Ivan is homeless. Essay material

• Category: Preparation for the State Examination

The writer conveys in the novel an important idea for him that power in its qualities and manifestations corresponds to the demands, capabilities and needs of people. The names and titles of rulers may change, but in order to change the essence of power, a person’s spiritual renewal is required. The naive, weak and invincible wandering preacher Yeshua called for this on his disciples - simple and unsophisticated.

One of these people, Ivan Bezdomny-Ponyrev, runs through the entire work and participates in all the key scenes of the modern part. To him alone, among ordinary people who do not have special qualities, the content of the story of Pilate and Yeshua is revealed. Before leaving, the master called him his student, but at the same time demanded that he not write more poetry. This means that apprenticeship was meant not as a continuation of writing work, the completion, for example, of the story of Pilate, but something else. Ivan changed from a writer to a historian. And the Master was a historian and earned his living in a museum before fate gave him the opportunity to write. The master only dreamed of glory. Ivan went from the fame that he already had (photo on the front page of the central newspaper) to complete obscurity. The fate of Ivan Nikolayevich Ponyrev is so important and described in such detail, because the last pages of the work are dedicated to him, because he represents ordinary people who are not gifted with any special talents. He is one of those who could find himself in the crowd of those who trample spiritual truths. There were all the prerequisites for this and there were teachers on this path - with the death of Berlioz their number did not decrease. But Ivan, having gone through shock and suffering, managed to become different, remaining ordinary, ordinary. He found spiritual needs, torments, and insights. He became a man.

Perhaps the appeal on the last pages of the sunset novel to the image of an ordinary, but spiritually seeking person is Bulgakov’s appeal to the reader. The master's behest should in this case lead to the idea of ​​a difficult but necessary spiritual search as the only possible basis for truly human existence.

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IVAN HOMELESS

(aka Ivan Nikolaevich Ponyrev), a character in the novel “The Master and Margarita”, a poet who in the epilogue turns into a professor at the Institute of History and Philosophy. One of the prototypes of I.B. was the poet Alexander Ilyich Bezymensky (1898-1973), whose pseudonym, which became a surname, was parodied in the pseudonym Bezdomny. The 1929 edition of The Master and Margarita mentioned the monument to “the famous poet Alexander Ivanovich Zhitomirsky, who was poisoned by sturgeon in 1933,” and the monument was located opposite the Griboedov House. Considering that Bezymensky was from Zhitomir, the hint here was even more transparent than in the final text, where the Komsomol poet remained associated only with the image of I. B. Bezymensky made sharp attacks on the “Days of the Turbins”, and his play “The Shot” ( 1929) parodied this Bulgakov work. “The shot” was ridiculed in an epigram by Vladimir Mayakovsky (1893-1930), written in December 1929 or January 1930, where it was said quite harshly about Bezymensky: “Get this bearded Komsomol member away from me!..” Quarrel between Bezymensky and Mayakovsky parodied in I.B.’s quarrel with the poet Alexander Ryukhin (the latter’s prototype was Mayakovsky).

Woland's prediction that I.B. will end up in a madhouse goes back to the novel by the English writer Charles Maturin (1782-1824) “Melmoth the Wanderer (1820). There, one of the heroes, a certain Stanton, meets Melmoth, who sold his soul to the devil. Melmoth predicts that their next meeting will take place within the walls of a madhouse at exactly twelve o'clock in the afternoon. Let us note that in the early edition of “The Master and Margarita” in the psychiatric hospital of Professor Stravinsky, it was not the Master who appeared before I.B., as in the final text, but Woland. Stanton, who confidently believed that he had nothing to learn from the messenger of Satan, was indeed soon committed by his loved ones to a madhouse, and this was caused by “his constant conversations about Melmoth, his reckless pursuit of him, strange behavior in the theater and a detailed description of their extraordinary meetings that were made with the deepest conviction."

In the asylum, Stanton first goes on a rampage, but then decides that “the best thing for him would be to pretend to be submissive and calm, in the hope that in the course of time he would either appease the scoundrels in whose hands he now found himself, or by convincing them that he was a man.” harmless, will achieve such indulgences for himself that in the future, perhaps, will make it easier for him to escape.” Maturin’s hero in a madhouse “had two very unpleasant neighbors,” one of whom constantly sang opera verses, and the second, nicknamed “The Wild Head,” kept repeating in his delirium: “Ruth, my sister, do not tempt me with this calf’s head (here this refers to the head of the English king Charles I (1600-1649), executed during the Puritan Revolution (1600-1649), blood flows from it; I pray you, throw it on the floor, it is not proper for a woman to hold it in her hands, even if her brothers drink this blood.” And one day at midnight Melmoth appears at Stanton’s hospital.

In the fate of the poet Ivan Bezdomny, who by the end of the novel turned into a professor at the Institute of History and Philosophy Ivan Nikolaevich Ponyrev, Bulgakov seemed to give an answer to the assumption of one of the prominent Eurasian thinkers and brilliant linguist Prince Nikolai Sergeevich Trubetskoy (1890-1938), who in 1925 . in the article “We and Others”, published in the Berlin “Eurasian Times”, expressed the hope that “the positive meaning of Bolshevism may be that, by removing the mask and showing Satan to everyone in his undisguised form, he will make many people believe in the reality of Satan. led to faith in God. But, besides this, Bolshevism, with its senseless (due to the inability to create) picking at life, deeply plowed the Russian virgin soil, turned up to the surface the layers that lay below, and downwards - the layers that previously lay on the surface. And, perhaps, when new people are needed to create a new national culture, such people will be found precisely in those layers that Bolshevism accidentally raised to the surface of Russian life. In any case, the degree of suitability for the task of creating a national culture and connection with the positive spiritual foundations laid down in the Russian past will serve as a natural sign of the selection of new people. Those new people created by Bolshevism who do not possess this characteristic will turn out to be unviable and, naturally, will perish along with Bolshevism that gave birth to them, they will perish not from any intervention, but from the fact that nature does not tolerate not only emptiness, but also pure destruction and negation and requires creation, creativity, and true, positive creativity is possible only with the affirmation of the beginning of the national and with the feeling of the religious connection of man and nation with the Creator of the Universe.” When meeting with Ivan, then still Bezdomny, Woland urges the poet to first believe in the devil, hoping that by doing so I.B. will be convinced of the truth of the story of Pontius Pilate and Yeshua Ha-Nozri, and then will believe in the existence of the Savior. In full accordance with the thoughts of N. S. Trubetskoy, the poet Bezdomny found his “small homeland”, becoming Professor Ponyrev (the surname comes from the Ponyri station in the Kursk region), thereby becoming familiar with the origins of national culture. However, the new I.B. was struck by the know-it-all bacillus. This man, raised to the surface of public life by the revolution, was first a famous poet, then a famous scientist. He expanded his knowledge, ceasing to be that virgin youth who tried to detain Woland at the Patriarch's Ponds. However, in the reality of the devil, in the authenticity of the story of Pilate and Yeshua, I.B. believed while Satan and his retinue were in Moscow and while the poet himself communicated with the Master, whose behest I.B., formally speaking, fulfilled, refusing the poetic in the epilogue creativity. But in the same way, Stepan Bogdanovich Likhodeev, on Woland’s recommendation, stopped drinking port wine and switched to only vodka infused with currant buds. Ivan Nikolaevich Ponyrev is convinced that there is neither God nor the devil, and he himself in the past became a victim of a hypnotist. The professor's old faith revives only once a year, on the night of the spring full moon, when he sees in a dream the execution of Yeshua, perceived as a world catastrophe. He sees Yeshua and Pilate peacefully talking on a wide, moonlit road, he sees and recognizes the Master and Margarita. I.B. himself is not capable of true creativity, and the true creator - the Master is forced to seek protection from Woland in his last refuge. Here Bulgakov’s deep skepticism manifested itself regarding the possibility of a rebirth for the better of those who were brought into culture and public life by the October Revolution of 1917. The author of “The Master and Margarita” did not see in Soviet reality such people whose appearance was predicted and on whom Prince N.S. Trubetskoy and other Eurasians. Nurtured by the revolution, the nugget poets who emerged from the people, in the writer’s opinion, were too far from the feeling of “the religious connection of man and nation with the Creator of the Universe,” and the idea that they could become the creators of a new national culture turned out to be a utopia. Having “seen the light” and turned from Homeless to Ponyrev, Ivan feels such a connection only in a dream.

The transformation of I.B. from a poet into the only student of the Master, into a professor who has forgotten both about poetry and the Master (I.B. remembers his teacher only once a year, on the night of the spring full moon), reproduces one of the plots of the great dramatic poem “Faust” (1808-1832) by Johann Wolfgang Goethe (1749-1832) - the story of a Student who came to study with Faust and became a worthy student of Mephistopheles. Let us note that I.B. is a student not only of the Master, but also of Woland, since it is Satan who teaches him the history of Pontius Pilate and Yeshua Ha-Nozri and makes him believe in the existence of evil spirits. Goethe's Student admits:

I'll say it frankly:

I want to go home already.

From these cramped quarters

The thought becomes gloomy.

There is no grass or bush around,

Only darkness, noise and stuffiness.

(Translation by B. Pasternak)

I.B. finds himself imprisoned in a room at the Stravinsky clinic, outside the window of which there is a river, green grass and a pine forest, inaccessible to the patient. Here his mind becomes clouded: the poet cries and cannot put on paper the story of his meeting with Woland and the story he heard about the procurator of Judea. Then follows a devilish enlightenment - I.B. stops grieving for the deceased Berlioz: “An important incident, indeed, the editor of the magazine was crushed!.. Well, the kingdom of heaven to him! Well, there will be a different editor and perhaps even more eloquent than before.” I.B., turning from Homeless to Ponyrev, seems to get rid of the homesickness inherent in Goethe’s hero. The student states:

Three years of study - term,

In all conscience, of course, he doesn't care.

I could achieve a lot

May I have a solid foundation.

These words are parodied by Bulgakov, forcing I.B. to suggest: “If only we could take this Kant, and for such evidence he will be sent to Solovki for three years!” Woland is delighted with this proposal, noting that “he belongs there!” and remembering a conversation with I. Kant at breakfast: “You, professor, as you please, have come up with something awkward! It may be smart, but it’s painfully incomprehensible. They will make fun of you." This refers to Kant’s very specific training - in the concentration camp on Solovki, and three years is exactly the period of training for medieval students, which the hero of Faust talks about. The moral proof of the existence of God, put forward by Immanuel Kant, affirms the basis of our conscience, given by God in the form of a categorical imperative - not to do to others what you would not want to experience on yourself. It is clear that it is unacceptable to Satan. Goethe’s Mephistopheles, after the Student’s words about a solid foundation, calls on the student not to follow the Hippocratic Oath, but to indulge in a different kind of medicine:

The meaning of medicine is very simple.

Here's the general idea:

Having studied everything in the world to the stars,

Throw everything overboard later.

Why work your brains in vain?

Better go straight ahead.

Who seizes a convenient moment,

He will do just fine.

You are slim and in all your glory,

Your appearance is arrogant, your gaze is absent-minded.

Everyone involuntarily believes in him,

Who is the most arrogant?

Go see the ladies in the boudoir.

They are a malleable commodity.

Their fainting, aahs, aahs,

Shortness of breath and commotion

Don't treat with fear -

And they are all in your hands.

The proposal to send Kant to Solovki for re-education also reflected the writer’s personal impressions. His third wife E. S. Bulgakova noted in her diary on December 11, 1933 the story of Bulgakov’s sister Nadezhda about how one of the relatives of her husband A. M. Zemsky (1892-1946), a communist, “said about M. A. - If only we could send him to Dneprostroy for three months without feeding him, then he would be reborn.”

Misha: “There is another way - feed herrings and don’t give them anything to drink.”

In his speech, I.B. Bulgakov turned into Kant (by the way, the autobiographical Master is connected with many of his traits to this philosopher), three months - into three years, and Dneprostroy - into Solovki. (True, the poet did not have time to say anything about feeding the author of the Critique of Pure Reason with herring). Communication with medicine for I.B. turned out to be much less pleasant than for the Student taught by Mephistopheles: the future professor Ponyrev found himself in a madhouse.

Goethe's Student hears from the crafty teacher dressed as Faust:

Learn at home

Lecture text on leadership.

Teacher, maintaining the similarity,

The entire course is based on it.

And yet with greedy speed

Write down thought links.

It's as if these revelations

The Holy Spirit dictated to you,

and answers:

I know this and very much

I appreciate the meaning of the letter.

Pictured in the notebook

It's like being in a stone fence.

I. B. in the Stravinsky clinic behind a high fence is unsuccessfully trying to reproduce on paper the “revelation” about Pilate and Yeshua that Woland himself “dictated” to him at the Patriarchal instead of the “holy spirit”.

The student admits:

I would like to become a great scientist

And take possession of everything hidden,

What is in heaven and earth...

and subsequently turns into a self-confident, know-it-all Bachelor, proclaiming:

This is the purpose of a young life:

The world was not before me and was created by me,

I brought the sun out of the sea,

He let the moon circle across the sky.

The day has flared up on my way,

The earth began to bloom all green,

And on the very first night all the stars at once

They lit up at the top on my order.

Who else, if not me, is in a burst of fresh strength?

Did he free you from philistinism?

Wherever I want, I trample the trail,

On the way my light is my inner one

Everything is illuminated before me by him,

And what is behind is enveloped in darkness.

Mephistopheles is amazed by the vulgarity of his student:

Go, eccentric, trumpeting about your genius!

What would happen to your importance?

bragging,

If only you knew: there is no thought

malomalskaya,

Which would not have been known before you!

The overflowing rivers are entering their channel.

You are destined to go crazy.

In the end, no matter how you wander

The result is wine.

The former Student in the heat of the moment exclaims: “I want it, and the devil will go down the drain,” to which Mephistopheles remarks: “He will trip you up, don’t croak.” In “The Master and Margarita” Woland “turns the leg” on I.B., bringing the poet to a madhouse. On December 6, 1829, in a conversation with his secretary and biographer, the author of “Conversations with Goethe in the last years of his life” (1836-1848) Johann Peter Eckermann (1792-1854), the creator of “Faust” spoke about the image of the Bachelor as follows: “ He personifies that pretentious self-confidence that is especially characteristic of a young age and which you had the opportunity to observe in such vivid examples in our country in the first years after the war of liberation (meaning the war of the German states against the French Emperor Napoleon (1769-1821) in 1813-1815 gg. - B.S.). In his youth, everyone thinks that the world began, in fact, to exist only with him and that everyone exists, in essence, only for his sake.” In Bulgakov, unlike Goethe’s hero, I.B., not yet burdened with practically any knowledge, frivolously rejects the existence of not only God, but also the devil, for which he is punished. The bachelor simply denies the benefit of the acquired knowledge, absolutizing his own free will:

I was a boy, my mouth was open,

Listened in the same chambers

One of the bearded ones

And at face value

I took his advice.

All of them are my innocent mind

They were slaughtered with carrion,

Wasting my life and my century

For unnecessary activities.

I.B., in contrast, in the epilogue of the novel appears as a knowledgeable professor who denies the existence of the devil, while the Bachelor considers evil spirits subject to his will. The author of “The Master and Margarita” promoted the new Student, in comparison with Goethe, from bachelor to professor. Here he took into account the existing Russian tradition of perception of this hero of Faust. Thus, Alexander Amfitheatrov (1862-1938) in his book “The Devil in Everyday Life, Legend and Literature of the Middle Ages” noted: “Following the devil’s advice, the student - in the second part of Faust - turned into such a vulgar “privat-docent”, that the devil himself became ashamed: what a “professor by appointment” he brought out.” I. B., perhaps, is not as vulgar as Goethe’s Bachelor, but the confidence of the newly minted professor Ponyrev that he “knows everything”, that “he knows and understands everything”, deprives I. B. of the ability for true creativity, for ascending to the heights of knowledge, just as the brilliant Master of Yeshua Ha-Nozri cannot rise to the heights of the ethical feat of Yeshua Ha-Nozri. The “chopped memory” of both equally subsides, and awakens only on the magical night of the spring full moon, when I.B. and the Master meet again. Professor Ivan Nikolaevich Ponyrev is truly a “professor by appointment”, a typical “red professor”, who denies the spiritual principle in creativity and, unlike Goethe’s Bachelor, is a supporter only of empirical experimental knowledge, why everything that happened to him, including meetings with Woland and Master, I.B. in the epilogue explains hypnosis.

The way I.B. acts as a student of the Master largely repeats the ritual practice of Freemasonry and finds its explanation in it.

Bulgakov Encyclopedia. - Academician. 2009 .

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 life path options for 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 there is a spark of God in him - talent: “It is difficult 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 some fun!" 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 – mediocrity” is given the opportunity 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 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)

In the novel, the image of a mad poet plays a fairly important role. First he “shadows” Berlioz, and after the Master himself, as I understand it.

From the very beginning of the book we meet Ivan Bezdomny. He is cheerful and cheerful, he argues cheerfully with his friend. Bulgakov immediately explains that this tall guy of rather simple appearance is a poet. And his last name is a fashionable pseudonym. After the revolution, during the construction of socialism, even poets had to become simple - from the people. So they all had to become “poor, homeless.” And write not about roses and love, but about the noble work of a collective farmer, for example. Such a poet, apparently, can stand at the machine in a factory, but he throws all his energy into composing ideological poems. This image is a bit of a parody of all those poets. In addition, Homeless is not as experienced and educated as his interlocutor. The guy lacks tact, he begins to get angry in a conversation with Woland, does not show the necessary subtlety...

This is probably why he ends up in a madhouse. Who would believe that he saw a cat that walks on two legs?! No one believes Homeless anymore, but he continues to prove that he is right. He's probably going a little crazy. I feel sorry for him. Not in his poetic and social complacency, but in his suffering. He practically bangs his head against the wall, they put him in a straitjacket and put him on a sedative. He is such a bit of a martyr, but he himself is to blame.

Then he talks in this hospital with the Master. The homeless man naively cannot understand why the Master in this clinic is almost voluntary. But Ivan is already calmer, he is already ashamed of his “loud and enthusiastic” poems. Only in the privacy of the hospital was he able to look at himself from the outside...

He has a lot of energy, but it's a little "bad." He was seduced by the poetic benefits, but then maybe it would have been better for him to just go to the factory - to join ordinary people. Unsophisticated, like himself.

I think he is a good person, but he was just seduced and confused.

Essay Ivan Bezdomny and his spiritual evolution

M.A. Bulgakov’s work “The Master and Margarita” begins with a scene of dialogue, in which the poet Ivan Bezdomny and the chairman of MASSOLIT Berlioz take part. The topic of their conversation was the question of the existence of God. On this issue, Berlioz adheres to a purely atheistic point of view, proving to Ivan that Jesus Christ never existed in reality.

The consequences of this conversation become extremely deplorable for Homeless. Firstly, Ivan had to witness the terrible death of Berlioz, and secondly, he had to be a patient in a clinic for the mentally ill. In the hospital, the hero has an epiphany - he meets the Master, learns the details of his novel, as a result of which he realizes his own mediocrity and hurries, on the advice of his neighbor, to give up writing. Having completed his treatment, Ivan becomes an employee of the Institute of History and Philosophy and regains his real surname - Ponyrev.

But even after a while, every full moon, madness engulfs the hero with renewed vigor. Ivan again meets with the Master, Pilate and Ga-Nozri. He again begins to be tormented by the questions that once worried the Master so much and still haunt Pontius Pilate. Every time Ivan observes the lunar road along which two people are walking - one of them is the procurator of Judea Pilate, the other is executed on his orders Yeshua Ha-Nozri. The first begs the second for assurance that there was no execution, and receives the answer from the young man: “You imagined it... I swear.”

Ivan experiences the same peace that covers the procurator after the words of Ga-Nozri. The master, who soon appears to Ivan, assures him that this is all over, and no one will disturb him until the next full moon.

For the first time, these questions touched Homeless on the Patriarch's Ponds, but at that moment the hero's unprepared mind was not ready for such information.

According to the author, the hero is directly related to the events taking place in Moscow and Judea, which are described in the novel. The writer showed a man of modern times who became a victim of doubt, pain, and the redemption of eternity. It was as if he was crucified between times. It is noteworthy that Ivan is the only one of all the main characters who remained on Earth.

This hero plays a crucial role in Bulgakov's novel. The trials that befell him were not caused by a meeting with Satan, but by the chaos that reigned in his soul and consciousness, as in the consciousness and souls of most people of that time.

With the help of the figure of the Homeless Man, the author conveys to the reader the idea that the search for truth requires the joint efforts of the soul, wakefulness and consciousness. For this reason, the writer draws an associative analogy between the Master’s “only disciple” and Matthew Levi.

Several interesting essays

• Essay Life values ​​- examples from life

  We all only have one life. We are here on Earth for a limited period of time and do not know when our time will end. Thus, we must make the most of the time we have.

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 the 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 already hinted to us that Ivan was unwell. It seems to me that Ivan’s cry “Guard!”, the description of the chase at an incredible pace, 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 Canal named after Moscow, and these towers are not simple, camp-like: in addition, it was there that the Moscow Art Theater dachas were located (Bulgakov served in the Moscow Art Theater during the years of writing the novel), and it was there, at Volokolamskoe Highway, no. 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 and to the Moscow Art Theater during his years of work at the Moscow Art Theater. 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 restlessly 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 Another 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 Arbat 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.