The history of the creation of Bulgakov's novel "The Master and Margarita. Dramatic history of creation

The novel by Mikhail Afanasyevich Bulgakov "The Master and Margarita" was not completed and was not published during the author's lifetime. It was first published only in 1966, 26 years after Bulgakov's death, and then in an abbreviated journal version. The fact that this greatest literary work has reached the reader, we owe to the writer's wife, Elena Sergeevna Bulgakova, who managed to save the manuscript of the novel in difficult Stalinist times. Bulgakov dated the start of work on The Master and Margarita in various manuscripts either 1928 or 1929. In the first edition, the novel had variants of the names Black Magician, Engineer's Hoof, Juggler with a Hoof, Son V., Tour. The first edition of The Master and Margarita was destroyed by the author on March 18, 1930, after receiving news of the ban on the play The Cabal of Saints. Bulgakov reported this in a letter to the government: “And personally, with my own hands, I threw a draft of a novel about the devil into the stove ...”

Work on The Master and Margarita resumed in 1931. Rough sketches were made for the novel, and Margarita and her unnamed companion, the future Master, already appeared here, and Woland acquired his violent retinue. The second edition, created before 1936, had the subtitle " fantasy novel” and variants of the names “Grand Chancellor”, “Satan”, “Here I am”, “Black Magician”, “Hoof of the Consultant”.

The third edition, begun in the second half of 1936, was originally called The Prince of Darkness, but already in 1937 the now well-known title The Master and Margarita appeared. May - June 1938 full text first reprinted. The author's editing continued almost until the death of the writer, Bulgakov stopped it at Margarita's phrase: “So this, then, is the writers following the coffin?” ...

Bulgakov wrote The Master and Margarita for a total of more than 10 years. Simultaneously with the writing of the novel, work was underway on plays, staging, libretto, but this novel was a book that he could not part with - a novel-fate, a novel-testament. The novel absorbed almost all of the works written by Bulgakov: Moscow life, captured in the essays "On the Eve", satirical fantasy and mysticism, tested in the stories of the 20s, motives of knightly honor and restless conscience in the novel " white guard», dramatic theme the fate of the persecuted artist, unfolded in "Molière", a play about Pushkin and "Theatrical Novel" ... In addition, the picture of the life of an unfamiliar eastern city, captured in "Running", prepared a description of Yershalaim. And the very way of moving back in time - to the first century of the history of Christianity and forward - to the utopian dream of "peace" was reminiscent of the plot of "Ivan Vasilyevich".

From the history of the creation of the novel, we see that it was conceived and created as a "novel about the devil." Some researchers see in it an apology for the devil, admiring the gloomy power, capitulation to the world of evil. Indeed, Bulgakov called himself " mystical writer”, but this mysticism did not darken the mind and did not intimidate the reader ...

Many authors of various works and articles about Bulgakov argue that the main philosophical line of the novel is the struggle between good and evil. In my opinion, this is too superficial consideration. The struggle between good and evil is also observed in Russian folk tales, in which one can also see some kind of philosophy, but the whole point is that Bulgakov's novel about the devil is not a fairy tale, but a true story about the social structure Soviet society, where good and evil sometimes change beyond recognition in their appearance and take on truly bizarre forms.

To start, in short. Woland and his retinue arrived in Moscow to punish the deceived Soviet inhabitants. Depicting his activities, the writer reflects on the possibilities of harmony in general in human world. The heroes of the novel are the procurator of Judea, Pontius Pilate, Yeshua, and representatives of the Russian creative intelligentsia. Philosophical reflections are also present in the procurator's disputes with Yeshua, and in Woland's conversations with the townsfolk. A time interval of almost two millennia separates the action of the novel about Jesus and Pilate and the novel about the Master. It is possible that with the help of this, Bulgakov wants to show the eternity of the struggle between positive and negative in man, freedom and non-freedom. human spirit, as well as its relationship with society.

In their philosophical quest the writer puts the Master in situations similar to the fate of Christ. The master also undergoes great trials in his field. Bulgakov, in artistically and philosophically vivid images, shows the true and imaginary strength of man on earth, the true and imaginary freedom of his spirit. For example, Pontius Pilate, who has power over Yeshua and conducts his interrogation, suddenly begins to feel the superiority of the spirit of the impoverished philosopher over himself, the great ruler of people. Undoubtedly, the author subtly psychologically noted that the true greatness of the spirit cannot but inspire a sense of respect and even fear. strong of the world this.

Pontius Pilate, despite his suffering, cannot save peace of mind in a verbal duel with a beggar philosopher. The ruler is not helped by his philosophy of the slave owner. He feels that with this philosophy he is defenseless before the highest truth and harmony of the world. On the other hand, Yeshua remains true to his truth even in the face of death, and not just before the procurator.

Interestingly, Pilate is a very complicated person. He is not just a villain and a coward. He is the man who social conditions, which have developed before it, are kept within certain limits. His soul begins to rebel, feeling that Yeshua is right. But Bulgakov certainly does not notice this and mercilessly condemns Pilate for his deed: the death sentence of Yeshua. Bulgakov-philosophers in this case takes the place of Yeshua, and, despite the objective and subjective conditions under which Pilate cannot act otherwise, the author affirms the highest philosophical law, according to which, on a certain moral level there can't be two right decisions but there is only one step to the highest truth.

The writer puts the master in a somewhat different philosophical position. The master is sure that all people cannot become positive in everything and that they need to forgive insults. He still can not reach the soul to higher truth, but his belief that "manuscripts do not burn", if they are honest books, leaves him the right to understand in the future the highest truth and harmony of the world.

Bulgakov writes about all the oddities and deformities of the life of his contemporaries with a smile, in which, however, it is easy to distinguish both sadness and bitterness. Another thing is when his gaze falls on those who have adapted perfectly to these conditions and are prospering: on bribe-takers and swindlers, bossing fools and bureaucrats. The writer also unleashes evil spirits on them, as he had planned from the first days of work on the novel.

The forces of hell play a somewhat unusual role in The Master and Margarita. They do not so much lead good and decent people astray from the path of the righteous, but lead them to clean water and punish already established sinners. woland bulgakov master margarita

The evil spirits are perpetrating in Moscow, at the behest of Bulgakov, many different outrages. It was not for nothing that the writer added his exuberant retinue to Woland. It brings together experts different profiles: the master of mischievous tricks and pranks, the cat Behemoth, the eloquent Koroviev, who owns all dialects and jargons - from semi-thieves to high society, gloomy Azazello, extremely inventive in the sense of knocking out different kind sinners from apartment number 50, from Moscow, even from this to the next world. And, either alternating or acting in pairs or threes, they create situations that are sometimes eerie, as in the case of Rimsky, but more often comical, despite the devastating consequences of their actions.

Styopa Likhodeev, the director of the variety show, gets away with Woland's assistants throwing him from Moscow to Yalta. And he has a whole load of sins: “... in general, they are,” reports Koroviev, speaking of Styopa in plural, - in recent times creepy pigs. They get drunk, get involved with women, using their position, they don’t do a damn thing, and they can’t do a damn thing, because they don’t understand anything about what they are entrusted with. The authorities are rubbed glasses.

“They are driving a state-owned car in vain! - the cat also snitched"

And for all this, just a forced walk to Yalta. Without too serious consequences, a meeting with evil spirit and Nikanor Ivanovich, who really doesn’t play around with currency, but still takes bribes, and Uncle Berlioz, the cunning hunter for his nephew’s Moscow apartment, and the leaders of the Spectacular Commission, typical bureaucrats and loafers.

On the other hand, extremely severe punishments fall on those who do not steal and are not smeared with Stepin's vices, but have one seemingly harmless flaw. The master defines it like this: a person without a surprise inside. For the financial director of the variety show, Rimsky, who is trying to invent "ordinary explanations for extraordinary phenomena", Woland's assistants arrange such a horror scene that in a matter of minutes he turns into a gray-haired old man with a shaking head. They are completely ruthless to the barman of the variety show, the very one who pronounces famous words about sturgeon of the second freshness. For what? The barman just steals and cheats, but this is not his most serious vice - in hoarding, in the fact that he robs himself. “Something, your will,” Woland remarks, “bad things lurk in men who avoid wine, games, the company of lovely women, and table conversation. Such people are either seriously ill or secretly hate others.

But the saddest fate goes to the head of MASSOLIT, Berlioz. The trouble with Berlioz is the same: he is a man without imagination. But there is a special demand from him for this, because he is the head of a writers' organization - and at the same time an incorrigible dogmatist, recognizing only stamped truths. Raising the severed head of Berlioz at the Great Ball, Woland turns to her: "To each will be given according to his faith ...". It seems to me that only at this moment does the first real meeting between Berlioz and Woland take place. With seeming omnipotence, the devil administers his judgment and reprisal in Soviet Moscow. Thus, Bulgakov gets the opportunity to arrange, even if only verbally, a kind of court and retribution for literary rogues, administrative swindlers and all that inhuman bureaucratic system that is only subject to the devil's judgment.

With the help of Woland's assistants, Bulgakov conducts his satirical and humorous review of the phenomena of Moscow life. He needs an alliance with Woland for other, more serious and important goals.

In one of recent chapters Bulgakov's novel shows us the dialectical unity, the complementarity of good and evil. To Woland, on behalf of Yeshua Ha-Notsri, Levi Matvey comes to ask for the Master: “I am to you, the spirit of evil and the lord of shadows ...” - you pronounced your words like this, - Woland notices, - as if you do not recognize the shadows, and also and evil. Would you be so kind as to think about the question: what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it? After all, shadows are obtained from objects and people. Here is the shadow of my sword. But there are shadows from trees and from living beings. Don't you want to rip off the whole Earth by blowing away all the trees and all living things from it because of your fantasy of enjoying the naked light? Here is another example of Sharikovshchina, only from the diametrically opposite side. Clear everything to achieve your goal, regardless of anything and no one.

Bulgakov was least of all attracted by the enjoyment of naked light, although the surrounding life was not so abundant in it. What Yeshua preached was dear to him - goodness, mercy, the kingdom of truth and justice, where no power would be needed at all. With the help of Yeshua and the Master, Bulgakov preaches Ethics and morality. But this far from exhausted what, in his opinion, people needed for the fullness of life, for the eternal movement of thought and eternal work imagination, and ultimately for happiness. Without the play of light and shadow, without fiction, without unusualness and mysteries, life, according to Bulgakov, cannot be complete. And all this is already under the control of Satan, the prince of darkness, the lord of shadows.

Article menu:

The immortal novel by Mikhail Afanasyevich Bulgakov tells about the immortal. What are eternal things? Are there eternal things? And how can a person overcome his finiteness if not through love?
Every reader who opened this book at least once felt that the work seemed to be stuck together from two parts. Yes, and in the text itself we have a hint: there is a novel that the Master writes - a manuscript that does not burn, but there is also a canvas, a context from which we learn about the Master, about his novel, about the suffering and love of heroes. It is easy to see that this canvas seems to have been created by a completely different hand. So, before us is a legend, a great literary hoax.

Despite the fact that the book does not at all seem easy to understand, numerous films and television series have been created based on the novel by M. Bulgakov, as well as theatrical performances. The latter require special skill: after all, how is it possible on stage, without resorting to the latest technological or non-standard avant-garde means, to depict all the unusual and strangeness of what is happening?

Of course, perhaps, it is not even worth mentioning the obvious: "The Master and Margarita" has long become, moreover, a source of quotations, a reference book for lovers of aphorisms.

Many call the writer's book the pinnacle of his work. History often shows its finicky not only in terms of which individuals it wants to immortalize, but also in the selection of works of art for eternity.

“The Master and Margarita” is not the first case when the text, unlike all variations of the author’s previous creative work, becomes his most famous work.

About how the idea of ​​creating "The Master and Margarita" arose

It is perhaps difficult to say at what specific moment the writer has the idea of ​​creating a work. Of course, this idea does not arise uniquely once and for all, without remaining unchanged. But we feel in The Master and Margarita the influence German romanticism, in particular, it can be assumed that M. Bulgakov drew inspiration from Faust, a no less famous text by J. W. von Goethe.

However, it is also obvious that the history of writing a novel by a Russian writer is replete with "blank spots".

There is evidence that the author made sketches for the novel as early as 1928-1929 - during his stay in Moscow. Several variants of the original form of the novel are known, one of which, for example, was entirely devoted exclusively to the story of Pilate.

It is curious that not all readers, and especially readers, like this part of the novel, which tells about Pontius Pilate. Some feel that these moments - the presentation of pages from the Master's book - are boring and alien to the novel.

Actually, this is where the legend arose that in fact the novel was created not by M. Bulgakov at all, but by his Margarita, the writer's last lover. That is why in the work one feels like two different hands. Last wife writer Elena Sergeevna Shilovskaya is officially recognized as the main prototype of the image of Margarita. But some amateurs who are especially interested in this topic assign Margarita a more significant role - not only as a guardian and muse, but also as a co-author of the novel.

In the first version of the work, there was no speech at all about the Master and Margarita, about Woland's arrival in Moscow and about the peculiarities of the events unfolding on Patriarch's Ponds and on Sadovaya Street. It seems strange, because it is this coil storyline"The Master and Margarita" made the novel go down in history and in the hearts of its many fans.

In addition, M. Bulgakov suggested other options for naming the novel: for example, "Prince of Darkness", "Woland's Tour", and also "Cherny Magus". Everything changed some time before the death of the author: in 1937, M. Bulgakov changed the title of the novel to The Master and Margarita. It is no secret that the work on the novel was indeed continued by Elena Shilovskaya, but the fate of the work is no less dramatic, and perhaps even tragic, than the fate of its main characters. During the life of the writer, the novel was not published, moreover, it was not even finished. Is it ironic that it was The Master and Margarita that became the most famous novel by M. Bulgakov, his permanent calling card?

Manuscript burning

M. Bulgakov is far from the first artist (in the broad sense of the word) who independently and voluntarily tried to destroy his work. As an example, we could recall the great Italian sculptor Michelangelo Buonarotti, who also smashed with his own hands one of the great sculptures - "Pieta". As in the case of The Master and Margarita, the Pieta did not disappear, just a new one appeared in place of the old sculpture, which also differs significantly from everything that the sculptor created before.

In the spring of 1930, the writer experienced a certain crisis, as a result of which, extremely dissatisfied with himself and his work (a normal thing for an author!), Being under constant pressure from public circles, he threw his manuscript into the fire. The writer himself will later recall, repenting of his act, how he took drafts out of his desk and inexorably destroyed the fruits of his labor. But, as you know, "manuscripts do not burn." The same moment exists in the novel itself: there Margarita saves the manuscript from the fire. But the pages were already damaged by fire anyway, and it was impossible to restore some parts ordinary person, nor the restorer. However, this was within the power of Woland.

Two years later, M. Bulgakov, having collected parts of draft notebooks untouched by fire, begins to create the novel anew. Interestingly, in a correspondence with a friend, he says that he has no idea what he wants to do and what, in the end, he will succeed.

But in 1940, the writer was overtaken by a serious illness. He no longer had the strength to write a novel on his own - the disease was sharpening him too quickly, like a worm. Therefore, he dictates to his wife the corrections that should be made to the text. Elena herself - in whose image, and even appearance, we see many similarities with Margarita - was engulfed in work and completely immersed in her husband's last business.

But the story doesn't end there. Elena will work on the novel, make corrections to it and proofread it for about twenty more years before the novel finally sees the light and falls into the hands of the reader.

"The Master and Margarita": developments, printing, fame and tragedy

As we have already mentioned, the editing of the novel and its completion took not only a lot of time, but also a lot of effort. But the business stopped due to publishing difficulties: neither publication wanted to take the novel to print, because at that time it was too dangerous to decide to print such a novel without permission.

As a result, the novel is not published for a long time. Indeed, he was too innovative - not only in form, but also in matters of meaning and content - for the era of cuts and censorship. However, no publishers' refusal to print the novel kept the curious eye of the reader from samizdat.

In 1967-1968, the novel finally gets into print: it is accepted by the Moscow magazine. But the full version of the work was not printed: many parts of the text were cut out, the novel was significantly edited, some dialogues with Woland disappeared, and the episode of Woland's ball was not included in this version.

Finally, full version The novel will be printed in Germany, but this will not happen until 1969. But in 1973, for this reason, the authorities of the Soviet Union forbade the publication of all earlier versions of The Master and Margarita on the territory of the USSR.

The history of the creation of the novel by Mikhail Bulgakov "The Master and Margarita

5 (100%) 1 vote

Introduction

The Master and Margarita novel is known all over the world. Movies and series have been created based on its plot, and many cinemas consider it an honor to stage performances based on this amazing book.
The history of the creation of The Master and Margarita by Bulgakov is full of difficulties and experiences. This work is the crown of the writer, his swan song and "sunset" novel, perhaps that is why Mikhail Bulgakov gave him all the power of his talent, skill and imagination.

The idea of ​​a work

Now it is no longer known exactly when the idea of ​​​​the work and its images were born. It is known that the writer was very fond of Goethe's Faust, in one of the first versions of the novel, he called the master Faust. Perhaps it was the brilliant work of the German poet that gave the first sprouts of an idea for Bulgakov's no less brilliant novel.

In the history of writing "The Master and Margarita" there are many "blank spots". There is evidence that short draft notes were made by Mikhail Bulgakov back in 1928-1929. But in the first novel, all 160 pages of the manuscript were devoted to the history of Christ and the procurator and Woland's sparkling stay in Moscow with his unusual tours and revelations of the greedy public. There was no place for the master and Margarita, although it was thanks to them that the novel became so diverse and humane.

Among the options for the title of the work were "The Hoof of an Engineer" and "Woland's Tour", "The Prince of Darkness" and "The Black Magician", but shortly before his death, in 1937, Bulgakov would name his immortal work"The Master and Margarita". Editing the written chapters of the novel will last as long as the writer's heart beats. Then the work will be continued by his wife. During the life of the writer, his strongest work will neither be completed nor published.

"Manuscripts don't burn"

The spring of 1930 was a turning point for the writer and his work. In a fit of dissatisfaction with his work and under the yoke of the public, Bulgakov burned the first version of the novel. Later, in a work already written, the desperate master will also burn his manuscript: “I took out the heavy lists of the novel and draft notebooks from the desk drawer and began to burn them.” The master will be stopped by the coming Margarita, and the manuscript of the novel will later be brought back to life by Woland, uttering the phrase that has become an aphorism - “Manuscripts do not burn”!

Two years later, having found the surviving parts, Mikhail Bulgakov will begin to create his novel again. In his letters to a friend, he writes that "he himself does not know why he does it."

In 1940, the writer will be severely debilitated by the disease. Not having the strength to get up, he dictated corrections to the novel to his wife, who, like Margarita, was completely absorbed in working on latest work husband.

After the death of the writer, his widow Elena Sergeevna will edit the novel for about two decades and make attempts to publish it. The story of the master and Margarita will become for her last will husband, and the meaning of her life.

The fate of the novel

Having put a lot of effort into editing the novel, Elena Sergeevna could not find a place for him in publishing houses. She was refused, sent to other offices and to a higher authority, "for fear of making a decision about printing alone."

One publishing house answered her with the laconic phrase "Not the time." And indeed, the novel was very progressive for its prim and too traditional time.
Only almost three decades after Bulgakov's death, the novel will be accepted for publication and published by the Moscow magazine. This will happen in 1967-1968, but the version will be edited and greatly reduced. Many of Woland's monologues, as well as descriptions of the devil's ball and Margarita, will be cut out.

For the first time, the original version of the novel without censorship restrictions will be published by the Posev publishing house. It will happen in 1969 in Germany, and Soviet Union learns about the fate of the master and Margarita in 1973, thanks to the permission of the authorities to publish previously banned works.

"Master and Margarita" today

The history of the creation of the novel "The Master and Margarita" is interesting, like the novel itself. Despite the persecution of the authorities, the disappointment and illness of the writer, the novel was published and read. This work is now listed school programs, studied by literary schools. It really has a special, subtle subtext. Irony and satire here are intertwined with tragedy, biblical stories with everyday details, eternal suffering with the same eternal, immortal love. The novel is not unambiguous, which is reinforced by its special structure "History in History": events take place both in the ancient biblical ancestor of Jerusalem, and in modern Moscow. One thing is invariable, the spiritual values ​​glorified by the author: love and mercy, composure and forgiveness. And as long as they live in people, the novel will live, and with it the memory of the brilliant writer.

Artwork test

The work of Mikhail Bulgakov to this day attracts the attention of readers, critics, literary critics, cultural and art figures. A lot has been said and will be written about the writer's "last sunset novel". There are many meanings, meanings, interpretations this work. The creation of the novel "The Master and Margarita" is shrouded in riddles and secrets. This article is devoted to the disclosure of the problems of the work, the history of its occurrence.

How it all began?

The novel was originally conceived by the writer as instructive story about a truth that many people neglect. It was started in 1928. The characters of the characters were thought out, their personality traits, Problems. Perhaps there is no other work that would cause so much controversy as The Master and Margarita. The content of the novel is very interesting. You can't start reading a book and leave it in the middle!

The book grabs you from the very first pages. The reader wants to know as much as possible about what will happen next with the characters. Main actors are Woland, Margarita, the Master, the cat Behemoth, Koroviev, Azazello. Remarkably, almost every created hero had their own prototypes in real life. So, for example, in the apartment of Mikhail Afanasyevich himself lived a black cat, whose name was Behemoth. The image of Margarita Nikolaevna, no doubt, was created from the image of the third wife of the writer - Elena Sergeevna.

Manuscript burning

Having written the first part of the novel, Mikhail Bulgakov leaves work on it for some time, and then puts what he has written on fire. It is not clear what was the motive this action. Perhaps it was difficult for him to cope with the feelings and emotions raging inside, or he was led at that moment by higher mystical powers. In any case, the history of creation is unique. "The Master and Margarita" - greatest monument Russian literature, which has no analogues in the entire world culture.

The burning of the manuscript is highly symbolic. In the novel itself, the Master also throws written sheets of notebooks into the fireplace, which depict the story of Pontius Pilate and Yeshua. Why main character doing something like that is hard to explain. But the reader intuitively understands his actions, sympathizes with the troubles and fear of being misunderstood. Perhaps, once Mikhail Bulgakov suddenly decided that his book had no future, and therefore it was not worth creating it. Fortunately, the novel is still one of the most attractive and interesting in the whole world.

The meaning of the name

The most interesting, perhaps, lies in the fact that the title for the work was chosen for a long time. The author considered different variants, but none of them could satisfy his writing taste and fully reflect the essence of the novel. This is the peculiarity of the history of creation. "The Master and Margarita" is the final version, the result, to which Mikhail Afanasyevich comes. What other names existed before final choice? Here are some of them: "On the Devil and Christ", "Engineer with a Hoof", "Black Magician", "Grand Chancellor".

The novel "The Master and Margarita" is very many-sided. The theme of this work touches upon the issues of human creativity and freedom, love as a huge all-encompassing force, before which even the dark beginning recedes. Before the main characters appeared in the novel, the manuscript underwent significant changes several times. Its transformation consisted in the introduction of additional characters, a shift in emphasis from one idea to another. Several “undercurrents” can be traced in the text itself; it is ambiguous and mysterious. Some readers and even experts in the field of literary criticism noted that they tried several times in vain to determine main point works, but became more and more confused with each new reading.

Problems of the novel

"The Master and Margarita" is an ambiguous and exciting work. Each reader, no doubt, will be able to discern something of his own in it, come into contact with immeasurable depth and bright originality. The main themes of the novel, which require thoughtful participation, are the themes of freedom and destiny of a person, creativity as a necessary activity, love as the highest self-sufficient force that can overcome everything in its path.

Freedom is considered by the author as a value for which life can be given. At the same time, independence in itself is worth little; in the opinion of the writer, it must necessarily be connected to some kind of highest goal or aspiration, otherwise the person will become selfish. The writer needs freedom, because only being a free person can create something new, create. The purpose of the individual is closely connected with freedom, with the ability to remain self-sufficient and purposeful in any circumstances.

Love is considered in the novel from two sides: a strong attraction between two mature personalities and the feelings of a Christian. In the first case, to maintain love, self-sacrifice is often necessary, the ability to take into account the needs of your beloved. Margarita is not afraid of her own death, she is not afraid of any obstacles, if only they help her meet her loved one. In the second case, there is creative love, addressed to the very essence of human nature, to all people on the planet. It is this kind of love that Yeshua speaks about and for the sake of it he goes to the crucifixion.

The problems of the novel "The Master and Margarita" are intertwined and form a semantic unity, which is the basis of the work. The writer indicates the issues of being and the meaning of life, which it is important for people to pay attention to.

main characters

The image of the Master and Margarita is central in the novel. Each of the characters is interesting in its own way, the main characters cannot leave anyone indifferent. The moment of their first meeting immediately shows that both are extremely unhappy and lonely. Margarita suffered from an unbearable void that she could not fill with anything. And he talks about it married woman, which, it would seem, should be satisfied with everything. Master, creative person, was not completely satisfied with his life, despite the fact that he was in the process of creating literary work. These facts prove that no one can be absolutely happy without the presence of a loved one in their life.

Margarita makes a deal with the devil in order to save the Master. At the ball, she does not show her fatigue to anyone, although she herself can barely hold on and her strength is clearly running out. The image of the Master and Margarita in the work demonstrates that the ability to be close to a loved one determines the subjective feeling of happiness.

Criticism and rejection of society

Special adherents could copy the work by hand in its entirety and then zealously keep the forbidden manuscript. There was an opinion in criticism that the novel was anti-Soviet. Perhaps in the USSR they saw in him some kind of threat to the upbringing of the younger generation, so it is not surprising that the novel The Master and Margarita was subjected to such great persecution. Reviews of the book created the illusion in society that it was not necessary to read it.

Elena Sergeevna Bulgakova

In fact, the fact that the novel was preserved in the harsh Stalinist times is entirely the merit of the third wife of the writer. It is she, loving woman, managed to protect the creation of her husband from all sorts of attacks and complete destruction. Elena Sergeevna guarded the unprinted manuscript, like a baby whose turn had not yet come to be born. It is only to her that the novel owes its entry into society, which happened many years after it was written. During the life of the writer, it was not completed, so it was the faithful wife who was engaged in editing and finalizing the almost finished text.

Without a doubt, the attentive reader will see her many-sided image embodied on the pages of the novel. Margarita is endowed with the features of Elena Sergeevna: passionate, stubborn, bright personality, individuality. Their personal history of relationships with Mikhail Afanasyevich is very similar to the acquaintance of the heroes of the work. The novel "The Master and Margarita" became a real miracle of suffering. Reviews about him were very different, but no one remained indifferent.

Love is not punished!

To people of high moral standards, the relationship of married Margarita with the Master may seem sinful, wrong. However, we see that the main idea of ​​the novel is the assertion that true love is freedom. Before this sublime feeling, for the sake of which a loving woman sacrificed everything, even Woland, the demonic prince of darkness, retreats, thereby recognizing the triumph true love above oneself.

Instead of a conclusion

The novel has its own unique history creation. "Master and Margarita" - very difficult work, which has many additional subtexts. Different researchers in the field of literature interpret the novel in different ways, and this is natural, because everyone has an individual vision of life and their own ideas about how the world works.

Now you know what this work is about, what was its history of creation. The Master and Margarita is one of those novels that will never be forgotten!

This novel is known all over the world. Everyone will consider it an honor to put on a play or release a movie based on the plot of a brilliant work.
The history of the creation of the novel "The Master and Margarita" is thoroughly saturated with deep feelings, inner drama. In his brainchild, which is the latest creation, the author tried to put the maximum of talent and imagination, transferring all the skill he is capable of.

Start

Bulgakov began work on the novel in 1928. The work remained unfinished. It took exactly 10 years to write it, up to last days the author's life. As the protagonist of the novel The Master, Bulgakov threw the manuscript into the flames of hell, but "manuscripts do not burn." Woland (Satan) said so, and he was right.

Two years will pass before Bulgakov returns to the work. The writer will be able to find a few burnt pages and again try to recreate all the fragments of the novel from memory. It's a shame, it was not destined to wait for the publication. The disease undermined his strength, bedridden. The wife made corrections under dictation. For Elena Sergeevna, work on the novel has become the meaning of life. This was Bulgakov's last will, and in memory of him, she would try to publish the novel for another two decades in memory of him.

After Bulgakov's death

Elena Sergeevna, Bulgakov's wife, managed to get used to hearing refusal everywhere. Driving from one office to another, the woman was clearly given to understand that the time had not come for such progressive works. The first to take the liberty of publishing the novel was the Moscow magazine. It happened in 1968. Having fallen into their hands, the publishers preferred to cut the work, editing it at their discretion. Many scenes did not reach the reader, depriving him of the opportunity to enjoy the original.

The next will be the publishing house "Posev". "The Master and Margarita" will be released from their submission in the original, without editorial notes. This will happen not in the Soviet Union, in Germany. Four years later, the novel will reach our reader. This will happen in 1973, when the taboo on prohibited works will be completely removed.

Our days

Interest in the novel has not faded so far. Having passed persecution, censorship, he literally rose from the ashes, having received a chance for a second birth. He is discussed, criticized, slandered, looking for hidden subtext in every line. But one thing is invariable - spiritual values. Bulgakov managed to convey to the reader that the main thing in the world is love, freedom, forgiveness, and not evil and greed. As long as these feelings are alive in each of us, the novel and the memory of the brilliant writer, whose work will forever remain in our hearts, will live.