The Master and Margarita ad for the image. Essays. The technique of the absence of a proper name in a character's name
V. Shalamov's story "Apostle Paul" is the most famous from the book "Kolyma Tales". The emotional power of the story, born of the sharp contrast between the inhuman living conditions in which the heroes find themselves, and the humanity that is not killed by either the regime or the camp conditions, is deeply striking. Humanity, which may be the only chance to somehow make life easier not only for others, but also for yourself. Humanity, which always becomes a blow to the terrible political system and predicts her death. It is important to pay attention to the non-random subject of “discrepancies” that arose between the two heroes of the story. Apostle Paul...The first simple association is a Christian motif, reminiscent of the fact that it was with the beginning of the era of Christianity that the idea of the great importance of the individual and his “power” in people’s lives arose (the standard mission of Jesus in this regard).. Man saves the world , saves another...
The story claims that Christianity still lives, first of all, in the soul and actions of an individual, and not in a crowd or collective, not in the idea of "good", which is always the support of an inhumane regime, but in a simple one, as Grossman wrote in "Notes Ikonnikov", "kindness". Prayer, translated into an act filled with pity, the most human feeling, is the key to the invincible vitality of the Christian idea in people. The key to the victory of kindness over evil.
Ch. Aitmatov “The Scaffold”
Yours artistic comprehension The gospel plot - the dispute between Jesus Christ and Pontius Pilate about truth and justice, the purpose of man on earth - was proposed in the novel “The Scaffold” by Ch. Aitmatov. Jesus sees the meaning of the existence of people on earth in self-improvement, following the ideals of goodness, for the sake of which he is ready to accept death. “For this reason I was born,” Jesus says to Pilate, “to serve people as an unfading example. So that people trust in my name and come to me through suffering, through the fight against evil in themselves day after day, through aversion to vices, violence and bloodthirstiness...”
Pontius Pilate does not accept the humanistic philosophy of Christ, because he believes that man is a beast, that he cannot do without war, without blood, like flesh without salt. He sees the meaning of life in wealth and strong power.
In the novel, a kind of double of Jesus Christ, Avdiy Kalistratov, enters into a duel with evil. But he is alone, and therefore powerless against evil. First, he is brutally beaten half to death by the “messengers” for marijuana, and then, like Jesus Christ, he is crucified by the thugs from Ober-Kandalov’s “junta.” But the pain of his soul, his moral feat infects other people, prompting them to join the fight against evil.
As we see, the appeal to Christ by writers of the 20th century is determined by the idea of saving our world, deprived of the “name of the saint,” the tragedy of which was foreseen at the beginning of the revolution by A Yulock in his poem “The Twelve.”
Master- unnamed main character novel. In Stravinsky’s clinic, after M.’s disappearance, only his “dead nickname” remains: “Number one hundred eighteen from the first building.” The nickname “master” was given to the hero Margarita and is similar to the traditional names “master”, “maestro”; it relates the character to both medieval literary tradition and Masonic ritual. Associations with Goethe's Faust (by analogy with Woland - "Mephistopheles" and Margarita - "Gretchen") are insignificant. At the same time, the peculiar “duplicity” of M. and Woland is important (the symmetry of the letters and “M”, the authenticity of Woland’s narrative and M.’s novel, etc.). The hero is given a portrait resemblance to Gogol; they are also related by the motif of the burnt manuscript. At the same time, M. is clearly an autobiographical hero; he is 38 years old - the same age as Bulgakov himself was in the year he began working on the novel and meeting E. S. Shilovskaya (then Bulgakova). Apparently, it is no coincidence that the hero appears for the first time in the 13th chapter. At Stravinsky’s clinic, having made his way into Ivan Bezdomny’s room, he says that once, being a historian by training, he worked in one of the Moscow museums and was married. Having won one hundred thousand rubles in the lottery, he quits his job at the museum, rents a two-room apartment in an Arbat basement and begins to write a novel about Pontius Pilate. During this period, M. meets Margarita. However, attempts to publish the novel cause a campaign of harassment from literary critics, which leads M. to a severe nervous breakdown. “Friend” M. Aloisy Mogarych, wanting to occupy his rooms, writes a denunciation against him, and M. is arrested. Having left prison a few weeks later, he realizes that he is a complete outcast and comes to the Stravinsky clinic, and considers himself incurable. The hero is intimidated, exhausted and morally broken, ready to give up his entire past life, including Margarita. Having been “extracted” from the clinic by Woland at her request, M. says that he is “bored” and wants to “go to the basement,” expresses the hope that Margarita will “come to her senses” and leave him, because he does not want to ruin her life along with your own. The heroes are returned to the Arbat basement. After Azazello poisons them, M. and Margarita join Woland’s retinue. Saying goodbye to Ivan Bezdomny, M. calls him “student” and asks him to write a continuation of the novel for him. Having visited the place in the mountains where Pilate is languishing, M. releases his hero to freedom. During the last flight, M. takes on the appearance of an 18th-century man. (cf. Woland’s appeal: “thrice romantic master”). According to Levi Matthew, M. “did not deserve light, he deserved peace”; therefore, the “eternal shelter”, “eternal home” given to the hero looks like an ambivalent “reward/punishment”: M. finds peace, forgets about everything and is himself consigned to oblivion. He remains only in the memory of Ivan, to whom he appears annually in a dream on the night of the spring full moon.
One of the most mysterious figures in the novel is certainly the Master. The hero after whom the novel is named appears only in chapter 13. In the description of his appearance there is something reminiscent of the author of the novel himself: “a shaved, dark-haired man with a sharp nose, about thirty-eight years old.” The same can be said about the entire history of the master’s life, his fate, in which a lot of personal things, suffered by the author, can be discerned. The master survived lack of recognition and persecution in the literary community. The master, in his unexpected, sincere, bold novel about Pilate and Yeshua, expressed the author’s understanding of the truth. The Master's novel, the meaning of his whole life, is not accepted by society. Moreover, it was decisively rejected by critics, even when unpublished. The master wanted to convey to people the need for faith, the need to search for truth. But she, like himself, is rejected. Society is alien to thinking about truth, about truth - about those higher categories, the significance of which everyone must realize for themselves. People are busy satisfying petty needs, they do not struggle with their weaknesses and shortcomings, they easily succumb to temptation, as a black magic session speaks so eloquently about. It is not surprising that in such a society a creative, thinking person is lonely and does not find understanding or feedback.
The Master's initial reaction to critical articles about himself - laughter - gave way to surprise, and then fear. You lose faith in yourself and, even worse, in your creation. Margarita feels her lover’s fear and confusion, but she is powerless to help him. No, he didn't chicken out. Cowardice is fear multiplied by meanness. Bulgakov's hero did not compromise his conscience and honor. But fear has a destructive effect on the artist’s soul.
Whatever the Master’s experiences, no matter how bitter his fate may be, one thing is indisputable - the “literary society” does not succeed in killing talent. The proof of the aphorism “manuscripts don’t burn” is the novel “The Master and Margarita” itself, burned by Bulgakov with his own hands and restored by him, because what was created by a genius cannot be killed.
The master is not worthy of the light that Yeshua personifies, because he abandoned his task of serving pure, divine art, showed weakness and burned the novel, and out of despair he himself came to the house of sorrow. But the world of the devil has no power over him either - the Master is worthy of peace, an eternal home - only there, broken by mental suffering, the Master can again find romance and unite with his romantic beloved Margarita. For the peace granted to the master is creative peace. The moral ideal embedded in the Master's novel is not subject to decay and is beyond the power of otherworldly forces.
It is peace as a counterbalance to the former hectic life that the soul of a true artist craves. There is no return to the modern Moscow world for the Master: having deprived him of the opportunity to create, the opportunity to see his beloved, his enemies deprived him of the meaning of life in this world. The master gets rid of fear of life and alienation, remains with his beloved woman, alone with his creativity and surrounded by his heroes: “You will fall asleep, putting on your greasy and eternal cap, you will fall asleep with a smile on your lips. Sleep will strengthen you, you will begin to reason wisely. And you won’t be able to drive me away. “I will take care of your sleep,” Margarita said to the Master, and the sand rustled under her bare feet.”
- New!
I read Mikhail Bulgakov’s novel “The Master and Margarita,” which made an indelible impression on me. Now I will never be able to forget either the Master, or Margarita, or Yeshua, or Pontius Pilate, or Woland. Like all writers, Bulgakov...
The novel “The Master and Margarita” is dedicated to the story of a master - a creative personality opposed to the world around him. The master's story is inextricably linked with the story of his beloved. In the second part of the novel, the author promises to show “true, faithful, eternal love.”...
M. A. Bulgakov’s novel “The Master and Margarita” is a multifaceted work in which three main storylines are intricately intertwined: the story of Christ, which is also the Master’s novel; relationship between the Master and Margarita; events related...
Mikhail Afanasyevich Bulgakov is a great master, bringing light with his talent without hiding the darkness... Indeed, he did not hide the darkness. This time in which the author lived and worked tried to hide its lawlessness and tragedy from his contemporaries. Time tried...
Literary critic B.V. Sokolov believes that “the evil spirits in The Master and Margarita, not without humor, expose human vices to us.” This is true. The encounter with the devil's power brings into the open in the novel what is usually hidden...
Mikhail Afanasyevich Bulgakov’s novel “The Master and Margarita” was not completed and was not published during the author’s lifetime. It was first published only in 1966, 26 years after Bulgakov’s death, and then in an abridged magazine version. Because this is the greatest...
The novel “The Master and Margarita” is the apogee of Mikhail Bulgakov’s work. Every line of the book traces a problem that was characteristic of Soviet Russia 30s. We are talking about the tragedy of the writer. Who is a writer? From ordinary people he is distinguished by the need to freely say what he thinks. Otherwise, he is no longer a writer, but a scribbler who has lost his individuality.
One of the main characters of The Master and Margarita is a real writer. He does not write to order, unlike MASSOLIT representatives. What is important to them? First of all, the material side of the issue. For example, in a conversation with the Master, the poet I. Bezdomny admitted that he writes bad poetry on completely uninteresting topics. And the Master? No, he's not like that. Despite the ban on developing the topic of God, the Master is working on a novel about Pontius Pilate.
Of course, like any talented person, the Master dreams of recognition, fame, and life's blessings Same. But all this is secondary. In the novel, no one ever called the Master by name, because he is a genius who wrote an amazing book. The Master lives in a small apartment, which is located in the basement of the house. But he doesn’t worry about this, because he has the work of his whole life, and the woman he loves helps him with everything.
The master wants to be recognized by a society of cowards and hypocrites. And this is his tragedy. Publishers refuse to publish the novel, while literary critics began to publish one article after another, which tore the manuscript to smithereens. The master fell into despair. Being in a state of depression, he burned the novel to which he devoted his entire life, deciding that it was because of this book that misfortunes befell him. The last straw was an article by critic Latunsky. The master ends up in a psychiatric clinic.
M. Bulgakov in his work showed tragic fate, which was destined for all writers working in the thirties of the twentieth century. Those who refused to write “according to the template” had their way blocked. Many writers who dared to speak their thoughts out loud were imprisoned in psychiatric clinics or eked out a miserable, beggarly existence. The novel "The Master and Margarita" reflects the real state of Russian literature at this time. hard times.
Perhaps Bulgakov is writing about himself? Maybe he is the prototype of the Master? Both the Master and Bulgakov raise the same problems in their works - the problems of Christianity. Both, remaining misunderstood, throw the meaning of their whole lives into the fire. Both books were not recognized by critics. And only after Bulgakov’s death, the literary community called “The Master and Margarita” the most brilliant work of world culture. Woland returns his novel to the master. The words “Manuscripts don’t burn!” became prophetic. A brilliant creation cannot be forgotten. Art cannot be destroyed.
