The problem of creativity in the work The Master and Margarita. Scary dreams of Ivan Bezdomny

Love and creativity are what can resist existing evil. The concepts of goodness, forgiveness, understanding, responsibility, truth, and harmony are also associated with love and creativity. That is why these themes are so vividly reflected in the novel by M.A. Bulgakov's "The Master and Margarita" because they are close to him. And another favorite theme of poets is prophecy. M.A. Bulgakov correctly judged that “manuscripts do not burn,” and correctly prophesied the future for himself and his books.

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The theme of creativity and love in the novel by M.A. Bulgakov "The Master and Margarita"

Lesson Objectives : 1. Show the skill of M.A. Bulgakov in depicting the world of human feelings; the role of detail in the novel.

2. Understand Bulgakov’s moral lessons, the main values ​​that the writer talks about.

3. Test your knowledge of the content of the novel.

Methodical techniques: work with text, work with demonstration material, lecture with elements of conversation.

Equipment : screen, projector for presentation, video equipment, TV for watching episodes from the film V.V. Bortko "The Master and Margarita".

During the classes :

(The topic of the lesson is written on the board: “The theme of creativity and love in M.A. Bulgakov’s novel “The Master and Margarita”, sarcasm is a caustic, caustic mockery with a frankly accusatory, satirical meaning).

1. Introduction to the topic of the lesson. Teacher's word.

Today we will examine a topic that was very important for many famous poets and prose writers. The theme of the poet and poetry is reflected in the works of A.S. Pushkina, M.Yu. Lermontov, F.I. Tyutcheva, V.V. Mayakovsky, S.A. Yesenin and many other famous poets and prose writers. In prose M.A. Bulgakov we will touch on the theme of creativity, which in the novel “The Master and Margarita” will be combined with the theme of love. Let's turn to the text of the novel.

1. Working with the text of a novel.

In Bulgakov's novel we find a very detailed description of the “holy of holies” of all Moscow writers of that time - MASSOLITA. Find it in Chapter 5.

(- An ancient two-story cream-colored house was located on the boulevard ring in the depths of a sparse garden, separated from the sidewalk of the ring by a carved cast-iron lattice. The small area in front of the house was paved, and in winter there was a snowdrift with a shovel on it, and in summer it turned into a most magnificent section of a summer restaurant under a canvas awning.)

What advantages does membership in MASSOLIT provide?

(with a membership card you can enter a restaurant, you can stand in line to get an apartment or get a ticket to a resort).

With his characteristic sarcasm, Bulgakov writes in chapter 5 of the novel: “Every visitor, if, of course, he was not completely stupid, when he got to Griboedov, he immediately realized how well the members of MASSOLIT were living, and black envy immediately began to torment him. And immediately he turned bitter reproaches to heaven for not rewarding him with literary talent at birth, without which, naturally, there was no point in dreaming of acquiring a MASSOLIT membership card, brown, smelling of expensive leather, with a wide golden border, known to all Moscow with a ticket."

Which of the writers, members of MASSOLIT, do you remember? (Ivan Bezdomny)

Who can be called the real creator in the novel? (Masters)

Is he a member of MASSOLIT? (No)

It turns out, You don't need a membership card to be a writer. This ID allows you to enter the restaurant, but not History.Let's remember the episode from chapter 28 when Koroviev and Behemoth came to Griboyedov’s restaurant.

(- Your IDs? - She looked with surprise at Koroviev’s pince-nez, as well as at Behemoth’s primus stove, and at Behemoth’s torn elbow.

I offer you a thousand apologies, what kind of identification? - Koroviev asked, surprised.

Are you writers? – in turn, the citizen asked.

“Of course,” Koroviev answered with dignity.

Your credentials? – the citizen repeated.

-...So there you go. To make sure that Dostoevsky is a writer, is it really necessary to ask him for his identification? Yes, take any five pages from any of his novels, and without any identification you will be convinced that you are dealing with a writer. Yes, I suppose he didn’t even have any identification!..

“You are not Dostoevsky,” said the citizen, confused by Koroviev.

Well, who knows, who knows,” he answered.

Dostoevsky died,” said the citizen, but somehow not very confidently.

I protest! - Behemoth exclaimed hotly. – Dostoevsky is immortal!

Your certificates, citizens,” said the citizen.

For pity’s sake, this is, after all, ridiculous,” Koroviev did not give up, “a writer is not determined by his certificate, but by what he writes!)

Turns out, A writer is not determined by his ID, but by what he writes. But not everyone is able to soberly evaluate what he is doing.For example, the poet Ryukhin, who accompanied Ivan Bezdomny to a psychiatric clinic, was very offended by the words of a fellow writer about him: “Sasha is a mediocrity,” “Look at his lean face and compare it with those sonorous poems that he composes on the first day! "Soar up!" yes, “unwind!” Find in Chapter 6 excerpt where Ryukhin begins to comprehend his work. Read it.

(From the words “The poet no longer looked around...” to the words “... and ensured immortality...”)

Now let's remember the episode from chapter 13 , where Ivan Bezdomny analyzes his work.

(Watching the episode “Ivan Bezdomny’s acquaintance with the Master from V.V. Bortko’s film “The Master and Margarita”).

Of all the members of MASSOLIT, Ivan Bezdomny is the only one who agrees that he is an “ignorant man” and promises “not to write any more” poetry. He parted with his seemingly imposed profession with a feeling of liberation and relief. The double of this hero is M.A. Bulgakov makes a Master. Through the double, the hero gets to know himself, and the reader gets to know the hero. But also the double of Ivan Bezdomny is the poet Ryukhin, who has some negative qualities that Bezdomny will subsequently abandon.

1. Lecture with elements of conversation. View the presentation

The master tells Ivan his story. This is the story of the Romance of Pilate and a love story. This is how the theme of love and the theme of creativity are combined in the novel.

(Slide show).

The time cycle in the hero's story begins in winter, when the Master settled alone in the basement and began to “write a novel about Pontius Pilate.” Then spring comes, “the lilac bushes are dressed in green.” “And then, in the spring, something much more delightful happened than receiving a hundred thousand,” the Master met Margarita. This is where the theme of love begins to be revealed. As often happens in Bulgakov, heroes act under the influence of a sudden flash, insight: “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once. That’s how lightning strikes, that’s how a Finnish knife strikes!” - says the Master. The “golden age” of love lasted for the heroes while “there were May thunderstorms and ... the trees in the garden shed broken branches and white brushes after the rain” while the “stuffy summer” went on. The Master’s novel “was completed in August,” and with the onset of autumn in nature, “autumn” began in the relationships of the heroes. “In half of October” the Master fell ill: it seemed to him that “the autumn darkness would squeeze out the glass, pour into the room” and he would “choke in it.” The hero burned the manuscript of the novel and was arrested that same evening following a denunciation by Aloysius Mogarych. The Master returns to his basement, where other people already live, in winter, when “the snowdrifts hid the lilac bushes” and the hero lost his beloved. A new meeting takes place only in May, after the spring full moon ball. A certain cycle passes, spring again gives hope to lovers for happiness.

1. Working with demo material.

Notice how the theme of creativity and the theme of love are combined with the theme of sacrifice: the Master suffers because of his “brainchild,” his novel, and Margarita, in the name of saving the Master, makes a deal with the devil and thereby ruins her immortal soul.

(Watching an episode of the film “The Return of the Master after Satan’s Ball”).

1. Lecture summarizing the topic.

Bulgakov consciously, sometimes demonstratively, emphasizes the autobiographical nature of the Master’s image. The atmosphere of persecution, complete renunciation from literary and social life, lack of livelihood, constant expectation of arrest, denunciation articles, devotion and dedication of the woman he loved - Bulgakov himself and his hero experienced all this. The fate of Master Bulgakov is natural. In the country of “victorious socialism” there is no place for freedom of creativity, there is only a planned “social order”. The master has no place in this world - neither as a writer, nor as a thinker, nor as a person. He stops fighting, burns his novel, shows cowardice and thereby loses his place in the Light, like his beloved Margarita, who also does not deserve a place in the Light, because she connected her life with evil spirits. But they both suffered a lot, Margarita’s desperate struggle for her love, for saving the Master bears fruit: the Higher Powers allow them both to settle in Peace, which is what they wanted and, ultimately, received.

The image of the Master allows Bulgakov to pose the problem of the creator's responsibility for his talent. The master is endowed with the ability to “guess” the truth (his novel is not invented, but guessed: “Oh, how I guessed! Oh, how I guessed everything!”), to see through the thickness of centuries the image of true humanity. His gift can save people from unconsciousness, from their forgotten ability to do good.

Bulgakov’s favorite image of a home, a family hearth, is associated with the image of Margarita. Through her actions, she seems to revive various human values ​​in the novel: personal freedom, mercy, honesty, truth, faith, love, which is so lacking in Moscow society. In the name of love, Margarita accomplishes a feat, overcoming fear and weakness, defeating circumstances, without demanding anything for herself. Everyone knows that the prototype of Margarita was Elena Sergeevna Belozerskaya, the third wife of M.A. Bulgakov. It was she who helped him steadfastly endure the period of his near-death illness, when he was practically blind, read to him, and helped edit the text. Elena Sergeevna knew her role as a guardian angel firmly, never doubted it, and in difficult times did not betray her fatigue. “When we began to live together with Mikhail Afanasyevich,” Elena Sergeevna recalled, “he once told me: “The whole world was against me - and I was alone. Now it’s just the two of us, and I’m not afraid of anything.”

This means that love, just like creativity, is the second path to superreality; it leads to the comprehension of the “third dimension”. Love and creativity are what can resist existing evil. The concepts of goodness, forgiveness, understanding, responsibility, truth, and harmony are also associated with love and creativity. That is why these themes are so vividly reflected in Bulgakov’s novel, because they are close to him. And another favorite theme of poets is prophecy. M.A. Bulgakov correctly judged that “manuscripts do not burn,” and correctly prophesied the future for himself and his books.

1. Homework.
2. Evaluating answers.

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Slide captions:

The theme of creativity in M. Bulgakov’s novel “The Master and Margarita” Purpose: to reveal the problem “Why don’t manuscripts burn?” Objectives: analysis of film episodes; development of the ability to analyze, generalize, and draw conclusions; education of moral qualities of students. N. Rusheva. Master and Margarita

Problem: “Why don’t manuscripts burn?” Pages of the manuscript of the novel “The Master and Margarita”. 1930

Why did the Master refuse the name?

Why did the Master refuse the name? loss of balance in life; self-denial; lack of faith in the justice of real life.

How was the novel created?

How was the novel created? talent; inspiration; Love.

Why did the Master burn the manuscript?

Why did the Master burn the manuscript? rejection of the real world; mental suicide; fear of life.

Why “manuscripts don’t burn”?

Why “manuscripts don’t burn”? A manuscript is a soul captured in lines. Talent, like life, is given by God, so you need to believe in it. Our soul is immortal.

Preview:

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

Goal: to solve the problem “Why don’t manuscripts burn?”

Tasks:

• analysis of film episodes;
• development of the ability to analyze, generalize, and draw conclusions;
• education of moral qualities of students.

• Bulgakov presented in the novel the tragedy of the fate of an artist who knows the true, lofty, eternal principles of existence and who cannot be in harmony with his time. Perhaps this belonging to the high world, the severity of reactions and the conflict with real life prompt Woland to speak of a “thrice-romantic master.”

• During the lesson we will watch fragments of the film “The Master and Margarita” directed by Vladimir Bortko, who became the first Russian director to film the novel to the end. The famous director films exactly according to the book - from the first to the last line.
• Based on the fragments we looked at, we will solve the problem “Why don’t manuscripts burn?”

“Why don’t manuscripts burn?”

• The Master appears in the novel when a third of it has already been read. The Master's name was never spoken. It is erased by his denial of himself and disbelief in the justice of life.
• Let's look at 1 fragment and answer the question.

Why did the Master refuse the name?

• loss of balance in life;
• self-denial;
• lack of faith in the justice of real life.

• For the master, destroyed by violence, which has become the law of modern life, the hospital is preferable to the chaos of real life.
• Although the Master refused the name, notice how proudly his answer sounds. He is a master of his craft, he was given talent by God, he is the chosen one of fate, he is a prophet.
• The master is free from the vanity of the Moscow world and as soon as fate gives him the opportunity, he breaks all ties with him in order to devote himself to creativity. And, as if by magic, love comes, Margarita appears. Margarita's entry into the Master's world transforms his life.
• Fragment 2 (The Master and Margarita in the basement).

What helped the Master write a novel?

• talent;
• inspiration;
• Love

• Then the worst thing begins. The novel has been written. And the Master recalls with horror the literary world into which he had to enter with the written novel. This world seems crazy to the Master and haunts him with accusations that can cost his life and take away its meaning. He burned his manuscript and renounced his name and Margarita's love.
• Let's watch episode 3

Why did the Master burn the manuscript?

• rejection of the real world;
• mental suicide;
• fear of life.

• But the soul captured in the manuscript does not want to perish.
• The last fragment is the scene after Satan's ball. Otherworldly forces intervene to help the Master. Woland fulfills Margarita's wish - he returns her Master.

Let's look at fragment 4.

Why “manuscripts don’t burn”?

• A manuscript is a soul captured in lines.
• Talent, like life, is given by God, so you need to believe in it.
• Our soul is immortal.

In this way, it is possible to conduct problem-based analysis of works based on ICT and video libraries.

The poet himself chooses the theme for his works

A. S. Pushkin

One of the themes revealed by Bulgakov in the novel “The Master and Margarita” is the theme of creativity. What is the greatness and what is the weakness of the artist-creator, which works deserve fame and immortality, and which are doomed to oblivion - these questions undoubtedly worried the writer and were reflected in his work.

At the center of the novel is the fate of the Master, who wrote a historical novel about Pontius Pilate, the fifth procurator of Judea, who signed the death warrant for the wandering philosopher Yeshua Ha-Nozri.

What was wrong with the poor philosopher whom the procurator sent to execution? The fact is that Yeshua expressed the idea that all power is violence against people and that the time will come when everything will change. Humanity will enter the kingdom of truth and justice, where no power will be needed.

So the writer in his novel touches on the most exciting topic - the topic of freedom. His Master was free when he wrote his novel. A historian by profession, he worked in a museum, doing translations, when he unexpectedly won one hundred thousand rubles. He was able to leave the service and do what he loved, that is, completely devote himself to creativity. Financial independence for a writer is an important fact, and Bulgakov knew about this from his own experience. The revolution did not bring him liberation from exploitation, but the loss of his home, the breakup of his family, hunger and poverty. He recalled: “I had to work not just, but with frenzy. From morning to evening, and so on every day without a break, otherwise you won’t survive.” Mikhail Bulgakov did not want to be among the dead.

And for his Master, a “golden age” began when an even more amazing thing happened to him: he unexpectedly met a love that instantly struck his heart - a beautiful woman named Margarita. She was the first to call him Master, she promised him glory and said that her whole life was contained in his novel.

The tests for the hero began after the creation of his work. He encountered the world of literature for the first time, and malicious criticism fell upon him. The questions they asked him seemed crazy to him. They didn’t ask him about the essence of the novel, but they were interested in who he was, where he came from, how long he had been writing, and who advised him to “write a novel on such a strange topic.” Laughter, surprise, then fear and, finally, mental illness became the Master’s lot. He burns the manuscript of the novel and hides from everyone, even from the woman he loves.

Refusal to fight for truth and love played a fatal role in the fate of the hero. Bulgakov himself spoke about this as follows: “A writer must be persistent, no matter how difficult it may be for him. Without this, literature does not exist.”

Fear is incompatible with the freedom of the human spirit and is destructive to creativity. Any violence leads to a distortion of the truth. In the process of creative creation, the human soul is, as it were, illuminated with light, that is, a state occurs that writers and poets call inspiration. But even the most outstanding talent perishes if he does not feel free, if he is told what and how to write about.

On the first pages of the novel, the writer Berlioz talks about the anti-religious poem, which the young poet Ivan Nikolaevich Bezdomny wrote on his order and with which he was dissatisfied. Bulgakov notes with subtle irony: “It’s 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 image turned out to be alive, although not attracting character".

Ivan Bezdomny listens to these arguments very carefully, without trying to challenge them and agreeing with them “one hundred percent.” By this time, Ivan Nikolaevich had already achieved a certain fame; his poems were published in the Literary Gazette. However, having subsequently ended up in a clinic for the mentally ill and met the Master, Ivan suddenly felt an inexplicable aversion to poetry; his own poems began to seem unpleasant to him. And at the end of the book, saying goodbye to him, Ivan says: I’ll keep my word, I won’t write any more poems. I want to write something else.”

This “other” is not destined to be written by everyone who takes up the pen. Thus, the poet Ryukhin is depicted as a minor character in the novel, who takes Ivan to the hospital. “Sashka is a dunce and mediocrity” - this is the description Ivan Nikolaevich gives to his colleague. This is a “fist” who composed custom poems for May Day (“fly up!” and “unwind!”). Ryukhin returns to Moscow in a bad mood. He remembers the hurtful words Homeless threw right in his face. And the grief was that everything in these words was true. “Why are my poems bad? - Riukhin thought. “Yes, I don’t believe what I write.”

The truck stopped at the turn, and the metal Pushkin, slightly tilting his head, looked at the boulevard. “This is an example of luck,” thought Ryukhin and could not understand what was special about Pushkin’s poems.

So what is the secret of this miracle, when the simplest words sound so amazing and unique? How, by painting the most modest pictures of nature and existence, great poets convey to the reader something intimate and significant. It is possible that no one will ever say this with certainty. One thing is clear: only free creativity can achieve success; the artist needs courage and fearlessness of soul in order for his work to reach the reader in its original form.

This is exactly what the Master could not achieve, and therefore he deserved “not light, but peace.” Bulgakov himself was in a similar situation: his novel was not published during his lifetime. He could not openly talk about contemporary events and people, and “The Master and Margarita” is an example of encrypted prose. Readers understand that the author writes about what happened in reality, but at the same time gives the story a form of fiction, hiding and leaving a lot unsaid.

So, it is possible that the novel reveals the fact of the actual reprisal of literary critics against a specific writer. For example, the prototype of the Master could be L. Andreev, who is very similar to him in appearance. He had a legal education and knew several languages; he was interested in topics related to the borderline state of the human spirit, equally attracted to heroism and crime. Another prototype could be S. Yesenin: it was in the mid-20s that he was subjected to unfair persecution and persecution. His poems “Country of Scoundrels” and “Walk in the Field,” in which he accused the authorities of crimes against the peasantry, never reached the reader. As in the case of the Master, critics did not examine the merits of his poems, but “crucified” him as a person.

In his novel, in an encrypted form, Bulgakov hinted at the feat of other Russian poets-martyrs, who in their work did not distort the truth, did not stain their conscience - poets worthy not only of “peace”, but also of “light”. In addition to the aforementioned Yesenin, the writer recalls Griboyedov (the House of Writers was named after Griboyedov) and M. Lermontov, some facts of whose biography are reflected in the life of Yeshua (for example, he was 27 years old, not 33 years old, like Jesus Christ; in addition, at the time death of both, a terrible thunderstorm breaks out).

Goodness, creativity, freedom - these concepts are inseparable for an artist, and this is the true harmony of life that every person should strive for. Perhaps the whole of human life should be viewed as creativity, in which one cannot make fatal mistakes, in which there should be no place for lies and betrayal.

Introduction Creativity in the understanding of Berlioz Creativity for Ivan Bezdomny Creativity and the master Conclusions

Introduction

The novel “The Master and Margarita” raises many problems, the relevance of which does not fade with time. Creativity in the novel “The Master and Margarita” is one of these themes. The way it is revealed is interesting for readers and critics.

Mikhail Bulgakov depicts the concept of creativity using the example of three people: the critic and editor Berlioz, the free poet Ivan Bezdomny and a real creator - a master. These people are completely different, their destinies and lifestyles differ no less than their attitude to what they do.

Creativity in Berlioz's understanding

The theme of creativity in the novel “The Master and Margarita” rises from the first pages.

The first chapter of the novel begins with the appearance of Berlioz. Taking into account the fact that in the same chapter “the chairman of the board of one of the Moscow literary associations and the editor of the Tolstoy art magazine” dies unexpectedly and completely stupidly, it may seem that his character is insignificant. Actually it's

Absolutely not.

The image of Berlioz embodies all the bureaucracy and belittling of the role of creativity and the creator, which both Bulgakov himself and his master had to endure.

For the first time, the reader sees Berlioz in a conversation with Bezdomny, on the Patriarch's Ponds. Mikhail Bulgakov portrays the editor as a man confident in himself and his knowledge. He talks about Jesus, denying his existence, giving examples and enjoying the effect it has on the young poet. As for creativity, for Berlioz this is work that consists of narcissism and complete tyranny.

Describing the chairman of Massolit, Bulgakov resorts to the subtlest irony. What is the value of the phrase “Mikhail Alexandrovich climbed into the jungle, which only a very educated person can climb into without risking breaking your neck.” Berlioz boasts of his education and erudition as if it were a valuable treasure, replacing true knowledge with excerpts and quotes from books he read, the essence of which remained “behind the scenes” for him.

In addition to the image of the “writing brethren,” Mikhali Bulgakov also introduces the image of the young poet Ambrose. Describing him as “ruddy-lipped” and “lush-cheeked,” the writer is ironic at the purely physical, base nature of the pseudo-poet.

Creativity for Ivan Bezdomny

Ivan Ponyrev, writing under the sonorous pseudonym Bezdomny, embodies the image of modern youth of the Bulgakov period. He is full of zeal and desire to create, but blindly following the criteria and requirements of Berlioz and “thick magazines” turns him not into a free artist, but into an experimental mouse running in the wheel of criticism.

The problem of creativity in the novel, using the example of Homeless, is the crossroads on which the poet stands. As a result, already in the hospital, he realizes that his poems are “monstrous”, and he made a mistake in choosing the path. Mikhail Bulgakov does not blame him for the mistake he made, and does not use irony.

Perhaps the master could have followed this path if his inner fire had not turned out to be stronger than conventions and traditions.

Having reached the realization of the fallacy of his desire for fame, Ivan completely changes as a person. He realizes the depth of creativity and spirituality. He is not destined to become a poet, but he is able to subtly feel the very essence of creativity and the subtle spiritual world.

The refusal of the Massolitovsky ticket is reminiscent of the disdain for money of Levi Matthew, a disciple and friend of Yeshua.

Creativity and master

Of course, the problem of creativity is most fully revealed in the novel “The Master and Margarita” through the example of the master. He cannot be called a writer, he is truly a master. For him, creativity is not a way of self-affirmation at the expense of others, as in the case of Berlioz, and not an opportunity to lead a bohemian lifestyle, as for Ponyrev-Bezdomny at first.

It’s not for nothing that the chapter in which the master appears is called “The Appearance of a Hero.” He is truly a true hero and creator. The master does not write a novel, he lives it so much that the rejection of the novel and devastating articles wound him to the very heart, and resentment and bitterness materialize into “an octopus with very long and cold tentacles,” which he begins to see everywhere, “as soon as the lights go out.” .

The master writes a novel, and it’s as if he lives it. When Margarita appears, love and creativity are woven into one ball. They walk side by side, for Margarita, love for the master extends to his novel, which once again confirms that the master puts his soul and heart into his work.

Margarita helps him, imbued with his creativity because it is the master. When the novel is over, “joyless days have come” for this couple, they are devastated and confused. But their love does not fade away and will save them.

conclusions

Mikhail Bulgakov masterfully reveals the theme of creativity in the novel. It shows it from the point of view of three people. For Berlioz, Massolit is just a way of self-expression and satisfaction of his mundane desires.

As long as the magazine is run by such an editor, there is no place for real artists in it. The writer knows what he is writing about. He had to deal with such would-be editors more than once.

His great novel will also not be immediately understood and published thanks to the people who hold the reins of organizations, the essence of which they see only as a way to satisfy their own interests, but not as a service to creativity.

Ivan Bezdomny treats his gift with reverence, he dreams of the laurels of a poet, but gets entangled in the intricacies of the real and the false, exchanging his talent for “poems to order” and, in the end, realizes that his poems are “monstrous” and he would rather write them will not be.

In the example of the master, the severity of the problem of creativity reaches its apogee. He writes not because he wants to become an author, he writes because he cannot help but write. The novel lives its own life, and the master puts all his strength and energy into it.

He doesn't remember his name or the name of his ex-wife, but he knows every line of the novel by heart. Even burned, this work continues to live its own life until Woland resurrects it from the ashes, just as when the novel “The Master and Margarita” itself rose from the ashes.

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7. Genre and compositional features. Bulgakov created an extraordinary novel, the mystery of which has not yet been solved. The writer, according to the observation of E. A. Yablokov, managed to merge in him the poetics of romanticism, realism and modernism. The unusualness of Bulgakov's creation is also largely due to its plot and genre originality. The writer himself defined the genre of his work as a novel. Literary scholars call it a novel – a myth, a philosophical [...]
8. Mikhail Afanasyevich Bulgakov in his works, such as the unfinished satirical “Theatrical Novel” and the novel “The Life of Monsieur de Moliere,” addressed the topic of the relationship between the artist and society. But this question acquires its most profound embodiment in the writer’s main work, “The Master and Margarita.” The novel is characterized by the happy freedom of creative imagination and at the same time the rigor of the architectural design. Before the reader […]...
9. In “The Master and Margarita” M. A. Bulgakov simultaneously shows Moscow of the 30s of the last century and ancient Yershalaim, in which Jerusalem is easily guessed. In the center of Judea, tragic events are developing related to Yeshua Ha-Nozri, in whose image the biblical Jesus is embodied. The chapters of the novel are conventionally divided into “Moscow” and “New Testament” chapters. The reader is transported from time to time from the recent past […]...
10. The basis of Mikhail Afanasyevich Bulgakov’s creativity was humanism. The writer did not accept the literature that raised the suffering of abstract, unreal heroes, passing by the truth of life. Therefore, in his last novel, “The Master and Margarita,” he veiledly showed the distant hope that evil will be punished and good will triumph. The theme of the struggle between good and evil is an eternal theme of all times and […]...
11. Truly lovers, without thinking about the personal until their last breath, wage a battle for the soul of their loved one - for its ascension. And they win this battle because they love. They win it, even by dying... E. Golderness Love, mercy, forgiveness, creativity are universal concepts that form the basis of the morality of every person, of any world religion. It is these principles that underlie the novel […]...
12. M. Bulgakov worked on the novel “The Master and Margarita” for twelve years. This novel is the pinnacle of his work. The work was in manuscript for a long time and was not published during the author’s lifetime. The novel traces three main lines: Moscow in the 20-30s, a religious theme and the love of the Master and Margarita. Bulgakov very accurately shows Moscow in those […]...
13. Plan Heroes before meeting each other The problem of love in the novel The love of the Master and Margarita: selflessness and selflessness Mercy and compassion in the love of the heroes The faithful and eternal love of the Master and Margarita The story of the Master and Margarita is known even to those who have never read the work of Mikhail Bulgakov. One of the eternal, timeless themes, the theme of love in the novel “The Master and […]...
14. The theme of love and forgiveness in the novel “The Master and Margarita” In the morning fog, with unsteady steps, I walked towards the mysterious and wonderful shores. Ate. Soloviev Love and forgiveness are not so much Christian concepts as universal ones. They form the basis of all morality, of all world religions. For Mikhail Bulgakov, they are the meaning-forming principles that lie at the foundation of the building of his novel. Writer […]...
15. The novel “The Master and Margarita” was written over the course of twelve years. This work became the final one in the life and work of Mikhail Afanasyevich Bulgakov. It reveals the writer's views on Good and Evil, Light and Darkness, Love and Hate, and contains a huge number of deeply philosophical thoughts. This work touches on a huge number of topics: the theme of true and false creativity, selfless love, crimes […]...
16. 1. Which writers’ traditions does M. Bulgakov inherit in the novel “The Master and Margarita”? A. Gogol B. Dostoevsky C. Hoffman G. Tolstoy D. Goethe 2. Where did the epigraph to M. Bulgakov’s novel “The Master and Margarita” come from? A. “The Captain's Daughter” by A. S. Pushkin B. Gospel C. “Faust” by Goethe 3. Who is included in Woland’s retinue? A. Afrany B. Azazello V. […]...
17. When creating the image of the Master, Mikhail Bulgakov, to some extent, told an episode from his own life, putting into his hero some of his own traits and his own experiences. The master, like his author, lived a rather secluded life, worked as a historian in a museum, and was not born in Moscow. Like Bulgakov, the Master feels loneliness in his personal life and in his literary work. Like his hero, […]...
18. The problem of creativity and creative personality has faced writers at all times. But the confrontation between the two concepts was especially acute in Soviet times, when Nekrasov’s formula was put into practice: “You may not be a poet, but you must be a citizen.” In other words, politics stood above creativity, and literature was subject to a single canon, the so-called social order. But at any time […]...
19. M. A. Bulgakov’s novel “The Master and Margarita” is to some extent autobiographical, since the Master is Bulgakov’s double. No, this is not the shadow of the author, not his copy, this is a living person. He is both similar and different from his creator. But be that as it may, it was to the Master that the author gave his treasured images and “Yershalaim” chapters of the novel. Story […]...
20. “Forgiveness or farewell? The Last Sunset Romance” (M. A. Bulgakov). (The theme of forgiveness in M. A. Bulgakov’s novel “The Master and Margarita”) “Everything will pass. Suffering, torment, blood, famine and pestilence. The sword will disappear, but the stars will remain, when the shadow of our bodies and deeds will not remain on the earth. There is not a single person who does not know this. So why […]...
21. Mikhail Afanasyevich Bulgakov worked on his last novel for almost twelve years. It is noteworthy that in the process of work, he repeatedly changed the name of the novel: for example, one of the completed versions was called “The Great Chancellor”, the other was called “The Prince of Darkness”. In these cases, what was meant, of course, was the devil who arrived in Moscow under the name of Woland. There were other names too. […]...
22. In the morning fog, with unsteady steps, I walked towards the mysterious and wonderful shores. Vl. Soloviev Love and forgiveness are not so much Christian concepts as universal ones. They form the basis of all morality, of all world religions. For Mikhail Bulgakov, they are the meaning-forming principles that lie at the foundation of the building of his novel. The writer embodies in prose the ideas that have been used for fifty years [...]
23. Plan Reception of the absence of a proper name in the character's name Individuality of the Master's personality Lucky ticket The main gift of fate A period of despair and hopelessness Well-deserved peace In the novel, the image of the Master is one of the main characters. This is also emphasized by the author’s decision to capture it in the title of the work. The characterization of the master in the novel “The Master and Margarita” is a contrast between pure and [...]
24. The novel “The Master and Margarita” is the pinnacle work of Mikhail Bulgakov, on which he worked until the end of his life. This work is truly unique; it amazes with its unusualness, color and sound richness, thematic diversity, richness of colors, grotesque depiction of characters and fantasy. “The Master and Margarita” also attracts attention with its original composition: within the framework of a single work, two novels interact in a complex way – the novel […]...
25. Love and forgiveness are not so much Christian concepts as universal ones. They form the basis of all morality, of all world religions. For Mikhail Bulgakov, they are the meaning-forming principles that lie at the foundation of the building of his novel. The writer embodies in prose the ideas that Russian culture has been dreaming of for 50 years. They were simply embodied, mainly in the poetic texts of Tyutchev, Solovyov, Blok, […]...
26. The problem of creativity and creative personality has faced writers at all times. But the confrontation between the two concepts was especially acute in Soviet times, when Nekrasov’s formula was put into practice: “You may not be a poet, but you must be a citizen.” In other words, politics stood above creativity, and literature was subject to a single canon, the so-called social order. But at any time […]...
27. Pushkin! We sang secret freedom after you! Give us a hand in bad weather, Help us in the silent struggle! L. A. Blok The novel “The Master and Margarita” is constructed extremely complexly: it is a novel within a novel. The work combines a novel about the Master and a novel by the Master. At first glance, the image of the title character and the story of his life occupy a secondary place in the work, Master […]...
28. In his immortal novel “The Master and Margarita” Bulgakov raised eternal questions of various nature. For example, he considers the problem of true and imaginary values ​​in human life. According to Bulgakov, one of the most important values ​​in this world is true art, true creativity. At the very beginning of the novel, the writer introduces us to two heroes - representatives of the “writing fraternity”. One […]...
29. Not a single work of Russian classical literature has yet passed without, in one way or another, consecrating the immortal theme of love. Writers have seen this feeling differently. For some it was a curse, for others it was a blessing, for others it was patriotism, for others it was motherhood... But one way or another, no one denied their heroes the happiness of love. It is known […]...
30. CLASSICS OF M. A. BULGAKOV MYSTERIOUS EVENTS IN M. A. BULGAKOV’S NOVEL “THE MASTER AND MARGARITA” The work of M. A. Bulgakov “The Master and Margarita” is a complex, multi-layered novel. In addition, this is a life novel. Bulgakov, it seems to me, put all his creative skill into it, made his beliefs available to readers, everything that he believed in, everything about […]...
31. The theme of cowardice connects the two lines of the novel. Many critics will attribute cowardice to the master himself, who was unable to fight for his novel, for his love and his life. And this is precisely what will be explained by the rewarding of the master after the completion of the entire story with peace, and not light. Let's look at this in more detail. At the end of the novel, when Woland leaves Moscow, […]...
32. M. A. Bulgakov’s novel “The Master and Margarita” is the most significant and complex work of the writer. V. Petelin rightly noted: “But so far no critic has been able to identify the true creative plan of M. Bulgakov, embodied in the novel “The Master and Margarita” - each critic has his own Bulgakov, as well as each reader.” It is no coincidence that the word “master” was introduced by Bulgakov in [...]
33. When people are completely robbed, like you and me, they seek Salvation from an otherworldly force. M. Bulgakov. The Master and Margarita M. A. Bulgakov’s novel “The Master and Margarita” is unusual in that reality and fantasy are closely intertwined in it. Mystical heroes are immersed in the whirlpool of the turbulent Moscow life of the 30s, and this blurs the boundaries between the real world and [...]
34. I am part of that force that always wants Evil and always does good... V. Goethe. Faust The question of what good and evil are, where they come from, belongs to the category of the most difficult ones that humanity has been struggling with for hundreds of years. Any attempts at answers entail a whole network of additional questions that entangle human consciousness, but […]...
35. The place of the novel “The Master and Margarita” in the life and work of its author. Bulgakov worked on the novel “The Master and Margarita” for 1928-1940 years. Six editions of the work are known. Even being seriously ill, the writer made changes to the text of the most important novel of his life, dictating them to his wife, who was the prototype of the main character of the work. The novel was first published only in 1966 […]...
36. “The Master and Margarita” is a complex, ambiguous work. Much has already been said about the novel, and even more will be said. There are many interpretations of the famous novel. Every time you re-read it, you discover something new. Good and evil are one of the central themes of the novel. This topic is eternal, it has worried people at all times – and at all times it has found […]...
37. Plan Introduction Moscow as a scene of action Image of representatives of Massolit and the variety show Images of Muscovites in the novel In conclusion Introduction Moscow in Bulgakov’s “The Master and Margarita” was not in vain chosen as the main location of the novel. The second is Yershalaim. In the ancient city Yeshua carries his bright ideas, in Moscow for 30 years Woland has been “touring”, lamenting “that people have not changed at all.” […]...
38. In Bulgakov's novel “The Master and Margarita” there are many cross-cutting themes. One of them is the theme of the devil, and this, in fact, is where the work begins. The hidden intrigue of the novel is determined, which lures us into the world of three dimensions: past, present and otherworldly. This storyline intersects the fates of many of the novel's heroes. Let's consider the literary elite of Moscow. It is from this elite that [...]
39. Unconventional image of Satan in M. Bulgakov’s novel “The Master and Margarita” We are accustomed to associate Satan with evil. Throughout our lives, the image of a bad creature is imposed on us by literature, newspapers, and television. Which is only looking for a moment to mischief, deceive, betray and lure into a trap. A creature that never does anything just like that, with whom no matter what happens, [...]
40. In the spiritual atmosphere of today's society, many years ago torn away from religion (“the majority of our population consciously and long ago stopped believing fairy tales about God,” Berlioz says proudly), the lack of higher moral models is acutely felt. According to a long-standing Russian tradition, they are looked for in writers. And it will not be an exaggeration to say that it is M. A. Bulgakov who is the very […]...

The theme of creativity and the fate of the artist interested Mikhail Bulgakov all his life. But the pearl of the writer’s entire work was his last work - the novel “The Master and Margarita”.

It was not by chance that the word “master” was coined by M.A. Bulgakov in the title of his famous novel “The Master and Margarita”. The master is indeed one of the central figures of Bulgakov's work. The master is a historian turned writer. The master is a talented person, but extremely impractical, naive, timid in everyday affairs. Some critics consider his image to be autobiographical, reflecting the real experiences and life conflicts of Bulgakov himself. Others are looking for a prototype of the master in Bulgakov’s literary circle. But it is obvious to everyone that Bulgakov depicted the typical tragic fate of an honest writer in a totalitarian society.

The life of the Master, a historian by training, was colorless. However, he had a dream - to write a novel about Pontius Pilate, to embody his own vision of a story that happened two thousand years ago in an ancient Jewish city. Soon the opportunity to fulfill this dream presented itself - he won one hundred thousand rubles. The master gave himself entirely to his work. Along with creativity, true love comes to him - he meets Margarita. It was Margarita who called him Master, hurried him, promised him glory.

The novel was completed. But the trials begin: the novel was not accepted for publication, only part of it was published, and critics responded to the publication with devastating articles. The master is arrested and ends up in a psychiatric hospital.

Compared to other MASSOLIT writers, the Master stands out precisely because of his authenticity. M. Bulgakov shows that these so-called creative people do not have creative interests at all. They only dream of dachas, sabbaticals, and eating tasty and cheap food. The reader has the opportunity to observe how only one evening passes at MASSOLIT. The themes of works are imposed on writers, as is the execution.

It’s completely different with the Master’s work. He chooses the theme of his novel freely, but this freedom is not so simple. Let us note that the text of the Master’s novel in Bulgakov’s novel exists, as it were, apart from the Master. First, we learn this text from Woland’s story, then from Bezdomny’s dream, and only at the end, when we know that the novel was burned, from the manuscript restored by Woland. This situation is symbolic: “manuscripts don’t burn,” because true artistic creativity exists not only on paper and not even only in the mind of the artist. It exists objectively, as a reality equal to life, and the writer does not so much create it as guess it.

There is hardly a reader who will take it upon himself to claim that he has found the keys to all the mysteries hidden in the novel. But much in the novel will be revealed if you at least briefly trace the ten-year history of its creation, without forgetting that almost all of Bulgakov’s works were born from his own

Experiences, conflicts, shocks. Using the example of the fate of master M.A. Bulgakov in the novel contains the most important thoughts, judgments and reflections for him about the place of the artist, the creative personality in society, in the world, about his relationship with the authorities and his conscience. M.A. Bulgakov comes to the conclusion that an artist should not lie either to himself or to other people. An artist who lies, who is at odds with his conscience, loses all right to creativity.

Having made the master his double, giving him some of the vicissitudes of his fate and his love, M.A. Bulgakov retained for himself acts that the master no longer had the strength to do, and could not have done due to his character. And the master receives eternal peace along with Margarita and the manuscript of the novel he burned, rising from the ashes. And I confidently repeat the words of the all-knowing Woland: “manuscripts don’t burn...”