and Margarita exposes human vices before us. Here and the devil Koroviev is a drunken bastard. Here is the cat Behemoth, very similar to a man and at times he turns into a man, very similar to a cat. Here is the hooligan Azazello with an ugly fang. Woland personifies eternity. He is that ever-existing evil that is necessary for the existence of good. In the novel, the traditional image of Satan is changed: it is no longer an immoral, evil, treacherous demon-destroyer. Evil spirits appear in Moscow with a revision. She is interested in whether the townspeople have changed internally. Watching the audience in the Variety, the "professor of black magic" tends to think that, in fact, nothing has changed. The evil spirit appears before us as an evil human will, being an instrument of punishment, committing intrigues at the suggestion of people. Woland seemed to me fair, objective, and his justice was manifested not only in the punishment of some heroes. Thanks to him, the Master and Margarita are reunited.

All the heroes of the novel are closely connected with each other, without the existence of some, the existence of others would be impossible, just as there can be no light without darkness. The novel "The Master and Margarita" tells about the responsibility of a person for his actions. Actions are united by one idea - the search for truth and the struggle for it. Enmity, distrust, envy reign in the world at all times. This novel belongs to those works that must be re-read in order to better understand the subtext, to see new details that you might not have paid attention to at the first time. This happens not only because the novel touches on many philosophical problems, but also because of the complex "three-dimensional" structure of the work.