Three worlds in the novel "The Master and Margarita" - an essay. Three worlds in the novel "The Master and Margarita" - composition The name of the worlds in the novel The Master and Margarita

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 problems, but also because of the complex "three-dimensional" structure of the work.

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The novel "The Master and Margarita", which M. A. Bulgakov challenged not only Russian, but also the world tradition, the writer himself called his "sunset", final work. It is with this novel that the name and creative credo of this outstanding artist are now identified. Despite the fact that Bulgakov's "sunset novel" is closely connected with all the writer's previous work, it is a bright and original work, indicating that the author was looking for new artistic ways to solve the problems that worried him. The novel "The Master and Margarita" is distinguished by its genre originality: it can be called both fantastic, and philosophical, and love-lyrical, and satirical. This is also the reason for the unusual artistic organization of the work, in which three worlds open before us, which, existing separately, at the same time are closely intertwined and interact with each other.

The first world is mythological, biblical, or historical. The most important, key events from the point of view of Christianity take place in it: the appearance of Christ, his dispute with Pontius Pilate about the truth and the crucifixion. In Yershalaim, the action of the "Gospel of Satan" takes place. Bulgakov emphasizes that the events described in the traditional gospels do not correspond to historical truth. True events are open only to Satan, the Master and Ivan Bezdomny. All other sources will certainly begin to distort the truth. The parchment of Levi Matthew played a tragic role in the fate of Yeshua, because Levi understood the words of the Teacher about the destruction of the temple literally. Describing the biblical events, the author of The Master and Margarita wanted to show that knowledge of the truth is available only to higher powers or chosen people. In the biblical plan of the novel, the most important philosophical questions are posed: about the essence of man, about good and evil, about the possibility of moral progress, about the freedom of a person to choose his path and moral responsibility for this choice.

The second world is satirical, which describes the events of the 20-30s of the XX century. In the center of it is the tragic fate of a talented writer - the Master, who "guessed" eternal truths with the power of imagination, but was not demanded by society and persecuted by it. The writer Konstantin Simonov noted that when reading "The Master and Margarita" "it is immediately evident to people of older generations that the main field for Bulgakov's satirical observations was the Moscow philistine, including near-literary and near-theatrical, environment of the late 20s, with its, as they said then, "burps of NEP". Satirical scenes from the life of the Moscow literary and theatrical environment are written in a language reminiscent of Bulgakov's comic works. This language is characterized by clericalism, colloquial expressions, detailed descriptions of characters.

The third world of the novel is a fantasy world, the world of Woland, the lord of darkness, and his retinue. Fantastic events take place in this world, for example, a ball at Satan's - a kind of parade of human vices and deceit.

Woland and his retinue perform all kinds of miracles, the purpose of which is to show the imperfection of the human world, the spiritual baseness and emptiness of the inhabitants. Fantasy characters play a very important role in the novel. Their main activity is the balancing of the forces of good and evil, the implementation of a fair trial of human weaknesses and vices.

Woland, and hence the author himself, understands justice not only as mercy, but also as retribution according to the principle "to each according to his faith." "Not according to reason, not according to the correct choice of mentality, but according to the choice of the heart, according to faith!" Woland weighs every hero, the whole world on the scales of human conscience, humanity and truth. "I don't believe in anything I write!" - Ryukhin exclaims, realizing his mediocrity, human emptiness, and thus pays his bills. The image of Woland turns out to be perhaps the most important in the system of characters: he holds together all three planes of the novel's narrative, carries out the main motive of retribution, judgment. Appearing in the very first chapter of The Master and Margarita, he passes through the whole work and goes into eternity along with the rest of the characters at the end of the book.

Each of the worlds of Bulgakov's novel has its own time scale. In the Yershalaim world, the main action unfolds over the course of one day and is accompanied by memories of previous events and predictions of the future. Time in the Moscow world is more blurry and flows relatively smoothly, obeying the will of the narrator. In a fantasy world, time almost stopped altogether, merged into a single moment, which is symbolized by the clock lasting midnight at Satan's ball.

Each of the three worlds has its own heroes, who are a vivid reflection of their space and time. So, in the other world there is a meeting of the Master, Yeshua and Pilate. The master writes a novel about Pontius Pilate, at the same time telling about the moral feat of Ha-Notsri, who, even in the face of painful death, remained firm in his humanistic preaching of universal kindness and free thinking.

However, it cannot be said that the teachings of Yeshua or the book of the Master exist on their own. They are peculiar moral and artistic centers from which the action of the whole novel is repelled and at the same time directed. That is why the image of the Master, just like the image of Woland, is present not only in his own world, but also penetrates into the rest of the storylines of the story.

It operates both in the modern world and in the other world, connecting the historical world with the fantastic world. And yet the novel is dominated by satirical images.

In terms of the significance of harm to society, the image of Berlioz, chairman of the board of one of the largest Moscow literary associations and editor of a thick magazine, can be safely placed in the first place in the modern world.

Homeless quickly wrote the work, but it did not satisfy Berlioz, who was convinced that the main idea of ​​the poem should be the idea that Christ did not exist at all. Before us appear two different, but equally harmful to society characters. On the one hand, there is an official who inflicts moral and ethical harm on society, turns art into custom-made and cripples the taste of the reader; on the other hand, a writer forced to engage in juggling and distortion of facts.

Here we also see a businessman from the theatrical life of Rimsky who, more than anything else, was afraid of responsibility. To restore justice, as in other cases, Woland is called upon, who cruelly proves to the writers the reality of the existence of both Christ and Satan, exposing in the Variety not only representatives of art, but also ordinary people.

Here Woland and his retinue appear before us in all their strength.

A sudden encounter with evil spirits instantly reveals the essence of all these Berliozes, Latunsky, Meigels, Aloysius, Mogarychs, Nikanorov Ivanovichs and others. The fantastic twist allows us to see a whole gallery of unsightly characters. The session of black magic, which Woland and his assistants give in the capital's Variety Show, literally and figuratively "undresses" some viewers. And the case with Berlioz emphasizes the author’s idea that “the moral law is contained within a person and should not depend on religious horror before the coming retribution, the very Last Judgment, a caustic parallel to which can be easily seen in the death of the official who headed MASSOLIT.

Thus, we see that all three worlds of the novel penetrate each other, are reflected in certain events or images, and are constantly evaluated by higher powers. The author painted a picture of the modern world, revealed historical and religious facts to us, created a magnificent world of fantastic images and made them exist in a constant and inextricable connection. In The Master and Margarita, modernity is tested by eternal truths, and the direct conductor of this test is a fantastic force - Woland and his retinue, who unexpectedly burst into the life of Moscow, the capital of the state, in which a gigantic social experiment is being carried out. Bulgakov shows us the failure of this experiment. In the imaginary realm of truth, people have managed to do so much evil that, against its background, real evil spirits seem good. With the advent of fantastic power, all value orientations shift: what was previously perceived as terrible appears absurd and ridiculous, the highest value of earthly ambitious people - power over people - turns out to be empty fuss.

Striking and varied are also the connections between the biblical chapters of the novel and the rest of the narrative lines. They consist, first of all, in the commonality of themes, phrases and motives. Roses, red, black and yellow colors, the phrase "Oh gods, gods" - all this implies temporal and spatial parallels between the characters and events.

The description of Moscow in many ways reminds us of pictures of the life of Jerusalem, which is repeatedly emphasized and enhanced by the repetition of motives and structural elements, from the features of the landscape to the real movement of the characters around the city. “Combining Moscow and Yershalaim,” wrote S. Maksurov, “the author, as it were, puts one city into another, the story of the events in Yershalaim takes place in Moscow, we learn about Moscow life and at the same time see Yershalaim together with Muscovites and the eyes of Muscovites ... This resembles a Russian nesting doll, where each subsequent figure is made in the image and likeness of the previous one and at the same time contains the next one.

The worlds in Bulgakov's novel do not exist on their own, separately from each other. They intertwine, intersect, forming an integral fabric of the narrative. Events separated from each other by two millennia, plots, real and fantastic, are inextricably linked, they emphasize and help to understand the immutability of human nature, the concepts of good and evil, eternal human values...

"... trinity is the most general characteristic of being."

P. A. Florensky

The Master and Margarita is a satirical novel, a fantasy novel, a philosophical novel. A novel about love and creativity... About death and immortality... About strength and impotence... What is guilt and retribution? What is power? What is fearlessness, fear, cowardice? What is the flow of time? And what is a man in time? What is it - the truth or the path to the truth?

The "three-dimensional" structure of the novel expresses Bulgakov's philosophy. The writer argued that the trinity corresponds to the truth. Both the space-time and ethical concept of the novel are based on the trinity.

The three worlds of The Master and Margarita correspond to three groups of characters, and representatives of different worlds form a kind of triad. They are united by their role and similar interaction with other characters, as well as by the Elements of portrait likeness. Eight triads are presented in the novel: Pontius Pilate, procurator of Judea - Woland, "prince of darkness" - Professor Stravinsky, director of a psychiatric clinic; Aphranius, Pilate's first assistant - Fagot-Koroviev, Woland's first assistant - doctor Fyodor Vasilyevich, Stravinsky's first assistant; centurion Mark Krysoboy - Azazello, the demon of the waterless desert - Archibald Archibaldovich, director of the restaurant "House of Griboedov"; dog Buncha - cat Behemoth - police dog Tuztuben; Nisa, agent Aphranius - Hella, maid Fagot-Koroviev - Natasha, maid Margarita; Chairman of the Sanhedrin of Kaif - Chairman of the MASSOLIT Berlioz - unknown in Torgsin; Judas from Kiriath - Baron Meigel - journalist Aloisy Mogarych; Levi Matthew, follower of Yeshua - poet Ivan Bezdomny, disciple of the Master - poet Alexander Ryukhin.

Let us turn to one of the significant triads of the novel: Pontius Pilate - Woland - Stravinsky. “In a white cloak with bloody lining” appears in the world of Yershalaim Pontius Pilate. In the Moscow world, the action takes place thanks to Woland, who, like the procurator of Judea, has his own retinue. Stravinsky manages his clinic, determines the fate of those who came to him as a result of communication with Satan and his servants. It seems that the course of events in the clinic is directed by the actions of Stravinsky, a "small" likeness of Woland. Woland is a “small” likeness of Pilate, because the “prince of darkness” is almost completely devoid of any experiences with which the procurator of Judea, tormented by the pangs of conscience for his momentary cowardice, is so richly endowed (courage on the battlefield and civil cowardice - as he often observed such is Bulgakov among his contemporaries). Pilate tries to save Yeshua, but, forced in the end to send him to his death, involuntarily becomes immortal. And in modern Moscow, the eternal Woland saves the Master and gives him a reward. But the creator must die, and with him Margarita. They receive retribution in the other world. Immortality gives the Master a brilliant novel written by him, and Margarita - her true sincere love. Stravinsky also "saves" the Master, who has become a victim of evil spirits; only "salvation" is parodic, for the professor can offer the Master the absolute inactive peace of the asylum.

The power of each of the powerful characters of this triad turns out to be imaginary. Pilate is unable to change the course of events and save Yeshua. Woland, in turn, only predicts the future. So, Berlioz dies under the wheels of a tram, not because Satan "gave" him a tram and Annushka, but because he slipped on oil. Stravinsky's power is generally illusory: he is not able to deprive Ivan Bezdomny of his memories of Pilate and the death of Yeshua, of the Master and his beloved, he is not able to prevent the Master's earthly death and his transition to the other world. material from the site

There is also a portrait resemblance between these heroes: Woland "looks over forty years old" and "smoothly shaved." Stravinsky is "a carefully shaven man of about forty-five, like an actor." Satan's "right eye is black, the left one is green for some reason", and "the right one with a golden spark at the bottom, drilling anyone to the bottom of the soul ...", the professor's eyes are "pleasant, but piercing". The outward resemblance of Stravinsky to Pilate is noted by Ivan Bezdomny (Stravinsky, like the Procurator, also speaks Latin). Pilate and Woland are also similar. During the interrogation of Yeshua, Pilate's face turns from yellow to brown, and "the skin on Woland's face seemed to be burned forever by a tan."

Eternal once and for all this strict hierarchy reigns in the other world, reflecting the hierarchy of the ancient Yershalaim world and the modern Moscow one.

Bulgakov's contemporary world is also hierarchical: the Variety Theatre, Stravinsky's clinic, MASSOLIT. And only the Master, Yeshua and Margarita are ruled by love. The Master and Yeshua have no place in a world where there is a hierarchy. And yet the author is convinced that above all social, political, everyday problems are feelings: love, joy.

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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 we did not pay attention to the first time.

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).

Mikhail 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 30s 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 world of Yershalaim 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 notices that internally people have changed little over the past millennia: "They are people like people. They love money, but it has always 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.

THREE WORLDS IN M. BULGAKOV'S NOVEL "MASTER AND MARGARITA"

2. Three-dimensionality as a form of being

Trinity of the Divine Trinity

3. The three-world structure of the novel

Ancient "Yershalaim" world

From the modern Moscow world

Eternal underworld

Interconnection of the three worlds

4. Parallel rows of characters, emphasizing the connection of the worlds

Triads of characters according to the principle of external similarity and their actions

Moving characters from one world to another

Characters not included in the triad

Yeshua Ha-Nozri and the Master

margarita

5. The influence of the three worlds on the genre originality of the novel......00

Conclusion................................................. ......00

References ...............................................00

Introduction

M. A. Bulgakov is one of the remarkable writers of the post-revolutionary era. Bulgakov's fate was difficult, it had many conflicts, victories and defeats. The novel "The Master and Margarita" was the revelation of the great writer.

Until now, no one has been able to determine what is satirical, philosophical, psychological, and in the Yershalaim chapters - the novel-parable "The Master and Margarita". It was considered both as a result of world literary development, and as a historical response to specific events in the life of the 20s and 30s, and as a concentration of the ideas of the writer's previous works. The author himself assessed it as his main message to mankind, his testament to posterity.

This novel is complex and multifaceted, the writer touched on many topics and problems in it.

In the image of the Master, we recognize Bulgakov himself, and the prototype of Margarita was the writer's beloved woman - his wife Elena Sergeevna. It is no coincidence that the theme of love is one of the main, basic themes of the novel. Bulgakov writes about the highest and most beautiful human feeling - about love, about the senselessness of resisting it. In the novel, he proves that no obstacles can interfere with true love.

Another of the many issues raised in the novel is the problem of human cowardice. The author considers cowardice the biggest sin in life. This is shown through the image of Pontius Pilate. After all, he perfectly understood that Yeshua did not do anything for which he should be executed. However, Pilate did not listen to his “inner” voice, the voice of conscience, but followed the crowd and executed Yeshua Ha-Nozri. Pontius Pilate chickened out and was punished with immortality for this.

An endless chain of associations, not always explainable, not always traceable, but really existing; there are hundreds of them. Let's consider three of them: the ancient "Yershalaim" world, the modern Moscow world and the eternal other world.

The present work compares these three worlds and the characters that inhabit them, the characters and actions of the heroes of the book.

The three-dimensional structure of the novel is also seen in the construction of characters, which are assembled according to the principle of the influence of similarity and their actions: Pontius Pilate - Woland - Professor Stravinsky; Aphranius - Fagot Koroviev - doctor Fedor Vasilyevich, assistant to Stravinsky; and others.

Three-dimensionality as a form of being.

Trinity is the most general characteristic of being.

P. Florensky

Space is a form of existence of matter, expressing the extent of its constituent objects, their structure of elements and parts.

Space has three dimensions and is called three-dimensional. It is a necessary condition for the existence of stable systems. Space is a time slice of our being, characterized by the formula 3+1. It is precisely the trinity of time and all change that reveals in time its other peculiarity, namely, the unity of changing being that permeates it.

Being is one of the most general categories, carrying a triple nature.

At the level of everyday life, the fact of the fluidity of time is striking: from the past to the present, from the present to the future.

In support of this, there are metaphors: “To kill time”, “Time is money”, “Everything flows - everything changes”. The main manifestation of time is its change. Change is the unity of past, present and future.

Trinity of the Divine Trinity.

The word "trinity" of non-biblical origin was introduced into the Christian lexicon in the second half of the 2nd century by St. Fiophilos of Antioch. The doctrine of the Holy Trinity is given in the Christian Revelation. It says: God is one in essence, but trinity in persons: Father, Son and Holy Spirit, the Trinity consubstantial and indivisible.

Belief in the Trinity distinguishes Christianity from all other monotheistic religions: Judaism, Islam. The doctrine of the Trinity is the foundation of all Christian faith and moral teaching, for example, the doctrine of God the Savior, God the Sanctifier, etc. V.N. Lossky said that the doctrine of the Trinity “is not only the basis, but also the highest goal of theology, for ... to know the mystery of the Holy Trinity in its fullness -

means to enter into the Divine life, into the very life of the Most Holy

The doctrine of the Triune God boils down to three propositions:

1. 
   God is trinity and trinity consists in the fact that there are three Persons (hypostases) in God: Father, Son, Holy Spirit.
2. 
   Each Person of the Most Holy Trinity is God, but They are not three Gods, but the essence of a single Divine Being.
3. 
   All three Persons differ in personal or hypostatic properties.

This saying outlines the main meaning of the perception and understanding of God by Christians. The trinity of God is an indisputable truth for Christians, which has many confirmations in the Bible. In the Old Testament - in unambiguous types, and in the New Testament - quite clearly, for example: in the Baptism of Christ, where the Holy Spirit appears in the form of a dove and the voice of the Father is heard; in a farewell conversation with the disciples, where Jesus Christ says: “When the Comforter comes, whom I will send to you from the Father, the Spirit of truth, which proceeds from the father, he will testify about Me…”; in his last meeting with his disciples, when he says: "Go, make disciples of all nations, baptizing them in the name of the Father and the Son and the Holy Spirit ...".

Three-dimensional structure of the novel

In his novel, Bulgakov shows us that life is not two-dimensional, that it is not limited by the plane of earthly existence, that each event on this plane of earthly life only seems to us flat, two-dimensional. But in fact, it undoubtedly has, albeit invisible, not distinguishable by our eye, but quite real and unconditional "third dimension".

Ancient "Yershalaim" world.

This world appears before us in the novel, written by one of the leading characters of the novel, it is the basis of the entire Bulgakov novel. The question of Yershalaim scenes in The Master and Margarita has long attracted the attention of researchers.

E. Renan's book "The Life of Jesus" occupies an important place in Bulgakov's work on these scenes. Extracts from it have been preserved in the writer's archive. In addition to chronological dates, Bulgakov drew some historical details from there.

Also, when working on a novel about Pontius Pilate, Bulgakov turned to another work by Renan - The Antichrist, which tells about the history of Christianity in the time of Nero.

But none of these books can compare in the value of information with the work of the British researcher, Bishop Frederick William Ferrar, The Life of Jesus Christ.

Another of the most important sources for creating Yershalaim scenes is the Encyclopedic Dictionary of Brockhaus and Efron. It was from there that Bulgakov took information about the equipment, structure and weapons of the Roman army.

The novel is cleared of many unreliable evangelical events, as well as some of the details of the evangelical plot that are unnecessary for the novel. The writer concentrated the action of his novel around two characters - Yeshua and Pilate. There are far fewer actors in the Yershalaim scenes of The Master and Margarita, although the genre chosen by Bulgakov should have led to the opposite.

At the end of the novel, we see the procurator "on a stony, joyless flat top", sitting alone in a heavy chair in this desert mountainous area. The last refuge of Pilate in the novel is a kind of analogue of a deep well surrounded by mountains from an apocryphal legend.

The Yershalaim scenes are the most striking part of the novel. From a variety of details, the author created a panorama of the life and life of people of an era far from our days, giving it historical authenticity. The images described in these chapters are clear to us to this day. These scenes contain the philosophical line of the novel, its highest aesthetic point.

Modern Moscow world.

On the pages of the novel, Moscow residents and their way of life, everyday life and worries are depicted satirically. Woland flies in to see what the inhabitants of Moscow have become. To do this, he arranges a session of black magic. And literally throws money at people, dresses them in expensive clothes. But not only greed

And greed is inherent in them, inhabiting the capital. They are alive and compassionate. Suffice it to recall the episode that happened at that unusual session, when the Behemoth rips his head off his shoulders to the host of the program, Bengalsky. Seeing the host without a head, the Muscovites immediately ask Woland to return the head to Bengalsky. This is how Woland's words can describe the inhabitants of Moscow at that time.

“Well, then,” he replied thoughtfully, “they are people like people, they love money; but after all, it has always been ... humanity loves money, no matter what it is made of, whether it is leather, paper, bronze or gold. Well, they are frivolous ... well, well ... and mercy sometimes knocks on their hearts ... ordinary people ... in general, they resemble the former ones ... the housing problem only spoiled them ... "

Eternal underworld.

“The demonological is that which neither reason nor reason can comprehend. It is alien to my nature, but I am subject to it.

I.V. Goethe

When describing the Sabbath in The Master and Margarita, Bulgakov used a variety of literary sources. In the preparatory materials for the first edition, extracts from Orlov's book “Antesser. Shack games. Sawdust and a bell ", as well as from the article" Witches' Sabbath "of the Encyclopedic Dictionary. The author of this article points out that witches and devils, who, according to popular beliefs, are participants in the Sabbath, originated from ancient pagan gods and goddesses, traditionally depicted on a boar. But this is exactly how Margarita's servant, Natasha, travels.

But the flight of Margarita and the Sabbath is just a kind of prelude to the most striking scenes associated with the great ball and Satan.

According to the memoirs of E.S. Bulgakova, the original description of the ball differed greatly from the one we now know from the final text of the novel. At first it was a small ball in Woland's bedroom, but already during his illness, Bulgakov rewrites it and the ball becomes large.

In order to describe such a grandiose ball, it was necessary to expand the space of an ordinary Moscow apartment to supernatural dimensions. And, as Koroviev explains, "for those who are well acquainted with the fifth dimension," it costs nothing to push the room to the desired limits.

Some details of the ball scene are to a certain extent oriented to the articles of Brockhaus and Efron, and a number of other sources. So, richly decorating the ballrooms with roses, Bulgakov, no doubt, took into account the complex and multifaceted symbolism associated with this flower. In the Encyclopedic Dictionary article on roses in ethnography, literature and art, it is noted that roses acted both as a symbol of mourning and as a symbol of love and purity.

With this in mind, Bulgakov's roses can simultaneously be considered both as symbols of Margarita's love for the Master and as a harbinger of their imminent death. The abundance of roses - a flower alien to Russian tradition - emphasizes the foreign origin of the diaboliad played in Moscow and its heroes, and if we recall the widespread use of roses to decorate Catholic services, roses add an additional element to the ball - a parody of a church service.

When describing the ball with Satan, Bulgakov also took into account the tradition of Russian symbolism. So, Woland's ball is called "the full moon spring ball, or the ball of a hundred kings", and Margarita acts as a queen. At Bulgakov's, Margarita receives the guests of the ball, standing on one knee. The guests are men in tailcoats, and naked women in hats with feathers kiss her on the hand and knee, and Margarita is forced to smile at everyone. During the ceremony, she is on a marble staircase towering over the hall.

The fact that a string of villains, murderers, poisoners, whores passes in front of Margarita is not accidental. Bulgakov's heroine is tormented by her betrayal of her husband and, albeit subconsciously, puts this misconduct on a par with the greatest crimes of the past and present. Woland, introducing Margarita to the famous villains and whores, as if testing her love for the Master, intensifies the pangs of her conscience.

The image of Frida occupies a special position in the ball scene. The name itself evokes many associations. It is also close to the English word freedom, meaning “freedom”. She kills her child in infancy and with a handkerchief. In the episode with Frida, it was the innocent baby that was important to Bulgakov as the last measure of good and evil. The handkerchief that Frida sees every evening on her table is not only a symbol of her pangs of conscience, but also the ghost of her obsession.

Frida is granted mercy. Her story in some way echoes the story of Goethe's Margarita from Faust and is opposed to the fate of Bulgakov's Margarita, genetically ascending to this heroine of Goethe's tragedy.

The transformation of Berlioz's head into a bowl - a skull, from which they drink wine and blood, occurs in strict accordance with the laws of the Sabbath. Even in the preparatory materials for the first edition of the novel there is an extract from the article "The Sabbath of Witches": "A horse skull from which they drink." In the original source, this place sounds like this: that the participants in the coven "eat horse meat, and drink drinks from cow hooves and horse skulls." At the ball of the dead, Woland, a specialist in “black magic”, Satan, refers to the severed head of Berlioz, on which “living eyes full of thought and suffering” are preserved: “... everyone will be given according to his faith. May it come true! You are going into non-existence, and I will be happy to drink from the cup into which you are turning into being.

What kind of “faith” does the chairman of MASSOLIT profess? In this context, it comes down to a simple thought: “after cutting off the head, life in a person stops ... and he goes into oblivion.” Woland raises a toast “to being”, a toast to life.

However, “life” is only a superficial, far from exhaustive content that the author puts into the concept of “being”. Woland's conversation with the Moscow writer at the Patriarch's Ponds deals with evidence of the existence of God and, accordingly, the devil. Woland "begs" his interlocutors: "Believe at least that the devil exists." God and the devil are beings of the spiritual world, of spiritual value. Being - in a broad sense - the reality of the spiritual world, rejected by Berlioz. The essence of his "faith" Woland forms in an ironic maxim: "... whatever you miss, there is nothing." Such is the "faith" of Berlioz. Woland refutes Berlioz's views point by point, he proves that they contradict "facts", the most stubborn thing in the world. “Full of thoughts and suffering” eyes on the severed head testify that the truth of the fact has reached Berlioz’s still unquenched consciousness.

Parallel rows of characters, emphasizing the connection of the worlds.

Parallel rows of characters, emphasizing the connection of the worlds.

There are no minor characters in the novel; but all the actors conditionally belong to three groups:

1) Accepted by us a priori - Yeshua, Pilate and Woland, as well as the Master and Margarita, who existed long before Bulgakov, and only included by him in the fabric of the narrative. Personalities, of course, historical; about which infinitely much has been written and infinitely interesting. Concerning the origin of the last two heroes, the controversy has not subsided so far, and I believe that almost all researchers of this problem are equally right.

2) The characters are parodic, taken directly from life, and do not cause questions for us; just ridiculous as hell. And Styopa Likhodeev, and financial director Rimsky, and the unsuccessful poet Ryukhin, and the brilliant Archibald Archibaldovich, and the whole near-literary world of the Griboedov House, written out with great care, but how mercilessly. But how many more of them, spotted on the street or in line, struck at the meeting; for the book is the essence of the accumulation of facts of the biography of the writer himself, with which no one argues, trying to find a correspondence between the fact of the biography and the episode of the novel. But such a direct relationship almost never happens, but strange associations happen, like all of us, when two unfamiliar thoughts in a hurry and bustle suddenly collide and give rise to a third - brilliant and amazing. This is how they appear:

3) Mysterious characters who have their own story, which lies outside the dimension of the book.

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   Priest Oleg Davydenko The teaching of the Orthodox Church about the Holy Trinity. From lectures on dogmatic theology at the Orthodox St. Tikhon Theological Institute. May 29, 2004