Triads Triads as one of the ways to embody the system of three worlds as one of the ways to embody the system of three worlds in the novel in M. Bulgakov's novel M. Bulgakov. Why was M.A punished

To the question How are the three worlds connected in The Master and Margarita? given by the author Andrey Gorokhov the best answer is It is in the scene of the last flight that not only the temporal, but also a very complex spatial structure merges together.
"Masters and Margaritas". The gospel time thus forms one stream with the time when Bulgakov and his master began work on the novel about Yeshua and Pilate, and the action of the novel created by the Master is connected with the course of modern Moscow life, where the author of the brilliant novel ends his earthly life, shot by persecutors, in order to gain immortality and long-awaited peace in the eternity of the other world.
The three worlds of The Master and Margarita correspond to the three types of characters, and representatives of different worlds form a kind of triad, united by functional similarity and similar interaction with the characters of their series. Let us demonstrate this position on the example of the first and most significant triad of the novel. It consists of: Procurator of the Jews Pontius
Pilate - "Prince of Darkness" Woland - Director of the Psychiatric Blade Professor
Stravinsky. In the Yershalaim scenes, life develops thanks to the actions and orders of Pilate. In the Moscow part, the action takes place thanks to
Woland, who, like the procurator of the Jews, has an entire retinue. Also
Stravinsky, albeit in a parodic, reduced form, repeats the functions of Pilate and Woland. Stravinsky determines the fate of all three characters modern world who were admitted to the clinic as a result of accidental contact with Satan and his servants. It seems that the course of events in the clinic is guided by actions.
Stravinsky - an adjacent similarity of Woland. In turn, it is a somewhat adjacent likeness of Pilate, reduced already because the “Prince of Darkness” is almost completely devoid of any psychological experiences with which the procurator of the Jews, tormented by pangs of conscience for his momentary cowardice, is so richly endowed. Woland, as it were, parodies Pilate - the man who is at the head of the entire Yershalaim world. After all, the fates of Kaifa, and Judas, and Yeshua depend on Pilate, and, like Woland, he has his own retinue - Aphranius, Mark Ratslayer, faithful
Banga. Pilate tries to save Yeshua, but, forced, in the end, to send him to death, unwittingly provides them both with immortality for centuries.
And in modern Moscow, the eternal Woland saves the master and gives him a reward. But here, too, the death of the creator and his devoted lover must first come - they receive a reward in the other world, and immortality gives the Master the brilliant novel written by him, and Margarita her unique love.
We list the other seven triads of The Master and Margarita: Aphranius - the first assistant to Pilate, - Fagot Koroviev, the first assistant to Woland, - the doctor
Fedor Vasilyevich, Stravinsky's first assistant; centurion Mark Ratslayer,
Azazello, the demon of the waterless desert, - Archibald Archibaldovich, director of the restaurant of the Griboyedov house; dog Banga - cat Behemoth - police dog
Ace of Diamonds; Kiza, agent Aphranius, - Gella, servant of Fagot - Koroviev, -
Natasha, servant and confidant of Margarita; chairman of Sinfrion Joseph
Kaifa - Chairman of MASSOLIT, Berlioz - an unknown person in torgsin, posing as a foreigner; Judas from Kiriath, Baron Meigel, - journalist Aloziy
Mogarych, Levi Matvey, the only follower of Yeshua, - the poet Ivan
Homeless, the only student of the Master is the poet Alexander Ryukhin.
More - link

Questions for discussion.

Why doesn't the master have a name?

The clash of what opposite principles in the character of the master is shown by Bulgakov?

What is, according to Bulgakov, the master's refusal of Margarita's love?

Why did the master "did not deserve light, he deserved peace"?

What path does Margaret take in the novel?

What qualities of Margarita delighted the old skeptic Woland?

What does Margarita see in different periods her life: before meeting with the master, during the heyday of their romance, during the period of loneliness, at the ball with Satan, during the farewell flight?

What is the position of the image of Margarita in the novel and what moral qualities represents?

What is the purpose of a writer? Comparing the fate of the master and Bulgakov, find similarities and significant differences in the life of the artists of the word.

III. During the discussion, which is led by the teacher, students come to the following conclusions:

Master is a generalized name meaning "creator, in the highest degree professional in his field." The master is the very first word of the novel, it opens the work as a whole and declares the theme of creativity. It is very important that the master does not have a real name: the name expresses the essence of the personality, the absence of a name means the tragedy of the personality, which is confirmed by the text of the novel.

The absence of a name from the master is evidence of the generalization of the portrait of the hero, which combines Gogol's and Pushkin's principles and has similarities with the author of the novel and his fate. The name of the master was erased by his rejection of himself and disbelief in the justice of life.

The novel about Pontius Pilate could not have been published in the 30s of the twentieth century, since in its essence it is deep Christian work, and the indicated period in the history of the country is the era of all-consuming atheism. The novel about Pilate is an attempt and blasphemy against the authorities and the ruling order, the personification of which in those years was Stalin.

The feeling of the impasse of life and the fear of its storms are constantly present in the confessions of the master when he confesses to Ivan Bezdomny in the Stravinsky clinic. At the same time, there is in the master the formidable imperiousness of the prophet, adjacent to fear and at times exploding him, which can be seen in the episode when the master insists on his chosenness, proudly answering Bezdomny's question: “Are you a writer?” - "I am a master". The clash of opposing principles of fear and prophecy deprives the master peace of mind and he gets sick. This mental illness- a tragic feature of the era in which both the master and Bulgakov live. But the master is characterized by both a high idea of ​​\u200b\u200ba person, and a protest against any humiliation and violence.

For the master, love is the salvation of another person. Realizing the catastrophic nature of his love for Margarita, he refuses the woman he loves, not wanting to destroy her with the darkness that enveloped his soul after the defeat in the struggle for romance. The master's refusal of love is disbelief in one's own strength and recovery. Retribution for the sin of disbelief in oneself and one's strength is the fear that led to the destruction of the novel and the suicide of the hero (his illness).

The master did not deserve the “light” because it would be contrary to Christian requirements, because even beyond the threshold of death he remained too earthly, did not overcome the human element in himself, looked back at his earthly sinful love - Margaret, wanted to share with her future unearthly life. The despair and despondency of the master are also sinful according to Christian canons, and the burning of the novel is a kind of suicide, a terrible sin, unforgivable. "Light" as a reward to the master would not correspond to the philosophical concept of the novel. This would be a one-sided solution to the problem of good and evil, light and darkness, a simplification of the dialectics of their connection in the novel. Bulgakov has Woland and Yeshua as partners (Origen's teaching about the reconciliation of the Devil with God). “Peace” is a kind of agreement between them. When deciding the fate of the master, love and creativity balanced the lack of faith on the scales. Hence the compromise solution - to reward-punish the master with peace. The autobiographical nature of the novel is undoubted, and to reward the master with heavenly radiance is to lose the trust of the reader, to whom Bulgakov spoke so sincerely about himself, about his work, about his love. In the 20th century, the idea of ​​achieved happiness - a reward, supreme bliss - did not sound relevant, art sought to rethink the traditional interpretation of the Gospel. Bulgakov is interested in the human, moral content of the image of Christ. In this vein, the master deserves only “peace” as the only reward for an artist who knows the eternal principles of being and who cannot live in harmony with his time. But "peace" in the novel is the dream of the master and Bulgakov, but not embodied, not realized. Epilogue of the novel, telling about the dream of I.N. Ponyreva is proof of that. Beyond the earthly world, Bulgakov does not state anything for sure and gives the novel a skeptical ending, since the prevailing mood last period creativity Bulgakov - Christian skepticism.

Margarita in the novel takes a path opposite to the master: from despair, anxiety, the emptiness of life, she moves to faith in her and in her own strength, to all-conquering love. She never for a moment loses faith in the miracle of salvation, the return of her beloved. For the sake of this, she endures the most difficult trials (a ball with Satan), she is firm, stubborn, strong and noble.

The old skeptic Woland, who despises people for their inability to be steadfast and pure, is struck by the courage, dignity and mercy of the proud Margarita, endowed with the saving energy of love, which infects the master and gradually returns to faith and love.

Before meeting with the master Margarita - a woman from the Moscow elite of the inhabitants of the mansions on the Arbat. In her life, from the point of view of the Soviet layman, everything was fine. But there was no main meaning of life - love and the need to live for the sake of a loved one, dear person. The heroine opens herself, her heart, finds the meaning of life and becomes an earthly woman (and not a "celestial"), having met with the master and devoting herself entirely to serving this talented person. Having lost him, she almost despairs, but patiently waits and believes that the day of the return of her beloved will come. Communication with Satan, his retinue and all the fantastic evil spirits changes the appearance of Margarita, but does not destroy her soul, open to love, compassion and mercy (the story of Frida). Admires her inner strength(close to the courage of Yeshua, who defends the idea of ​​the indestructibility of good), perseverance, perseverance and inflexibility in achieving the goal. But the main thing is the faith that Margarita never lost, even in the most tragic moments of her life.

Margarita occupies an exceptional place in the novel. For Bulgakov, this image has no parallels either in the Yershalaim chapters or in unreal world, but is valid for all three worlds novel and personifies love, mercy, kindness, on the basis of which, according to the writer, human society. The prototype of Margarita was Elena Sergeevna Bulgakova. In the early 1930s, she, the wife of a major Soviet military leader, went to the writer Bulgakov, sharing his difficult fate. Elena Sergeevna and Mikhail Afanasyevich first met in February 1929, and in May the novel The Master and Margarita was begun - the fruit of love and creativity of the writer Bulgakov and his Muse, inspirer, beautiful Elena. Elena Sergeevna was beloved, friend, assistant, secretary, guardian angel. She kept her word given to the dying Bulgakov: “I give you honestly that I submit it, you will be printed. Sharing her memories of the life she lived with Bulgakov, she said: “It was the most bright life, which one you can choose, the happiest. A happier woman what I was then, was not. With full confidence, these words can also be attributed to the image of Margarita, who found her happiness in love for the master, becoming the only, devoted and faithful companion of his life.

Fate talented person in Russia is always tragic. The life story of the master, Bulgakov, and Pushkin and Gogol, whom he passionately loved, convinces of this ... Mikhail Afanasyevich, unlike his master, lived until the end of his days without stopping work on the novel, believing that the day would come when his novels would be published, stories , plays and his name will be known throughout Russia as the names of his brilliant teachers.

We conclude the conversation about the fate of the artist in Russia with a wonderful poem by A.A. Akhmatova "Here I am for you, instead of grave roses ..." It contains pride in Bulgakov's talent and strength of character, the pain of an unbearable loss and an understanding of the true purpose of the artist's work.

In memory of M.A. Bulgakov

Here I am for you, instead of grave roses,

Instead of incense smoking;

Great contempt.

You drank wine, you joked like no one else

And suffocated in stuffy walls,

And you yourself let in a terrible guest

And he was alone with her.

And there is no you, and everything around is silent

And on your silent feast.

Oh, who would have thought that I was crazy,

To me, the mourner of days gone by,

To me, smoldering on a slow fire,

All survived, all forgotten,

We'll have to remember the one who is full of strength,

And bright intentions, and will,

It's like talking to me yesterday

Hiding the tremor of deadly pain.

March 1940

IV. Homework.

Compose written abstracts on the issues of the dispute (for the test lesson).

Repeat everything learned in previous lessons (to the credit-test on the novel).

Write an essay on one of the following topics:

a) The meaning and meaning of the epigraph of the novel.

b) Why was M.A. punished? Berlioz?

c) "... each will be given according to his faith." The fate of the main characters in the finale of the novel.

d) The meaning of the image of Ivan the Homeless in the novel.

e) Moral values in Bulgakov's novel.

Application No. 5

LESSON FIVE

Test based on the novel by M.A. Bulgakov "The Master and Margarita"

Lesson Objectives:

1. Check the students' assimilation of the studied material on the novel;

2. Prepare students for writing home composition according to the novel;

During the classes:

I. Students receive the task: answer the test questions on the novel (see Appendix No. 10) for 15-20 minutes.

II. The teacher reads aloud 4-5 best reasoning essays ( homework for the test lesson, see Appendix No. 11)

III. Students receive homework: write an essay on one of the following topics:

The theme of creativity on the pages of M.A. Bulgakov's novel "The Master and Margarita".

Why did the master "did not deserve light, he deserved peace"? (Based on the novel by M.A. Bulgakov "The Master and Margarita").

Eternal themes in M.A. Bulgakov's novel "The Master and Margarita".

"... to each will be given according to his faith." (Based on the novel by M.A. Bulgakov "The Master and Margarita").

“… have these townspeople changed internally?” (the meaning of the satirical chapters of the novel by M.A. Bulgakov "The Master and Margarita".)

Gogol's traditions in the satirical chapters of M.A. Bulgakov "The Master and Margarita"

IV. Assignment for students: to compose complicated plan to one of the homework topics.

Homework:

Write an essay. (see Appendix No. 12).

Application No. 6

FIRST GROUP.

"Literary" world. Berlioz, Homeless, House of Griboyedov.

(chapters 1,3,4,5,6,28).

1. The position of M.A. Berlioz in literary world capital, its intellectual level and ideological role in the upbringing of the homeless.

2. What is the fate of Berlioz on the pages of the novel and the ideological significance of this image?

3. Poet Ivan Homeless at the beginning of the novel. What events in his life took place before meeting with the master in the clinic for the mentally ill? Compare the images of Homeless and Ryukhin.

4. Is Koroviev's remark that in the House of Griboedov "a whole abyss of talents is hiding and ripening" correct?

SECOND GROUP.

World of Art". Soviet bureaucracy in all its ugliness.

(chapters 7,10,14,17,27).

1. The leadership of the Variety show in the person of Stepa Likhodeev is the personification of the vulgarity, mediocrity and narrow-mindedness of people related to the world of art. Prove the validity of this thesis with examples from the text.

2. The phantasmagoria of replacing a person with a thing is used by Bulgakov to ridicule the Soviet bureaucracy. Compare passages from chapters 17 and 27 related to Prokhor Petrovich, head of the Spectacle Commission, and draw a conclusion about Gogol's traditions in Bulgakov's prose.

THIRD GROUP.

"Satan rules the ball there ..."

(chapters 9,12,15,18,22,28, Epilogue).

1. How is the world of Moscow residents depicted in the 1930s? Answer the question using episodes:

a) the chairman of the housing association of house No. 302-bis on Sadovaya Street Nikanor Ivanovich Bosoy, a swindler, a bribe-taker and a beggar, in apartment No. 50;

b) the fuss around the apartment of the late Berlioz; the apartment scam that Margarita Koroviev tells about;

c) a session of black magic in Variety;

d) exposing the chairman of the acoustic commission of Moscow theaters A.A. Sempleyarov;

e) "claims" of barman Sokov;

f) the metamorphosis that occurred with the lilac buyer in Torgsin.

2. Find the traditions of Gogol's satire in the analyzed scenes. Which satirical device uses Bulgakov to expose and ridicule vulgar world Soviet citizen?

FOURTH GROUP.

Woland and his retinue.

1. How does Woland appear on the pages of the novel when he communicates with the inhabitants of Moscow?

2. What is the role of Woland and his retinue in the satirical chapters of the novel?

3. Correlate all the considered episodes with the key phrase of the novel: "... to each will be given according to his faith" and draw a conclusion on the topic of the lesson.

housing problem

Application No. 7

Moscow in the 1930s

in the novel by M.A. Bulgakov "The Master and Margarita"

Application No. 8

Information about the Procurator of Judea Pontius Pilate.

Pontius Pilate is real historical figure. He was procurator of Judea in 26-36. AD Bulgakov's Pilate is greatly ennobled compared to the prototype, so his bribery and desire for profit are hidden in the subtext. It is known that it was precisely because of exorbitant exactions from the population that Pilate was eventually removed from his post.

According to medieval German legend, the procurator was the son of the astrologer king Ata and the daughter of the miller Pyla, who lived in Rhineland Germany. Once At, while on a campaign, learned from the stars that the child he conceived would immediately become powerful and famous. The miller's daughter Pila was brought to the king. Pilate got his name from the addition of their names. The procurator received the nickname Golden Spear, obviously, for a sharp eye and for his love of gold.

The posthumous fate of Pilate is connected with another legend. In the article "Pilate" of the encyclopedia of Brockhaus and Efron, the fate of the fifth procurator of Judea was associated with the name of the mountain of the same name in the Swiss Alps, where "he seems to still appear on Good Friday and wash his hands, trying in vain to cleanse himself of complicity in a terrible crime."

The story of Pilate goes back to the gospel story (Gospel of Matthew, ch.27:19) about Pilate's warning by his wife, who advises her husband not to harm the righteous man she saw in a dream, otherwise he, Pilate, will have to suffer for his careless actions. It is symbolic that the procurator's disease of hemicrania (migraine) is aggravated by rose oil - rose oil: a red rose is a symbol of the agony and the subsequent resurrection of Christ.

The motive of Pilate's hesitation, fear, a direct threat to him from the Jews - residents of the city of Yershalaim hated by the procurator - is also contained in the Gospel of John (ch. 19)

Bulgakov in his novel develops a deep gospel story doubt, fear and, in the end, Pilate's betrayal of Jesus. The Gospel of John is already talking about betrayal, since Pontius Pilate "found no fault in Him [Jesus]" and "sought to let him go."

Application No. 9

QUOTATION PLAN FOR THE IMAGE OF THE MASTER

“I ... can’t stand noise, fuss, violence ...” (p. 129)

"I am a master". (p.133)

“I don’t have a last name anymore ... I abandoned it, like everything else in life.” (p. 134)

“Historian by education”, “I know five languages…” (p. 134)

"... once won a hundred thousand rubles." “I quit my job at the museum and started writing a novel about Pontius Pilate.” (p. 134)

“Love jumped out in front of us, like a killer jumps out of the ground in an alley, and hit us both at once!” (p. 137)

“I first got into the world of literature ... I remember it with horror!” (p. 139)

"... the novel, stubbornly resisting, still perished." (p. 144)

"... fear owned every cell of my body." (p.146)

"... I was broken, I'm bored, and I want to go to the basement." (p. 285)

“He did not deserve the light, he deserved peace ...” (p. 353)

Application No. 10

Test-test based on the novel by M.A. Bulgakov "The Master and Margarita"

Application No. 11

Essay-reasoning

Why was M.A. punished? Berlioz?

At the end of the novel, M.A. Bulgakov's "The Master and Margarita" Woland states that "... each will be given according to his faith." The chairman of the largest Moscow literary association (MASSOLIT), Mikhail Alexandrovich Berlioz, was "given according to his faith", or rather, taken away because of unbelief. He lost his head, moreover, she was "honored" to become the cup from which Satan himself drank.

Why is the most respected member of Soviet society, a respected leader, a talented writer, an erudite, finally, so cruelly punished? Berlioz is not just an atheist, an atheist (not a fashion in those years, but an unshakable law), he is a militant theoretician of atheism, materialistic dogmatism; moreover, he is a mentor, a spiritual leader of those who live and write in accordance with his convictions. Ivanushki Bezdomnye, who "breeded" in hundreds throughout the country, are the result of the activities of the Berliozes.

In a dispute with Woland about Kant's moral proof of the existence of God, Berlioz does not argue his point of view, he acts as a typical communist demagogue, and I. Bezdomny develops the logic of his teacher on a primitive level: “Take this Kant, but for such proofs for three years in Solovki !"

Bulgakov is especially partial to Berlioz: after all, he is not an ordinary critic Latunsky, but the head of a large writers' organization that bears moral responsibility for the Bezdomny, Latunsky, Lavrovich. As a result of Berlioz's activities, the Russian classic literature turned into "consumer goods", corresponding to the conjuncture of Soviet society.

The strongest argument in favor cruel punishment Berlioz is the selfishness of all the actions of the head of MASSOLIT. Dachas, vouchers, apartments, bonuses - a "tidbit" for which you can betray talent, beliefs, sell your soul to the Devil.

Bulgakov achieves the greatest satirical denunciation of the figures of MASSOLIT in two “mirror” scenes of the novel: the dance of writers in the restaurant of the Griboyedov House and the performance of raging monkey jazz at the ball of Satan. The author does not give detailed descriptions of Berlioz's “pets”: it is enough for him to combine the noble name and the phonetically wild surname of the poetess Adelfina Buzdyak in order to achieve an inimitable satirical effect.

Thus, each hero of the novel got what he deserved, but Berlioz was punished more terribly than others, because he did not realize all the highest responsibility that was entrusted to him, the leader of the mass of writers, who was obliged to bring spirituality to society, and not to destroy genuine talent. It is possible that some "Berlioz" once stood in the way of Bulgakov with his own communist ideology. That is why Mikhail Afanasyevich is so irreconcilable towards Mikhail Alexandrovich Berlioz.

Appendix No. 12

COMPOSITION

“… have these townspeople changed internally?”

(Satirical chapters of the novel by M. A. Bulgakov "The Master and Margarita").

The novel "The Master and Margarita" is the result of the work of the Russian writer of the twentieth century Mikhail Afanasyevich Bulgakov. A sharp, exciting plot, a fair amount of mysticism, and satire that does not lose its relevance make the novel interesting and unforgettable. In his latest work Bulgakov, continuing the traditions of N.V. Gogol and M.E. Saltykov-Shchedrin, mercilessly criticizes the Soviet bureaucracy, the world of literature and art, the way of life and the value system of the inhabitants of our country in the 30s of the twentieth century. The main accuser in the novel is Mr. Woland - the devil himself. But in Bulgakov's book, he is not associated with the forces of evil, on the contrary, he does good in the name of the triumph of justice. This is evidenced by the epigraph to the work.

The novel opens with Woland's meeting with writers, members of MASSOLIT, the young poet Ivan Bezdomny and the chairman of this writers' organization, Berlioz. Communication with Satan for all the respected editor and high-ranking official ended sadly: he lost his head (and life, of course). Why is Woland so stern? Berlioz doesn't just believe in nothing. Being a deeply immoral person, he promotes this unbelief in the minds of Soviet citizens like Bezdomny, Ryukhin, for whom literature is a profitable trade. The aforementioned MASSOLIT is far from being a temple of art. All writers are passionate about the pursuit of dachas, apartments, free vouchers, envious and greedy. What kind of creativity are we talking about here? Even if something was written by them, it was mediocre, vulgar, but always in the spirit of Soviet ideology. And the appearance of a truly talented work was met with landslide criticism, designed to humiliate and destroy the dissident (as was the case with the master's novel). To expose the vicious society of people who call themselves literary figures is the task of the writer, with which he copes brilliantly.

Bulgakov, continuing the traditions of Gogol, uses fantasy, the grotesque, so that the ugly phenomena of Soviet reality appear in all their ugliness. MASSOLIT was burnt, the leadership of the Variety Theater was pretty frightened, Soviet citizens, greedy for gratuitous and bright things, were fooled. One after another, types in the Gogol spirit appear on the pages of the novel. Here is the director of the Variety, Styopa Likhodeev, awakening from sleep with a deep hangover, an idler, Don Juan, a careerist and a bribe-taker. And here is no less bright picture: N.I. Barefoot, the chairman of the housing association, a thief and a swindler, is not averse to profiting at the expense of a wealthy foreigner, and at the same time plug a "gap" in the budget of the cooperative. The fantastic technique - a wad of money crawling into his briefcase on its own - looks almost realistic, illustrating the life of Soviet society in the 30s.

No less typical and characteristic sign of the times (alas, not outlived in Russia so far!) Is the bureaucracy of officials at all levels of government. Bulgakov the satirist mercilessly ridicules the activities of idle officials, talking about the head of the Spectacular Commission. The suit, left without an owner, Prokhor Petrovich, extremely fruitfully "led" the institution, and the chief himself, returning to his usual chair, approved (!) All the actions of the "deputy". No less "hard-working" and employees of the city entertainment branch, for which they were punished by a lesson choral singing, strongly protracted.

Have the townspeople changed internally? This question is asked by Woland, giving a session of black magic in the Variety. Yes, it's possible, but unlikely better side. The excitement rose when money fell from the ceiling, when Koroviev-Fagot opened a "ladies' store." Gullible, self-serving and fussy citizens greedily grabbed everything that could be hooked. Bulgakov’s contemporaries are completely unsympathetic, since their values ​​are of a pronounced material nature: apartments (an attempt by a Kievan Poplavsky to get a Moscow apartment), summer cottages, elite recreation, gourmet food, money, of course, gold, currency ... It was strictly forbidden to have the latter, but very wanted, so she hid, for example, in the cellar or buried herself in the ground. “... people are like people. They love money, but it has always been…” The townsfolk are greedy, and Woland gives them a lesson in integrity in the hope that they will become better. Bulgakov writes his novel for the same purpose.

The past decades have shown that people have not outlived their vices, and therefore the novel "The Master and Margarita" is read very modern. Society remained firm in its passions. The satirical chapters of Bulgakov's novel demonstrate the scarcity of the inner, spiritual culture of a Soviet citizen: both an official, an artist, and a layman. To expose vice, to expose it in all its ugliness, ugliness is the task of the satirist. This is service to the Fatherland. Bitter bread. Bulgakov fully experienced this for himself.

List of used literature.

Akhmatova A.A. Collected works in two volumes. - M.: Pravda, 1990. - T.1. - p.251.

Bulgakov M.A. Master and Margarita. theatrical romance. dog's heart. - Tomsk book publishing house, 1999. - 640 p.

Karsalova E.V. Conscience, truth, humanity ...: Roman Bulgakova M.A. The Master and Margarita in senior class// Literature at school. - 1994. - No. 1. - p.72-79.

Kryuchkov V.P. “He did not deserve the light, he deserved peace ...”: Commentary on “The Master and Margarita” by M.A. Bulgakov.// Literature at school. - 1998. - No. 2. - p.54-61.

Kryuchkov V.P. "Heretics in Literature": L. Andreev, E. Zamyatin, B. Pilnyak, M. Bulgakov: Textbook. - Saratov: Lyceum, 2003. - 288 p. - (According to the pages of literary classics).

Lobova V.I. "It was the brightest life ...": Based on the novel "The Master and Margarita" by M.A. Bulgakov // Literature at school. - 2002. - No. 7. - p.28-31.

Marantsman V.G. Problematic analysis of the novel by M.A. Bulgakov "The Master and Margarita". XI grade // Literature at school. - 2002. - No. 5. - p.40-42. - No. 7. - p.23-27. 2003. - No. 1. - p.27-32.

Pushkin A.S. Works in three volumes. - M.: Artistic literature, 1985. - T.1. - p.528.

Sokolov B.V. Roman Bulgakova M.A. The Master and Margarita: Essays creative history. - M.: Nauka, 1991. - 175p.

Timofeev L.I., Turaev S.V. Concise Dictionary literary terms: A book for students. Edition 2. - M.: Enlightenment, 1985. -208 p.

Shentalinsky V. Master through the eyes of the GPU: Behind the scenes of the life of Mikhail Bulgakov. // New world. - 1997. - No. 10. - p.177.

Yagupova N.P. What house did Ivan Bezdomny find?: The Master and Margarita. // Literature at school. - 1998. - No. 2. - p.134-139.

Yanovskaya L. Woland's triangle: Chapters from a book. //October. - 1991. - No. 5. - pp.182-188.

1 Korsalova E.V. Conscience, truth, humanity...: Roman M.A. Bulgakov "The Master and Margarita" in the senior class // Literature at school. - 1994 - No. 1. - from 72-79

2 Yagupova N.P. What house did Ivan Bezdomny find?: "Master and Margarita" // Literature at school. - 1998 - No. 2. - With. 134-139

3 Marantsman V.G. problematic analysis of the novel by M.A. Bulgakov "The Master and Margarita" Grade 11// Literature at school. - 2002 o - p No. 5. - With. 40-42. - No. 7. - p. 23-27. - 2003 - No. 1. - p. 27-32

1 Yanovskaya L. Woland's triangle: Chapters from the book //October. - 1991. - No. 5. - p.182 - 188.

1 Shentalinsky V. Master through the eyes of the GPU: Behind the scenes of the life of Mikhail Bulgakov // Novy Mir.- 1997.- No. 10.-p.177

... Studyingcreativity Vladimir Nabokov in school) I. Rationale for the need studycreativity Nabokov in school ... contemporary, the most aesthetically influential artists. Secondly, creation writer involved in stories ... introductions students in studying ...

The Master and Margarita Bulgakova is a masterpiece of Russian literature, which can be called an encyclopedia of the writer's time. In it, as in a mirror, morals, way of life, morality are reflected. Soviet Russia, where are shown different types and the characters of people, personifying not only the best, but also the worst, and even dark sides.

Bulgakov's novel is a multilevel world with many actors. These characters are connected in space by an elusive thread. The structure of the writer's work is complex, and it is through the system of images in The Master and Margarita that the pattern of the novel is revealed.

In general, the writer's novel is very crowded. According to researchers, there are about five hundred people in it, of which more than one hundred and fifty have proper names. The rest of the characters are nameless and collective, for example, employees of the organization or spectators of the Variety show.

Doppelgangers in the novel

Reading the writer's work, we understand that two worlds coexist here, I would even say three. This is the world of Pontius Pilate and Yeshua, that is, the ancient Yershalaim world. This is modern Moscow for the writer, that is, Moscow of the thirties of the twentieth century. And the third world is the eternal world beyond. Thus, one can notice doubles in the novel The Master and Margarita, and even triads of characters, because we see three worlds. Characters from different worlds have general similarities both in actions, goals and motivations, and sometimes they are similar in appearance. Thus, the following triads of persons can be distinguished, whose similarity can be called undeniable. So, this is Pontius Pilate, who has his doubles in the images of Stravinsky and Woland. Aphranius' twins are Fedor Vasilyevich and Koroviev Fagot. Mark Krysoboy has doubles in the images of Archib Archibldovich and Azazello. The next triad is Banga - Tuztuben - Behemoth. The twins of Judas are Alozy Mogarych and Baron Meigel. Niza's twins are Natasha and Gella. Accordingly, they are representatives of the ancient, modern and otherworldly worlds.

The most interesting thing is that in the work among the invented system of images, it is difficult to single out the main characters. This is the peculiarity of the novel. Say, the main characters are the Master and Margarita, because the work is named after them? But these heroes appear almost in the middle of the whole storyline, and no less significant heroes here are Woland and Ivan Bezdomny. In addition, there are heroes in the Yershalaim world, where the author highlights Yeshua and Pontius.

As you can see, the novel is multi-layered, complex, but despite this, there is no sense of fragmentation. The whole composition, as well as the system of images in the writer's novel, is integral, which is created thanks to the very connecting threads that connect the past, present and future.

Three worlds - a triad of characters (according to their role in the overall structural integrity of the novel)

Based on the novel by M.A. Bulgakov "The Master and Margarita"

Prepared by Rezaeva L.M., literature teacher

MOU "Secondary School No. 1 Borovsk"

2014-15 academic year

Bible; L. Andreev "Judas Iscariot"; A.P. Chekhov "Student"; "The Last Supper" -Leonardo da Vinci and other authors

• The whole story begins on the eve of Easter, on the eve of the spring equinox.
• The whole story begins on the eve of Easter, on the eve of the spring equinox.

light = darkness// contact between the world and the underworld

maximum

God Realm

eternity sacred history

spiritual values

Devil Orb dark profane history

• Wednesday is a miracle(appearance of Woland with his retinue from Moscow)
• Thursday (clean) - a day of intense development of the drama, a day of suffering.(it is on this day that Woland tests Muscovites)
• From Thursday to Friday time of apostasy from Christ. IN modern city Ivan Bezdomny appears, and the Master renounces the affair.

• At this time, there is a session of black magic, time prophetic dreams. It is at this time that a person's contact with God takes place.
• Dream of Margarita: God promises her death and reunion with the Master
• Sleep is the execution of Christ

• Friday is the culmination of sacred and profane history.

• The execution of Christ took place, and at midnight, the retribution of Judas.
• The Terrible Torments of Pontius Pilate.

• Saturday - Apparition Day miraculous .

• Levi Matvey flies to Woland and asks to bestow peace on the Master and Margarita. At dawn the Master dies, but resurrects.

Man appears before us as the subject of history. God forgives the Master and Margarita and grants them a place in eternity, where they find peace.

• All events are constantly accompanied by astral forces: thunder, fire, water. Symbols carry a dual power: water

flood baptism

• moon (Pontius Pilate repents under the moon)

sun (scorching)

• Procurator of Judea Pontius Pilate;
• Prince of darkness-Woland;
• Director of the Psychiatric Clinic Professor Stravinsky;

• Aphranius
• Koroviev
• Doctor Fedor Vasilievich

• 3. Executioners:

• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich
• Mark Krysoboy, Azazello, Archibald Archibaldovich

4. Animals endowed with human traits

• Banga, Pontius Pilate's favorite dog;
• Cat Behemoth;
• Police dog Tuztuben.

5. Traitors, enemies of Yeshua and the Master

• Judas of Kiriath working in a change shop with relatives;
• Baron Meigel, serving in the position of "familiar to foreigners with the sights of the capital";
• Journalist Aloisy Mogarych who knows how to adapt to any circumstances, which "predetermines the vitality of this type in modern life";

6. Female triad

• Agent Afrania Nisa;
• Gell's maid;
• Housekeeper Natasha

All of them are incredibly beautiful!

• Mikhail Alexandrovich Berlioz;
• Joseph Kaifa;
• Unknown in Torgsin, posing as a foreigner.

• Levy Matvey, a former tax collector and the only follower of Ha-Notsri;
• Ivan Homeless, the only disciple of the Master;
• Poet Alexander Ryukhin and all involved in literary work.

1. What does the construction of triads give for understanding the meaning and composition of the novel "The Master and Margarita"?

2. Compare the portrait features and roles in the novel of the characters included in one of the triads.

4. Why do you think the triads include not only the main ones, but also minor characters? How do they relate to the main characters?