What world do the master and margarita belong to. Three worlds in the novel "The Master and Margarita" - composition

Lesson Objectives:

• Show the genre and compositional originality of M. Bulgakov's novel "The Master and Margarita".
• Philosophical understanding of the number "three" in M. Bulgakov's novel "The Master and Margarita".
• Understand the features of the interpenetration of the three worlds in the novel.
• Learn moral lessons, the main values ​​that the writer talks about.
• To promote the development of interest in the personality and work of the writer.

Lesson equipment: a multimedia installation, a CD with a recording of an electronic lesson, an exhibition of books-works of the writer, a stand “Life and work of M.A. Bulgakov”, a newspaper “Satire in M. Bulgakov’s novel “The Master and Margarita”, installation on the topic.

Lesson plan.

Introduction by the teacher.

Hello, dear children, dear guests! Grade 11B of secondary school No. 78 of the Privolzhsky district of Kazan welcomes you to a lesson on the topic: “Three worlds in the novel by M. Bulgakov“ The Master and Margarita ”.

Today we will continue the study of the novel created by M. Bulgakov. So, the objectives of our lesson are as follows:

1. Show the genre and compositional originality of M. Bulgakov's novel "The Master and Margarita".

2. Pay attention to the symbolism of the number "three" in M. Bulgakov's novel "The Master and Margarita".

3. To comprehend the interpenetration of the three worlds.

4. Learn moral lessons, the main values ​​that the writer is talking about.

We have three groups that will represent the three worlds of the novel:

Yershalaim world;

Moscow reality;

Fantasy world.

1) Messages from prepared students (philosophy of P. Florensky, G. Skovoroda about the trinity of being)

2) Group work

So, the first group works.

Teacher:

How does his portrait reveal Pilate's character?

How does Pilate behave at the beginning of the meeting with Yeshua and at the end of their meeting?

What is Yeshua's main belief?

The idea of ​​the work: any power is violence against people, "the time will come when there will be no power of either Caesar, or any other power."

Who is the personification of power?

The personification of power, the central figure is Pontius Pilate, procurator of Judea.

How does Bulgakov portray Pilate?

Pilate is cruel, they call him a ferocious monster. He only boasts of this nickname, because the law of force rules the world. Behind Pilate's shoulders is the great life of a warrior, full of struggle, deprivation, and mortal danger. Only the strong, who does not know fear and doubt, pity and compassion, wins in it. Pilate knows that the winner is always alone, he cannot have friends, only enemies and envious people. He despises the mob. He indifferently sends some to execution and has mercy on others. He has no equal, there is no person with whom he would just want to talk. Pilate is sure: the world is based on violence and power.

Compiling a CLUSTER.

Please find the interrogation scene (chapter 2) Pilate asks a question that should not be asked during an interrogation. What is this question?

"What is truth?"

Pilate's life has long been at an impasse. Power and greatness did not make him happy. He is dead at heart. And then a man came who lit up life with a new meaning. The hero is faced with a choice: save an innocent wandering philosopher and lose his power, and possibly his life, or save his position by executing an innocent and acting against his conscience. In fact, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth is dearer to him than life. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sanhedreon does not change its mind.

Why does Pilate approve the death sentence?

Why was Pilate punished?

“Cowardice is the most serious vice,” Woland repeats (Chapter 32, night flight scene). Pilate says that “more than anything in the world he hates his immortality and unheard-of glory” And then the Master enters: “Free! Free! He is waiting for you!" Pilate is forgiven.

Never talk to strangers.

PRESENTATION.

What does the Master say about Berlioz? Why?

Students:

The master speaks of him as a well-read and very cunning person. Much has been given to Berlioz, but he consciously adapts himself to the level of the worker poets he despised. For him there is no God, no devil, nothing at all. Except ordinary reality. Where he knows everything in advance and has, if not unlimited, but quite real power. None of the subordinates is engaged in literature: they are only interested in the division of material goods and privileges.

Why is Berlioz so terribly punished?

Because he's an atheist? For the fact that he adapts to the new government? For seducing Ivanushka Bezdomny with unbelief?

Woland gets annoyed: “What do you have, whatever you miss, there’s nothing!” Berlioz receives “nothing”, non-existence. He receives according to his faith.

Each will be given according to his faith (Ch. 23) Insisting that Jesus Christ did not exist, Berlioz denies his preaching of kindness and mercy, truth and justice, the idea of ​​good will. Chairman of MASSOLIT, editor of thick magazines, living in the power of dogmas based on rationality, expediency, devoid of moral foundations, denying belief in the existence of metaphysical principles, he implants these dogmas in human minds, which is especially dangerous for a young, fragile consciousness, therefore the “murder” of Berlioz Komsomol member acquires a deeply symbolic meaning. Not believing in other existence, he goes into non-existence.

What are the objects and techniques of Bulgakov's satire?

• Styopa Likhodeev (ch. 7)
• Varenukha (ch.10,14)
• Nikanor Ivanovich Bosoy (Ch. 9)
• Bartender (ch.18)
• Annushka (ch.24,27)
• Aloisy Mogarych (ch.24)

The punishment is in the people themselves.

The critics Latunsky and Lavrovich are also people invested with power, but deprived of morality. They are indifferent to everything except their career. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of vicious power. History sends such people into oblivion.

The townspeople have changed a lot on the outside...a much more important question: have these townspeople changed on the inside?

Answering this question, the evil spirit enters into action, conducts one experiment after another, arranges mass hypnosis, a purely scientific experiment. And people show their true face. The reveal session was a success.

The miracles demonstrated by the Woland retinue are the satisfaction of people's hidden desires. Decency flies from people, and eternal human vices appear: greed, cruelty, greed, deceit, hypocrisy ...

Woland sums up: “Well, they are people like people ... They love money, but it has always been ... Ordinary people ... in general, they resemble the former ones, the housing problem only spoiled them ...

What does the evil spirit make fun of, scoff at? How does the author portray the inhabitants?

The image of Moscow philistinism is served caricature, grotesque. Fiction is a means of satire.

Who told you that there is no true, true, eternal love in the world?

Let the liar cut out his vile tongue!

Margarita is an earthly, sinful woman.

How did Margarita deserve the special mercy of the higher powers that control the universe?

Margarita, probably one of those one hundred and twenty-two Margaritas that Koroviev spoke about, knows what love is.

Love is the second way to super-reality, just like creativity - that's what can resist the ever-existing evil. The concepts of goodness, forgiveness, responsibility, truth, harmony are also connected with love and creativity. In the name of love, Margarita performs a feat, overcoming fear and weakness, overcoming circumstances, demanding nothing for herself. Margarita is the bearer of great poetic and inspirational love. She is capable not only of boundless fullness of feelings, but also of devotion (like Matthew Levi) and the feat of fidelity. Margarita is able to fight for her Master. She knows how to fight, defending her love and faith. Not the Master, but Margarita herself is now associated with the devil and enters the world of black magic. Bulgakov's heroine takes this risk and feat in the name of great love.

Find evidence for this in the text.

The scene of the ball at Woland's (chapter 23), the scene of Frida's forgiveness (chapter 24).

Margarita values ​​the novel more than the Master. By the power of his love, he saves the Master, he finds peace. The true values ​​affirmed by the author of the novel are connected with the theme of creativity and the theme of Margarita's love: personal freedom, mercy, honesty, truth, faith, love.

Compiling a CLUSTER.

So, what is the leading issue that comes up in the real plan of the story?

The relationship between the creator-artist and society.

How is the Master similar to Yeshua?

They are related by truthfulness, incorruptibility, devotion to their faith, independence, the ability to empathize with someone else's grief. But the master did not show the necessary fortitude, did not defend his dignity. He did not fulfill his duty and was broken. That's why he burns his novel.

PRESENTATION.

With whom did Woland come to earth?

Woland did not come to earth alone. He was accompanied by beings who in the novel mostly play the role of jesters, arrange all kinds of shows, disgusting and hated by the indignant Moscow population (they simply turned human vices and weaknesses inside out).

What was the purpose of Woland and his retinue in Moscow?

Their task was to do all the dirty work for Woland, serve him, prepare Margarita for the Great Ball and for her and the Master's journey to the world of peace.

Who made up Woland's retinue?

Woland's retinue consisted of three “chief jesters: the Cat Behemoth, Koroviev-Fagot, Azazello and another vampire girl Gella.

The problem of the meaning of life.

Woland's gang, which commits murders, abuses, deceptions in Moscow, is ugly and monstrous. Woland does not betray, does not lie, does not sow evil. He reveals, reveals, reveals the vile in life in order to punish it all. On the chest is the mark of a scarab. He has powerful magical powers, learning, the gift of prophecy.

Compiling a CLUSTER.

What is the reality in Moscow?

A real, catastrophically developing reality. It turns out that the world is surrounded by grabbers, bribe-takers, sycophants, swindlers, opportunists, self-interested people. And now Bulgakov's satire is ripening, growing and falling on their heads, the conductors of which are aliens from the world of Darkness.

Punishment takes many forms, but it is always just, done in the name of good, and deeply instructive.

How are Yershalaim and Moscow similar?

Yershalaim and Moscow are similar in landscape, in the hierarchy of life, and in morals. Common are tyranny, unfair trial, denunciations, executions, enmity.

3) Analysis of individual works:

Compilation of clusters (images of Yeshua, Pontius Pilate, Master, Margarita, Woland, etc.);

Presentation of student work.

4) The results of the lesson, conclusions.

• all plans of the book are united by the problem of good and evil;
• themes: the search for truth, the theme of creativity
• all these layers and space-time spheres merge at the end of the book.

Genre Synthetic:

And a satirical novel

And comic epic

And a utopia with elements of fantasy

And historical narrative.

INSTALLATION and ANSWER TO THE MAIN QUESTION OF THE LESSON

So in the name of what can one ascend Golgotha? In the name of what did Jesus Christ, Yeshua, the writer's contemporaries, M.A. Bulgakov himself go to torment?

Main conclusion:

You can climb Golgotha ​​in the name of TRUTH, CREATIVITY, LOVE - the author believes.

5) Homework: an essay on the topic: “Human mercy” (a fragment of the feature film by V. Bortko “The Master and Margarita” - The Master forgives P. Pilate).

LITERATURE

1. Andreevskaya M. About the “Master and Margarita”. Lit. Review, 1991. No. 5.

2. Belozerskaya - Bulgakova L. Memories. M. Hood. Literature, 1989. S. 183 - 184.

3. Bulgakov M. Master and Margarita. M. Young Guard. 1989. 269 p.

4. Galinskaya I. Riddles of famous books. M. Nauka, 1986. S. 65 - 125.

5. Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969. S. 261

6. Gudkova V. Mikhail Bulgakov: expansion of the circle. Friendship of peoples, 1991. No. 5. pp. 262 - 270.

7. Gospel of Matthew. “Collection on the night of Nisan 14” Yekaterinburg Middle-Ural. kn.izd-vo 1991 S. 36 - 93.

8. Zolotonosov M. Satan in unbearable splendor. Lit. review. 1991. No. 5.

9. Karsalova E. Conscience, truth, humanity. Bulgakov's novel "The Master and Margarita" in the senior class. literature at school. 1994. No. 1. P.72 - 78.

10. Kryvelev I. What history knows about Jesus Christ. M. Sov. Russia. 1969.

11. Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991, p. 41

12. Frans A. Procurator of Judea. Collection “On the night of Nisan 14” Ekaterinburg. Middle-Ural. book. ed. 1991. P. 420 - 431.

13. Chudakova M. Mikhail Bulgakov. The era and fate of the artist. M.A. Bulgakov. Favorites Sh.B. M. Enlightenment S. 337 -383.

14..Internet sites:

• uroki.net.
• 5 ka.at.ua
• referatik.ru
• svetotatyana.narod.ru

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

The Master and Margarita novel is a mystery. Each person who reads it discovers his own meaning in it. The text of the work is so full of problems that it is very difficult to find the main one, I would even say it is impossible.

The main difficulty is that several realities are intertwined in the novel: on the one hand, the Soviet life of Moscow in the 20-30s, on the other, the city of Yershalaim, and finally, the reality of the all-powerful Woland.

First world - Moscow 20-30s.

Satan came to Moscow to do justice, to rescue the Master, his masterpiece and Margarita. He sees that Moscow has become something like a Grand Ball: it is inhabited by traitors, scammers, sycophants, bribe-takers, money-changers. Bulgakov represented them both as individual characters and as employees of the following institutions: MASSOLIT, the Variety Theater and the Spectacle Commission. Every person has vices that Woland exposes. A more serious sin was committed by the workers of MASLIT, who call themselves writers and scientists. These people know a lot and at the same time deliberately lead people away from the search for truth, make the brilliant Master unhappy. For this, punishment overtakes the House of Griboyedov, where MASSOLIT is located. The Moscow population does not want to believe in anything without evidence, neither in God nor in the devil. In my opinion, Bulgakov hoped that someday people would realize the horror that had consumed Russia for many years, just as Ivan Bezdomny realized that his poems were terrible. But this did not happen during Bulgakov's lifetime.

The second world is Yershalaim.

Yershalaim is associated with many characteristic, inherent in it and at the same time uniting with Moscow details. This is the scorching sun, narrow tangled streets, terrain. The similarity of some elevations is especially surprising: Pashkov's House in Moscow and Pilate's palace, located above the roofs of city houses; Bald Mountain and Sparrow Hills. You can also pay attention to the fact that if in Yershalaim the hill with the crucified Yeshua is surrounded, then in Moscow with Woland leaving it. Only three days are described from the life of the city. The struggle between good and evil does not stop and cannot stop. The protagonist of the ancient world, Yeshua, is very similar to Jesus. He is also a mere mortal who remained misunderstood. Yershalaim, invented by the Master, is fantastic. But it is he who looks the most real in the novel.

The third world is the mystical, fantastic Woland and his retinue.

Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. The underworld is headed by Woland. He is the devil, Satan, "prince of darkness", "spirit of evil and lord of shadows". The evil spirit in The Master and Margarita exposes human vices before us. Here and the devil Koroviev is a drunken bastard. Here is the cat Behemoth, very similar to a man and at times he turns into a man, very similar to a cat. Here is the hooligan Azazello with an ugly fang. Woland personifies eternity. He is that ever-existing evil that is necessary for the existence of good. In the novel, the traditional image of Satan is changed: it is no longer an immoral, evil, treacherous demon-destroyer. Evil spirits appear in Moscow with a revision. She is interested in whether the townspeople have changed internally. Watching the audience in the Variety, the "professor of black magic" tends to think that, in fact, nothing has changed. The evil spirit appears before us as an evil human will, being an instrument of punishment, committing intrigues at the suggestion of people. Woland seemed to me fair, objective, and his justice was manifested not only in the punishment of some heroes. Thanks to him, the Master and Margarita are reunited.

All the heroes of the novel are closely connected with each other, without the existence of some, the existence of others would be impossible, just as there can be no light without darkness. The novel "The Master and Margarita" tells about the responsibility of a person for his actions. Actions are united by one idea - the search for truth and the struggle for it. Enmity, distrust, envy reign in the world at all times. This novel belongs to those works that must be re-read in order to better understand the subtext, to see new details that you might not have paid attention to the first time. This happens not only because the novel touches on many philosophical issues, but also because of the complex "three-dimensional" structure of the work.

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The novel consists of three worlds: our familiar world, the Yershalaim world (“Light”), and the other world. All three worlds of the novel exist in constant and inextricable connection, are constantly evaluated by higher powers. The novel "The Master and Margarita" is the most ingenious and most controversial work about love and moral duty, about the inhumanity of evil, about true creativity, which always strives for light and goodness.

The First World - Moscow Moscow is shown by Bulgakov with love, but also with pain. It's a beautiful city, a little bustling, bustling, full of life.

But how much refined humor, how much outright rejection in the depiction of people inhabiting the capital!

In the literary environment, talent has been successfully replaced by penetrating abilities, cunning, lies, meanness. From now on, the price of success is not recognition by the people, but a dacha in Peredelkino!

Brilliant are shown crooks, careerists, panders. They all get their deserved retribution. But the punishment is not terrible, they laugh at him, putting them in ridiculous situations, bringing their own traits and shortcomings to the point of absurdity.

Those who are greedy for free money get things in the theater that disappear like Cinderella's ball gown, money that turns into pieces of paper.

Woland stands in the center of the "eternal otherworldly" world. The author gives this hero fairly broad powers, throughout the novel he judges, decides fate, repays everyone according to faith. Satan's world

Woland owns many of the most intelligent and instructive statements that carry a deep meaning.

People live, fuss, profit, die absurdly. About them he will say this: “People are like people. They love money, but it has always been there ... and mercy sometimes knocks on their hearts ... ordinary people ... in general, they resemble the former ones ... the housing problem only spoiled them ... "

In a conversation with Margapita, Woland utters amazing words: “Never ask for anything! Never and nothing, and especially for those who are stronger than you. They will offer themselves and give everything themselves ”

Woland expresses Bulgakov's favorite thought: "To each will be given according to his faith"

Woland, the "retinue" and all the "dark power" reveal, expose, seduce. The only ones who endure the test are the Master and Margarita, and the Master, it turns out, still deserves only peace. Margarita is the only person who aroused the admiration of Woland and his retinue with her honesty, morality, pride, and the ability to love so selflessly. For hard work, he thanked her, once again amazed that she did not demand anything ...

The Biblical World In the "Yershalaim" chapters, the main themes of the work acquire the sharpest sound: the theme of moral choice, the responsibility of a person for his actions, punishment by conscience.

M. Bulgakov concentrated the action of the novel around two characters - Yeshua and Pilate. Yeshua stands at the center of the "Yershalaim" world. He is a philosopher, a wanderer, a preacher of kindness, love and mercy, is the embodiment of a pure idea in the novel, entering into an unequal battle with legal law.

In Pontius Pilate we see a formidable ruler. He is gloomy, lonely, the burden of life burdens him. Almighty Pilate recognized Yeshua as his equal. And became interested in his teachings. But he is unable to overcome the fear of Kaifa's debt.

Despite the fact that the plot seems to be completed - Yeshua is executed, it seems that Yeshua never died. It seems that the word "died" itself is not in the episodes of the novel.

Pilate - the bearer and personification of "the most terrible vice" - cowardice By repentance and suffering, Pilate atones for his guilt and receives forgiveness ...

Conclusion In The Master and Margarita, modernity is tested by eternal truths. All the events that take place are inextricably linked, they emphasize and help to understand the immutability of human nature, the concepts of good and evil, eternal human values...

The Master and Margarita novel is a mystery. Each person who reads it discovers his own meaning in it. The text of the work is so full of problems that it is very difficult to find the main one, I would even say it is impossible.

The main difficulty is that several realities are intertwined in the novel: on the one hand, the Soviet life of Moscow in the 20-30s, on the other, the city of Yershalaim, and finally, the reality of the all-powerful Woland.

First world - Moscow 20-30s.

Satan came to Moscow to do justice, to rescue the Master, his masterpiece and Margarita. He sees that Moscow has become something like a Grand Ball: it is inhabited by traitors, scammers, sycophants, bribe-takers, money-changers. Bulgakov represented them both as individual characters and as employees of the following institutions: MASSOLIT, the Variety Theater and the Spectacle Commission. Every person has vices that Woland exposes. A more serious sin was committed by the workers of MASLIT, who call themselves writers and scientists. These people know a lot and at the same time deliberately lead people away from the search for truth, make the brilliant Master unhappy. For this, punishment overtakes the House of Griboyedov, where MASSOLIT is located. The Moscow population does not want to believe in anything without evidence, neither in God nor in the devil. In my opinion, Bulgakov hoped that someday people would realize the horror that had consumed Russia for many years, just as Ivan Bezdomny realized that his poems were terrible. But this did not happen during Bulgakov's lifetime.

The second world is Yershalaim.

Yershalaim is associated with many characteristic, inherent in it and at the same time uniting with Moscow details. This is the scorching sun, narrow tangled streets, terrain. The similarity of some elevations is especially surprising: Pashkov's House in Moscow and Pilate's palace, located above the roofs of city houses; Bald Mountain and Sparrow Hills. You can also pay attention to the fact that if in Yershalaim the hill with the crucified Yeshua is surrounded, then in Moscow with Woland leaving it. Only three days are described from the life of the city. The struggle between good and evil does not stop and cannot stop. The protagonist of the ancient world, Yeshua, is very similar to Jesus. He is also a mere mortal who remained misunderstood. Yershalaim, invented by the Master, is fantastic. But it is he who looks the most real in the novel.

The third world is the mystical, fantastic Woland and his retinue.

Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. The underworld is headed by Woland. He is the devil, Satan, "prince of darkness", "spirit of evil and lord of shadows". The evil spirit in The Master and Margarita exposes human vices before us. Here and the devil Koroviev is a drunken bastard. Here is the cat Behemoth, very similar to a man and at times he turns into a man, very similar to a cat. Here is the hooligan Azazello with an ugly fang. Woland personifies eternity. He is that ever-existing evil that is necessary for the existence of good. In the novel, the traditional image of Satan is changed: it is no longer an immoral, evil, treacherous demon-destroyer. Evil spirits appear in Moscow with a revision. She is interested in whether the townspeople have changed internally. Watching the audience in the Variety, the "professor of black magic" tends to think that, in fact, nothing has changed. The evil spirit appears before us as an evil human will, being an instrument of punishment, committing intrigues at the suggestion of people. Woland seemed to me fair, objective, and his justice was manifested not only in the punishment of some heroes. Thanks to him, the Master and Margarita are reunited.

All the heroes of the novel are closely connected with each other, without the existence of some, the existence of others would be impossible, just as there can be no light without darkness. The novel "The Master and Margarita" tells about the responsibility of a person for his actions. Actions are united by one idea - the search for truth and the struggle for it. Enmity, distrust, envy reign in the world at all times. This novel belongs to those works that must be re-read in order to better understand the subtext, to see new details that you might not have paid attention to the first time. This happens not only because the novel touches on many philosophical issues, but also because of the complex "three-dimensional" structure of the work.

Three worlds in the novel by M. A. Bulgakov
The novel by M. A. Bulgakov “The Master and Margarita” belongs to those works that you want and definitely need to re-read in order to better understand the subtext, to see new details that you might not have paid attention to at the first time. This happens not only because the novel touches on many philosophical, moral and ethical issues, but also because of the complex “three-dimensional” structure of the work.

We encounter the number three in our world more than once: it is the main category of life (birth - life - death), thinking (idea - thought - action), time (past - present - future). In Christianity, too, much is built on trinity: the trinity of the divine trinity, the management of the earthly world (God - man - the Devil).
M. Bulgakov was sure that the trinity corresponds to the truth, so you can see that the events in the novel take place in three dimensions: in the ancient “Yershalaim” world, in the contemporary Moscow world of the 1930s, and in the mystical, fantastic, otherworldly world. .
At first it seems to us that these three planes hardly touch each other. It would seem, what kind of relationship can modern Muscovites have with the heroes of a literary novel with an evangelical theme, and even more so with Satan himself? But very soon we realize how wrong we were. Bulgakov sees everything in his own way and offers to look at the surrounding reality (and not just the events of the novel) in a new way.
In fact, we are witnessing a constant interaction, a close interconnection of the three worlds: creativity, ordinary life and higher forces, or providence. What is happening in the Master's novel about the ancient Yershalaim world clearly echoes the events of modern Moscow. This roll call is not only external, when the literary heroes of the “novel within a novel” are portraits and actions similar to Muscovites (the features of Yeshua Ga-Notsri are visible in the Master, the Master’s friend Aloisy Mogarych resembles Judas, Levi Matvey, for all his devotion, is as limited as the poet Ivan Homeless). There is also a deeper similarity, because in the conversations of Pontius Pilate with Ha-Notsri, many moral problems are touched upon, questions of truth, good and evil, which, as we see, were not fully resolved either in Moscow in the 30s, or even today - these questions belong to the category of "eternal".
Woland and his retinue are representatives of the other world, they are endowed with the ability to read in human hearts and souls, to see the deep interconnections of phenomena, to predict the future, and therefore Bulgakov gives them the right to act as human judges. Woland notes that internally people have changed little over the past millennia: “They are people like people. They love money, but it always has been. Well, they are frivolous ... well, well ... in general, they resemble the former ones ... ”Cowardice, greed, ignorance, spiritual weakness, hypocrisy - this is not a complete list of those vices that still guide and largely determine human life. Therefore, Woland, endowed with special power, acts not only as a punishing force, punishing careerists, sycophants, greedy and selfish, but also rewards the kind, capable of self-sacrifice, deep love, who can create, creating new worlds. And even those who, having committed evil, do not hide like an ostrich with their heads in the sand, but are responsible for their actions. Everyone is rewarded according to their deserts, and very many in the novel (moreover, the majority - to their own misfortune) get the opportunity to fulfill their desires.
At the end of the novel, all three worlds, quite clearly demarcated at the beginning, merge into one. This indicates a close and harmonious relationship of all phenomena and events in the world. A person needs to learn to be responsible not only for his actions, but also for emotions, thoughts, because an idea that has arisen in someone's head can become a reality even on the other side of the Earth.