The novel The Master and Margarita is dedicated. M

In 1824 A.S. Griboyedov finished his comedy “Woe from Wit”. Written during the era of preparation for the “knightly feat” of the Decembrists, the play spoke about the moods and conflicts of that tense time. Echoes of pre-Decembrist sentiments were heard in Chatsky’s harsh denunciations, in the frightened remarks of Famusov and his friends, and in the general tone of the comedy. At the center of the play lies the clash between supporters of lordly Moscow and a group of “new people”. Only Alexander Andreevich Chatsky directly opposes the old order in comedy. Thus, the author emphasizes the exceptional position of people with progressive views. “In my comedy,” wrote Griboyedov, “there are twenty-five fools for one sane person.” The most a prominent representative “of the past century” in the play is Famusov. His image, in comparison with other representatives of Moscow society, is more clearly depicted by the author. Good-natured and hospitable Famusov, as he may seem in a conversation with Skalozub at the beginning of the play, is rude to his family, picky, stingy and petty. Here is his understanding of how one should value acquaintances and relatives: I crawl in front of relatives where I meet; I will find her at the bottom of the sea. This hero really doesn’t care about his daughter’s fate or his official affairs. Famusov is afraid of only one thing in his life: “What will Princess Marya Aleksevna say!” Thus, in the person of Famusov, the author exposed the ceremonial worship of Moscow society. Every conversation between Famusov and Chatsky ends with the former’s inevitable “upset.” So, in the second act (episode 2) the heroes are left alone and they manage to talk. Famusov has not seen Chatsky for a long time, so he still does not know what the boy he once knew has become. In their conversation, the heroes first touch on the issue of service. Chatsky immediately notes: “I would be glad to serve, but being served is sickening.” Famusov, not understanding what Alexander Andreevich means, tries to teach him how to achieve “both places and promotion to rank.” Through the mouth of Famusov, all of noble Moscow speaks at this moment: And uncle! What is your prince? What's the count? When it was necessary to serve, And he bent over... This and only this way of serving, as Famusov says, can bring glory and honor. And so it was in the era of Catherine II. But times have changed. Chatsky points to this when he retorts in an ironic and somewhat evil manner: But meanwhile? Who will the hunt take, Even in the most ardent servility, Now, in order to make people laugh, Bravely sacrifice the back of the head? Further, Chatsky, in the most apt and witty expressions, brands “the past century.” He claims that now is a new time, that people no longer fawn over patrons (“patrons yawn at the ceiling”), but achieve everything in this life only with the help of abilities and intelligence: No, today the world is not like that. Everyone breathes more freely and is in no hurry to fit into the regiment of jesters. The hero says all this in such fervor that he doesn’t notice - Famusov hasn’t listened to him for a long time, he covered his ears. Thus, the conversation between the two characters is a farce. The author uses this technique specifically to outline even more clearly the position of the Chatskys - their arguments are not listened to, because it is impossible to oppose them with anything. The only thing that the old familiar regime can do to protect Famusov is this: I would strictly forbid these gentlemen to approach the capitals for a shot. In Chatsky’s fair, passionate attacks on Moscow society Famusov sees danger, freedom. He believes that the reason lies in the fact that they are scouring the world, beating their heads, They are returning, expect order from them. We also hear one of Famusov’s exclamations: “What is he saying! And he speaks as he writes! It refers to Chatsky’s speeches and stands among such characteristics of this hero as “ a dangerous person", "He doesn't recognize the authorities!", "Carbonari." Why is this, from Famusov’s point of view, terrible? Later, in the third appearance, Famusov will declare that the reason for Chatsky’s madness is “study”, therefore all books

Plan:

1. Introduction

a) representatives of the “past century”;

b) representatives of the “present century”.

2. Main part:

a) Chatsky’s point of view;

b) Famusov’s point of view;

c) conflict resolution.

3. Conclusion.

In the comedy "" by A.S. Griboyedov shows the conflict of the “present century” represented by Chatsky and the “past century” represented by the “Famusov society”. This main conflict, to whom the entire play is dedicated; No wonder Goncharov critical article“A Million Torments” writes that “Chatsky begins new Age- and this is his whole meaning and his whole “mind”. Thus, even the title of the work indicates that, first of all, Griboedov wanted to show the collision of two centuries.

“The Past Century” is, of course, the Famusovs. Pavel Afanasyevich Famusov, an elderly nobleman and official with money, and his daughter, Sofia Pavlovna Famusova, an educated and pretty young girl. This should also include Colonel Skalozub, as well as almost all minor characters comedies: the Tugoukhovsky couple, Mrs. Khlestova and others. All together they form the “Famus society”, the personification of the “past century”.

“The present century” - . Others are fleetingly mentioned, as if heroes similar in thinking to him: cousin Skalozuba, Prince Fyodor - these young people also strive to live a different life, different from the life of the “Famusov society”. However, there is a significant difference between them and Chatsky: Chatsky is an accuser and an irreconcilable fighter, while these characters do not impose their point of view on anyone.

The collision between Famusov and Chatsky inevitably leads to a collision of the centuries to which they belong. According to Pavel Afanasyevich, Chatsky should take up service - Famusov sees in young man good makings for a brilliant career, besides, Alexander Andreevich is the son of his friend, so Famusov is extremely friendly towards him. Chatsky is also glad to return home, not yet knowing how this return will end; he is glad to see Famusov, but is not ready to share his views: “I would be glad to serve, but it’s sickening to be served.”

A young nobleman, after traveling around Europe, sees all too clearly all the frightening flaws of the Motherland: destructive for human souls serfdom, imitation of foreigners, “meanness,” stupid and absurd “love for the uniform”... each of these flaws raises a sincere protest in him, and Chatsky breaks out into another fiery tirade. His famous monologues “And sure enough, the world has begun to grow stupid”, “I won’t come to my senses...”, “Who are the judges?” - a desperate attempt to make people see what false ideals they follow, how they curtain their windows from the rays of a bright future with their own hands. Famusov is disappointed in Chatsky. “The little one with the head” refuses to follow generally accepted traditions, acts as an exposer and even an insult to the values ​​of “Famus society.” “Everything has its own laws,” and Chatsky diligently violates these laws, and then mocks them.

Of course, a worthy representative of Moscow society cannot tolerate this, and every now and then asks Chatsky to remain silent for his own good. Oddly enough, the most terrible, decisive clash does not occur between Pavel Afansevich and Chatsky. Yes, they are developing the conflict of centuries, demonstrating different views on the order in society, but it is not Famusov who will put an end to the conflict, but his daughter. , who was dearly loved by Chatsky to the last, not only exchanged him for the obliging hypocritical Molchalin, but also unwittingly became the culprit of his expulsion - it was because of her that Chatsky began to be considered crazy. Or rather, she just wanted to start a rumor in order to take revenge on him for ridiculing Molchalin, but the “Famus society” too willingly picked it up and believed: after all, the madman is not dangerous, all his accusatory, terrible speeches for the “bygone century” can be attributed to clouding of reason...

So, “the present century” and the “past century” could not help but come into conflict because of too different, contradictory views on the correct structure of society and the behavior of people in it. And although in the comedy Chatsky flees Moscow, admitting his defeat, “ Famusov society" Not long left. Goncharov writes about it this way: “Chatsky is broken by the number old power, inflicting on her in turn death blow quality of fresh strength."

The action of the novel "The Master and Margarita", which we will now analyze, begins in Moscow. Mikhail Bulgakov uses Moscow toponymy, this gives the story credibility and immerses us more and more into the plot. Don't forget to read the summary of the novel.

History of creation and genre of the work

Inspired by Goethe's tragedy "Faust", Bulgakov decided to write his own novel. It is known that the first notes were made in 1928. In the first 160 pages there were no such heroes as the Master and Margarita, and the plot was about the appearance of Christ and the story of Woland. Original titles novels were also associated with this mystical hero. One of them was "Black Magician". In 1930, Bulgakov burned the manuscripts. Two years later, Bulgakov found the surviving sheets and got to work.

But in 1940 he became seriously ill and his wife wrote a novel from his dictation, like a devoted Margarita. When the work was completed, Elena applied to many publishing houses, but she was refused. 30 years later, a censored version was published, quite different from the original.

What can we say about genre originality? Of course, this is a novel with his classic features in his classic version.

Composition and issues

The composition of the novel is different in that there is a parallel between the heroes of Pilate's time and those of Moscow. Some storylines. Variety of characters. When analyzing the novel, conditionally divide the work into two parts:

1. Moscow events
2. Narration from the Master's perspective

The problem of the work is philosophical problem, which is expressed in the relationship between power and man, not only among Moscow’s heroes, but also among Pilatov’s. Thus, Bulgakov emphasizes that this problem has been in all times and eras.

The truth is expressed that society must be based on moral values, not material. Be sure to include this idea in your analysis of the novel “The Master and Margarita.”

Theme and main characters

One of the central themes is Biblical. Critics are struck by the authenticity of the chronology of events, which they compared with the writings of Levi Matthew. The Judgment scene is believable even within the time frame. Pilate and Yeshua are depicted in a new way and even with elements of character traits modern people, therefore, readers of our time also find similarities in them.

Love line This brilliant work was not ignored either. When the Master's first meeting with Margarita takes place, it is immediately clear that this is true love at first sight, which must end tragically. Margarita is a reward for the difficult fate of the Master. Love is shown in the novel as something eternal that does not depend on anything. This idea can become one of the key ones in the analysis of the novel "The Master and Margarita".

Fantastic theme makes this piece special. Appears in the novel devilry: Woland, conducting the sessions and his retinue.

The theme of creativity is also interestingly presented. Non-acceptance of the master's works by critics, his destruction creative potential led him to madness.

Let us also mention the main characters of the work:

• Master. Creator. In him we find similar features with Bulgakov.
• Woland. Devil, Prince of Darkness. It becomes real when it leaves the Russian capital.
• Margarita. Unlucky girl. Beloved of the Master.

Analysis of the novel "The Master and Margarita"

Bulgakov's main idea when writing this novel was to ironically convey all the topical topics.

The novel combines the problem of ideal creativity and true love. Along with the exciting plot, landscapes play a significant role. The illuminated corners of Moscow add dynamics to the novel and immerse you in their world.

Each generation reveals this novel in its own way and finds similar features in it modern problems. The master does not finish his work and burns it, finding his peace in this.

Margarita's dream is significant episode in the novel. The girl dreams of hell, pitch darkness, a wasteland, and in the midst of this horror - the Master. Bulgakov specifically portrayed Margarita as wealthy and prosperous, but for her highest value- this is a photograph of a lover and a charred notebook of his manuscripts. It is this fragment that emphasizes that it is not material things that make a person happy, but earthly things. And it would seem that love is a feeling, but it is more expensive than everything else.

You read brief analysis novel "The Master and Margarita", we also recommend that you visit our literary Blog, where many articles are posted with analyzes of the works and characteristics of the characters.

General introduction to Arts and Crafts.

The topic of art and craftsmanship has always excited M.A. Bulgakov, and in the novel "Master and Margarita"– this is one of the central, key themes. What should a work of art be like (of any genre, including in this case- literature)? What is the value of this or that creation? How to distinguish art from ordinary craft? The author reflects on these questions. Let's try to understand what exactly a writer values ​​in creativity. What, in his opinion, should a literary figure be?

The novel shows several characters engaged in literary activity. Among them is a writer, chairman of MASSOLIT (an organization fictitious by the writer), editor of a magazine Mikhail Alexandrovich Berlioz. The hero's surname is associated with another - surname famous composer 19th century - G. Berlioz. However, the hero seems to be opposed to his namesake, since he has no talent. He holds a high position in literary circles, one of the characters calls him that - “general” in the world of literature. Berlioz, although a well-read person who often demonstrates his erudition by citing examples from history in his speeches, is far from understanding the truth of art. One can guess what level the magazine of which the hero is editor is. He makes excellent use of all the privileges that he is entitled to by virtue of his position: he has an elite dacha in literary village, having lunch at a prestigious restaurant on Griboyedov Street. This is a typical bureaucrat who does not give true talent the opportunity to advance in literature. Not without his support, the Master was literally hounded by criticism. Such mediocre people as Berlioz cannot accept the talent of another, the desire to truthfully express their thoughts, to be honest with readers. The fate of the hero is tragic - he dies under the wheels of a tram (his death was predicted by Woland, as if it were a punishment for disbelief in God and the devil). And the Griboedov restaurant burns down at the end of the novel, which seems to symbolize the rejection of hackwork, envy, and lack of talent in literature. With this, the author expresses his attitude towards people for whom writing has become just a “craft”, a way to get along well in this life. Often you can judge the organization itself by its leader. Berlioz is surrounded by similar people.

Unfortunately, Berlioz is not alone in the novel. How much more mediocre people the author showed! This is the poet too Ivan Bezdomny, who, nevertheless, under the influence of the Master, realized the lack of talent in himself, stopped writing “poems” and took up another type of activity. He becomes a professor of history and philosophy. By the way, the hero and his pseudonym changed to real name- Ponyrev. The pseudonym Homeless was also a tribute to fashion, a desire to emphasize his closeness with the people (even this was a flirtation with readers).

This is the critic Latunsky, spoke so harshly about the Master’s novel that the author was literally persecuted, leading him to a madhouse. His article “The Militant Old Believer” was written in the spirit of atheism, it condemned the Master’s thoughts about God. Latunsky lives in luxury home in Moscow. It is her apartment that Margarita will destroy, turning into a witch.

And “mediocrity Sashka” is a poet Alexander Ryukhin! Everyone understands his lack of talent, however, he also fits in well in the literary environment. He also disguises himself as a proletarian, although he has nothing in common with the working class. Untalented himself, Ryukhin allows himself to criticize Pushkin himself, believing that there is nothing special in his poetry and that he was only lucky. Envy and anger, spiritual emptiness - this is the essence of this person’s character.

The “gallery” is completed by Berlioz’s deputy - Zheldybin, who can only deal with organizational issues, for example, funerals. Nothing is said about his work at all.

And this is the “color” of literature! What freedom of creativity, what kind of talent can we talk about when the “elite” of the literary environment is so limited and mediocre!

It is difficult for real talent to break through in such an environment. A master is a true creator who creates a real work of art. Having accidentally won money in the lottery, he quits his previous job at the museum, rents small apartment, buys the necessary books and writes a novel about the procurator of Judea Pontius Pilate and the wandering philosopher Yeshua Ha-Nozri. This philosophical work, in which the author reflects on lies and truth, on truth, on fear and cowardice, on the death of an innocent person and the pangs of conscience. Of course, the members of MASSOLIT simply could neither understand nor appreciate such a work. They have long forgotten how to write truthfully and sincerely, and they don’t want to, for fear of losing privileges and honor. The new creation even frightens them, and they decide to “harass” the author with criticism full of anger and accusations, driving the hero to madness. The master simply could not resist this injustice. The author turned out to be weaker than his hero. If Yeshua did not renounce his ideas, having gone through inhuman torment, then he decided to burn the novel that brought him so much suffering. But... “manuscripts don’t burn!” This phrase, which has become an aphorism, emphasizes that a true creation will always find its reader, will outlive its time, and will excite the souls and hearts of people. At the end of the novel, the Master and Margarita gain their long-awaited freedom.

Thus, the problem of true art, bringing truth to people, created talented craftsmen, and craft, opposed to art with its mediocrity, lack of talent, desire to please the crowd and have honor and glory - one of the main ones in the novel “The Master and Margarita”. The author is sure that a person who devotes himself writing work, must be aware of the importance of his work, the responsibility for the created works. Only the presence of talent, high moral qualities can allow you to create highly artistic works. And if this is not the case, then it’s better just not to do it. literary work(as Ivan Bezdomny did), and in another area to bring the craft to perfection, to art.

Material prepared by: Melnikova Vera Aleksandrovna.

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

In 1928, M.A. Bulgakov began the novel “The Master and Margarita” (which did not yet have this title). Brought to the 15th chapter, the novel was destroyed by the author himself in 1930, and started anew in 1932 or 1933. In subsequent years, work proceeded in fits and starts. In 1937, returning once again to the beginning of the novel, the author first wrote in title page the title that became final, “The Master and Margarita,” set the dates: 1928-1937 - and never stopped working on it. In 1939, important changes were made to the end of the novel and an epilogue was added. But then the terminally ill Bulgakov dictated amendments to the text to his wife, Elena Sergeevna. The extensiveness of insertions and amendments in the first part and at the beginning of the second suggests that no less work was to be done further, but the author did not have time to complete it. After Bulgakov's death, eight editions of the novel remained in his archive.

Happy freedom reigns in this book creative imagination and at the same time the rigor of the compositional concept. Satan rules the great ball there and the inspired Master, a contemporary of the author, writes his immortal novel. There, the procurator of Judea sends Christ to execution, and nearby the citizens inhabiting the Garden and Bronnaya streets of Moscow of the 20s and 30s of the last century are fussing and berating. Laughter and sadness, joy and pain are mixed together, just like in life. "The Master and Margarita" is a lyrical and philosophical poem in prose about love and moral duty, about the inhumanity of evil, about true creativity, which is always an overcoming of inhumanity, always strives for light and goodness.

The idea for the book took shape gradually. The novel grew slowly. Critic I. Vinogradov called an article about the novel “a master’s testament.” Bulgakov himself in a letter to his wife, who became the prototype main character“The Master and Margarita,” back in 1938, almost two years before his death, said about his work: “The last sunset novel.”

The action begins “one day in the spring, at the hour of an unprecedentedly hot sunset, in Moscow, on Patriarch's Ponds" Satan and his retinue appear in the white-stone capital. The history of the four-day tour of that force “that always wants evil and always does good” gives the novel a plot point, the possibility of its rapid development in time.

Diaboliada - one of Bulgakov's favorite motifs - here plays a completely realistic role and can serve as an example of a grotesque-fantastic, satirical exposure of the contradictions of living reality. Woland sweeps over Bulgakov's Moscow like a thunderstorm, punishing mockery and dishonesty. Otherworldliness and mysticism somehow don’t fit in with this Messiah. If there was no such Woland, then he had to be invented.

A fantastic turn of events allows the writer to unfold before us a whole gallery of characters of a very unsightly kind. A sudden meeting with evil spirits turns the appearance of all these Berliozs, Brass, Maigels, Aloiziev Mogarychs, Nikanor Ivanovichs and others inside out. The session of black magic that Woland and his assistants gives at the capital’s Variety Show, literally and figuratively“undresses” some citizens from the audience. But at the same time, the targets are strictly selective; they are internally oriented by the author’s ethics. The critic P. Palievsky correctly noted: “Nowhere did Vodand, Bulgakov’s Prince of Darkness, touch the one who creates honor, lives by it and advances. But he immediately seeps into the place where the gap is left for him, where they retreated, disintegrated and imagined that they were hiding: to the barman with “second-fresh fish” and gold tens in hiding places; to the professor, who had slightly forgotten the Hippocratic Oath; to the smartest specialist in “exposing values”...

And Master, main character Bulgakov's book, who created the novel about Christ and Pilate, is also far from religiosity in the Christian sense of the word. He wrote a book of enormous psychological expressiveness based on historical material. This “novel within a novel” seems to collect ethical contradictions that every generation of people, every thinking and suffering person must resolve with their lives. Two novels - The Master and about the Master - are mirrored to each other, and the play of reflections and parallels gives birth to an artistic whole, connecting legend and everyday life in historical life person. Among the characters in the book, Pontius Pilate, the fifth procurator of Judea, a man in a white cloak with bloody lining, is especially memorable. The story of his cowardice and repentance is approaching in its own way artistic power To best pages world prose.

"Master and Margarita" - complex work. Critics have already noted the excessive subjectivity of Bulgakov's view of contemporary reality, which was reflected in the satirical chapters of the novel. K. Simonov wrote: “When reading “The Master and Margarita,” people of older generations immediately notice that the main field for Bulgakov’s satirical observations was the Moscow philistine, including the literary and theatrical environment of the 20s, with its, as they said then , “burps of NEP”.

It should be added that the other Moscow of that time, the other, wider field for observation, is almost not felt in the novel. And this is one of the examples that speaks to the limited views of the writer on modernity. We sometimes hesitate to say the words “limited view” when talking about great talent. And in vain. For they, without detracting from talent, reflect reality; help to understand the real place of the writer in the history of literature.”

The master could not win. By making him a winner, Bulgakov would have violated the laws of artistic truth and betrayed his sense of realism. The novel is optimistic. Leaving this mortal world, the Master leaves in it his student, who sees the same dreams as him, raves about the same images of world history and culture, shares him philosophical ideas, believes in the same ideals of a universal human scale...

The Master’s student, his ideological successor and spiritual heir, now an employee of the Institute of History and Philosophy, Ivan Nikolaevich Ponyrev, former Homeless, “knows and understands everything” - in history, in the world, and in life. “He knows that in his youth he was a victim of criminal hypnotists, was treated after that and was cured.” Now he is the Master himself. Bulgakov showed that the acquisition of intelligence occurs through the accumulation of knowledge, through intense intellectual, mental work, through assimilation cultural traditions humanity, through deliverance from the spell of “black magic”, “criminal hypnotists”.

The heroes of “The Master and Margarita” escaped into the vastness of eternity and found themselves in the endless space of world history. And this indicates that no powerful forces have power over those who are the masters of their thoughts and their work, who have mastery. The master lives in a world without social, national and temporal boundaries; his interlocutors are Jesus Christ, Kant, Goethe, Dostoevsky... He is a contemporary and interlocutor of the immortals, because he is an equal with them.

There will still be a lot of thinking and writing about The Master and Margarita. The book is controversial; the reader will not agree with all of its ideas. But he will not remain indifferent. He will read it, crying and laughing, and it may awaken in his soul powers that he had never thought of before. Bulgakov's world of eternal human values, historical truth, creative search, conscience is opposed to the world of formalism, soulless bureaucracy, self-interest, immorality. And above all - love. The Master lives by love, and Bulgakov lives by love. The poor prophet of Ancient Judea, Yeshua Ha-Nozri, also preaches love.

“Follow me, reader! Who told you that there is no real, true, eternal love? May the liar's vile tongue be cut out!

Follow me, my reader, and only me, and I will show you such love!”

Roman Bulgakov, like all the greats, eternal books humanity, dedicated to the omnipotence and invincibility of love. Manuscripts inspired by love, glorifying love, carrying with them a rush of love are indestructible and eternal. Truly, as Woland said, addressing the Master, “manuscripts do not burn.” Bulgakov tried to burn his manuscript, but this did not bring him relief. The novel continued to live, the Master remembered it by heart. The manuscript has been restored. After the death of the writer, it came to us and soon found readers in many countries around the world.