The Master and Margarita is homeless. Bulgakov Encyclopedia (short) Ivan the Homeless

A truly interesting work and novel, The Master and Margarita, has become popular among readers. The work involves various heroes, among whom was Ivan Bezdomny, also known as Ivan Ponyrev. Let's look at this image and create Ivan Bezdomny.

Ivan Bezdomny image and characteristics of the hero

Ivan Bezdomny was a poet and member of MASSOLLIT. By order, he wrote an atheistic work, with which he came to the editor of the magazine, Berlioz. It is precisely with the conversation between both of them that Bulgakov’s novel begins. He tried to prove to the poet that there are no Higher powers and there cannot be any. After the death of Berlioz, in pursuit of Woland and his company, Ivan Bezdomny eventually goes crazy and ends up in a clinic. There he meets the Master and has the opportunity to read his work about Pontius Pilate. This work made it clear how mediocre the work of Bezdomny himself was. It turns out that the meeting with the Master completely changes Ponyrev. If before this he wrote works that no one needed to order, now he abandons his work and leaves the members of the writers' union. He reconsidered his entire life, views and becomes a professor, employee of the Institute of History and Philosophy, which we learn about from the epilogue.

The peculiarity of Ivan Bezdomny is that he is subjected to the trials that befall him not because of demonic power, but because of disorder in his soul. Because of the chaos that determined not only the fate of Ivan Bezdomny, but also filled the souls of people of the past, everyone one way or another fell under the influence of Higher powers. Bulgakov, with the help of the image of Ponyrev, conveyed to the reader the idea that there is a sin committed by Pontius Pilate over everyone. And the fact that Bezdomny became interested in the story of Yeshua and felt a kinship with the Master speaks only of one thing. The soul has not forgotten what it has done; it remembers the sin that was committed in the past. Therefore, the hero of the novel in the image of Ponyrev tries to find his way. And most importantly, you need to strive for this and not give up under any circumstances.

Literature lesson in 11th grade

“What kind of house did Ivan Bezdomny find?”

(Based on the novel “The Master and Margarita” by M. Bulgakov)

And I saw a new heaven and a new earth, for

the former heaven and the former earth have passed away.

Apocalypse.

Or maybe you will understand through the torments of hell,

Through all your bloody paths

That you don’t need to blindly trust anyone.

And a lie cannot lead to the truth.

Naum Korzhavin

The purpose of the lesson:

Show the stages of spiritual healing of Ivan Bezdomny, a student of the Master (the idea of ​​continuity).

Based on a comparative analysis, draw up a diagram of the options for the life path of the characters in the novel (the idea of ​​freedom of choice and responsibility for it).

Equipment e: - portrait of M. Bulgakov,

A diagram that is built during the lesson.

Group assignments for the lesson:

Analyzing chapters 1 and 3 of the novel, characterize the way of thinking and range of interests of the aspiring poet. Why did Woland spare Ivan and cruelly punish Berlioz?

Analyzing chapters 4 and 5, explain what role the episode of visiting house No. 13 and swimming in the Moscow River plays in the story about Ivan. How does the writer show that Ivan's madness contains an epiphany?

Analyzing chapters 8 and 11, prove that in a duel between a professor and a poet, common sense wins. How did the hero’s “recovery” begin?

Analyzing chapters 13 and 30, trace the content of the conversation between Ivanushka and the Master. What did Ivan understand when he learned that the guest calls himself not a writer, but a Master? Why did the Master immediately recognize Satan, while Ivan was deluded about this for a long time? How is Ivan reborn after meeting Woland and the Master?

Image of Pilate. Its significance in the novel.

Questions for the whole class:

Trace the significance of the image of Ivan Bezdomny at the compositional level.

How does the character's name change throughout the novel and why?

During the classes:

Teacher's introduction. You and I, reading M. Bulgakov’s extraordinary novel, not only experience aesthetic pleasure, but also strive to comprehend its moral depth. I. Sukhikh, one of the critics, called the novel “The Gospel of Michael.” This says a lot. But it is quite fair to ask: what gives the right to such a high assessment? Critics have different opinions. For example, at the end of the novel. M. Chudakova believes that the epilogue does not give reason for optimism: “The Master leaves the novel along with his word about the world, but no other word that follows him is heard in the epilogue.” Another point of view E. Sidorova: “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. But does the final pages of the book really emanate pessimism? Let’s not forget: there is a novel left on earth that is destined for a long life.” So, let's shorten the question: is the winner the Master or the loser? To do this, let's try to find among the heroes those who understood the Master, because the novel was written for those who understand...

- What do the epigraphs say about this? He who understands something important is able to change

- Are there such heroes in the novel?

Let's compare 3 heroes: Ivan Bezdomny, Ryukhin and Berlioz

2 -At home, you determined the significance of Homeless by the composition. What happened?

The novel begins and ends with him, the Master told him about his fate, the pages of the book about Yeshua come to life in the poet’s mind’s eye. Leaving this life, the Master sees in him his student, a follower who is imbued with the same images of world culture, the same philosophical ideas and moral categories.

- This idea requires proof. 1 message: why did Woland spare Ivan and cruelly punish Berlioz?

At the beginning of the book, Ivan Bezdomny is depicted as a typical representative of Soviet society. He has a democratic appearance and corresponding habits. His speech is simple and replete with vulgarisms: “What the hell does he want?”, “Here is a foreign goose”, “One hundred percent!” His consciousness reflects the features of mass hypnosis of those years. He seethes with righteous anger against dissidents: “If only this Kant could be sent to Solovki for three years for such evidence,” he sees spies everywhere, political vigilance is his leading quality. Ivan's ignorance is combined with militant disbelief and aggressiveness. To Woland’s question about “who controls human life and all order on earth in general,” a hasty and angry answer follows: “It’s the man himself who controls.” Behind this phrase one can guess the well-known thesis: “Everything is permitted,” from which impunity begins. Having accepted the ideology of the ruling class, many Ivans then believed that the whole world was given to them as their undivided possession.

Exploring the new category of people born of the revolution, the writer convincingly showed that in conditions when Orthodoxy was compromised, society condemned the individual to soul-devastating hatred of class enemies and merciless atheism, leaving him to do whatever he wanted in the name of some higher goals.

“What do you have, no matter what you’re missing, there’s nothing!” - Woland pronounces his verdict. And yet, he turned out to be more merciful to Ivan than to Mikhail Berlioz, whom he executed with a terrible execution, whom he mocked evilly by making a cup for wine from his head.

Addressing Berlioz’s severed head, Woland uttered significant words: “Everyone will be given according to his faith.” But the trouble is that the head of Moscow writers does not believe in anything. His credo is “This cannot be!” Behind him is the inflexibility of a dogmatist, when erudition turns into pseudo-learning, and good manners into the highest school of hypocrisy. Berlioz receives according to his faith - nothing, non-existence. The author allowed him to be dealt with because he saw how such “generals” in literature bred evil spirits. He is an ideologist who fools aspiring writers and poets, such as Ryukhin, Bezdomny, and others. For this, the responsibility is higher. None of his subordinates

(and there are 3,111 of them!) is not busy with literature: these are regulars at Griboyedov’s restaurant, “engineers of human souls” who are only interested in the sharing of material wealth and privileges. Bulgakov parodies the “Last Supper” (more precisely, it is Berlioz who is blasphemously trying to parody): he is sure that “at ten o’clock in the evening a meeting will take place at MASSOLIT” and “he will preside over it.” However, 12 writers will not wait for their chairman.

And Ivan deserves leniency because he was “hypnotized” by a teacher who was authoritative for him. Much can be forgiven for Ivan because he has a spark of God - talent: “It’s hard to say what exactly let Ivan Nikolaevich down - whether the visual power of his talent or complete unfamiliarity with the issue on which he was going to write - but Jesus in his portrayal turned out well absolutely as if alive.”

The beginning of the diagram is drawn up: I. Bezdomny (disbelief of the student, talent) – >

Ryukhin (student’s disbelief) – >

Berlioz (teacher's disbelief)

Let's trace the beginning of I. Bezdomny's journey. Message 2.

The meeting of two writers with the devil on the Patriarch's Ponds takes place during Holy Week, namely on Holy Thursday, on the eve of Easter. Christians call this day Maundy Thursday. Is this why Bulgakov conducted his hero through a kind of baptismal ceremony (visiting house No. 13 and swimming in the river). Ivan's initiation into the Christian faith occurs in an ugly and comical way, so that he calls into question the seriousness and significance of the events. But at the same time, we must not lose sight of some

important details. He emerges from the “bathroom” changed; his MASSOLIT ID disappears along with his clothes, and along with it the feeling of belonging to the guild of writers. Now, for some reason, Ivan is convinced that Satan has certainly settled down in Griboedov’s house, there, among Beskudnikov and Dvubratsky, Abakov and Deniskin, Glukharev and Bogokhulsky, where “literaryism” flourishes and there is no place for creativity, where dacha, apartment, and food issues are resolved , where, basically, unconditionally perceiving reality, they fulfill a social order. A place about which the author said quite clearly: “In a word, hell.”

Ivan Bezdomny, losing his mind, at the same time begins to see clearly, realizing that Satan must be driven out by faith in God. He takes a miraculously preserved icon and a candle (symbols of purification) from a dusty corner. He notices the mediocrity of his fellow writers - Ryukhin, who carefully disguises himself as a proletarian. In his calls to “Soar!” yes “Get unwind!” Ivan rightly sees political chatter, false strain. Ryukhin admits to himself the truthfulness of what Ivan said: “Yes, poetry... He is thirty-two years old! Really, what's next? - And he will continue to compose several poems a year. - Until old age? - Yes, until old age. - What will these poems bring him? Fame? What nonsense! Don't at least deceive yourself. Fame will never come to someone who writes bad poetry. Why are they bad? He told the truth, he told the truth!” But “Sashka, the mediocrity,” is destined to take the path of revival: “nothing can be corrected in his life, but one can only forget.” And instead of doing something to change his fate, he envies Pushkin (!)

The story about Nikolai Ivanovich, who regretfully recalls in the epilogue the missed opportunity to live an authentic life, also hints at the same thing, albeit in a reduced level.

Yes, Ryukhin did not succeed in his “ascent”, although an attempt was made.

(working with the circuit)

Mstislav Rastropovich once rightly said that our life is a staircase from earth to heaven. And if for some reason a person stumbles today, then he needs to climb 2 steps tomorrow. This thought from the Patristic heritage lives on.

4. How did Ivan Bezdomny’s “recovery” begin? Message 3.

The poet's madness as a reaction after meeting Woland was fraught with spiritual insight.

After all, we often call those who express unusual opinions crazy. And how often we make mistakes...

In the chapter “The Split of Ivan,” the hero is transformed, an inquisitive, searching thought awakens in him: “And instead of raising the stupidest fuss against the Patriarchs, wouldn’t it have been smarter to politely ask about what happened next with Pilate and this arrested Ha-Nozri?” Ivan is annoyed with himself: “... why am I, explain, furious at this mysterious consultant, magician and professor with an empty and black eye? Why all the ridiculous pursuit of him in his underpants and with a candle in his hands, and then the wild parsley in the restaurant.” It becomes clear that Ivan’s mental shock is a sign of liberation from stereotypical thinking, from dogmas that fetter the mind.

Recognition of the existence of miraculous powers is nothing more than the awakening of consciousness. The saving icon from God and the Master's manuscript from Woland, brought back to life, appeared to Ivan as objects of the same order: they are phenomena of the spiritual world.

(working with the circuit)

5. How is Ivan reborn after meeting Woland and the Master? Message 4:

Ivanushka’s meeting with the Master finally freed him from the obsessive thought of “summoning five motorcycles with a machine gun to capture a foreign consultant.” He finally understands that all efforts should be directed not against an external “enemy”, but to look carefully at himself. It is no coincidence that the author now calls him Ivanushka. He is a fool only by analogy with the fairytale Ivanushka the Fool, but in reality he gains wisdom. Having made sure that at the Patriarch's Ponds he “had the pleasure of talking with Satan,” Ivan, having come to his senses, realizes his ignorance and delusions. He now evaluates his work differently, considering his own poems “monstrous.”

The Master's story, his tragic fate led Ivanushka to the understanding that he lives in a country of arbitrariness and lawlessness, where all violence is perceived as a reasonable, expedient necessity. A society of unfreedom and inequality, a society of prohibition, breaking with tradition, abandoning Christian morality and culture of the past, destroys talent, conscience, and truth. Thus, plunging into the whirlpool of ideas in the Master’s novel, Ivan comprehends the dialectics of life.

As an artist, he is captivated by the riot of fantasy, the plastic expressiveness of images, and the psychological authenticity of the Master’s creation. Now Ivan will never come to Griboedov’s house, he has learned the essence of creativity, the measure of truly beauty has been revealed to him. Finally, Ivan Bezdomny finds his home. The acquisition of faith occurred as a result of enormous internal work. An employee of the Institute of History and Philosophy, Ivan Nikolaevich Ponyrev, becomes the ideological successor and spiritual heir of the Master. “He turned out to be a very receptive student of the Master. And at least once a year, when this May full moon comes, everything that the Master awakened with his stories comes to life in him, his soul opens towards the eternal - the mysterious, the unknown; without which human life is empty and a meaningless vanity of vanities.”

(working with the circuit)

6. Teacher: Healing comes from the concept of the whole. You must understand that this path is not easy, but what a pleasure it is to feel your connection with the world, to feel harmony in your own soul.

(Read the final pages of the book to once again feel the magic of Bulgakov’s words, to feel the special charm of the lunar flood, the bizarrely unique beauty of the night, the flight that calls the soul.)

This is an amazingly uplifting force; even once a year was enough for the hero to feel its presence. He acquired a new name (possession, something that a person has). It costs a lot. But it is necessary for the memory to retain everything. Therefore, Bulgakov consistently introduces through all three novels the motif of an “injection”, real and symbolic, an injection in the heart and an injection of memory. Berlioz feels a dull needle lodged in the heart (premonition of death) at the very beginning, before Koroviev’s appearance. A dull pinprick of anxiety (an ironic reduction in motive) tingles Barefoot before receiving the bribe. A sharp pain, like a needle, pierces Margarita during the great ball. Yeshua’s earthly life ends with a quiet prick of a spear in the heart. They deal with Judas with a powerful blow of a knife to the heart. “A restless memory, punctured by needles” was given to the Master in the last lines of the novel. In the epilogue, she is transferred to Ponyrev.

Now let's go back to the beginning of the lesson: winner or loser Master?

The Master has a student, which means that the chain of communication between generations is not interrupted, i.e. life goes on, the continuity of spiritual values ​​is not broken, because a person can create not only in the literary field. And the moment of human transformation is also a creative act, when we continue the act of Divine creation - we improve our sinful nature, heal ourselves, striving upward, towards God.

- What qualities did he show?

A debate is possible, but the conclusion will most likely be the same: courage. All other qualities are derived from it. A. Ariev believes that for Bulgakov, courage is the beginning of creativity, and cowardice destroys it.

let's talk about courage.

-What do you call courage?(overcoming cowardice, self-preservation instinct)

It is well known that two novels - The Master and about the Master - are mirror images of each other. Hence one interesting feature of the book is the system of reflections and parallels. In this regard, the following parallel seems possible: Levi Matvey And Ivan Homeless. What do they have in common and how do they differ?

(Levi is an image of endless devotion and fidelity, selflessness, and the Homeless One is just beginning this path of service).

Ivan Nikolaevich Ponyrev sees the same dream on the night of the full moon before Easter: they are walking along the lunar road Yeshua And Pontius Pilate. “Those who are walking are talking passionately about something, arguing, wanting to agree on something.” What ethical tensions are focused in their argument? Why does Ivan Nikolaevich see this particular dream? Message 5.

Getting acquainted with the writer’s biography, we realized how difficult his life’s path was. But it is surprising that at the same time he never justified himself, on the contrary, he was merciless to himself. He wrote: “In the past I made 5 fatal mistakes. And the sun itself would shine differently, and I would write, not silently moving my lips at dawn in bed, but as it should be, at my desk. But now there’s nothing to do, you won’t get it back. I only curse those two attacks of unexpected timidity that came on like a faint, because of which I made 2 mistakes out of 5. I have an excuse: this timidity was accidental - the fruit of fatigue. I am tired from my years of literary work. There is justification, but there is no consolation.”

With Pilate, the novel includes the theme of cowardice, mental weakness, compromise, and involuntary betrayal. The Apostle Peter, the first disciple, also betrays Christ three times, renouncing him. The difference between similar actions is great. Peter is an ordinary weak person, he is under pressure from circumstances, his life is in immediate danger. In the case of Pilate, these external reasons are absent or almost absent (there is still a hint of fear of the emperor in the text). Pilate, unlike Peter, can save Yeshua, he even tries to do this, but timidly, hesitantly - and in the end washes his hands (in the novel, unlike the Gospel of Matthew, this gesture is absent, however), gives up.

"All? – Pilate silently whispered to himself. - All. Name!"

After the cry in the square, saving Barrabas and finally sending Yeshua to execution, “The sun, ringing, burst above him and filled his ears with fire. In this fire roars, squeals, groans, laughter and whistles raged».

This is not only a howling crowd, but the voice of the abyss, darkness, “another department”, triumphant at this moment in victory. Then you can kill the traitor (in the episode with Judas, it is more likely that the Old Testament “an eye for an eye” is realized rather than the Gospel “turn the other cheek”), as in a mirror, see your cruelty in the actions of a subordinate (“You also have a bad position, Mark. You are a soldier maim..."), save the disciple Yeshua ("You, as I see, are a bookish person, and there is no need for you, lonely, to walk around in poor clothes without shelter. I have a large library in Caesarea, I am very rich and I want to take you into the service. You will sort and store the papyri, you will be fed and clothed”) - you can do as much good as you like, but you can no longer do what happened that never happened.

There is an excuse, but there is no consolation. And he will be gone for two thousand years.

Not the triumph of strength, but its weakness, the fatal irreversibility of an act - that’s what Bulgakov’s Pilate is . (Poem by Z. Gippius)

Ivan Ponyrev managed to overcome his fear, he changes, the name Bezdomny is no longer mentioned. Remember how important the theme of the House is for Bulgakov and say:

- Which house found a hero?

This is internal harmony, loyalty to eternal truths, this is self-respect, freedom of creativity and freedom of choice, this is awareness of responsibility for one’s choice... this is a firm belief that “everything will be right.” Man is a temple, the purity of which must be maintained.

The teacher can expand on these reflections by referring to the book “Words of Consolation,” where Elder Joseph of Vatopedi notes how “it is important to recognize the most crafty cunning of the enemy, who, especially in our time, tirelessly encroaches on a person who has convinced people that he does not exist, but This is his greatest achievement." The author, having created a living image of Woland, warns us of danger, but this would not be enough. It is more important to learn “the ways of practical success that concern the meaning and purpose of human life.” The Apostle Paul instructs: “Be sober, be vigilant, for your adversary the devil, like a roaring lion, goes about seeking whom he may devour” (1 Pet. 5:8). In other words, in the constant struggle against the invisible and insidious enemy, you need to be fully armed (see Eph. 6:11). What is the essence of this struggle? It consists of confronting the passions and lusts of Old Testament man. This is the internal and most difficult struggle, in which the very first and most important step is a good intention. “The grace of God cordially rewards such good intentions, always praising the good part, which will never be taken away from those who preferred it (see Luke 10:42). Ivan Bezdomny made his choice - this is the path upward (see diagram), the path to overcome sin, the path to God. “Have peace and holiness with everyone, for no one else will see the Lord (Heb. 12:14). And this, of course, is a victory... over oneself. Are victories more important?

8. Homework.

Note that Bulgakov does not philosophize. He paints, depicts, describes. Philosophy is compressed into a maxim, into an aphorism. A dozen and a half immediately became part of the language and became “folk wisdom.”

What words from the novel do you think can be used in a discussion about Pilate?

“Never be afraid of anything. This is unreasonable." or “Cowardice is the most serious vice”

These words sound aphoristic, they resemble in their categorical nature the commandments of Jesus Christ, which Christians believe and fulfill. What other “Bulgakov’s commandments” can be found in the novel?

So, write out 5-10 “commandments” at home, and reflect on one (optional) in writing (1-2 pages)

Literature.

1. Bulgakov M.A. “The Master and Margarita” Tomsk book publishing house, 1989

2. Boborykin V.G. Michael Bulgakov. M., Education, 1991.

3.Yagupova N.P. “What kind of house did Ivan Bezdomny find? “Literature at school” No. 2/1998

Search for evil spirits in Griboedov

Baptism

I. Homeless

(disbelief of the student, talent)

Honesty ("bad poems")

Ryukhin (disbelief of the student) envy of Pushkin(!) Spiritual illness

Berlioz (teacher's disbelief)

Ivan Bezdomny

MASTER AND MARGARITA
Novel (1929-1940, published 1966-1967)

»Shvan Bezdomny / Ponyrev Ivan Nikolaevich, Ivan, Ivanushka - poet, then professor at the Institute of History and Philosophy. In the image of the character, the “fairytale” element is essential (cf.: Ivanushka the Fool). The pseudonym Bezdomny imitates the real pseudonyms of writers of the 20s: Poor, Pribludny, Hungry, etc. At the beginning of the novel, I. is a 23-year-old poet who wrote an anti-religious poem about Jesus Christ. At the Patriarch's Ponds he listens to Berlioz explaining his propaganda miscalculations. Together with Berlioz, I. talks with Woland, listens to the story of Pilate and Yeshua. Then he witnesses the death of Berlioz, after which he makes an unsuccessful attempt to catch up with Woland, who predicted this death. The hero is in a state of passion and commits illogical actions. When I. is bathing in the river, his clothes are stolen, and he, dressed only in long johns and a torn shirt, to which a paper icon is pinned, appears at the writer's restaurant with a lit candle in his hands. The hero is mistaken for a madman and, despite resistance, is taken to Stravinsky’s psychiatric hospital, where a preliminary diagnosis of “schizophrenia” is made (also predicted by Woland). I. is not able to state in writing everything that happened to him; at the same time, he feels a desire to know the continuation of the story of Pilate and Yeshua. Late in the evening, his neighbor, the foreman, makes his way to I. through the balcony. I. promises him never to write poetry again and tells about what happened, and the master tells his story. Having fallen asleep at dawn, I. in a dream sees the “continuation” of Woland’s story - the execution of Yeshua. He is more and more interested in the history of Pilate and less and less in the surrounding reality. To the master, who flew in with Margarita to say goodbye to him, I. says: “I won’t write any more poems. I’m interested in something else now.” In the finale, I. appears as a professor-historian; he is married, but every year on the night of the spring full moon he feels bouts of “homelessness”: obeying an unconscious desire, he goes to the Patriarch’s Ponds, and then finds himself near the house where Margarita once lived. Here I. watches a man unknown to him - Margarita’s neighbor Nikolai Ivanovich, also tormented by memories; the characters appear as unique “doubles” (cf. the similarity of names: Ivan Nikolaevich - Nikolai Ivanovich). Returning home, after an injection of sleeping pills, I. sees in a dream Pilate and Yeshua, and then the master and Margarita, leaving for the moon.

All characteristics in alphabetical order:

- - - - - - - - - - - -

“The Master and Margarita” is a mysterious and mystical work of Soviet literature. Each character in the story is described in detail and has extraordinary functionality in the plot. The multi-layered nature of a literary work allows you to look at the characters from a new perspective each time. Ivan Bezdomny is a specific character, whose image is analyzed by critics and literary researchers.

History of creation

A character whose life story is typical of a Soviet writer before the advent of mystical characters writes a poem dedicated to. The novel begins with a description of a meeting with. The poet becomes a participant in the discussion and then a witness to the tragic death of Berlioz. The pursuit of him and his companions leads Bezdomny to a psychiatric hospital.

According to literary scholars, there are several personalities who could be called prototypes for Bulgakov’s hero.

In the twenties of the twentieth century, the production “Days of the Turbins” thundered on the theater stage. Critics of the performance, among whom was the poet and writer Alexander Bezymensky, analyzed the performance, identifying shortcomings. Bulgakov's novel depicts in a satirical format the omission that occurred between Bezymensky and. This scene was Bezdomny’s criticism of Sashka Ryukhin, in which the poet called his opponent a mediocrity.

In the dialogue that took place on the Patriarch's Ponds, Woland predicts madness for the Homeless Man. This motif echoes the plot of Maturin's novel Melmoth the Wanderer, in which the character meets a man whose soul has been sold to the devil. The hero is also predicted to be treated in a hospital for the mentally ill. His name is Stanton. He, along with the others, is considered the prototype of the Homeless One.

Literary scholars have seen the motives of the works in The Master and Margarita. The Student's personality traits are similar to those of the Homeless Man, especially when it comes to self-confidence. Just as the Student argues with, so the Homeless Man has the courage to doubt the existence of Woland.

There are alternative versions regarding the search for prototypes of the Homeless One. The poet is often compared to the writer Ivan Pribludny. He was one of those close to Yesenin and had a reputation as a joker. Pribludny's popularity was explained not by literary talent, but by friendship with famous personalities. The poet is also compared with Demyan Bedny, and some see similarities with. The nickname Homeless is sonorous and has a lot of associations. At the same time, it is similar to the names of the alleged prototypes. The real name of the hero is Ponyrev.

"Master and Margarita"

Ivan Bezdomny is by no means the main character of the story, but his biography and fate excite the imagination of readers. A member of MASSOLIT one day talks at the Patriarch's Ponds with the chairman of this organization, Berlioz, and with the appearance of Woland, he ceases to correctly perceive what is happening. After a mad pursuit of Woland, Ivan ends up in an insane asylum, where doctors diagnose the poet with schizophrenia.

The versatility of the hero's personality becomes one of the important leitmotifs of the work. As the action progresses, Ivan is transformed, and the reason for this is a change in priorities and worldview. He is greatly influenced by the meeting that took place in the hospital. Having met the master, the poet discusses with him, and the love vicissitudes associated with. An interesting point for a person writing poetry was the history of the publication of the novel and the misadventures associated with this event.

Ivan Bezdomny represents the elite of the Moscow literary community, a world that is hated by the master and Bulgakov himself in his person. After meeting the master, life takes on a new meaning for Ivan. It is centralized on Pontius Pilate, and not on modern realities. The death of Berlioz and a number of events accompanying it changed the hero's worldview. His concepts took on a precise form. An atheist who gains personal strength in the finale of the work, Homeless is transformed from a reckless helipad into a mature adult man with convictions and priorities.

Film adaptations

His age did not match the character (the actor turned 33 during filming), but his appearance corresponded to the era described. The artist subtly and vividly portrayed the hero, remembering the audience for his charisma, charm and authentic performance.

Quotes

Poetic activity presupposes literary awareness and a lyrical spiritual disposition. Ivan Bezdomny neither externally nor internally evokes such associations.

Unable to appeal to the reasoning of his opponents in a dispute, Bezdomny brushes aside unnecessary information and does not want to philosophize.

“I wish I could take this guy to Solovki for three years for such evidence!” exclaims the writer, not really knowing who Kant is and what his philosophy is.

When the master asks how he perceives his poems, Bezdomny unexpectedly answers that they are “monstrous.”

“I promise and swear!” says the poet, deciding never to write poetry again. This gesture is the most honest in his life in relation to literature and to himself.

The first was none other than Mikhail Alexandrovich Berlioz, chairman of the board of one of the largest Moscow literary associations, abbreviated as MASSOLIT, and editor of a thick art magazine, and his young companion was the poet Ivan Nikolaevich Ponyrev, writing under the pseudonym Bezdomny."
The novel begins with these words, and there is one peculiarity in them: they mention Ivan’s real surname. Next time we won't see her anytime soon.
There is one more subtlety in this fragment of text: the author immediately tells us that there are, as it were, two Ivans - Ivan Nikolaevich Ponyrev and Ivan Bezdomny, and if we will soon learn quite a lot about Bezdomny - he wrote a large anti-religious poem, a poem, a member of MASSOLIT - so far we only know about Ponyrev that he wears chewed trousers and slippers.
After this, there is a meeting with Woland, who tells the beginning of the Master’s novel, and this story captivates Ivan so much that he completely loses his concept of time. This is how Bulgakov describes Ivan’s “awakening” after Woland’s story: “ The poet ran his hand over his face, like a man who had just woken up, and saw that at the Patriarchal evening". Bulgakov was a doctor, and with these words he said much more than is evident at first glance: such a gesture is characteristic of a person who comes to his senses after clouding of consciousness and is well known to all psychiatrists and neurologists. This is the first hint that Ivan is ill.
A few minutes later we get a second hint: " How did I not notice that he managed to weave a whole story?.. - thought Bezdomny in amazement, - after all, it’s already evening! Or maybe it wasn’t him who told it, but I just fell asleep and dreamed it all?" There will be a third: Woland suddenly begins to behave strangely and advises Ivan to ask Professor Stravinsky about what schizophrenia is. In fact, Bulgakov openly tells us that the main character of the first chapters, not counting the second, is mentally ill.
Immediately after this, Berlioz dies, and here is Ivan’s reaction: “Ivan Nikolaevich fell on the bench before reaching the turnstile and remained on it.
Several times he tried to get up, but his legs wouldn’t obey him - something like paralysis happened to Bezdomny". Bulgakov, again, gives an extremely clear definition of a severe nervous shock. Against the background of previous hints, we can expect that something will happen to Ivanov’s perception of reality - and it does. The subsequent story about his adventures is filled with oddities, incredible events and outright inconsistencies . We can attribute them to mysticism: or we can remember that Bulgakov is a doctor, and this doctor has already hinted to us that Ivan is unwell. It seems to me that Ivan’s cry “Guard!”, the description of the chase at an incredible pace, the cat, who boarded the tram and tried to pay the fare, Ivan’s confidence is that " the professor must certainly end up in house no. 13 and definitely in apartment 47“- all this is an extremely accurate description of a delusional state, torn, illogical and completely defeating the patient’s ability to think critically.
We continue to follow Ivan: after an unsuccessful search for the professor in apartment No. 47, he steals a wedding (church) candle and icon from the apartment, and goes with them to swim in the river. For what? Everything is obvious: a candle, an icon and water are attributes of baptism. Ivan cannot forgive himself for writing the poem, and is baptized in an extremely absurd form. Absurd for any healthy person, but for Ivan there are no questions. After that, he pins an icon on his chest, lights a candle, puts on underpants and goes to catch Satan in a fashionable restaurant, from where he is taken to a psychiatric clinic, where he is injected with medicine, after which Ivan falls asleep with words about his most important idea - about Pontius Pilate.

Let's dwell for now on the fact that Ivan is sleeping - this is one of the key moments in the novel - and think about what we know about Professor Stravinsky's clinic? This is what Bulgakov tells us: " A man with a pointed beard entered the waiting room of the famous psychiatric clinic, recently built near Moscow on the river bank.", "A few minutes later the truck carried Ryukhin to Moscow. It was getting light, and the light of the streetlights that had not yet been extinguished was no longer necessary and unpleasant. The driver was angry that the night was wasted, he drove the car as hard as he could, and it skidded on turns.
So the forest fell off, remained somewhere behind, and the river went somewhere to the side, all sorts of things rained down towards the truck: some fences with guard boxes and stacks of firewood, tall poles and some masts, and on the masts strung coils , piles of rubble, land striped with canals - in a word, it was felt that it, Moscow, was right there, just around the corner, and would now fall and engulf.
Ryukhin was shaken and tossed around; some stump on which he was placed kept trying to slip out from under him. Restaurant towels, thrown by the policeman and Pantelei who had left earlier in the trolleybus, traveled all over the platform" - this is quite enough. The bank of the river, you can get to this clinic by trolleybus, the land, striped with canals - all this is an extremely accurate description of Pokrovsky-Streshnev of those years when Bulgakov wrote the novel. Towers, piles of rubble, canals. In those years, there was construction there the Moscow Canal, and these towers are not simple, camp-like: in addition, it was there that the Moscow Art Theater dachas were located (Bulgakov served at the Moscow Art Theater during the years of writing the novel), and it was there, at Volokolamskoye Shosse, 47, that a psychiatric hospital is located to this day No. 12, which can still be reached by trolleybus No. 12 and No. 70. In those years, the hospital was called a neuropsychiatric sanatorium for "Streshnevo", in which Bulgakov was well known: he regularly visited there during his years of work at the Moscow Art Theater, and His photo still hangs in one of the buildings. In addition, another building of the former sanatorium looks like this:

What happened next? And then we don’t meet Ivan for a very long time, because the author, over the course of many chapters, tells us about what happened to the other characters. We don’t know what Ivan was doing at that time, because now we will meet him only after the death of the Master and Margarita, when they fly to Ivan to say goodbye. It will be like this:
"Ivanushka lay motionless, just as when he first observed the thunderstorm in the house of his rest. But he didn't cry like that time. When he took a good look at the dark silhouette that rushed towards him from the balcony, he stood up, extended his arms and said joyfully:
- Oh, it's you! And I'm still waiting, waiting for you. Here you are, my neighbor.
To this the master replied:
- I'm here! But, unfortunately, I can no longer be your neighbor. I'm leaving forever and I came to you only to say goodbye".
Bulgakov is a real Master. With these words, he says much more than is written: he predicts that Ivan will no longer have visions, that he is recovering. Ivan himself already understands this - after all, after goodbye " Ivanushka became restless. He sat up in bed, looked around anxiously, even groaned, spoke to himself, and stood up. The thunderstorm raged more and more and, apparently, disturbed his soul. He was also worried that outside the door, with his hearing, already accustomed to constant silence, he caught restless footsteps and muffled voices outside the door. He called, already nervous and shuddering:
− Praskovya Fedorovna!
Praskovya Fedorovna was already entering the room, looking questioningly and anxiously at Ivanushka.
- What? What's happened? - she asked, - are you worried about the thunderstorm? Well, nothing, nothing... Now we will help you. I'll call the doctor now.
“No, Praskovya Fedorovna, there’s no need to call the doctor,” said Ivanushka, looking worriedly not at Praskovya Fedorovna, but at the wall, “there’s nothing special with me.” I already understand now, don't be afraid". He already knows how to control his consciousness and can distinguish reality from the games of his mind. Recovery is near - and, as a result of this, the characters he invented leave one after another. The Master and Margarita die, Woland and his retinue fly away from Moscow. Soon "One more of the main characters of the novel, Pontius Pilate, will also gain freedom and leave. And only Ivan will remain with us - only from Homeless he will again turn into Ivan Nikolaevich Ponyrev." Ivan Nikolaevich knows everything, he knows and understands everything. He knows that in his youth he became a victim of criminal hypnotists, was treated after that and was cured". He has only memories and anxiety, which visits him once a year. Then he walks along the Arbatsky lanes and comes to Margarita's mansion, which is described as follows: "a lush, but not yet dressed garden, and in it - painted by the moon from then on the side, where the lantern with a three-leaf window protrudes, and on the dark side - a Gothic mansion."
There is one mystery with this mansion: the fact is that there is nothing like it in Arbatsky Lanes. But we remember where the events actually took place... Maybe Bulgakov is talking about this mansion?

We have already met it, this is one of the buildings of the very sanatorium that became the prototype of Professor Stravinsky’s clinic. There is a lantern with a view on three sides, and a garden, and Gothic architecture, and we even see a circular balcony on the left side - the same one along which the Master could come to Ivan. The circle closes.

Apparently, the main character of Bulgakov’s novel “The Master and Margarita” is Ivan Nikolaevich Ponyrev, who was treated in a psychiatric clinic and saw a lot of strange and surprising things during his treatment.