Comparison of the worlds in the novel The Master and Margarita. Three worlds in the novel "The Master and Margarita" - essay. Modern Moscow world

Behind the edges of gems, as if by chance, casually thrown by writers on

pages of his works, sometimes hidden

deep meaning that enriches the plot of the work

additional nuances.

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.

The first world is Moscow in the 1920s and 1930s.

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 presented 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 consumed Russia for many years, 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 is the devil Koroviev - 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 eternally existing evil which 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.

First world - Moscow 20-30s.

The second world is Yershalaim.

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.

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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 up 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 by 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 1920s, 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 entire 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 world of Yershalaim, 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 Ga-Nozri, 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.

Bezdomny 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 forced them to 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 are shifted: 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...

Three worlds in Bulgakov's novel "The Master and Margarita" and their interaction

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Roman Woland and his retinue” - The name Azazello was formed by Bulgakov from the Old Testament name Azazel. Probably, Bulgakov was attracted by the combination in one character of the ability to seduce and kill. Woland is a character in the novel The Master and Margarita, who leads the world of otherworldly forces. Woland is largely focused on Mephistopheles "Faust" by Johann Wolfgang Goethe.

"Bulgakov's novel Master and Margarita" - Heroes of the novel. Real Moscow 20 - 30 years of the XX century. Master. Last flight. Goethe. "Faust". Pilate and Yeshua. 1928 - 1938 8 editions. 1931 - 1932 Continuation of work, the appearance of images of the Master and Margarita. Azazello. 1928 Concept. 1930 burned the manuscript. Why is Woland interested in the Master's novel? The novel The Master and Margarita.

"Master and Margarita" - Anti-creativity. Such is the feeling of the Master and Margarita. Saadi. MASSOLIT and Master. But now the novel is over, so what? The ulcers are familiar to you, the balm is also familiar! The symbol of writers - varnishers of reality - in the novel is MASSOLIT. Master. Follow me, reader! What sacrifices is a loving person ready for? And it was Margarita's love, the ability to sacrifice herself that made the Master's revival possible.

"Love of the Master and Margarita" - Self-examination. Master's novel. Pontius Pilate is one of the main characters in Bulgakov's The Master and Margarita. Bulgakov's Modernity (30s of the 20th century). Mystical. The forces of hell in the novel. CD-disk with a recording of the novel, 2009 Woland personifies the norms of Christian morality. The distant past has not gone forever, but exists in parallel with the present.

"Mikhail Bulgakov Master and Margarita" - The story "The Devil". 1924 - Divorce from T.N. Lappa and the beginning of a life together with L. E. Belozerskaya. Faust. Woland is at the head of the force that implements the motive of retribution - the court. Two worlds in the novel "Master and Margarita": light and darkness. Azazello. M. A. Bulgakov. The story "Fatal eggs". Bulgakov leaves medicine and is engaged only in journalism and literary work.

"Margarita Bulgakov" - He does not understand that he has come into contact with the devilish world. Conclusion. Intertwining fantasy and reality. Portrait of Margaret. The Master and Margarita is clearly divided into two parts. History of the Master and Margarita. The novel "The Master and Margarita" went to the reader for a long time. Bulgakov's Master is a philosopher. Koroviev-Fagot.

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