An essay on a work on the topic: The image of an antihero and the means of its creation in one of the works of Russian literature of the 20th century. (M. Bulgakov

All will pass. And the stars will remain

M. Bulgakov

Today much has already been said about M. A. Bulgakov as a major master of words, the author of the play “Days of the Turbins,” the story “Heart of a Dog,” and the novel “The Master and Margarita.” But the writer began with the theme of the White Guard, since Bulgakov saw it all, knew it, loved the Russian intelligentsia and wanted to understand its tragedy.

“I love this novel more than all my works,” the author wrote about “The White Guard.” True, the pinnacle novel “The Master and Margarita” had not yet been written. But, of course, “The White Guard” occupies a very important place in Bulgakov’s literary heritage. Why did I like this work, which I read in one sitting? The most important thing, perhaps, is not even that the writer showed the revolution through the eyes of white officers.

The value of M. Bulgakov’s novel is in the subtlest emotional aura of spirituality, which is diffused in a world surrounded by cream curtains, where, “despite the guns,” there is a starched and clean tablecloth, roses stand on the table, where a woman is a demigoddess, and honor does not lie in fidelity only to St. Andrew’s banner, to the Tsar, but also to comradeship, duty to the younger and weaker.

And this book also excites me, as well as the writer, because it is full of memories of my native Kyiv.

This novel still attracts us today precisely because of the strength and depth of the author’s thoughts and feelings. This is a bright, poetic book about childhood, adolescence and youth, lyrical dreams and dreams about lost happiness. And at the same time, it is obvious that “The White Guard” is a historical novel, a strict and sad story about the great turning point of the revolution and the tragedy of the civil war, about blood, horror, confusion, and absurd deaths.

As if from the heights of time, Bulgakov is looking at this tragedy, although the civil war has just ended. “Great and terrible was the year after the birth of Christ, 1918,” he writes. Events dragged on and swept ordinary people, mere mortals into their whirlpool. These people rush around and curse, like Alexey Turbin, who involuntarily became a participant in the evil being done. Infected by the hatred of the crowd, he attacks a newspaper delivery boy: a chain reaction of evil infects good people. Nikolka looks at life with confusion, Elena is looking for her own path. But they all live, love, suffer.

Many witnesses to the revolution and civil war spoke about the terrible disaster that swept over Russia, crippling human destinies. The world is up in arms and plunged into chaos. The City is immersed in the fog of chaos. Not just Kyiv, not just a city, but a kind of symbol of general devastation and tragedy, although this was precisely Kyiv, the writer’s hometown. City, love, home, war... This novel is about the fate of the Russian intelligentsia in the era of revolution. Bulgakov painted a deeply intelligent Russian way of life. Here they are lenient towards human weaknesses, attentive and sincere. There is no arrogance, swagger, or stiffness here. In the Turbins' house they are irreconcilable with everything that stands beyond the threshold of decency. But the Talbergs and Lisovichs live next to the Turbins.

The most cruel blows of fate are taken upon themselves by those who are faithful to duty and who are decent. But Talberg and others like him know how to fit in, they know how to survive. Leaving his wife Elena and her brothers, he flees Kyiv with the Petliurists. There is a war of ideas going on. But do ideas fight? The Turbins are monarchists in their views, but for them the monarchy is not so much the tsar as the most sacred pages of Russian history, which were traditionally associated with the names of the tsars. Despite all the rejection of the ideology of the revolution, the author understood the main thing: it is the fruit of the most shameful centuries-old oppression, moral and physical, of the masses.

While leading the narrative, Bulgakov seems to remain neutral. He notes with equal objectivity the courage of the Bolsheviks and the honor of the white officers. But he hates Bulgakov. He hates Petliura and the Petliuraites, for whom human life is worthless. He despises politicians who incite hatred and anger in the hearts of people, because hatred rules their actions. With lofty words about the city, the mother of Russian cities, they cover up their cowardly deeds, and the city is drenched in blood.

Love and hate clash in the novel, and love wins. This is the love of Elena and Shervinsky. Love is higher than everything in the world. There cannot be a more humane conclusion from the drama that we witness while reading the novel. Man and humanity are above all. Bulgakov asserts this in his novel. The turbines managed to preserve their honor from a young age and therefore survived, losing a lot and paying dearly for mistakes and naivety. The epiphany, albeit later, still came. This is the main meaning and lesson of M. A. Bulgakov’s historical novel “The White Guard,” which makes this book modern and timely.

Bibliography

To prepare this work, materials were used from the site http://www.coolsoch.ru

I read a lot of works by different writers. But most of all I like the work of Mikhail Afanasyevich a. Unfortunately, he died in 1940. All of his works are unique in their writing style and structure, they are all easy to read and leave a deep imprint on the soul. I especially like Bulgakov's satire. I have read books like "Fatal eggs”, “Heart of a Dog” and the most wonderful book, as it seems to me, “The Master and Margarita." Even when I read this book for the first time, I was overwhelmed by a huge number of impressions. I cried and laughed over the pages of this novel. So why did I like this book so much?

In the thirties of the 20th century, Mikhail Afanasyevich began work on his main book, the book of life - “Master and Margarita." He made the greatest contribution to the literature of the Soviet period by writing such a wonderful book.

"The Master and Margarita" was written as a "novel in novel": chronologically it depicts the thirties in Moscow, and also gives a historical outline of events taking place two thousand years ago.

It seems to me that such a unique plot was given in order to compare the psychology of people, their goals, their desires, in order to understand how successful society has been in its development.

The novel begins with a meeting at the Patriarch's Ponds between the chairman of MASSOLIT, Mikhail Aleksandrovich Berlioz, and the young writer Ivan Bezdomny. Berlioz criticized Bezdomny’s article on religion because Ivan depicted Jesus in his article in very black colors, and Berlioz wanted to prove to people that “Christ in fact does not exist and will not exist.” could." Then they meet a very strange man, apparently a foreigner, whose story takes them two millennia back, to the ancient city of Er-shalaim, where he introduces them to Pontius Pilate and Yeshua Ha-Nozri(slightly modified image of Christ). This man is trying to prove to writers that Satan exists, and if there is Satan, then, therefore, there is Jesus. The foreigner says strange things, predicts Berlioz's imminent death by beheading, and, naturally, the writers take him for a madman. But later the prediction comes true and Berlioz, who fell under a tram, cuts his head. Ivan is perplexed and tries to catch up with the departing stranger, but to no avail. Ivan tries to understand who this strange man is, but he understands it only later, in a madhouse, that it is Satan himself - Woland.

Berlioz and Ivan are only the first to suffer at the hands of the devil. Then something incredible is happening in the city. It seems that Satan has come to ruin everyone's life, but is that so? No. It’s just that every millennium the devil himself comes to Moscow to see if people have changed during this time. Woland acts as an observer, and his retinue does all the tricks (Cow- ev, Behemoth, Azazello and Gella). The variety show was staged by him only to evaluate people, and he concludes: “Well... they are people like people. They love money, but this has always been the case... Humanity loves money, no matter what it is made of... Well, they are frivolous... well, well... the housing problem only spoiled them..." As a result of the actions of Satan Woland and his retinue in Moscow, deceit and greed are revealed , arrogance, deceit, gluttony, meanness, hypocrisy, cowardice, envy and other vices of Moscow society in the thirties of the XX century. But is all society so low and greedy?

In the middle of the novel, we meet Margarita, who sells her soul to the devil in the name of saving her loved one. Her boundless and pure love is so strong that even Satan Woland himself cannot resist it.

Margarita was a woman who had wealth, a loving husband, in general, everything that any other woman could dream of.

shina. But was Margarita happy? No. She was surrounded by material wealth, but her soul suffered from loneliness all her life. Margarita is my ideal woman. She is a strong-willed, resilient, courageous, kind and gentle woman. She is fearless because she was not afraid of Woland and his retinue, proud because she did not ask until she was asked, and her soul is not devoid of compassion, because when her deepest desire was to be fulfilled, she remembered poor Frida , which promised salvation. Loving the Master, Margarita saves the most important thing for him, the goal of his whole life - his manuscript.

The master was probably sent by God to Margarita. Their meeting, it seems to me, was predetermined: “She was carrying disgusting, alarming yellow flowers in her hands... And I was struck not so much by her beauty as by the extraordinary, no one invisible loneliness in the eyes! Obeying this yellow sign “I also turned into the alley and followed in her footsteps...”

The misunderstood souls of the Master and Margarita find each other, love helps them survive and pass all the tests of fate. Their free and loving souls finally belong to eternity. They were rewarded for their suffering. Although they are not worthy of “light” due to the fact that both sinned: the Master did not fully fight for the goal of his life, and Margarita left her husband and entered into a deal with Satan, they deserve eternal peace. Together with Woland and his retinue, they leave this city forever.

So who is it anyway? Woland? Is he a positive or negative character? It seems to me that he cannot be considered either a positive or a negative hero. He - "…Part that force that always wants evil and always commits good". He personifies the devil in the novel, but with his calmness, prudence, wisdom, nobility and unique charm, he destroys the usual idea of ​​“black power”. That's probably why he became my favorite hero.

The complete opposite of Woland in the novel is Yeshua Ha-Nozri. This is a righteous man who came to save the world from evil. For him, all people are good, “there are no evil people, there are only unfortunate ones.” He believes that the worst sin is fear. And indeed, it was the fear of losing his career that forced Pontius Pilate to sign Yeshua’s death warrant and thereby doom himself to torment in flow two thousand years. And it was precisely the fear of new torment that did not allow the Master to finish his life’s work.

And in conclusion, I want to say that I not only really like the novel “The Master and Margarita,” but it also teaches me not to be like all the negative characters in this novel. It makes you think about who you are, what is going on in your soul, what good you have done to people. The novel helps you understand that you need to be above all troubles, strive for the best and not be afraid of anything.

“Heart of a Dog” is one of the most famous works of M. A. Bulgakov. This story became a milestone in the creative evolution of the writer. The importance of “Heart of a Dog” for Bulgakov is also evidenced by the fact that he sought the return of the seized manuscript along with his personal diaries.
In this work, the writer rises to the top of satirical fiction. If satire states, then satirical fiction warns society of impending dangers and cataclysms. Bulgakov embodies his conviction in the preference of normal evolution over the violent method of invading life. He speaks of the terrible destructive power of complacent aggressive innovation. These themes are eternal, and they have not lost their significance even now.
The basis of the story is the internal monologue of Sharik, an eternally hungry, miserable street dog. He is very intelligent, in his own way he evaluates the life of the street, everyday life, customs, and characters of Moscow during the NEP times. Every day numerous shops, tea houses, taverns on Myasnitskaya flash before his eyes “with sawdust on the floor, evil clerks who hate dogs,” “where they played the accordion and smelled of sausages.”
Here is a chilled, hungry dog, also scalded, observing the life of the street and making conclusions: “Janitors, of all proletarians, are the most vile scum,” “You come across different cooks. For example, the late Vlas from Prechistenka. How many lives he saved.” Sharik sympathizes with the poor young lady typist, frozen, “running into the gateway in her lover’s sergeant’s stockings”: “She doesn’t even have enough for cinema, they deducted money from her at work, fed her rotten meat in the canteen, and the supply manager stole half of her canteen forty kopecks...” . In his thoughts and ideas, Sharik contrasts the poor girl with the image of a triumphant boor - the new master of life: “I am now the chairman, and no matter how much I steal, it’s all on a woman’s body, on cancerous necks, on Abrau-Durso.” “I feel sorry for her, I feel sorry for her. And I feel even more sorry for myself,” complains Sharik.

Seeing Philip Philipovich Preobrazhensky, Sharik understands: “he is a man of mental labor...”, “this one will not kick.”
And now Sharik lives in a luxurious professorial apartment. One of the leading, cross-cutting themes of Bulgakov’s work begins to emerge - the theme of the Home as the center of human life. The Bolsheviks destroyed the House as the basis of the family, as the basis of society. The writer contrasts the lived-in, warm, seemingly eternally beautiful house of the Turbins (“Days of the Turbins”) with Zoyka’s decaying apartment (the comedy “Zoyka’s Apartment”), where there is a fierce struggle for living space, for square meters.
But now the professor performs the main work of his life - a unique operation: he transplants a human pituitary gland into the dog Sharik from a 28-year-old man who died a few hours before the operation.
As a result of a most complex operation, an ugly, primitive creature appeared - a non-human, who completely inherited the “proletarian” essence of his “ancestor”. The first words he uttered were swearing, the first distinct word: “bourgeois.” And then - the street words: “don’t push!” “scoundrel”, “get off the bandwagon”, etc. He was a disgusting “man of small stature and unattractive appearance. The hair on his head grew coarse... His forehead was striking in its small height. A thick head brush began almost directly above the black threads of his eyebrows.” He “dressed up” in the same ugly and vulgar way.
Sharikov is becoming more impudent every day. In addition, he finds an ally - Shvonder. It is he, Shvonder, who demands the issuance of the document to Sharikov, claiming that the document is the most important thing in the world. The formalism and bureaucracy of the 30s, by the way, haunts our country to this day.
The scary thing is that the bureaucratic system does not need the science of a professor. It costs her nothing to appoint anyone as a person. Any nonentity, even an empty place, can be taken and appointed as a person. Well, of course, by formalizing it accordingly and reflecting it, as expected, in the documents...
The paradox is that, by helping a creature with a “dog’s heart” to establish itself, Shvonder is also digging a hole for himself. By setting Sharikov against the professor, the house committee does not understand that someone else could easily set Sharikov against Shvonder himself. A person with the heart of a dog just needs to point out anyone, say that he is an enemy, and Sharikov will humiliate him, destroy him, etc. Shvonder, the allegorical “black man,” supplies Sharikov with “scientific” literature and gives him Engels’s correspondence with Kautsky to “study.” The beast-like creature does not approve of either author: “Otherwise they write, write... Congress, some Germans...” He draws one conclusion: “Everything must be divided.”
So Sharikov instinctively “smelled” the main credo of the new masters of life, all the Sharikovs: plunder, steal, take away everything created, as well as the main principle of the so-called socialist society - universal equalization, called equality.
Soon, “Sharikov embezzled 2 chervonets from the professor’s office, disappeared from the apartment and returned late, completely drunk.”

My favorite story.

My favorite story by M.A. Bulgakov “Dog
heart". I will briefly describe this story and what I think about it.

“Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu!” - these strange sounds
The story of M.A. Bulgakov begins. They contain pain and fear
a dying creature capable of appreciating even a “scoundrel in a dirty cap”
from the “Normal Food” canteen, who splashed boiling water and scalded
the left side of the dog, and the cooks: “for example, the late Vlas from Prechistenka.”
How many lives he saved! I liked how Bulgakov shows Moscow.
He shows it the way a yard dog can see it.

A dog living in terrible conditions is capable of...
to sympathize with people who find themselves in the same position as her.

In this story, the writer introduced me to the atmosphere
life of post-revolutionary Moscow. And the fact that this unsightly picture is given
through the eyes of a dog, makes it even more terrifying: hunger, theft, poverty,
illness, cruelty, humiliation. The death of the intelligentsia is clearly expressed.

One of the main characters of the story is a professor
Preobrazhensky is a world famous scientist, doctor, clever, absolutely
confident that “the devastation is not in the closets, but in the heads.” Surname
Preobrazhensky is not accidental. Philip Philipovich is not just a doctor, he is a “magician”
"wizard", "sorcerer", transformer who tries to find a way
"improvement of the human race." The idea of ​​transforming the world is old and
noble, it was supported by the best minds in history, but it is an idea
transformation, not destruction. From the very first pages of the story we
we plunge into an atmosphere of destruction, devastation, into a world where everything is being built
according to the law: “He who was nobody will become everything.” But the professor's experiment
Preobrazhensky leads to unexpected results. Unhappy dog ​​Sharik
becomes citizen Sharikov and from his appearance in the professor’s apartment
devastation begins, it takes on catastrophic proportions, and instead of
In order to get on with business, to operate, Preobrazhensky is forced
accept Shvonder, listen to threats, defend himself, write countless
paper to legitimize the existence of Polygraph Poligrafovich. Violated
life of the whole house.

The failure of such experiments is inevitable, because
it is impossible to “humanize” something that has ceased to be human, having lost
spiritual and moral basis on which relationships between
society and personality. This is why the experiment with the humanization of a dog
failed.

I really liked this story because it contains a lot
brilliance, invention, captivating artistic truth and its satirical
chapters, and in this whole story full of lyricism, sadness and anger, despite
that this is the first literary work that dares
To be youreself.

GENERAL EDUCATION SCHOOL-LABORATORY No. 25

COMPOSITION

On the topic: My favorite story.

Pupils of 8th grade

The image of the city in one of the works of Russian literature of the 20th century. Mikhail Bulgakov Heart of a Dog

Mikhail Bulgakov's prose is always accurate and realistic. Even when events are full of mysticism and, moreover, fantasy, you believe them unconditionally - they are described so carefully and, at the same time, naturally. This property of Bulgakov’s creative manner, coupled with the depth of the issues raised, makes his text invariably attractive to the reader.

In the story "Heart of a Dog" we see Moscow in 1924. The city appears cold, windy and unpleasant. In general, in his works, Bulgakov created an accurate and at the same time uniquely reflected image of Russian reality in the post-revolutionary period. His manner of depiction tends toward the grotesque, but this is precisely what allows him to expose and emphasize the contradictions and inconsistencies inherent in this time.

The narrative begins with the internal monologue of Sharik, an eternally hungry, miserable street dog. He is very intelligent, in his own way he evaluates the life of the street, life, customs, characters of Moscow during the NEP with its numerous shops, teahouses, taverns on Myasnitskaya “with sawdust on the floor, evil clerks who hate dogs”, “where they played the accordion and smelled sausages." The completely chilled, hungry dog ​​observes the life of the street and draws conclusions: “Out of all proletarians, street cleaners are the most vile scum.” The cook is different. For example, the late Vlas from Prechistenka. How many lives I saved."

The dog is kind, he sympathizes with the poor young lady typist, frozen, “running into the gateway in her lover’s fildepers stockings.” “She doesn’t even have enough for the cinema, they deducted money from her in the service, fed her rotten meat in the canteen, and the caretaker stole half of her canteen forty kopecks...” In his thoughts and ideas, Sharik contrasts the poor girl with the image of a triumphant boor - the new master of life: “I am now the chairman , and no matter how much I steal - everything on the female body, on cancerous necks, on Abrau-Durso." “I feel sorry for her, I feel sorry for her. And I feel even more sorry for myself,” complains Sharik.

The other pole of the story is Professor Preobrazhensky, who came to Bulgakov’s story from Prechistenka, where the hereditary intelligentsia had long settled. A recent Muscovite, Bulgakov knew and loved this area. He himself settled in Obukhov (Chisty) Lane, where “Fatal Eggs” and “Heart of a Dog” were written. People who were close in spirit and culture lived here.

The prototype of Professor Philip Filippovich Preobrazhensky is considered to be Bulgakov's maternal relative, Professor N.M. Pokrovsky. But, in essence, it reflected the type of thinking and the best features of that layer of the Russian intelligentsia, which in Bulgakov’s circle was called “Prechistenskaya”. Bulgakov treated his hero-scientist with respect and love, Professor Preobrazhensky is the embodiment of the outgoing Russian culture, the culture of the spirit, aristocracy. But here is the irony of the times: the proud and majestic Philip Philipovich, who spouts ancient aphorisms, is a luminary of Moscow genetics, a brilliant surgeon, engaged in profitable operations to rejuvenate aging ladies and lively elders.

So, Preobrazhensky sees Moscow through the eyes of a hereditary intellectual. He is outraged that the carpets had to be removed from the stairs, because people in dirty galoshes began walking up these stairs, and you can no longer buy vodka in the store, because “God knows what they splashed there.” But the most important thing is that he does not understand why everyone in Moscow talks about devastation, while at the same time they only sing revolutionary songs and look at how to make things bad for those who live badly for those who live better. He does not like the lack of culture, dirt, destruction, aggressive rudeness, and the complacency of the new masters of life. “This is a mirage, smoke, fiction,” is how the professor assesses the new Moscow.

In connection with the professor, one of the leading, cross-cutting themes of Bulgakov’s work begins to sound in the story - the theme of the House as the center of human life. The Bolsheviks destroyed the House as the basis of the family, as the basis of society, there is a fierce struggle everywhere for living space, for square meters. Maybe that’s why in Bulgakov’s stories and plays the stable satirical figure is the chairman of the house committee? He, the pre-house committee, is the true center of the small world, the focus of power and the past, predatory life.

Such an administrator, confident in his permissiveness, is in the story “Heart of a Dog” Shvonder, a man in a leather jacket, a black man. He, accompanied by his “comrades,” comes to Professor Preobrazhensky to take away his extra space and take away two rooms. The conflict with uninvited guests becomes acute: “You are a hater of the proletariat!” - the woman said proudly. “Yes, I don’t like the proletariat,” Philip Philipovich agreed sadly.”

And finally, the main event of the story occurs: together with his student and assistant Dr. Bormenthal, the professor manages to transplant a human pituitary gland into a dog. As a result of the most complex operation, an ugly, primitive non-human creature appeared, completely inheriting the proletarian essence of its “ancestor,” the drunkard Klim Chugunkin. Harmless Sharik turns into a man from the street. The first words he uttered were swearing, the first distinct word was “bourgeois.” And then - street words: “don’t push!”, “scoundrel,” “get off the bandwagon,” etc.

The monstrous homunculus, a man with a canine disposition, the “basis” of which was the lumpen proletarian Klim Chugunkin, feels like the master of life, he is arrogant, swaggering, and aggressive. The smile of life is that, barely standing on his hind legs, Sharikov is ready to oppress, drive into a corner the “father” who gave birth to him - the professor. This humanoid creature demands a residence document from the professor, and Sharikov is sure that the house committee, which “protects interests,” will help him with this. “Whose interests, may I ask? - We know whose - the labor element." Philip Philipovich rolled his eyes. - Why are you a hard worker? - Well, it’s already known, not a NEPman.”

Sharikov is becoming more impudent every day. In addition, he finds an ally - theorist Shvonder. It is he, Shvonder, who demands the issuance of the document to Sharikov, claiming that the document is the most important thing in the world. The formalism and bureaucracy of that time haunt our country to this day. The scary thing is that the bureaucratic system does not need the science of a professor. It costs her nothing to appoint anyone as a person, naturally, formalizing this accordingly and reflecting it, as expected, in the documents. And now a new member of the socialist society - Polygraph Poligrafovich Sharikov - receives the coveted piece of paper and, with the light hand of Shvonder, immediately becomes a little boss.

Lumpen Sharikov instinctively “smelled” the main credo of the new masters of life, all the Sharikovs: plunder, steal, take away everything created, as well as the main principle of the created society - universal equalization, called equality. What this led to is well known.

The last, final chord of Sharikov’s activity is a denunciation-libel against Professor Preobrazhensky. It should be noted that even then, in the 20s, denunciation became one of the foundations of a socialist society.

The always calm Preobrazhensky loses his composure, he is already brought to the limit, he is exhausted and depressed. The ardent Bormenthal, who loves the professor with all his heart, who is almost like a father to him, is ready to almost kill the unruly “patient”. And Philip Philipovich surrenders; together they repeat the operation in reverse, resurrecting the glorious dog. Silence and peace reign in the apartment again.

To summarize, we see that Moscow of the 20s appears in the story as a city of disappearing Russian culture, a city that is increasingly filled with proletarians, bringing with them vulgarity, aggression and lack of culture. Preobrazhensky is the embodiment of old Moscow, Shvonder is the embodiment of the new. The ending of the story sounds optimistic and almost triumphant - having stopped Sharikov’s existence, the professor stopped the destructive nightmare of chaos brought by Poligraf Poligrafovich, returned balance to the small world of his apartment - but this is hardly a victory, rather a lull. Knowledge of historical realities does not allow us to hope that the professor will be allowed to enjoy his newfound peace for a long time. The image of Bormenthal as a representative of the younger generation - but not belonging to the proletariat - is interesting. Interesting - and tragic, because he is doomed. Bormenthal is young, talented, endowed with an honest, passionate soul - but he and others like him are powerless to change anything in the world of the Shvonders. And again - a cold, windy, unpleasant city...