The system of actors master and margarita. Images of the main characters of the novel The Master and Margarita

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Roman Master and Margarita - famous novel Bulgakov, which he wrote for 10 years. Characters in The Master and Margarita live an unusual and interesting life.

The main characters of the novel The Master and Margarita

The main characters are the Master and Woland, but in general there are a lot of actors.

Master (The image of the Master in the novel The Master and Margarita)

Professional historian who won a large sum in the lottery and got the opportunity to try himself in literary work. Becoming a writer, he managed to create a brilliant novel about Pontius Pilate and Yeshua Ha-Nozri, but turned out to be a man not adapted to the era in which he lived. He was driven to despair by persecution from colleagues who severely criticized his work. Nowhere in the novel is his name and surname mentioned; to direct questions about this, he always refused to introduce himself, saying - "Let's not talk about it." Known only by the nickname "master" given by Margarita. He considers himself unworthy of such a nickname, considering it a whim of his beloved. A master is a person who has achieved the highest success in any activity, which may be why he is rejected by the crowd, which is not able to appreciate his talent and abilities. Master, main character novel, writes a novel about Yeshua (Jesus) and Pilate. The master writes the novel, interpreting the gospel events in his own way, without miracles and the power of grace - like Tolstoy. The master communicated with Woland - Satan, a witness, according to him, of the events that took place, the described events of the novel.

“From the balcony, a shaven, dark-haired man with a sharp nose, worried eyes and a tuft of hair hanging over his forehead, a man of about thirty-eight, peered cautiously into the room.”

Margarita Nikolaevna (The image of Margarita in the novel The Master and Margarita)

The beautiful, wealthy, but bored wife of a famous engineer, suffering from the emptiness of her life. Having met the Master by chance on the streets of Moscow, she fell in love with him at first sight, passionately believed in the success of his novel, prophesied glory. When the Master decided to burn his novel, she only managed to save a few pages. Further, she concludes a deal with messire and becomes the queen of the satanic ball arranged by Woland in order to regain the missing Master. Margarita is a symbol of love and self-sacrifice in the name of another person. If you call the novel without using symbols, then "The Master and Margarita" is transformed into "Creativity and Love".

Woland (The image of Woland in the novel The Master and Margarita)

Satan, who visited Moscow under the guise of a foreign professor of black magic, a "historian". At the first appearance (in the novel "The Master and Margarita") he narrates the first chapter from the novel (about Yeshua and Pilate). Eye defects are the main feature of appearance. Appearance: “he was not small and not huge, but just tall. As for his teeth, he had platinum crowns on the left side, and gold crowns on the right. He wore an expensive gray suit, expensive foreign shoes to match the color of the suit, he always had a cane with him, with a black knob in the shape of a poodle's head; the right eye is black, the left one is green for some reason; a crooked mouth. Shaved clean." He smoked a pipe and always carried a cigarette case with him.

Bassoon (Koroviev)

One of the characters of Satan's retinue, all the time walking in ridiculous checkered clothes and pince-nez with one cracked and one missing glass. In his true form, he turns out to be a knight, forced to pay with his constant stay in the retinue of Satan for one once said unsuccessful pun about light and darkness.

Koroviev-Fagot has some resemblance to a bassoon - a long thin tube folded in three. Moreover, the bassoon is an instrument that can play both high and low keys. Now bass, then treble. If we recall the behavior of Koroviev, or rather the change in his voice, then another character in the name is clearly visible. Bulgakov's character is thin, tall and in imaginary subservience, it seems, is ready to triple in front of his interlocutor (in order to calmly harm him later).

In the image of Koroviev (and his constant companion Behemoth), the traditions of folk laughter culture, these same characters retain a close genetic connection with the heroes - picaros (rogues) of world literature.

There is a possibility that the names of the characters in Woland's retinue are associated with the Hebrew language. So, for example, Koroviev (in Hebrew cars- close, that is, approximate), Behemoth (in Hebrew behemoth- cattle), Azazello (in Hebrew azazel- demon).

Azazello

Among the ancient Jews, Azazel was a goat-shaped spirit of the desert (the word "Azazel", more precisely "Aza-El" means "goat-god"). Traces of the faith of the goat-shaped god - the devil are also preserved in modern Jewish and Christian beliefs: the devil, who at a much later time in the representation of believers took the image of a man, retained, however, some of his ancient external attributes: horns and hooves. The mention of the demon Azazel is found in the Old Testament book of Enoch. This is the name of the negative hero of the Old Testament, the fallen angel who taught people to make weapons and jewelry. Probably, Bulgakov was attracted by the combination in one character of the ability to seduce and kill. It is for the insidious seducer that Azazello Margarita takes during their first meeting in the Alexander Garden: “This neighbor turned out to be vertically challenged, fiery red, with a fang, in starched linen, in a good-looking striped suit, in patent leather shoes and with a bowler hat on his head. “Absolutely a robber’s face!” thought Margarita. But main function Azazello in the novel is associated with violence. He throws Styopa Likhodeev from Moscow to Yalta, expels Uncle Berlioz from the Bad Apartment, and kills the traitor Baron Meigel with a revolver. Azazello also invented the cream, which he gives to Margherita. The magic cream not only makes the heroine invisible and able to fly, but also endows her with a new, witchy beauty. It was the Hebrew demon Azazel who taught women to adorn themselves. precious stones, blush and whiten - in a word, he taught a lesson in seduction. In the epilogue of the novel, this fallen angel appears before us in a new guise: “Flying on the side of everyone, shining with the steel of armor, Azazello. The moon changed his face too. The ridiculous, ugly fang disappeared without a trace, and the squint turned out to be false. Both Azazello's eyes were the same, empty and black, and his face was white and cold. Now Azazello flew in his real form, like a demon of a waterless desert, a demon-killer.

Behemoth cat

The character of the retinue of Satan, a playful and restless spirit, appearing either in the form of a giant cat walking on its hind legs, or in the form of a full citizen, with a face that looks like a cat. The prototype of this character is the eponymous demon Behemoth, a demon of gluttony and debauchery, who could take the form of many large animals. In its true form, the Behemoth turns out to be a thin young man, a page demon.

Gella

A witch and vampire from the retinue of Satan, who embarrassed all his visitors (from among the people) by the habit of not wearing almost anything. The beauty of her body is spoiled only by a scar on her neck. In the retinue, Woland plays the role of a maid. Woland, recommending Gella to Margarita, says that there is no service that she could not provide.

Mikhail Alexandrovich Berlioz

The chairman of MASSOLIT is a writer, well-read, educated and skeptical of everything. He lived in a “bad apartment” at 302-bis Sadovaya, where Woland later settled during his stay in Moscow. He died, not believing Woland's prediction about his sudden death made shortly before. At the ball of Satan, his further fate was determined by Woland according to the theory, according to which everyone will be given according to his faith .... Berlioz appears before us at the ball in the form of his own severed head. Subsequently, the head was turned into a bowl in the form of a skull on a golden leg, with emerald eyes and pearl teeth .... the lid of the skull was thrown back on a hinge. It was in this cup that the spirit of Berlioz found non-existence.

Ivan Nikolaevich Homeless

Poet, member of MASSOLIT. The real name is Ponyrev. Wrote an anti-religious poem, one of the first heroes (along with Berlioz) who met Koroviev and Woland. He ended up in a clinic for the mentally ill, and was also the first to meet the Master. Then he recovered, stopped studying poetry and became a professor at the Institute of History and Philosophy.

Stepan Bogdanovich Likhodeev

Director of the Variety Theater, Berlioz's neighbor, who also lives in a "bad apartment" on Sadovaya. An idler, a womanizer and a drunkard. For "official inconsistency" he was teleported to Yalta by Woland's henchmen.

Nikanor Ivanovich Bosoy

Chairman of the housing association on Sadovaya Street, where Woland settled during his stay in Moscow. Zhadin, the day before, he committed the theft of funds from the cash desk of the housing association.

Koroviev entered into an agreement with him for temporary housing and gave a bribe, which, as subsequently stated by the chairman, "she herself crawled into his briefcase." Then, on the orders of Woland, Koroviev turned the transferred rubles into dollars and, on behalf of one of the neighbors, reported the hidden currency to the NKVD.

Trying to somehow justify himself, Bosoy admitted to bribery and announced similar crimes on the part of his assistants, which led to the arrest of all members of the housing association. Due to further behavior during interrogation, he was sent to a psychiatric hospital, where he was haunted by nightmares related to the requirements to hand over the available currency.

Ivan Savelyevich Varenukha

Administrator of the Variety Theatre. He fell into the clutches of Woland's gang when he carried to the NKVD a printout of correspondence with Likhodeev, who had ended up in Yalta. As punishment for "lying and rudeness on the phone", he was turned into a vampire gunner by Gella. After the ball, he was turned back into a human and released. At the end of all the events described in the novel, Varenukha became a more good-natured, polite and honest person.

An interesting fact: the punishment of Varenukha was a "private initiative" of Azazello and Behemoth.

Grigory Danilovich Rimsky

Financial Director of the Variety Theatre. He was shocked by the attack on him by Gella, along with his friend Varenukha, so much that he completely turned gray, and after that he preferred to flee from Moscow. During interrogation at the NKVD, he asked for an "armored camera" for himself.

Georges of Bengal

Entertainer at the Variety Theatre. He was severely punished by Woland's retinue - his head was torn off - for the unsuccessful comments that he made during the performance. After returning the head to its place, he could not recover and was taken to the clinic of Professor Stravinsky. The figure of Bengalsky is one of many satirical figures, the purpose of which is to criticize Soviet society.

Vasily Stepanovich Lastochkin

Accountant Variety. While I was handing over the cash register, I found traces of the presence of Woland's retinue in the institutions where he had been. During the checkout, he suddenly discovered that the money had turned into a variety of foreign currencies, for which he was arrested.

Prokhor Petrovich

Chairman of the Spectacle Commission of the Variety Theatre. Behemoth the cat temporarily abducted him, leaving an empty suit sitting at his workplace, for occupying an inappropriate position for him.

Maximilian Andreevich Poplavsky

Kyiv uncle of Mikhail Alexandrovich Berlioz, who dreamed of living in Moscow. He was invited to Moscow for the funeral by Behemoth, however, upon arrival, he was concerned not so much with the death of his nephew as with the living space left by the deceased. He was expelled by Behemoth and put up by Azazello, with instructions to return back to Kyiv.

Andrey Fokich Sokov

Barmaid at the Variety Theatre, criticized by Woland for poor quality food served at the buffet. He accumulated over 249 thousand rubles on the purchase of second-fresh products and other abuses of his official position. Received from Koroviev a message about his death from liver cancer after 9 months, which, unlike Berlioz, he believed, and took all measures to prevent - which, of course, did not help him.

Professor Kuzmin

The doctor who examined barman Sokov. He was visited by the demon Azazello, who "spread" first into a "bad sparrow", then into a nurse with a "male mouth". With an obvious medical talent, he had a sin - excessive suspiciousness, for which Azazello was punished - he received a slight damage to his mind.

Nikolay Ivanovich

Margarita's neighbor from the bottom floor. He was turned into a boar by Margarita's housekeeper Natasha and in this form "attracted as vehicle to a ball with Satan. The reason for punishment is lust. At the request of Margarita, he was forgiven, but until the end of his days he grieved for such forgiveness - it is better to be a hog under naked Natasha than to live out a century with a disgusted wife.

Natasha

Beauty, blond housekeeper Margarita. She secretly smeared herself with Azazello cream, after which she turned into a witch and, saddling a boar (Nikolai Ivanovich), went after Margot. Natasha, along with Gella, helped Margarita at Satan's ball, after which she did not want to return to her former life and begged Woland to leave her as a witch.

Aloisy Mogarych

An acquaintance of the Master, who wrote a false denunciation against him for the sake of appropriating living space. Was kicked out of his new apartment retinue Woland. After the trial, Woland left Moscow unconscious, but, waking up somewhere near Vyatka, he returned. He replaced Rimsky as financial director of the Variety Theatre. Mogarych's activities in this position brought great torment to Varenukha.

Annushka

professional speculator. She broke a bottle of sunflower oil on the tram tracks, which caused the death of Berlioz. By a strange coincidence, he lives next door to a "bad apartment." Later, she was intimidated by Azazello for stealing a diamond horseshoe given by Woland as a keepsake to Margarita (the horseshoe with diamonds was returned to Margarita).

Frida

A sinner invited to Woland's ball. Once she strangled an unwanted child with a handkerchief and buried her, for which she experiences a certain kind of punishment - every morning this very handkerchief is always brought to her headboard (no matter how she tries to get rid of it the day before). At Satan's ball, Margarita pays attention to Frida and addresses her personally (offers her to get drunk and forget everything), which gives Frida hope for forgiveness. After the ball, it is time to voice your only main request to Woland, for which Margarita pledged her soul and became the queen of the satanic ball. Margarita regards her attention to Frida as an inadvertently given veiled promise to save her from eternal punishment; under the influence of feelings, she sacrifices her right to a single request in favor of Frida.

Baron Meigel

An employee of the NKVD assigned to spy on Woland and his retinue, introducing himself as an employee of the Spectacle Commission in the position of acquainting foreigners with the sights of the capital. He was killed at Satan's ball as a sacrifice, with the blood of which Woland's liturgical chalice was filled.

Archibald Archibaldovich

The director of the Griboyedov's House restaurant, a formidable boss and a man with phenomenal intuition. Economical and, as usual catering, thieving. The author compares him with a pirate, the captain of a brig.

Arkady Apollonovich Sempleyarov

Chairman of the Acoustic Commission of Moscow Theatres. At the Variety Theatre, at a session of black magic, Koroviev exposes his love affairs.

Critic Latunsky

The surname of Latunsky, who criticized the Master for clericalism, is a hybrid of the surnames of two famous critics 1930s, A. Orlinsky ( real name Krips, 1892-1938) and O. Litovsky (real name Kagan, 1892-1971), who really sharply criticized Bulgakov

Pontius Pilate

The fifth procurator of Judea in Jerusalem, a cruel and domineering man, nevertheless managed to feel sympathy for Yeshua Ha-Nozri during his interrogation. He tried to stop the well-functioning mechanism of execution for insulting Caesar, but failed to do this, which he later regretted all his life. He suffered from a severe migraine, from which he was relieved during interrogation by Yeshua Ha-Nozri.

Yeshua Ha-Nozri

A wandering philosopher from Nazareth, described by Woland at the Patriarch's Ponds, as well as by the Master in his novel, compared with the image of Jesus Christ. The name Yeshua Ga-Notsri means in Hebrew Jesus (Yeshua ישוע) from Nazareth (Ga-Notsri הנוצרי). However this image differs significantly from the biblical prototype. Characteristically, he tells Pontius Pilate that Levi-Matthew (Matthew) wrote down his words incorrectly and that "this confusion will continue for a very long time." Pilate: “But what did you say about the temple to the crowd in the bazaar?” Yeshua: “I, hegemon, said that the temple of the old faith would collapse and a new temple of truth would be created. I said it in a way that makes it easier to understand." A humanist who denies resisting evil with violence.

Levy Matvey

The only follower of Yeshua Ha-Nozri in the novel. Accompanied his teacher until his death, and subsequently took him down from the cross to be buried. He also had the intention of slaughtering Yeshua, who was led to the execution, in order to save him from the torment on the cross, but in the end he failed. At the end of the novel, Woland comes to Woland, sent by his teacher Yeshua, with a request to grant peace to the Master and Margarita.

Joseph Kaifa

Jewish high priest, head of the Sanhedrin, who condemned Yeshua Ha-Notsri to death.

Judas of Kiriath

A young resident of Yershalaim who delivered Yeshua Ha-Nozri into the hands of the Sanhedrin. Pontius Pilate, surviving his involvement in the execution of Yeshua, organized the secret murder of Judas in order to take revenge.

Mark Ratslayer

Centurion, Pilate's guard, crippled sometime in the battle with the Germans, acting as an escort and directly carrying out the execution of Yeshua and two more criminals. When a severe thunderstorm began on the mountain, Yeshua and other criminals were stabbed to death in order to be able to leave the place of execution. Another version says that Pontius Pilate ordered the convicts to be stabbed to death (which is not allowed by law) in order to alleviate their suffering. Perhaps he got the nickname "Rat-Slayer" because he himself was a German. In a conversation with Yeshua, Pilate characterizes Mark the Ratslayer as a cold and convinced executioner.

Aphranius

Head of the secret service, colleague of Pilate. He supervised the execution of the murder of Judas and planted the money received for the betrayal at the residence of the high priest of Kaifa.

Niza

A resident of Jerusalem, an agent of Aphranius, who pretended to be the beloved of Judas in order to lure him into a trap on the orders of Aphranius.

Now you remembered not only the main characters Master and Margarita, but also all the characters in this novel.

Mikhail Afanasyevich Bulgakov is a Russian writer.
Mikhail Bulgakov was born on May 15 (May 3, according to the old style), 1891, in Kyiv, in the family of Afanasy Ivanovich Bulgakov, a professor at the Department of Western Religions of the Kyiv Theological Academy. The family was large (Mikhail is the eldest son, he had four more sisters and two brothers) and friendly. Later, M. Bulgakov will remember more than once about his "carefree" youth in a beautiful city on the steep slopes of the Dnieper, about the comfort of a noisy and warm native nest on Andreevsky Spusk, and the shining prospects for a future free and wonderful life.

The Master and Margarita are the heroes of the novel

Master

writer who wrote a novel about Pontius Pilate, in which the events described in the Gospel are interpreted. This is a person who was not adapted to live in the time in which he was born. Later, driven to despair by literary critics, the master ends up in a psychiatric hospital.

margarita

beautiful woman who lives with unloved husband. Margarita suffers from her good, wealthy, but empty life. By chance, on the streets of the capital, she meets the Master, and falls in love with him. It was she who first told the Master that he had written a brilliant work that would be successful. After the Master goes missing, Margarita accepts Satan's invitation to be the prom queen in order to be able to get him back.

Woland

the devil, who ends up in Moscow and introduces himself as a professor of black magic and a historian.

Bassoon (Koroviev)

member of Woland's retinue. A knight who must constantly be in the retinue of Satan as punishment for the fact that he once made an unfortunate joke about light and darkness. Researchers testify that Bulgakov was inspired to create this character by the story of F.M. Dostoevsky's "The Village of Stepanchikovo and Its Inhabitants", where one of the characters is a certain Korovkin, very similar in characteristics to Koroviev.

Azazello

also participates in the retinue. This is a demon with an ugly appearance. Its prototype is the fallen angel Azazel.

Behemoth cat

the spirit that follows Woland as part of his retinue. Usually takes the form of an octa, or a full person, who looks very much like him. This character was created based on the description of the demon Behemoth, who was known for debauchery, gluttony and the ability to take the form of large beasts.

Gella

a vampire witch who walked around naked. She was very beautiful, but had an ugly scar on her neck.

Berlioz, Mikhail Alexandrovich

MASSOLIT member, writer. Quite an educated and skeptical person. He lived in a bad apartment on Sadovaya Street. When meeting with Woland, he did not believe in the prediction of his own death, which, nevertheless, happened.

Bezdomny, Ivan Nikolaevich

a poet who is busy writing an anti-religious poem. It was her discussion with Berlioz in the park that attracted the attention of Satan. He witnessed the death of Berlioz and tried to pursue Woland, but ended up in an insane asylum.

Likhodeev Stepan Bogdanovich

director of the Variety Show, in which Woland, calling himself a professor of magic, is planning a "performance". Likhodeev is known as a drunkard, loafer and lover of women.

Bosoy Nikanor Ivanovich

a person who held the position of chairman of a housing association on Sadovaya Street. A greedy thief, who on the eve appropriated part of the money from the cash desk of the partnership. Koroviev invites him to conclude an agreement on the delivery of a "bad" apartment to the guest performer Woland and gives a bribe. After that, the received banknotes turn out to be foreign currency. On a call from Koroviev, the bribe taker is taken to the NKVD, from where he ends up in a lunatic asylum.

Aloisy Mogarych

an acquaintance of the Master who wrote a false denunciation against him in order to appropriate his apartment. Woland's retinue kicked him out of the apartment, and after the trial of Satan, he left Moscow, finding himself at Vyatka. Later he returned to the capital and took the position of financial director of Variety.

Annushka

speculator. It was she who broke the container with the purchased sunflower oil at the crossing of the tram rails, which caused the death of Berlioz.

Frida

a sinner who was invited to a ball with Satan. She killed the unwanted child by strangling it with a handkerchief and buried it. Since then, this handkerchief has been brought to her every morning.

Pontius Pilate

The fifth procurator of Judea in Jerusalem, cruel and powerful, but he became sympathetic to the wandering philosopher brought in for interrogation. He made attempts to stop the execution, but did not finish the job, which he regretted for the rest of his life.

Yeshua Ha-Nozri

a character who spends time wandering and philosophizing. It does not look like the gospel image of Jesus Christ. Denies resistance to evil by violence and does not know what goal he pursues in life.

The Master and Margarita is the legendary work of Bulgakov, a novel that became his ticket to immortality. He thought, planned and wrote the novel for 12 years, and he went through many changes that are now difficult to imagine, because the book has acquired an amazing compositional unity. Alas, Mikhail Afanasyevich did not have time to finish the work of his whole life, no final corrections were made. He himself evaluated his offspring as the main message to mankind, as a testament to posterity. What did Bulgakov want to tell us?

The novel opens to us the world of Moscow in the 1930s. The master, together with his beloved Margarita, writes a brilliant novel about Pontius Pilate. He is not allowed to publish, and the author himself is overwhelmed by an unbearable mountain of criticism. In a fit of despair, the hero burns his novel and ends up in a psychiatric hospital, leaving Margarita alone. In parallel with this, Woland, the devil, arrives in Moscow, along with his retinue. They cause disturbances in the city, such as séances of black magic, a performance at the Variety and Griboyedov, etc. The heroine, meanwhile, is looking for a way to get her Master back; subsequently makes a deal with Satan, becomes a witch and is present at the ball of the dead. Woland is delighted with Margarita's love and devotion and decides to return her beloved to her. A novel about Pontius Pilate also rises from the ashes. And the reunited couple retires to a world of peace and tranquility.

The text contains chapters from the Master's novel itself, telling about the events in the world of Yershalaim. This is a story about the wandering philosopher Ga-Notsri, the interrogation of Yeshua by Pilate, the subsequent execution of the latter. Insert chapters are of direct importance to the novel, as understanding them is the key to revealing the author's idea. All parts form a single whole, closely intertwined.

Topics and issues

Bulgakov reflected his thoughts on creativity on the pages of the work. He understood that the artist is not free, he cannot create only at the behest of his soul. Society fetters it, ascribes certain limits to it. Literature in the 30s was subjected to the strictest censorship, books were often written under the order of the authorities, a reflection of which we will see in MASSOLIT. The master was unable to obtain permission to publish his novel about Pontius Pilate and his sojourn among literary society of that time spoke as a living hell. The hero, inspired and talented, could not understand his members, corrupt and absorbed in petty material concerns, so they, in turn, could not understand him. Therefore, the Master found himself outside this bohemian circle with the work of his entire life not allowed for publication.

The second aspect of the problem of creativity in the novel is the responsibility of the author for his work, his fate. The master, disappointed and finally desperate, burns the manuscript. The writer, according to Bulgakov, must seek the truth through his work, it must be of benefit to society and act for the good. The hero, on the contrary, acted cowardly.

The problem of choice is reflected in the chapters on Pilate and Yeshua. Pontius Pilate, realizing the unusualness and value of such a person as Yeshua, sends him to execution. Cowardice is the worst vice. The procurator was afraid of responsibility, afraid of punishment. This fear absolutely drowned out in him both sympathy for the preacher, and the voice of reason, speaking about the uniqueness and purity of Yeshua's intentions, and conscience. The latter tormented him for the rest of his life, as well as after death. Only at the end of the novel was Pilate allowed to speak to Him and be set free.

Composition

Bulgakov in the novel used such compositional technique like a novel within a novel. The "Moscow" chapters are combined with the "Pilatian" ones, that is, with the work of the Master himself. The author draws a parallel between them, showing that it is not time that changes a person, but only he himself is able to change himself. Permanent job over himself is a titanic work that Pilate did not cope with, for which he was doomed to eternal spiritual suffering. The motives of both novels are the search for freedom, truth, the struggle between good and evil in the soul. Everyone can make mistakes, but a person must constantly reach for the light; only this can make him truly free.

Main characters: characteristics

Yeshua Ha-Nozri (Jesus Christ) is a wandering philosopher who believes that all people are good in themselves and that the time will come when the truth will be the main thing human worth, and the institutions of power will no longer be needed. He preached, therefore he was accused of an attempt on the power of Caesar and was put to death. Before his death, the hero forgives his executioners; dies without betraying his convictions, dies for people, atoning for their sins, for which he was awarded the Light. Yeshua appears before us real person made of flesh and blood, able to feel both fear and pain; he is not shrouded in a halo of mysticism.
Pontius Pilate is the procurator of Judea, a truly historical figure. In the Bible, he judged Christ. Using his example, the author reveals the theme of choice and responsibility for one's actions. Interrogating the prisoner, the hero realizes that he is innocent, even feels personal sympathy for him. He invites the preacher to lie in order to save his life, but Yeshua is not bowed and is not going to give up his words. His cowardice prevents the official from defending the accused; he is afraid of losing power. This does not allow him to act according to his conscience, as his heart tells him. The procurator condemns Yeshua to death, and himself to mental torment, which, of course, is in many ways worse than physical torment. The master at the end of the novel frees his hero, and he, along with the wandering philosopher, rises along the beam of light.
The master is a creator who wrote a novel about Pontius Pilate and Yeshua. This hero embodied the image of an ideal writer who lives by his work, seeking neither fame, nor awards, nor money. He won large sums in the lottery and decided to devote himself to creativity - and this is how his only, but, of course, brilliant work was born. At the same time, he met love - Margarita, who became his support and support. Unable to withstand criticism from the highest literary Moscow society, the Master burns the manuscript, he is forcibly placed in a psychiatric clinic. Then he was released from there by Margarita with the help of Woland, who was very interested in the novel. After death, the hero deserves peace. It is peace, and not light, like Yeshua, because the writer betrayed his convictions and renounced his creation.
Margarita is the beloved of the creator, ready for anything for him, even attending Satan's ball. Before meeting the main character, she was married to a wealthy man, whom, however, she did not love. She found her happiness only with the Master, whom she herself named after reading the first chapters of his future novel. She became his muse, inspiring to continue to create. The theme of loyalty and devotion is connected with the heroine. The woman is faithful to both her Master and his work: she brutally cracks down on the critic Latunsky, who slandered them, thanks to her the author himself returns from the psychiatric clinic and his seemingly irrevocable lost romance about Pilate. For her love and willingness to follow her chosen one to the end, Margarita was awarded Woland. Satan gave her peace and unity with the Master, what the heroine most desired.

The image of Woland

In many ways, this hero is like Goethe's Mephistopheles. His very name is taken from his poem, the scene of Walpurgis Night, where the devil was once called by that name. The image of Woland in The Master and Margarita is very ambiguous: he is the embodiment of evil, and at the same time a defender of justice and a preacher of true moral values. Against the background of cruelty, greed and depravity of ordinary Muscovites, the hero looks rather positive character. He, seeing this historical paradox (he has something to compare with), concludes that people are like people, the most ordinary, the same, only the housing problem spoiled them.

The punishment of the devil overtakes only those who deserve it. Thus, his retribution is very selective and built on the principle of justice. Bribers, inept hacks who care only about their material well-being, catering workers who steal and sell expired products, insensitive relatives who fight for an inheritance after the death of a loved one - these are those who are punished by Woland. He does not push them to sin, he only denounces the vices of society. So the author, using satirical and phantasmagoric techniques, describes the order and customs of the Muscovites of the 30s.

The master is a truly talented writer who was not given the opportunity to realize himself, the novel was simply “strangled” by Massolit officials. He didn't look like his fellow writers; he lived by his creativity, giving him all of himself, and sincerely worrying about the fate of his work. The master kept a pure heart and soul, for which he was awarded Woland. The destroyed manuscript was restored and returned to its author. For her boundless love, Margarita was forgiven for her weaknesses by the devil, to whom Satan even granted the right to ask him for the fulfillment of one of her desires.

Bulgakov expressed his attitude towards Woland in the epigraph: “I am part of that force that always wants evil and always does good” (“Faust” by Goethe). Indeed, having unlimited possibilities, the hero punishes human vices, but this can be considered an instruction on the true path. He is a mirror in which everyone can see their sins and change. His most diabolical feature is the corrosive irony with which he treats everything earthly. By his example, we are convinced that it is possible to maintain one's convictions along with self-control and not go crazy only with the help of humor. You can't take life too close to your heart, because what seems to us an unshakable stronghold crumbles so easily at the slightest criticism. Woland is indifferent to everything, and this separates him from people.

good and evil

Good and evil are inseparable; when people stop doing good, evil immediately arises in its place. It is the absence of light, the shadow that replaces it. In Bulgakov's novel, two opposing forces are embodied in the images of Woland and Yeshua. The author, in order to show that the participation of these abstract categories in life is always relevant and occupies important positions, Yeshua places in the most distant era from us, on the pages of the Master's novel, and Woland - in modern times. Yeshua preaches, tells people about his ideas and understanding of the world, its creation. Later, for the open expression of thoughts, he will be judged by the procurator of Judea. His death is not a triumph of evil over good, but rather a betrayal of good, because Pilate was unable to do the right thing, which means he opened the door to evil. Ha-Nozri dies unbroken and not defeated, his soul retains the light in itself, opposed to darkness cowardly act Pontius Pilate.

The devil, called to do evil, arrives in Moscow and sees that people's hearts are filled with darkness without him. He can only rebuke and mock them; by virtue of his dark essence, Woland cannot do justice in any other way. But he does not push people to sin, he does not force the evil in them to overcome the good. According to Bulgakov, the devil is not absolute darkness, he performs acts of justice, which is very difficult to consider a bad deed. This is one of the main ideas of Bulgakov, embodied in The Master and Margarita - nothing but the person himself can force him to act one way or another, the choice of good or evil lies with him.

You can also talk about the relativity of good and evil. And good people act wrongly, cowardly, selfishly. So the Master surrenders and burns his novel, and Margarita cruelly takes revenge on criticism of Latunsky. However, kindness does not consist in not making mistakes, but in a constant craving for light and their correction. Therefore, a couple in love is waiting for forgiveness and peace.

The meaning of the novel

There are many interpretations of the meanings of this work. Of course, it is impossible to speak unambiguously. In the center of the novel is the eternal struggle between good and evil. In the understanding of the author, these two components are on an equal footing both in nature and in human hearts. This explains the appearance of Woland, as the concentration of evil by definition, and Yeshua, who believed in natural human kindness. Light and darkness are closely intertwined, constantly interacting with each other, and it is no longer possible to draw clear boundaries. Woland punishes people according to the laws of justice, and Yeshua forgives them despite. Such is the balance.

The struggle takes place not only directly for the souls of men. The need for a person to reach for the light runs like a red thread through the whole story. True freedom can only be obtained through this. It is very important to understand that the author always punishes the heroes, shackled by worldly petty passions, either as Pilate - eternal torment conscience, or as Moscow inhabitants - through the tricks of the devil. He exalts others; Gives Margarita and the Master peace; Yeshua deserves the Light for his devotion and faithfulness to beliefs and words.

Also this novel is about love. Margarita appears perfect woman who is able to love to the very end, despite all the obstacles and difficulties. The master and his beloved are collective images of a man devoted to his work and a woman faithful to her feelings.

The theme of creativity

The master lives in the capital of the 30s. During this period, socialism is being built, new orders are being established, moral and moral standards. Here is born and new literature, with which we get acquainted on the pages of the novel through Berlioz, Ivan Bezdomny, members of Massolit. The path of the protagonist is difficult and thorny, like that of Bulgakov himself, however, he retains a pure heart, kindness, honesty, the ability to love and writes a novel about Pontius Pilate, containing all those important problems that every person of the current or future generation must solve for himself . It is based on the moral law hidden within every person; and only he, and not the fear of God's retribution, is able to determine the actions of people. Spiritual world Masters is thin and beautiful, because he is a true artist.

However, true creativity is persecuted and often becomes recognized only after the death of the author. The repressions against an independent artist in the USSR are striking in their cruelty: from ideological persecution to the actual recognition of a person as crazy. So they shut up the mouths of many of Bulgakov's friends, he himself had a hard time. Freedom of speech turned into imprisonment, or even the death penalty, as in Judea. This parallel with the ancient world emphasizes the backwardness and primitive savagery of the "new" society. The well-forgotten old became the basis of art policy.

Two worlds of Bulgakov

The worlds of Yeshua and the Master are more closely connected than it seems at first glance. In both layers of the narrative, the same problems are touched upon: freedom and responsibility, conscience and loyalty to one's convictions, understanding good and evil. No wonder there are so many heroes of doubles, parallels and antitheses.

The Master and Margarita violates the urgent canon of the novel. This story is not about the fate of individuals or their groups, it is about all of humanity, its fate. Therefore, the author connects two epochs that are as far apart as possible from each other. People in the time of Yeshua and Pilate did not differ much from the people of Moscow, the contemporaries of the Master. They also care about personal problems, power and money. Master in Moscow, Yeshua in Judea. Both carry the truth to the masses, for this both suffer; the first is persecuted by critics, crushed by society and doomed to end his life in a psychiatric hospital, the second is subjected to a more terrible punishment - a demonstration execution.

The chapters devoted to Pilate differ sharply from the chapters in Moscow. The style of the inserted text is distinguished by evenness, monotony, and only at the chapter of the execution does it turn into sublime tragedy. The description of Moscow is full of grotesque, phantasmagoric scenes, satire and mockery of its inhabitants, lyrical moments dedicated to the Master and Margarita, which, of course, also determines the presence of various styles of narration. Vocabulary also varies: it can be low and primitive, filled with even swearing and jargon, or it can be sublime and poetic, filled with colorful metaphors.

Although both narratives differ significantly from each other, when reading the novel, there is a sense of integrity, so strong is the thread connecting the past with the present in Bulgakov.

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on the topic: Characteristics of the characters in the novel by N.A. Bulgakov "The Master and Margarita"

1. Woland and his retinue

Bulgakov Master Margarita Roman

Woland -- central character novel by M.A. Bulgakov "The Master and Margarita" (1928-1940). The devil, who appeared at "the hour of a hot spring sunset at the Patriarch's Ponds" to celebrate here, in Moscow, "the great ball of Satan"; which, as it should be, became the cause of many extraordinary events that caused confusion in the peaceful life of the city and caused a lot of anxiety to its inhabitants.

In the process of creating the novel, the image of V. played a key role. This character was the starting point of an artistic concept, which then underwent many changes. The future novel about the Master and Margarita began as a "novel about the devil" (Bulgakov's words from his letter to the "Government of the USSR", 1930). In the early editions, V., who had not yet found his name, called either Herr Faland or Azazel, was the main person placed at the center of the story. This is indicated by almost all variants of the title of the novel, noted in the manuscripts from 1928 to 1937: "Black Magician", "Engineer's Hoof", "Consultant with a Hoof", "Satan", "Black Theologian", "Great Chancellor", "The Prince of Darkness", etc. As the "distance of the free novel" expanded (the "ancient" line developed, the Master and Margarita appeared, as well as many other persons).

Woland in the "final" edition, he was pushed aside from the main roles and became the tritagonist of the plot, after the Master and Margarita, after Yeshua Ha-Nozri and Pontius Pilate. Having lost supremacy in the hierarchy of images. Nevertheless, he retained the obvious superiority in terms of plot presence. He participates in fifteen chapters of the novel, while the Master appears in only five, and Yeshua only in two chapters.

The author took the name V. from Goethe's Faust: the exclamation of Mephistopheles “Plate! Junker Voland kommt "(" Way! - damn it). The source of the image for Bulgakov was the book by M.N. Orlov "The History of Man's Relations with the Devil" (1904), as well as articles about Satan, about demonology " encyclopedic dictionary» Brockhaus and Efron. In the image of the devil, the writer used some traditional attributes, emblems, portrait descriptions: lameness, strabismus, a crooked mouth, black eyebrows - one higher than the other, a cane with a poodle head, a beret, famously twisted in the ear, though without a feather, and so on.

Nevertheless, Bulgakov's V. differs significantly from the images of Satan depicted in the artistic tradition. Studies show that these differences increased from one edition to another. "Early" V. was much closer to the traditional type of tempter, the catcher of human souls. He committed blasphemy and demanded blasphemous acts from others. In the "final" version, these moments disappeared. Bulgakov interprets the provocation of the devil in a peculiar way. Traditionally, Satan is called upon to provoke everything dark, lurking in the soul of a person, as if to kindle it. The meaning of V.'s provocations is the study of people, what they really are. A session of black magic in a variety theater (a classic provocation) revealed both bad (greed) and good in the audience gathered there, showing that mercy sometimes knocks on people's hearts. The last conclusion, deadly for Satan, does not sting Bulgakov's V. at all.

Messire V., as he is respectfully called by his retinue, consisting of the loma-regent Koroviev-Fagot, the demon Azazello, the cat Behemoth, and the witch Gella, is by no means an atheist and not an enemy to the human race. V. is involved in the truth. He certainly distinguishes between good and evil: usually Satan is a relativist, for whom these concepts are relative. Moreover, V. is endowed with the power to punish people for the evil they have committed; he himself does not slander anyone, but punishes slanderers and informers.

Throughout the novel, V. does not try to capture souls. He does not need the souls of the Master and Margarita, to whom he showed so much disinterested participation. Strictly speaking, V. is not the devil, understood as an evil will that divides people. V. resolutely intrudes into the fate of the Master and Margarita, separated by the will of circumstances, unites them and finds them "eternal shelter". Bulgakov outlined such a clear crime of diabolical powers in the epigraph of the novel, taken from Goethe's Faust: "I am part of that force that always wants evil and always does good."

The philosophical and religious source of the image of V. was the dualistic teaching of the Manicheans (III-XI centuries), according to which God and the devil act in the world, in the words of the novel, each according to his department. God commands the heavenly spheres, the devil commands on earth, executing fair trial. This is indicated, in particular, by V.'s scene with a globe, on which he sees everything that happens in the world. Traces of the Manichaean doctrine are clearly found in V.'s dialogue with Levi Matthew on the roof of Pashkov's house. In the early edition, the decision of the fate of the Master and Margarita came to V. in the form of an order brought by an “unknown messenger” who appeared under the rustle of flying wings. In the final version, Levi Matthew conveys a request to reward the Master and his beloved with peace. The two worlds, light and shadow, thus became equal.

2. Koroviev-Fagot

This character is the eldest of the demons subordinate to Woland, a devil and a knight, who introduces himself to Muscovites as an interpreter with a foreign professor and a former regent of the church choir.

The surname Koroviev is modeled on the surname of the character in the story A.K. Tolstoy's "Ghoul" (1841) State Councilor Telyaev, who turns out to be a knight and a vampire. In addition, in the story of F.M. Dostoevsky's "The Village of Stepanchikovo and Its Inhabitants" has a character by the name of Korovkin, very similar to our hero. His second name comes from the name musical instrument bassoon invented by an Italian monk. Koroviev-Fagot has some resemblance to a bassoon - a long thin tube folded in three.

Bulgakov's character is thin, tall and in imaginary subservience, it seems, is ready to triple in front of his interlocutor (in order to calmly harm him later). Here is his portrait: “... a transparent citizen of a strange appearance, On a small head there is a jockey cap, a checkered short-haired jacket ..., a citizen a sazhen tall, but narrow in the shoulders, incredibly thin, and a physiognomy, please note, mocking”; "... his antennae are like chicken feathers, his eyes are small, ironic and half-drunk."

Koroviev-Fagot is a devil that has arisen from the sultry Moscow air (an unprecedented heat for May at the time of its appearance is one of traditional features approximation evil spirits). Woland's henchman, only out of necessity, puts on various masks-masks: a drunken regent, a gaer, a clever swindler, a rogue translator with a famous foreigner, etc. Only in the last flight Koroviev-Fagot becomes who he really is - a gloomy demon, a knight Bassoon, no worse than his master, who knows the price of human weaknesses and virtues.

3. Azazello

The name Azazello was formed by Bulgakov from the Old Testament name Azazel. This is the name of the negative hero of the Old Testament book of Enoch, the fallen angel who taught people to make weapons and jewelry.

Probably, Bulgakov was attracted by the combination in one character of the ability to seduce and kill. It is precisely for the insidious seducer that we take Azazello Margarita during their first meeting in the Alexander Garden: “This neighbor turned out to be short, fiery red, with a fang, in starched underwear, in a striped solid suit, in patent leather shoes and with a bowler hat on his head. "Absolutely a robber's mug!" - thought Margarita "But the main function of Azazello in the novel is connected with violence. He throws Styopa Likhodeev from Moscow to Yalta, expels Uncle Berlioz from the Bad Apartment, and kills the traitor Baron Meigel with a revolver. Azazello also invented the cream, which he gives to Margherita. The magic cream not only makes the heroine invisible and able to fly, but also endows her with a new, witchy beauty. In the epilogue of the novel, this fallen angel appears before us in a new guise: “Flying on the side of everyone, shining with the steel of armor, Azazello. The moon changed his face too. The ridiculous, ugly fang disappeared without a trace, and the squint turned out to be false. Both Azazello's eyes were the same, empty and black, and his face was white and cold. Now Azazello flew in his real form, like a demon of a waterless desert, a demon-killer.

4. Behemoth cat

This werewolf cat and Satan's favorite jester is perhaps the most amusing and memorable of Woland's retinue. The author of The Master and Margarita got information about the Behemoth from the book by M.A. Orlov "The History of Man's Relations with the Devil" (1904), extracts from which are preserved in the Bulgakov archive. There, in particular, the case of the French abbess, who lived in the 17th century, was described. and possessed by seven devils, the fifth demon being Behemoth. This demon was depicted as a monster with an elephant's head, with a trunk and fangs. His hands were of a human style, and a huge belly, a short tail and thick hind legs, like a hippopotamus, reminded him of his name. Bulgakov's Behemoth became a huge black werewolf cat, since it is black cats that are traditionally considered to be associated with evil spirits.

This is how we see it for the first time: "... on a jeweler's pouffe, in a cheeky pose, a third person collapsed, namely, a terrible black cat with a glass of vodka in one paw and a fork, on which he managed to pry a pickled mushroom, in the other."

Behemoth in the demonological tradition is the demon of the desires of the stomach. Hence his extraordinary gluttony, especially in Torgsin, when he indiscriminately swallows everything edible.

Behemoth's skirmish with the detectives in apartment No. 50, his chess duel with Woland, the shooting contest with Azazello - all this is pure humorous scenes, very funny and even to some extent removing the acuteness of those everyday, moral and philosophical problems that the novel poses to the reader.

In the last flight, the reincarnation of this merry joker is very unusual (like most of the plot moves in this science fiction novel): “The night tore off the Behemoth’s fluffy tail, tore off his hair and scattered it to shreds across the swamps. The one who was the cat that entertained the prince of darkness, now turned out to be a thin young man, a page demon, the best jester that ever existed in the world.

Gella is a member of Woland's retinue, a female vampire: “I recommend my maid Gella. Quick, understanding and there is no such service that she would not be able to provide.

The name "Gella" Bulgakov drew from the article "Sorcery" of the Encyclopedic Dictionary of Brockhaus and Efron, where it was noted that in Lesbos this name was called untimely dead girls who became vampires after death.

The green-eyed beauty Gella moves freely through the air, thereby gaining resemblance to a witch. Character traits behavior of vampires - clicking teeth and smacking Bulgakov, perhaps borrowed from the story of A.K. Tolstoy "Ghoul". There, a vampire girl turns her lover into a vampire with a kiss - hence, obviously, the kiss of Gella, fatal for Varenukha.

Hella, the only one from Woland's retinue, is absent from the scene of the last flight. Most likely, Bulgakov deliberately removed her as the youngest member of the retinue, performing only auxiliary functions in the Variety Theater, and in the Bad Apartment, and at the Great Ball with Satan. Vampires are traditionally the lowest category of evil spirits. In addition, Gella would have no one to turn into on the last flight - when the night "exposed all the deceptions", she could only become a dead girl again.

The master is the hero of the novel by M.A. Bulgakov "The Master and Margarita" (1928-1940). In the crowded collection of persons inhabiting the novel, the role of this character is indicated with all certainty. The chapter in which the reader meets him is titled "The Appearance of the Hero." Meanwhile, in the space of the plot, M. takes up little space. He appears in the 13th chapter, when all the main persons (except Margarita) have entered into action, and some have already left him. Then M. disappears from the story for a long time, only to reappear in the 24th chapter. And finally, he participates in the three final chapters (30th, 31st, 32nd). In world literature, it is difficult to find another work in which the hero would be “behind the scenes” of the plot for so long, waiting for his “exit”. These “exits” themselves do not correspond much to the function of the hero. They essentially lack any action, which is especially noticeable in comparison with the active heroine of the novel, who, in the name of love for M., decided to take risky and desperate actions. M.’s first “exit” results in a confession about what happened to him earlier: about a novel that was written and burned, about a beloved found and lost, about imprisonment, first violent (arrest), and then voluntary (in a clinic for the mentally ill). The further vicissitudes of the hero are entirely determined by other persons. Woland "extracts" him from the hospital ward in order to connect him with Margarita; Azazello “liberates” by poisoning him, and the liberated hero, together with his beloved, who has also become free, go to where they will find eternal shelter. Almost all events happen to M, but are not produced by him. However, he is the protagonist of the novel. The fate of M. and Margarita connects the disparate "episodes" of the narrative, holding them together in a plot-event and / or symbolically.

Bulgakov's hero is a man without a name. He renounces his real name twice: first, taking the nickname of the Master, which Margarita called him, and then, being in the clinic of Professor Stravinsky, where he stays as "number one hundred and eighteenth from the first building." The latter is associated, presumably, with a literary reminiscence: a reference to another "prisoner" of modern Bulgakov's romance - the hero of the novel E.I. Zamyatin “We”, whose fate has a number of coincidences with the fate of M. (Both are engaged in writing, not considering themselves writers; each has a lover capable of courageous deeds.) The semantics of the name M. is difficult to understand and cannot be unambiguously read. Leaving aside the obscure question of the origin of this name, it can be noted that in Bulgakov's texts it occurs several times, always endowed with an emphatic meaning, and at the same time, it is used at least inconsistently. "Poor and bloody master" Bulgakov calls the hero of "The Life of Monsieur de Molière"; among the variants of the name of the play about Stalin (later "Batum") appears "Master".

In the symbolism of the novel, the name M. appears in opposition to the craft of writing. The famous answer to Ivan Bezdomny's question: "Are you a writer?" -- "I am a master". If we take into account that before these words there was a conversation about the novel about Pontius Pilate, composed by the hero, then the semantic, value modulation is obvious. M. became a hero because his literary occupation went beyond its borders, turned into a deed that he was called to fulfill, to which he was crowned, like a king to a kingdom. M. even has a crown - a black cap sewn by Margarita with a yellow letter "M". Then the word "master" means "initiate."

The image of M. is a development of the lyrical hero Bulgakov, connected with his creator by intimate relations and a common literary pedigree, on family tree which the names of Hoffmann and Gogol stand out in particular. From the first hero Bulgakov inherited the title "thrice romantic master”, from the second - portrait features (a sharp nose, a tuft of hair hanging over his forehead) and a fatal circumstance of his fate. In a moment of despair, M. burns the novel he created, like Gogol, who destroyed the second volume " dead souls”, like Bulgakov himself, who threw the manuscript of the novel about the devil into the fire. According to I.L. Galinskaya, the hypothetical prototype of M. is the Ukrainian philosopher XVIII» G.S. Skovoroda, who, like the hero of Bulgakov, did not publish any of his works during his lifetime and in certain circumstances was forced to pretend to be crazy. Besides philosophical problems The novel can be regarded as a reflection of Skovoroda's philosophy in some of its important points.

In the work of Bulgakov, the image of M. correlates with such characters endowed with autobiographical features, such as the hero of the “Notes of a Young Doctor”, Turbin (“The White Guard”), Molière (the novel and play “The Cabal of the Saints”), Maksudov (“Notes of a Dead Man”). The plot parallels with the latter are the most obvious. (Bulgakov's commentators are the first to pay attention to them.) Both heroes are petty employees (one for the editorial office, the other for the museum), unremarkable in everyday life. In both, writing talent suddenly awakens. Both compose a novel that brings them happiness and sorrow. Like Maksudov, M., faced with "brothers in literature", becomes the object of persecution. Both "in the wide field of literature" are destined to be "literary wolves" (Bulgakov's words about himself). Meanwhile, Maksudov's work has been published and is being staged by the Independent Theatre. Roman M. did not get to the readers and spiritually broke him. Hounded and persecuted, M. renounces his creation, throwing the manuscript into the fire.

Maksudov composes modern novel, describing in it the events of which he was an eyewitness. M. is endowed with the gift of insight, the ability to see the history of two thousand years ago as it really was. “Oh, how I guessed! Oh, how I guessed everything, ”exclaims M., when, thanks to Ivan Bezdomny, who remembered the conversation with Woland, he gets the opportunity to compare what is described in the novel with the story of a living witness.

In the image of M., the author put his understanding of the writer and his life purpose. For Bulgakov, writing is theurgy, but not in the interpretation of V.S. Solovyov and the Russian Symbolists, which implied "ascent" to the "transcendental thrones" and the reverse life-building action produced from there. Bulgakov's theurgy is an epiphany of the truth sent down from above, which the writer must "guess" and about which he must tell people "so that they know ...". ("To know" - last words dying Bulgakov, which his wife heard.) The concept of the writer, personified in the image of M., is fundamentally different from the doctrine of the symbolists, according to which an artistic gift provided its bearer with a kind of indulgence.

In a poem by F.K. Sologub “I experienced the vicissitudes of fate”, a poet who sinned a lot in life, was allowed by the Apostle Peter to “listen to holy rejoicing” only on the grounds that he was a poet. For Bulgakov, being a poet or prose writer in itself does not mean anything. It's all about how the artist disposed of his talent. Berlioz, for example, exchanged his talent for worldly comfort, and for this he must go into oblivion. M. fulfilled his duty, but only half. He wrote a novel. However, he could not bear his burden, he preferred flight, and thereby violated the second part of his destiny: so that they know - what he learned. (In this section, it is essential to compare the fates of M. and Yeshua Ga-Notsri, who had the opportunity to avoid the cross, but did not use it.) That is why M. "did not deserve the light, he deserved peace."

The tragic image of M., discovered by the Russian reader in the late 60s, when M.A. Bulgakov, became for the domestic intelligentsia the personification of the dilemma of escapism and heroism, a symbol of the choice between these two existential possibilities.

7. Margarita

The main character of the novel, the beloved of the Master. For the sake of love is ready for anything. She plays a very important role in the novel. With the help of M Bulgakov showed us perfect image wife of a genius.

Before meeting Master M, she was married, did not love her husband and was completely unhappy. Having met the Master, I realized that I had found my destiny. She became his "secret wife". It was M who called the hero Master after reading his novel. The heroes were happy together until the Master published an excerpt from his novel. showered critical articles ridiculing the author, and the strong persecution that began against the Master in literary circles poisoned their lives. M swore that she would poison the offenders of her lover, especially the critic Latunsky. For a short time, M leaves the Master alone, he burns the novel and escapes to a psychiatric hospital. For a long time, M reproaches herself for leaving her beloved alone at the most difficult moment for him. She cries and suffers greatly until she meets Azazello. He hints to M that he knows where the Master is. For this information, she agrees to be the queen at the great ball of Satan. M becomes a witch. By selling her soul, she gets a Master. At the end of the novel, she, like her lover, deserves rest. Many believe that the writer's wife, Elena Sergeevna Bulgakova, served as the prototype for this image.

8. Ivan Homeless

it creative pseudonym Ivan Ponyrev. I.B. is a character that evolves over the course of the novel. At the beginning of the work, we see him as a member of MASSOLIT, a young poet writing poems on given topics. In the very first chapter, B. and Berlioz meet at the Patriarch's Ponds with Woland. In the future, Berlioz dies under the wheels of a tram. B. blames the mysterious foreigner for everything and starts chasing Woland and his retinue. In the future, B. is handed over to a psychiatric hospital. So B. is punished for passing off a thirst for glory and eminence as true creativity. In the hospital, B. meets the Master. He tells him his story. B promises not to write poetry anymore, realizing the harm caused by pseudo-creativity. Having reviewed all his moral ideals, B. becomes a completely different person. In the future, he will become a great scholar-historian.

9. Yeshua Ha-Nozri

This is the main character of the novel written by the Master. This hero means biblical jesus Christ. Yeshua was also betrayed by Judas and crucified. But Bulgakov in his work emphasizes the essential difference between his character and Christ. Yeshua is not shrouded in a halo of mysticism. He looks absolutely ordinary person capable of experiencing fear of physical violence. Yeshua is a wandering philosopher who believes that every person is good, and there will soon be no power in the world except God's. Of course, And has great power. He cures Pilate of a headache. The forces of light are concentrated in I, but Bulgakov emphasizes that everything in fact was not at all like in the Bible. I. himself speaks about this. He notes that he once looked into the parchment of his student Levi Matthew and was horrified. It was not at all what he actually said. So Bulgakov notes that one should not unconditionally believe the Bible, since people wrote it. And he died innocent, without lying, without betraying his convictions. For this he was worthy of the Light.

10. Pontius Pilate

This is truly a historical figure. In the Bible, it was this man who condemned Christ to be crucified. In the work, this is the main character of the novel written by the Master. Through the image of P, the author reveals the problem of conscience in the novel, the problem of cowardice and the need for every person, regardless of position and rank, to be responsible for their mistakes. After talking with Yeshua during interrogation, P realizes that he is innocent. He is even drawn to this person, he would like to discuss a lot with him. And he makes weak attempts to save I., suggesting that he lie. But I. feels that he is not guilty, and is not going to tell a lie. Then P tries to save I. in a conversation with the high priest Kaifa. P tells him that in honor of the Easter holiday, one of the prisoners must be saved, and he wants to release Yeshua Ha-Nozri. Kaifa vs. Cowardly, afraid of losing his place, P sentences I. to death penalty. Thus, P. sentences himself to eternal suffering.

Only after many centuries, the Master frees his hero from torment and gives him freedom. Finally, P.'s dream comes true: he climbs up the moonbeam with his faithful dog Banga. Next to him is a wandering philosopher I., and they have an interesting endless conversation ahead.

11. Levi Matvey

The most devoted disciple of Yeshua. This is a former tax collector who renounced everything and went after a wandering philosopher. L.M. He follows Yeshua everywhere and writes down his speeches. But Ga-Notsri himself claims that L.M. He doesn't write exactly what he says. Allegedly, from that moment the confusion that is reflected in the Bible began. When Yeshua is led to execution, L.M. wants to kill him, thereby relieving him of his torment. But he does not have time to do this, so L.M. only removes the body of Yeshua from the cross and buries it. Pilate offers L.M. to work as a clerk, but he refuses, arguing that the procurator, after what he did to Yeshua, will be afraid of him, will not be able to watch L.M. in gas. After the death of L.M. becomes a messenger for Yeshua.

As in the Bible, Yeshua betrayed. He turned it in to the authorities for money. And - a handsome young man, ready for the sake of money for everything. After surrendering Yeshua to the authorities, Pilate orders the head of the secret service, Aphranius, to kill Judas of Kiriath. As a result, Judas is killed. He took responsibility for his act.

13. Moscow in the 20s

it collective image, which draws Bulgakov. He satirically gives us portraits of his contemporaries. It becomes funny and bitter from the images drawn by the author. At the very beginning of the novel, we see Mikhail Alexandrovich Berlioz, chairman of MASSOLIT (union of writers).

In fact, this person has nothing to do with real creativity. B. is completely faked by time. Under his leadership, the entire MASSOLIT becomes the same. It includes people who know how to adapt to the authorities, write not what you want, but what you need. There is no place for a true creator, so critics start persecuting the Master. Moscow in the 1920s is also a Variety Show, directed by Styopa Likhodeev, a lover of carnal entertainment. He is punished by Woland, just like his subordinates Rimsky and Varenukha, liars and sycophants. Nikanor Ivanovich Bosoy, chairman of the house administration, was also punished for bribery.

In general, Moscow of the 1920s is distinguished by a lot of unpleasant qualities. This is a thirst for money, a desire for easy money, satisfaction of one's carnal needs to the detriment of spiritual ones, lies, subservience to superiors. It was not in vain that Woland and his retinue came to this city and at this time. They punish the hopeless severely, and morally give those who are not yet completely dead a chance to improve.

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