An essay on the topic of Love and the fate of the master in the novel by M.A. Bulgakov's "The Master and Margarita" read for free

The fate of the artist and the theme of art in Bulgakov’s novel “The Master and Margarita”

In Bulgakov's novel "The Master and Margarita" there are many cross-cutting themes. One of them is the theme of the devil, and this is where the novel actually begins.
More from the epigraph:
“... so who are you, finally?
- I am part of that force,
what he always wants
evil and always does good.”
Goethe. Faust
The hidden intrigue of the novel is determined, which lures us into the world of three dimensions: past, present and otherworldly... This story line crosses the fates of many of the novel's heroes. Let's consider the literary elite of Moscow. It is from this elite that the main characters stand out: the Master and his future student Ivan Bezdomny. The fate of the Master in many ways repeats the fate of Bulgakov himself. Although he began writing his novel in 1928, the main creative period began after his marriage to Elena Sergeevna Shilovskaya. In Elena you can immediately notice Margarita - main character of the novel, who, also like a muse, came to the Master and contributed to the writing of the novel. Everything, just like Bulgakov’s, the “main book” of the Master was born - a work into which he was able to put his soul and heart. This Main Book for Bulgakov was his novel “The Master and Margarita,” which he wrote over the course of 12 years! From 1928 to 1940. Moreover, the life of this Main Book was not as smooth as it seems. The conditions in which it was created were by no means prosperous, but, in the words of many, it became important that the artist’s purpose is not at all to fight for fate and well-being, but to create! This means that Bulgakov acted absolutely correctly when he created, correcting and rewriting the novel in order to achieve the highest result and serve his own principle:
“Finish before you die...”
That is, Bulgakov did not fight for his novel, but simply nobly created and brought it to life...
But let’s return from Bulgakov to his novel and consider the literary society of Moscow described by Bulgakov. For the first time with numerous representatives of this society in the “Griboyedov House”, where a meeting of their leading members was held, resolving issues in no way related to creativity or art. Their activities in this governing body consisted of begging for a dacha for relaxation, a trip to Yalta, and as Woland later put it: “... they were spoiled housing problem..." When the ball begins in this “den” of writers, it more and more resembles “hell”, in which everything boils and seethes with empty and meaningless speeches. Bulgakov never shows us this society in work or creativity; they can only fight for place or money. And for all these sins, and most importantly for lack of faith, Berlioz, who stood at the head of this society, paid for it; his head was cut off by a tram! You may think this is cruel, but no.... For such sins it was possible to punish even more horribly, because these writers not only did nothing, they also hindered real creators of art and led young literary figures astray from the true path. We see that this is a truly terrible and rotten society, which was supposed to be the “light at the end of the tunnel” for the unenlightened segments of the population, but it simply did nothing and lined its own pockets.
But one more thing stands out against this background positive character, who could not join MASSOLIT, the Master became him. We learn about his entire life from his own stories and, as has already been written, we compare him with Bulgakov, but here the writer really rose to the occasion. We can't just believe critical works, to count the Master among the creators and stop there, we must look deeper and then, as we can see, we can find many more similarities, in addition to fate and life. Such similarities will be: the similarity of names - they begin with the letter “M”, they were both rejected by society, but still there are characteristic- This is the opposition to Woland. This can be seen when we write Woland in English, that is, “Woland”. It is this first letter “double ve” that is considered the inverted letter M=W, that is reverse side coins!
Comparing Mikhail Bulgakov and the Master, one can also consider such a fact as the successors of their works and their students. From Bulgakov's novel we learn that the Master eventually had a student: he became Ivan Bezdomny or later an employee of the Institute of Philosophy, Professor Ivan Nikolaevich Ponyrev. He was raised by the Master into a real person who found a place for himself in society, in a psychiatric hospital, where they ended up together only for the reason that everyone who has no place in a society of lies and deceit ends up there. Ivan Nikolaevich adopted from the Master those basic principles of life that he so lacked and which fake writers could not give him! But let's turn to Mikhail Bulgakov himself, did he have a student? Based on my meager information from his biography, I can only say that he was not recognized by his society and therefore he could not meet such a person who would become his heir literary activity. That is, Bulgakov also embodied in his hero those traits that he would like to have himself, but could not have himself.
But we must not forget that the real activity of the creator requires sacrifice and cannot pass without leaving a trace. The main ideas of Bulgakov, as a classic, were embodied in the novel “The Master and Margarita,” but even in the early “Notes on Cuffs,” which Bulgakov wrote in 1921, there are germs of the idea: “... suddenly, with extraordinary wonderful clarity, I realized that I was right who said: what is written cannot be destroyed! Tear it up, burn it... Hide it from people. But never from yourself! ... ”, which then embodied in the thought “manuscripts don’t burn!” This suggests that the creators of real art treasures never forget their works, as they say: “they remember them by heart.” Just as Mayakovsky remembered his works, just as the Master retained the entire novel in his memory, so Bulgakov wrote his general ledger and remembered her before the smallest details. This is how the real creativity of writers is shown to us and that is why the fifth procurator of Judea, the horseman of Pontius Pilate, will never disappear from memory.

Manuscripts don't burn!

M. Bulgakov

I. The fate of Bulgakov as a citizen and writer.

II. The theme of the artist’s fate in the novel “The Master and Margarita”

1. The fate of the master.

2. The Master's novel about Pontius Pilate.

3. The master is broken by life.

III. civil position Bulgakov.

The fate of Mikhail Bulgakov as the fate of an intellectual and a citizen attracts me and my contemporaries. Bulgakov's tragedy is that he lived and worked in a country where the creator, unrecognized during his lifetime, was not recognized after death.

In the letter addressed by Mikhail Bulgakov to the government of the USSR, you read not repentance, but a desire to defend your civil rights, because a writer cannot bend his soul even before those who doomed him to persecution, poverty and death.

The theme of fate interested Mikhail Bulgakov all his life. But the pearl of the writer’s entire work was his last work - the novel “The Master and Margarita”. Image of the Master most of she perceived her contemporaries as the image of Bulgakov himself, and sometimes as the image of Yeshua. In their early works Bulgakov contrasted the spiritualized and lonely person with the anti-humanism of “power.” In “The Master and Margarita” the writer comes to a different idea. A person, especially an artist, is obliged to participate with all his soul and conscience in the struggle to improve the world in which he lives. The position of non-participation, and even more so capitulation, is unacceptable for Bulgakov.

The master is talented and selfless. He wins one hundred thousand rubles and spends them in a completely different way than one would expect. an ordinary person. He buys books, moves out with the hated communal apartment, where too often you have to deal with rudeness, with things that hurt the sensitive soul of a romantic. He calls his “golden age” the time when he lived in this basement, with his beloved woman, books and work nearby. The fire in the fireplace and the leaves of the manuscript created comfort and happiness, which the Master and Margarita finally found. The master writes a novel in Stalin's time and talks about God, about the violence of power over the individual, about the fact that the ideological dispute between Pilate and Yeshua was interrupted by force, about the cowardice of power in front of freedom of thought. The master dreams of a time when all people will be kind, when the kingdom of truth and justice will come. The master fulfills his duty as a creator, writes the absolute truth, without hesitation, without applying himself to reality, without looking back at censorship, without thinking about the consequences. He tells people the truth, because “it’s easy and pleasant to tell the truth.”

But there is no escape from reality. She burst into their world along with newspaper articles, where with murderous sentences like: “the enemy is under the wing of the editor,” “let’s hit the pilatchina,” everything that the Master had lived with before was destroyed. And although the Master understands the falsity of these accusations, he turns out to be morally broken.

The master chose his path consciously, he goes way of the cross, like Yeshua. He chose suffering. From October to January he is imprisoned; he was probably being bullied. This is indicated by a coat with torn buttons. The Master, not wanting to burden Margarita with his problems, goes to the only place in Moscow where you can say what you think - to a madhouse. The master admits to Woland: “I have no more dreams and no inspiration either. Nothing around me interests me except her. I’ve been broken, I’m bored, and I want to go back to the basement.” It is not for nothing that Woland ironically remarks: “... the man who composed the story of Pontius Pilate goes into the basement, with the intention of settling down there by the lamp and begging?”

M. Bulgakov condemns his hero. Of course they attacked him life's troubles, but a person should not retreat. The master fell out of the chain of continuous human struggle to improve life. The master fails to remain a fighter until the end. Behind him remain the worries and worries of real and difficult life. Ahead of him awaits a ghostly, conditional existence outside of life, “outside the light.” He doomed himself to inaction of the spirit. That is why he was given “peace.”

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The fate of the artist in M. Bulgakov’s novel “The Master and Margarita”

The novel "The Master and Margarita" is rightfully considered best work Mikhail Afanasyevich Bulgakov. Undoubtedly, this is one of the most interesting and exciting works of literature of the 20th century. The novel can be called a satirical chronicle of life in Moscow in the 20s and 30s. It addresses, among other issues, the issue of choice and personal responsibility. Bulgakov forces his heroes to choose and, with the help of this choice, reveals the character's personality.
One of the main characters of the novel “The Master and Margarita” is the man who wrote brilliant novel about the procurator of Judea Pontius Pilate, who executed Yeshua Ha-Nozri. The most amazing thing about the novel is that the author does not mention the name of the master throughout the entire work. This probably happens because, according to literary critics MASSOLITA, he, the master, is a small man, unworthy to be considered Soviet writer, because he wrote an ideologically dubious thing - a novel about Pilate and Christ. The masters begin to be criticized, Latunsky's articles appear. And as a result, the master’s fate is decided: he ends up in a psychiatric hospital. The motive for this outcome was the failure of the novel about Pilate. By burning the manuscript, the master renounces not only his creation, but also love, life, and himself. Thinking that his choice is the best for Margarita, he unwittingly dooms her to suffering. Instead of fighting, he runs away from life. He just chickened out.
Unlike the master strong nature is Margarita. She deliberately became a witch to help bring back the master. Margarita has no faith, but faith replaces her strong love. Love serves as her support in her decision. And probably her choice is correct because it does not bring grief or suffering to anyone. And her willingness to sell her soul to the devil proves her true love to the master. After all, if it weren’t for Margarita, then perhaps the master would have remained in a psychiatric hospital, living out his life. last days. But everything has changed dramatically: Margarita brings the master back to life with the help of Woland. And one day Messire told the master a “golden” phrase: “Manuscripts do not burn.” After this, the master understood what real creativity is, that one must fight for one’s works, that real art will never disappear without a trace. The main thing is to hope and believe.
Throughout the entire novel, Bulgakov carried the idea that a person can always choose his own path. The Master and Margarita chose their path: they left this vile, cruel world and found eternal peace.
Bulgakov’s main idea is what to do right choice impossible without faith. It doesn’t matter what to believe, the main thing is faith. A person should not obey anyone. Personality is at the center of everything. Therefore, a person has complete freedom of choice, but all responsibility lies only with him.

In the letter addressed by Mikhail Bulgakov to the government of the USSR, you read not repentance, but a desire to defend his civil rights, because the writer cannot bend his heart even to those who doomed him to persecution, poverty and death.

The theme of fate interested Mikhail Bulgakov all his life. But the pearl of the writer’s entire work was his last work - the novel “The Master and Margarita”. Most of his contemporaries perceived the image of the Master as the image of Bulgakov himself, and sometimes as the image of Yeshua. In his early works, Bulgakov contrasted the spiritualized and lonely person with the anti-humanism of “power.” In “The Master and Margarita” the writer comes to a different idea. A person, especially an artist, is obliged with all his soul and conscience to participate in the struggle to improve the world in which he lives. The position of non-participation, and even more so capitulation, is unacceptable for Bulgakov.

The master is talented and selfless. He wins one hundred thousand rubles and spends them in a completely different way than one would expect from an ordinary person. He buys books, moves out of the hated communal apartment, where too often he has to deal with rudeness, with things that hurt the sensitive soul of a romantic. He calls his “golden age” the time when he lived in this basement, with his beloved woman, books and work nearby. The fire in the fireplace and the leaves of the manuscript created comfort and happiness, which the Master and Margarita finally found. The master writes a novel in Stalin's time and talks about God, about the violence of power over the individual, about the fact that the ideological dispute between Pilate and Yeshua was interrupted by force, about the cowardice of power in front of freedom of thought. The master dreams of a time when all people will be kind, when the kingdom of truth and justice will come. The master fulfills his duty as a creator, writes the absolute truth, without hesitation, without applying himself to reality, without looking back at censorship, without thinking about the consequences. He tells people the truth, because “it’s easy and pleasant to tell the truth.”

But there is no escape from reality. She burst into their world along with newspaper articles, where murderous sentences such as: “the enemy is under the wing of the editor”, “let’s hit the pilatchina”, everything that the Master had lived with before was destroyed. And although the Master understands the falsity of these accusations, he turns out to be morally broken.

The master chose his path consciously; he crosses the way of the cross, just like Yeshua. He chose suffering. From October to January he is imprisoned; he was probably being bullied. This is indicated by a coat with torn buttons. The master, not wanting to burden Margarita with his problems, goes to the only place in Moscow where you can say what you think - to the madhouse. The master admits to Woland: “I have no more dreams and no inspiration either. Nothing around me interests me except her. They broke me, I’m bored, and I want to go back to the basement.” No wonder Woland ironically remarks: “... the man who composed the story of Pontius Pilate goes into the basement, with the intention of sitting there by the lamp and begging? "

M. Bulgakov condemns his hero. Of course, life's adversities befell him, but a person should not retreat. The master fell out of the chain of continuous human struggle to improve life. The master fails to remain a fighter until the end. Behind him remain the anxieties and worries of real and difficult life. Ahead of him awaits a ghostly, conditional existence outside life, “outside the light.” He doomed himself to inaction of the spirit. That's why he was given "peace."

The artist’s theme in M. Bulgakov’s novel “The Master and Margarita”

"Of all the writers of the 20s - 30s of the XX century, probably Mikhail Bulgakov is preserved to the greatest extent in Russian public consciousness. It is preserved not so much by his biography, from which his letters to Stalin and the only one are usually remembered phone conversation with the tyrant, as well as with his brilliant works, the main one of which is “The Master and Margarita”. The novel reveals new facets to each next generation of readers. Let us at least remember the “sturgeon of the second freshness,” and the sad thought will come to mind that everything in Russia is forever second freshness, everything except literature. Bulgakov proved this brilliantly,” - this is how in a few words Boris Sokolov, a famous researcher of Bulgakov’s work, was able to show what contribution the writer made to Russian and world literature.

It is no coincidence that Bulgakov included the word “master” in his title. famous novel"Master and Margarita". He really is one of the central figures of Bulgakov's work. The master is a historian turned writer. The master is a talented person, but extremely impractical, naive, timid in everyday affairs. He wrote a brilliant novel about Pontius Pilate and naively believed that someone would need this novel, that it would be published and read simply because it good novel. At the same time, he puts his whole soul into his business, into his novel, and when it turns out that no one needs his work, with the exception of Margarita alone, that he only causes anger and attacks from critics, for the Master life loses all meaning.

The Master is largely an autobiographical hero. His age at the time the novel takes place (“a man of about thirty-eight years old”) is exactly Bulgakov’s age in May 1929. The newspaper campaign against the Master and his novel about Pontius Pilate is reminiscent of the newspaper campaign against Bulgakov and his story " Fatal eggs", the plays "Days of the Turbins", "Running", "Zoyka's Apartment", "Crimson Island" and the novel "The White Guard".

The Master's fate takes shape under the influence of multidirectional powerful forces, each of which tries to drag him along with them. By divine will, he was granted writing talent, which makes the unknown museum employee a Master. By working on his work about the “cruel fifth procurator of Judea, the horseman of Pontius Pilate,” the Master thereby fulfills God’s covenant. But he lives in a world where evil, vulgar, feeble-minded nonentities have come to power, where, according to Bulgakov’s magnificent definition, “no matter what you miss, there is nothing.” In this world divine gift The master is banned as something very dangerous. A master is a person not created for the brutal struggle to which society condemns him. He does not understand that, having become a writer, he thereby turns into a competitor of the Latun-Berliozs, mediocrities and demagogues who have seized the “literary field” and consider it their legitimate feeding trough, their fiefdom. They are untalented and therefore hate any talented competitor. They are opportunists and scoundrels, and therefore they feel terrible anger at a person who is internally free, a person who says only what he thinks. And they are trying to destroy him. This is quite natural and cannot be otherwise, but the Master does not understand this. He's not ready for this. The hatred and malice of these people depresses him. Added to this is the feeling of hopelessness, the uselessness of his business, his novel. And the Master despaired and broke down.

However, the Master was the only person in Moscow who chose the right creative path. He decided to serve the great, divine art, he did not write to order, about “what is possible.” But his maladjustment and weakness could not but affect his ideals. It is not surprising that the Master, feeling hopeless and useless, of his own free will comes to a clinic for the mentally ill.

“I no longer have any dreams and I don’t have any inspiration either,” he tells Woland, “nothing around me interests me except her, I’ve been broken, I’m bored, and I want to go to the basement.” “What about your novel, Pilate?” - “I hate this novel, I have experienced too much because of it.”

But the question arises: could main character do it differently? Of course he could. The Master could continue his struggle or, if he himself rejected his romance, he could find another purpose in life. His act only increased the mental suffering of both himself and Margarita. He hated both the novel and himself.

Bulgakov does not agree with the Master's choice and believes that his hero does not deserve the light. But still, after meeting Woland, the author gives his hero a chance to complete his life’s work with the words: “Free! Free! He is waiting for you!"

Using the example of the Master’s fate, Bulgakov in his novel places his most important thoughts, judgments and reflections on the place of the artist, a creative person in society, in the world, on his relationship with the authorities and his conscience. Bulgakov comes to the conclusion that an artist should not lie either to himself or to other people. An artist who lies, is not in harmony with his conscience, loses all right to creativity.

In this regard, the figure of the Master in the novel is ambiguous: he remains internally true to himself, but at the same time he does not have the strength to create on earth, falsely agreeing or persistently resisting existing public morality, his creativity is devoid of compromises, so he “did not deserve the light, but he deserves peace.” And it is Woland and his retinue who restore justice to the Master, making his manuscripts “non-burning”, which means, according to Bulgakov himself, that only true creativity is immortal!

For letters.