The Master and Margarita are the main motifs. Biblical motifs of Bulgakov's The Master and Margarita. The main motives of creativity M.A. Bulgakov

The works of many writers are permeated with the ideas of Christianity. It is impossible to understand the philosophy of life, it is impossible to unravel the “mystery of the human soul” without knowledge of the Bible.
For this is a book about Good and Evil, truth and lies, about how to live and how to die. Every person needs to be connected to the Divine meaning of being.
high world of the gospel legend of Jesus Christ acquired under Bulgakov's pen the features of a unique reality. History becomes modernity, the other world becomes reality. Bulgakov plunges us into the created world of fantasy

A view that turns out to be the highest reality. The master writes a novel about the Yershalaim world, about Yeshua and Pilate, and the action of the novel he created is connected with the course of modern Moscow life, where the author ends his earthly life, hunted by persecutors. The Master leaves for the other world to wait there for the hour when modern world will be renewed and will need his novel, his thoughts. Leaves - to gain immortality and long-awaited peace.
Biblical motives are eternal human truths. Every hero of the novel, like every person, is in search of truth. What is good and evil? lie and truth? cowardice and courage? space and time? What is a person?
Special interest presents the Master's novel - the world of Yershalaim. “The sixth procurator of Judea, Pontius Pilate, came out onto the balcony at ten o’clock in the morning with a shuffling cavalry gait.” When we first meet this formidable man, we learn that he has a headache, that he hates the smell of rose oil, that he loves his dog. It is characterized by ordinary human feelings and experiences.
Having involuntarily sent Yeshua to execution, Pontius Pilate felt homesick: it seemed to him that he did not finish something or did not finish listening to something. Yeshua believed that all people are kind, but some were spoiled by the circumstances of life. And Pontius Pilate, and Ratslayer, and Levi Matthew, and even Judas from Kiriath. People must love and believe, without this everything loses its meaning. “The trouble is that you are too reserved and have completely lost faith in people… you can’t put all your affection in a dog…” (Yeshua to Pontius Pilate).
The dialogue between Yeshua and Pilate about Judas hypnotizes with its significance, with some kind of secret “second” meaning. The procurator knows that Judas is not “a very kind and inquisitive person”, Judas betrays Yeshua. Yeshua anticipates the trouble that will happen to Judas, but knows nothing about his fate. He does not have divine omniscience, he is a defenseless and fragile person. But until the last minute, Yeshua remained truly kind. He did not teach anyone. He asks the executioner not about death for a comrade, but about a simple human: "Give him a drink." What does Yeshua say as he dies on the cross? “Yeshua, who had blood running down his side in a narrow stream, suddenly sagged, changed his face and uttered the word in Greek: “Hegemon.” Why "hegemon"? Who sent Yeshua to his death to save him from suffering? Pontius Pilate. And he was doomed to immortality. Death-deliverance, which occurs during a thunderstorm, was sent by Woland in response to the blasphemy and curses of Levi Matthew.
No less interesting and instructive are the events taking place in the Moscow world. Woland and his retinue come from the other world to Moscow not by chance. At a session of black magic, Noland explains the reason for the visit: he wanted to know if the “Moscow population” had changed internally. However, he sees that people have remained the same: they love money just the same, they are just as frivolous and deceitful, although “even mercy sometimes knocks on their hearts,” in a word, nothing has changed.
And, of course, in such a world there is no place for a Master. Therefore, Woland took the Master and his beloved Margarita to himself, to the other world. Only here he found immortality and peace. But not light.
A person must change himself, and then the meaning of life will appear. The one who loves lives. Another biblical theme. Love your father and mother, your neighbor, your enemy. And in the novel, Bulgakov showed what love can do. Margarita saved the Master.
The writer asked many questions in his book. And each of us must find our own answers, our own truth. Thinking about the novel "The Master and Margarita", you involuntarily ask yourself Bulgakov's question: "If there is no God, then who controls life?"

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I live in the twenty-first century. However, the more I observe people and the laws of life, the more I notice that the world lives and changes according to the laws of eternity. And it seems to me that these laws are dictated by biblical commandments. It is they who are heard in the words of Yeshua from Bulgakov's novel "The Master and Margarita": "I bring you new world". This striving for a "new" world, for a world of goodness and inner freedom, is characteristic of every generation of people. Every writer and artist reflects this desire in his work. Therefore, the most significant artwork in Russian literature, I consider Bulgakov's novel "The Master and Margarita".

In it, the author revealed the Christian ideals of goodness, love for one's neighbor, harmony, and freedom. In my opinion, the morality of all mankind is based on them, they control the world of people, their constellation. The “gospel” chapters, which are the ideological core of the entire novel, open the veil of eternity. They give the right to judge that the novel can be considered historical. Pictures of biblical life emerge in the Master's novel about Pontius Pilate. These chapters are distinguished by a special, sublime language, the "language of legends." It seems to me that the Bible chapters describe those days when humanity seemed to freeze in anticipation of a new word, a new law, which

would open for him the way to a new world, the way to the truth. And this truth lies not only at the basis of Christianity, but also at the basis of the existence of the human world. It is not for nothing that the prisoner Ga-Notsri, an ordinary convict, becomes a welcome neighbor for the procurator. This happened also because Yeshua showed compassion for the Hegemon, proclaiming the first Christian commandment: “Love your neighbor as yourself. “And indeed, a miracle is happening: the procurator’s headache and this arouses the interest of the Roman governor in Yeshua, moreover, he tries in every possible way to save his life. After all, the voice of Yeshua extols the Christian, or rather, human values lost by many generations: virtue, justice, morality, love. It seems to me that when the hero of the Master is loved, he says simple things that all people are kind, that “there are no evil people, but there are unhappy ones,” then these words contain the most intimate thoughts of the author himself. These Christian postulates help the keen heart of Yeshua unravel the mystery of Pontius Pilate, help him penetrate into the inner world of the Hegemon and see there the isolation, constraint, boundless longing, the one with power, while Yeshua himself truly a kind person, "man with hands tied” turns out to be freer than the procurator. So, in my opinion, the novel reveals the riddle and secret of freedom: to be free, you need to be kind, you need to love and understand people. Then your life will become beyond anyone's control, and you yourself will understand the value human life. In the biblical chapters, this conclusion is confirmed by the actions of Pontius Pilate. After all, the hope of saving Yeshua does not leave the procurator even when the prisoner was accused of insulting Caesar, but Hegemon is not free, he is in the grip of cowardice. For fear of ruining his career, he sends Yeshua to execution, and then he is tormented by a perfect betrayal. Yeshua died, and the “unfortunate” procurator is haunted everywhere by the awareness of his vice-cowardice. For 19 centuries he has been waiting for forgiveness, and he will be forgiven one day “on Sunday night,” for God forgives everyone. Thus, the biblical truth is confirmed: “We shall be cleansed by repentance.” In my opinion, repentance is another way of knowing the truth of life.

But is a person capable of repenting, is he capable of loving, understanding another, is the path to inner freedom open to him? This is a mystery for every generation of people. The repose of Muscovites in the 20s of the 20th century is trying to ask Woland about this. And today I understand that supernatural power is not needed to find answers to these questions. A person himself during his life tests himself and others for the ability to follow the most wise and humane laws of the movement of the world, Christian commandments.

Yeshua literally means Savior; Ha-Notzri means "from Nazareth", Nazareth is a city in Galilee where Saint Joseph lived and where the Annunciation took place Virgin Mary about the birth of the Son of God. Jesus, Mary and Joseph also returned here after their stay in Egypt. Here all the childhood and adolescence of Jesus passed. Thus, Bulgakov goes deep into biblical interpretations.

The first serious difference between the biblical motive of the Savior and Bulgakov's interpretation is that Yeshua in the novel does not declare his messianic destiny, and does not in any way define his divine essence, while the biblical Jesus says, for example, in a conversation with the Pharisees, that he does not just the Messiah, but also the Son of God: "I and the Father are one." But some lines of the novel, connected with the image of Yeshua, have a direct correlation with the Bible, for example: "... dust caught fire near that pillar" . Perhaps this description is designed to be associated with the thirteenth chapter of the Bible book called "Exodus", which tells about the exit of the Jews from Egyptian captivity, when God moved in front of them in the form of a cloud or fiery pillar: "The Lord walked before them in the daytime in a pillar of cloud, showing their way, but by night in a pillar of fire, giving light to them, so that they may go by day and by night. The pillar of cloud by day, and the pillar of fire by night, did not depart from the presence of the people." Then this place in the novel serves as the only indication of the divine essence of Yeshua.

There is only one episode in the novel, reminiscent of the gospel miracles performed by Jesus. "What is truth?" Pontius Pilate asks Yeshua. This question is found in a slightly different sound in the Gospel of John: “Pilate said to him: “So, You are a king?” Jesus answered: “You say that I am a king. For this I was born and for this I came into the world, to bear witness to the truth; everyone who is from the truth listens to my voice ". In Bulgakov's novel, Yeshua answers this question: "The truth is, first of all, that your head hurts ... But your torment will end now, your head will pass ...". The healing of Pontius Pilate is the only healing and the only miracle performed by Yeshua.

Jesus had disciples. Yeshua was followed by only one Matthew Levi. Some researchers believe that the prototype of Levi Matthew was the biblical apostle Matthew, who wrote the first Gospel. Before Matthew became a disciple of Jesus, he was a publican, that is, a tax collector, like Levi Matthew. It is known that Jesus, accompanied by his disciples, rode into Jerusalem on a donkey. And when in the novel Pilate asks Yeshua whether it is true that he entered the city “through the Susa gate on a donkey,” he replies that he “has no donkey either.” He came to Yershalaim exactly through the Susa gates, but on foot, accompanied by Levi Matvey alone, and no one shouted anything to him, since no one in Yershalaim knew him at that time.

Yeshua was only slightly acquainted with Judas of Kiriath, who betrayed him, and Judas of Karioth was a disciple of Jesus. Obviously. That Bulgakov was not so worried about these relations, he was much more interested in the issue of the relationship between Yeshua Ha-Nozri and Pontius Pilate.

During the trial of Jesus, false witnesses confessed before the Sanhedrin: "... we heard him say:" I will destroy this man-made temple, and in three days I will raise another, not made by hands. " Bulgakov makes an attempt to make his hero a prophet. Yeshua utters the following phrase: " I, hegemon, said that the temple of the old faith would collapse and a new temple of truth would be created ... "

A serious difference between Bulgakov's hero and the biblical Jesus Christ is that Jesus does not avoid conflicts. “The essence and tone of his speeches,” S.S. Averintsev believes, “are exceptional: the listener must either believe or become an enemy ... Hence the inevitability tragic end"[See 10. p. 96]. And the words and actions of Yeshua Ha-Nozri are completely devoid of aggressiveness. The credo of his life lies in these words: "It is easy and pleasant to speak the truth." The truth for Yeshua is that all people are kind but there are unfortunate ones among them.He preaches Love, and Jesus appears as the Messiah, affirming the Truth.

Consequently, Bulgakov's Yeshua is not a God-man, but a man, at times weak, even miserable, extremely lonely, but great in his spirit and all-conquering kindness. He does not preach all Christian dogmas, but only ideas of goodness, significant for Christianity, but not constituting the entire Christian doctrine. One cannot hear from him about the future Kingdom of God, about the Salvation of sinners, about the afterlife retribution for the righteous and sinners. Bulgakov's Savior of the earth, and is looking for good here, on sinful earth. Unlike the gospel Jesus, Yeshua has only one disciple, Levi Matvey, since Bulgakov believes that even one person in a generation who has accepted a certain idea is enough for this idea to live for centuries. Biblical motifs in the image of Yeshua have undergone a serious refraction.

2.2 The image of Woland as Bulgakov's rethinking of the biblical concept of Satan

Another central image of the novel - Woland - is also very far from the classical image of the "spirit of darkness" Holy Scripture. If in the Christian interpretation Satan is the personification of evil, then in Bulgakov he is "a part of that force that always wants evil and always does good." Here Bulgakov clearly follows Goethe's assessments of Mephistopheles. However, a deeper acquaintance with theology makes it possible to understand that the epigraph to the novel is not just a literary image, but "the most important theological postulate borrowed by Bulgakov from Jewish religious thinkers and medieval cabalists" . According to the tradition of Judaism, there is no absolute evil in the world, everything is ultimately good. Bulgakov repeatedly emphasizes the significance and purifying power of evil. "Would you be kind enough to think about the question: what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it?" Woland asks Levy Matvey.

The Gospel of Matthew mentions the name Beelzebub. The Bible associates this name with the name of the Philistine god Bal-Zebub - Lord of the Flies. In the novel, Woland appeared before Margarita in a dirty shirt, lying down, with an amulet around his neck in the form of a beetle. In the image of Woland, many literary sources. The name itself is taken from Goethe's Faust, it is one of the names of the devil. Now let's turn to Woland's retinue: Azazello - his name comes from the name of the demon in Judaism, Abadonna - the name of this hero is derived from the name Avadon, which in Hebrew means death, the name Behemoth, possibly taken from Old Testament, where this animal is defined as something powerful, indestructible, like a bridle for a proud person, and, finally, the only female character in Woland's retinue - Gella (in ancient German mythology, Gella is a goddess who lived in the underworld). It is important that any clear subordination of them to each other cannot be deduced from these characteristics, since they are taken from various mythologies. Members of Woland's retinue, as a matter of choice, have physical disabilities, and the Bible says that "no one who has a defect on his body should start" worship.

It is also important where and when Woland appears. Woland appears at the hour of a hot sunset at the Patriarch's Ponds. The patriarchs got their name from the Patriarch's settlement, it was also called Goat. The Patriarchal Goat in the semantics of Bulgakov's novel is read as a place of God. Woland appears in Moscow near the swamp, which has become a pond, from which, moreover, one cannot get drunk. The swamp, according to folk legends, is the habitat of evil spirits. It is important that the action in the novel takes place on the eve of Easter: it begins on Holy Wednesday, and ends on the night from Holy Saturday to Sunday. According to the Bible, Jesus was betrayed by Judas on Wednesday, Jesus was crucified on Friday, and on the night from Saturday to Sunday, His resurrection. It can be assumed that in these days of Passion Week there is a struggle divine power.

It is difficult to give an unambiguous characterization to Woland and his retinue. The image of Woland is ambivalent: it seems to be the devil, but at the same time he performs the functions of God. It can be assumed that Woland's departure symbolizes the triumph of goodness, but it is interesting that the Master and Margarita fly away with him.

Woland is at the head of the force that implements the motive of retribution - the court. In essence, he is one of the main plot "springs", because the motive of retribution, trial, the implementation of a fair assessment is the main motive of the work. Motifs of good and evil, memory, knowledge, theatricality, buffoonery, sun and moon, the motif of the Antichrist and others are also associated with the image of Woland.

Bulgakov is gradually moving away from the interpretation of biblical motifs that represent Satan as God's enemy, the tempter human souls, the accuser of the human race in the direction of dualistic views that recognized the equality of good and evil in the world, which have long existed in the history of Christianity and are reflected in the "Divine Comedy" by Dante Alighieri. The reason for this retreat is that Bulgakov distances Woland from Mephistopheles (Satan) in search of a more accurate understanding of the nature of good and evil and their relationship to each other in real earthly life.

Rethinking the biblical motifs, Bulgakov presents Woland to readers not as the embodiment of absolute Evil, but as a punishing sword of justice, paving the way to the knowledge of truth. That is why, even having infinite power over people and events, he carefully listens to Yeshua, fulfills his requests, as a result of which the Master and Margarita find long-awaited peace.

Arriving with his retinue in Moscow, Woland did not at all have the goal of constantly committing meanness and nasty things, weaving networks of intrigue, as the real Satan would certainly have done in his place. No, Woland is interested in the question: have the townspeople changed internally during his absence? And I saw that evil, the low beginning still too often prevails over goodness, humanism, decency, which means that the concepts of Faith, Hope and Love on earth are distorted. And Woland administers justice, letting people understand with his eloquent lessons that they are mistaken.

“The Bible belongs to everyone, atheists and believers alike. This is the book of humanity."

“The main secret of mankind is the “unsettledness of the human spirit”, “misunderstanding of one’s soul”. Because of this, "dark movements of the soul."

F. M. Dostoevsky

The ideas of Christianity permeated the work of many writers: F. M. Dostoevsky, L. N. Tolstoy, B. L. Pasternak, Ch. Aitmatov, L. Andreev, M. A. Bulgakov. It is impossible to understand the philosophy of life, it is impossible to unravel the "mystery of the human soul" without knowledge of the Bible. For this is a book about Good and Evil, truth and lies, about how to live and how to die. Each person needs to become familiar with the Divine meaning of being.

The lofty world of the gospel legend about Jesus Christ acquired features of a unique reality under Bulgakov's pen. History becomes modernity, the other world becomes reality. Bulgakov plunges us into the created world of a fantastic idea, which turns out to be the highest reality. The master writes a novel about the Yershalaim world, about Yeshua and Pilate, and the action of the novel he created is connected with the course of modern Moscow life, where the author ends his earthly life, hunted by persecutors. The Master leaves for the other world in order to wait there for the hour when the modern world will be renewed and will need his novel, his thoughts. Leaves - to gain immortality and long-awaited peace.

Bulgakov stubbornly overcomes the gospel legends from Mark, from Matthew, from John, from Luke. He makes the Bible tangibly authentic and carries in his warm palms the soulful humanness in it.

Biblical motives are eternal human truths. Every hero of the novel, like every person, is in search of truth. What is good and evil? lie and truth? cowardice and courage? space and time? What is a person?

Of particular interest is the Master's novel - the world of Yershalaim. “The sixth procurator of Judea, Pontius Pilate, came out onto the balcony at ten o’clock in the morning with a shuffling cavalry gait.” When we first meet this formidable man, we learn that he has a headache, that he hates the smell of rose oil, that he loves his dog. He is characterized by ordinary human feelings and experiences. Having involuntarily sent Yeshua to execution, Pontius Pilate felt homesick: it seemed to him that he did not finish something or did not finish listening to something. Yeshua believed that all people are kind, but some were spoiled by the circumstances of life. And Pontius Pilate and Ratslayer, and Levi Matthew, and even Judas from Kiriath. People should love and believe, without this everything loses its meaning. “The trouble is that you are too withdrawn and have finally lost faith in people... you can’t put all your affection in a dog...” (Yeshua to Pontius Pilate). The dialogue between Yeshua and Pilate about Judas hypnotizes with its significance, with some kind of secret "second" meaning. The procurator knows that Judas is not "a very kind and inquisitive person", Judas betrays Yeshua. Yeshua anticipates the trouble that will happen to Judas, but knows nothing about his fate. He does not have divine omniscience, he is a defenseless and fragile person. But until the last minute, Yeshua remained kind for real. He did not teach anyone. He asks the executioner not about death for a comrade, but about a simple human: "Give him a drink." What does Yeshua say as he dies on the cross? “Yeshua, who had blood running down his side in a narrow stream, suddenly sagged, changed in his face and uttered the word in Greek: “Hegemon.” Why "hegemon"? Who sent Yeshua to die as a deliverance from suffering? Pontius Pilate. And he was doomed to immortality. Death-deliverance, which occurs during a thunderstorm, was sent by Woland in response to the blasphemy and curses of Levi Matthew. material from the site

No less interesting and instructive are the events taking place in the Moscow world. Woland and his retinue come from the other world to Moscow not by chance. At the session black magic Woland names the reason for the visit: "I'm interested in whether the townspeople have changed internally?" However, he is convinced that people have remained the same: angry and envious, irresponsible and lazy, hungry for money and not believing in anything. The poet Alexander Ryukhin admits: “I don’t believe in anything that I write about.”

And, of course, in such a vile world there is no place for the Master. Therefore, Woland took the Master and his beloved Margarita to himself, to the other world. Only here he found immortality and peace. But not light.

A person must change himself, and then the meaning of life will appear. The one who loves lives. Another biblical theme. Love your father and mother, your neighbor, your enemy. And in the novel, Bulgakov showed what love can do. Margarita saved the Master.

The writer asked many questions in his book. And each of us must find our own answers, our own truth. Thinking about the novel "The Master and Margarita", you involuntarily ask yourself Bulgakov's question: "If there is no God, then who controls life?"

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With a shuffling cavalry gait at ten o'clock in the morning, he went out onto the balcony ...
biblical motifs in the novel the master and margarita essay

Topic: Biblical motifs of Bulgakov's work "The Master and Margarita"

INTRODUCTION

SECTION 1. "MASTER AND MARGARITA" - A NOVEL EMBODIING ALL THE MAIN BULGAKOV MOTIVES

1.1 The main motives of creativity M.A. Bulgakov

1.2 The motives of the novel "The Master and Margarita"

SECTION 2. RETHINKING OF BIBLICAL MOTIVES IN M.A. BULGAKOV’S NOVEL

2.1 Yeshua Ha-Nozri and his prototype of the biblical Jesus Christ

2.2 The image of Woland as Bulgakov's rethinking of the biblical concept of Satan

2.3 Pontius Pilate in the biblical tradition and Bulgakov's interpretation

2.4 Similarities and differences between Bulgakov's ideas and traditional biblical traditions

LIST OF USED LITERATURE

INTRODUCTION

M.A. Bulgakov - the greatest Russian writer - considered his novel "The Master and Margarita" to be the final one. This piece is closely related to everything. previous work writer and embodies all the leading motives of the writer's work.

The motifs of M. A. Bulgakov’s works form a whole system that is repeated in one way or another in all his works. Among them importance take on biblical motifs. In The Master and Margarita, biblical stories receive an original philosophical interpretation.

Thus, the biblical motifs rethought by Bulgakov give an idea of the writer's worldview, his attitude to faith. This topic was addressed in their works by such researchers as B. M. Gasparov, M. O. Chudakova, E. A. Yablokov, S. V. Nikolsky and others. But nevertheless, the topic is so extensive that it still requires quite a long and in-depth study.

This explains the relevance of this work.

The purpose of the work can be defined as follows: to analyze the biblical motifs in the novel by M. A. Bulgakov "The Master and Margarita". To achieve this goal, a number of tasks must be completed, including:

Consider the main motives of creativity M.A. Bulgakov;

Determine the motives of the novel "The Master and Margarita", which embodies all the main Bulgakov's motives;

Analyze the image of Ha-Notsri in comparison with its biblical prototype, the biblical Jesus Christ;

Turn to the consideration of the image of Woland as Bulgakov's rethinking of the biblical concept of Satan;

Compare Pontius Pilate in the biblical tradition and Bulgakov's interpretation;

Analyze the similarities and differences between Bulgakov's ideas and traditional biblical traditions.

SECTION 1. "MASTER AND MARGARITA" - A NOVEL EMBODIING ALL THE MAIN BULGAKOV MOTIVES

1.1 The main motives of creativity M.A. Bulgakov

literary motif is a "semantic stable element artistic text, which is repeated within a series of works. "A separate work can also be permeated with a motive; it may also be that some kind of motive, which is structure and meaning-forming for one of the works of a particular author, is practically not found in his other works. The term "motive" was transferred to literary criticism from music, where it denotes a group of several notes, rhythmically designed. The content of the motive itself, for example, the death of a hero, a meeting, a dream, does not indicate its significance. The scale of the motive depends on its role in the plot. Accordingly distinguish between primary and secondary motifs.Motive means not so much an element of content that is indecomposable further, but a certain initial moment for creativity, a set of ideas and feelings of the author, an expression of an individual spirit.

It is easy to find a rich system of recurring motifs in M.A. Bulgakov's prose. It is the system of motives that forms an integral basis and expresses the conceptual unity of the picture of the world created by the author, without analysis

which is difficult to understand many problems and aspects of creativity.

The motive structure of Bulgakov's works occupies an exceptionally important place in the author's work, because it is revealed and observed "as a single meaning-forming principle, from the earliest prose to the last, final novel" The Master and Margarita ". works and then present and develop in subsequent creativity.

B. Gasparov, analyzing the motive structure of Bulgakov's works, argued that "a certain motive, having arisen in the writer's work, is subsequently repeated many times, but in each new case acting in a new version, new forms and new combinations with various other motives. As a motive in this case, any semantic "spot" can be represented, any phenomenon, whether it be an event, an object, a character trait, any spoken word, color, sound, landscape element, etc." .

The motives of Bulgakov's creations are diverse and correspond to his inner worldview. Motives of goodness, truth, faith, evil, power, order, peace, punishment, fear, light, illness, theatricality, biographical, memory of the past, presence otherworldly forces and others are more or less characteristic of most of the author's books. These motives are often the main ones.

From the earliest works, Gogol's motifs entered the writer's work. They can be traced in the story "The Adventures of Chichikov", the staging of "Dead Souls", the film script "The Inspector General", as well as in many works that are not plot-related to Gogol's work.

Gogol was for Bulgakov a modern and topical writer. Common motifs can be traced and highlighted, for example, in Bulgakov's story "Notes on the Cuffs" and Gogol's works "The Nose" and "Notes of a Madman": these are the motifs of sudden appearances and disappearances, the motif of relationships with the authorities, and others. Common satirical motifs connect Bulgakov's early satirical novels "The Diaboliad", "Fatal Eggs" and "The Heart of a Dog" with Gogol's "Wii" and "The Overcoat".

Pushkin's motifs are also traced in Bulgakov's work. So, for example, Pushkin's motif of a blizzard, a blizzard as a symbol of the elements, can be traced in the novel "The White Guard". The motif of the storm is the main one in the play "Alexander Pushkin".

In the "White Guard" the theme of the statue, the monument is also actively developed. Continuing the motifs of Pushkin's "The Bronze Horseman", the writer showed that the current cultural situation, which is guaranteed by the patron of the City, looking at him from above with a cross in his hands, is in fact very unstable, because the statue of the "black man" is just a well-disguised idol. Here we meet the motif of the "werewolves" of the monument in the novel, which is further strengthened by the fact that the "three blackest shadows" that are waiting curfew at the monument, are talking, according to the definition of the author, "wolf voices." Werewolf is that soon these "wolves" will take on a human form for some time, and appear as bandits.

The change in the appearance of the protagonist in the story "Heart of a Dog" is also associated with the motif of werewolf. Bulgakov also has the motif of a werewolf in other works, for example, in Batum.

In Bulgakov's story "Fatal Eggs" E.A. Yablokov sees the following motives:

1) the surname "Rock" introduces the ancient idea of the inevitability of fate, fate;

2) substitution chicken eggs serpentine means the traditional idea of the proximity of a rooster and a snake;

3) Napoleonic associations are connected with the fact that snakes go to Moscow along the same roads that the French went in 1812. The fate of Moscow is correlated in the story "Fatal Eggs" not only with the "Napoleonic myth", but above all, as the author of the monograph believes, with "the serpent-fighting myth in its hagiographic, epic and fairy-tale variations." E.A. Yablokov traces mythopoetic parodic motifs in final chapters a story where the battle with snakes takes on the meaning of the last and decisive battle - Armageddon, and Moscow is saved from snakes only by "an unheard-of frost, never seen by any of the old-timers";

4) the "motif of cinematography", which extends to the entire artistic reality of the story. Moscow in the story turns out to be illuminated by the same "passionate cinematic" light as the "serpent kingdom" in the greenhouse, because the events in the "Fatal Eggs" unfold according to the laws of the "devil's cinema".

The motif of "decapitation" (that is, the separation of the head from the body) is realized in The Master and Margarita and Diaboliad. Along with the motif of "decapitation", the motif of the mutilated, deformed, bloody head ("Red Crown", "Heart of a Dog", " Chinese history"). The motif of the "lost head" and the motif of the "skull-bowl" are also inherent in the writer's works.

The motive of the Antichrist and the associated motive of diabolical mockery of human history, fixed in the "Diaboliad", will become a through Bulgakov, predicting the Moscow deviliade of the novel "The Master and Margarita"

Biblical motifs occupy a special place in Bulgakov's work, since Bulgakov's work is largely based on the comprehension and rethinking of evangelical and biblical ideas and plots.

With all the plot and genre diversity of Bulgakov's heritage, one can speak of it as "a kind of single metatext, organized primarily motivally. If at the plot level Bulgakov's works traditionally exist as novels, short stories, short stories, plays, then at the motive level they add up to a holistic unity" .

Thus, we can conclude that the system of motives in the work of M.A. Bulgakov is rich and semantic.

1.2 The motives of the novel "The Master and Margarita"

Bulgakov's fate developed in such a way that "in none of his major works did he have time to fully agree on what he wanted to say" . The exception here is the novel "The Master and Margarita", in which all the main Bulgakov's motives - both prose and dramaturgy - received their final completion. The novel sums up all the creative and philosophical searches of Bulgakov and is the union of all the leitmotifs of the writer's work.

The text of The Master and Margarita, as it were, accumulates the writer's searches, concentrates all important for Bulgakov semantic motives of good, truth, faith, evil, power, order, peace, memory of the past, knowledge, buffoonery, theatricality, retribution, mercy and many others. In The Master and Margarita, Bulgakov rethinks one of the main motives - the motive of the Antichrist.

One of the dominant motifs in the Master's novel is connected with the image of the road leading to understanding, redemption and reward for those who have known the essence of truth and realized the essence of power. This motif, having arisen at the very beginning of the narrative, passes through the entire novel, transforming into many images and symbols: at the end of the narrative, it becomes the creating and at the same time final element in the spiral composition of the novel: "A wide moonlit road stretches from the bed to the window, and this a man in a white cloak with a bloody lining rises up the road and begins to walk towards the moon. Next to him is a young man in a torn tunic and with a disfigured face. Those who are walking talk about something with fervor, argue, want to agree on something " .

In this passage, there is another common Bulgakov motif - the motif of the moon, the lunar road.

Another of the main central motives of Bulgakov's novel is the motive of search - first of all, the search for truth, which should atone for some guilt. "The search for truth, which results in liberation from material captivity through symbolic death" is important for understanding the author's worldview.

The motive of oppression, the persecution of an extraordinary, talented person by the state is present in the fate of the Master, and also manifests itself in the story of Yeshua and Pilate.

The motive of fear develops in the work. In the case of the Master, this soul-maddening feeling of fear is caused not only by bullying because of his novel about Pontius Pilate, bullying is only the first step in the gradation of the disease: "But this is not fear caused by bullying because of the novel about Pontius Pilate. I became afraid of the dark In a word, the stage has come mental illness" .

In crisis situations, when Bulgakov's heroes commit crimes, next to the motive of the crime there is a motive innocent victim. The image of the victim does not leave the perpetrator, it haunts him in all types of reality, and the only desire, the only meaning of the life of the perpetrator of the crime, is to make it as if the crime did not happen. This motif is clearly fixed in the image of Pontius Pilate.

The motive of an innocent victim is inseparable from the motive of execution. In "Master and

Margarita "- this is the main event in the Master's novel, which is the main one in Bulgakov's novel itself. In the last sentence of the work: "Neither the noseless killer Gestas, nor the cruel fifth procurator of Judea, the Pontic horseman Pilate" - not only the motive of guilt, but also the motive of execution can be traced and sacrifices, and in it they find their completeness

Another significant motive is the motive of spiritual awakening, which comes with the loss of what is considered reason in a rigid society. After all, it is in a psychiatric hospital that Ivan Bezdomny decides not to write any more of his miserable poems.

The motif of madness in the novel is associated with the "house of sorrow", psychiatric clinic, which is that isolated space that provides the heroes with safety from the surrounding life. Ivan Bezdomny ends up in the hospital after the events he experienced so strongly struck his psyche and imagination that life becomes impossible under normal conditions. This motif is connected with other characters as well. Wishing to save Yeshua from a painful death, Pontius Pilate decides that the wandering philosopher is mentally ill and, as a result, the death sentence of Ha-Nozri, pronounced by the Small Sanhedrin, can not be confirmed.

The motive of light is closely connected with the motive of madness. In Stravinsky’s clinic, Ivan experiences a frightening effect of light: “Threads flared up in the sky, the sky burst, the patient’s room was flooded with a trembling, frightening light. Ivan wept quietly, sitting on the bed and looking at his muddy hand boiling in bubbles. screamed and covered his face with his hands. In the fate of the heroes of the novel, the impact of light is a turning point, after which a different life reality sets in.

The motives of love, active feminine, mercy are associated with the image of Margarita.

The motive of the meeting in the works of Bulgakov has a plot-forming significance. In The Master and Margarita, all plans: historical, lyrical, and modern - begin to develop from the moment of the meeting: the meeting of Ivan with Woland, the meeting of Pontius Pilate with Yeshua, the meeting of the Master and Margarita, Margarita with Woland, the meeting of Ivan with the Master are just the main storylines, which received their significance in the chronotope of the novel.

The yellow color is a constant motif in Bulgakov's work, and it always contains an alarming, negative moment for the characters. For

Masters is an "anxious, bad color", and an anxious state leads Bulgakov's heroes to illness and tragedy. Margarita carries yellow flowers in her hands, a sign that the Master obeys. He follows her (she throws away the yellow flowers after the Master tells her that he doesn't like those flowers), then Margarita speaks and her voice echoes off the "dirty yellow wall"; in Ivan's dream Golgotha appears as a "treeless yellow hill".

The yellow color motif is connected with the sun motif. The whole day of the 14th of Nisan is marked by the scorching rays of the sun and its movement: "... and the sun, with some unusual fury, burning Yershalaim these days ...". The ray of the sun interferes with the procurator during the interrogation of Yeshua, and he, as it were, shields himself from him, he passes the sentence on the square under the scorching rays of the sun: "The procurator lifted his head and stuck it right into the sun." The duration of the execution is also marked by the movement of the sun: "the sun burned the crowd", "the sun went down", it creates "unbearable heat", "devilish heat". Gestas on the pole goes crazy "from torment and from the sun." The extraordinary intensity of the sun during the catastrophe is emphasized, after which comes the madness and the obsessive desire of Pontius Pilate to atone for guilt and make it as if the event did not happen.

The motif of printing functions in the novel, which develops in many stories, as well as in The Master and Margarita, as a component of an extremely bureaucratic reality. Aphranius, having torn off the seal from the package, sternly admits to Pilate that he has all the existing seals. This motif can also be traced in the "Moscow" chapters.

Pushkin's and Gogol's motifs, which accompanied Bulgakov's entire work, of course, are also found in the novel under study. Pushkin here is a "cast-iron man", a "metal man", who "looks indifferently at the boulevard"; and the neurasthenic "ideological werewolf" - Ryukhin (the embodiment of the motive of werewolf), looking at him, is perplexed: "... What did he do? I do not comprehend ... There is something special in these words: "A storm in the mist ..." ? I don't understand!.." . The motif of the burnt novel is directly related to Gogol.

The motif of rest is significant in Bulgakov's novel. Bulgakov's peace is not divine peaceful peace, but bodily and spiritual. Love and creativity cannot serve as a basis for entering into real, true peace. The motives of freedom and abyss are important here. And freedom here is not the traditional companion of divine peace, but abstract. "Freedom" is connected not with peace, but with "the abyss". She cannot contain the absolute good, she does not know light and peace, the "old sophist" and "master of shadows" Woland gives the Master a place in his kingdom of shadows.

The motive of fatigue is connected with the image of the Master. The master was not tired of anything in particular, but of his whole life. No one gets tired of successes and victories, they get tired of defeats, of wasted efforts. "In a society where Brass-Berlioz were in demand, the Master naturally turned out to be unclaimed." Everywhere he stumbles upon a blank wall, and in the end he loses the desire to live. The motive of fatigue and despair permeates not only the image of the Master, but to a large extent the entire novel.

Biblical motifs also permeate the entire novel and are the subject of study by many researchers. These motives will be considered in the second section of the work.

Many motifs, both major and minor, are closely intertwined in Bulgakov's main work, defining the content depth and philosophical richness of the work.

Summing up what has been said, it can be argued that Bulgakov's novel "The Master and Margarita" is the embodiment of all the motives characteristic of Bulgakov's work and defining the writer's system of views.

SECTION 2. RETHINKING OF BIBLICAL MOTIVES IN M.A. BULGAKOV’S NOVEL

2.1 Yeshua Ha-Nozri and his prototype of the biblical Jesus Christ

Bulgakov's novel is largely based on the comprehension and rethinking of evangelical and biblical ideas and plots.

During the writing of the novel, Bulgakov studied not only the text of the Gospels, but also numerous historical sources about Judea at the beginning of the era, Hebrew, and non-canonical interpretations. The author deliberately departs from gospel story, offering his vision of biblical motives.

The most controversial image from a biblical point of view is the image of Yeshua. The central motifs of the novel are associated with it: the motif of freedom, suffering and death, execution, forgiveness, mercy. These motifs receive a new, Bulgakovian incarnation in the novel, sometimes very far from the traditional biblical tradition.

Yeshua literally means Savior; Ha-Notzri means "from Nazareth", Nazareth is a city in Galilee, where Saint Joseph lived and where the Annunciation to the Blessed Virgin Mary about the birth of the Son of God took place. Jesus, Mary and Joseph also returned here after their stay in Egypt. Here all the childhood and adolescence of Jesus passed. Thus, Bulgakov goes deep into biblical interpretations.

A serious difference between Bulgakov's hero and the biblical Jesus Christ is that Jesus does not avoid conflicts. "The essence and tone of his speeches, - S.S. Averintsev believes, - are exceptional: the listener must either believe or become an enemy ... Hence the inevitability of a tragic end" [see 10. With. 96]. And the words and deeds of Yeshua Ha-Nozri are completely devoid of aggressiveness. The credo of his life lies in these words: "Telling the truth is easy and pleasant." The truth for Yeshua is that all people are good, but some of them are miserable. He preaches Love, and Jesus appears as the Messiah, affirming the Truth.

2.2 The image of Woland as Bulgakov's rethinking of the biblical concept of Satan

Another central image of the novel - Woland - is also very far from the classical image of the "spirit of darkness" of Holy Scripture. If in the Christian interpretation Satan is the personification of evil, then in Bulgakov he is "a part of that force that always wants evil and always does good." Here Bulgakov clearly follows Goethe's assessments of Mephistopheles. However, a deeper acquaintance with theology makes it possible to understand that the epigraph to the novel is not just a literary image, but "the most important theological postulate borrowed by Bulgakov from Jewish religious thinkers and medieval cabalists" . According to the tradition of Judaism, there is no absolute evil in the world, everything is ultimately good. Bulgakov repeatedly emphasizes the significance and purifying power of evil. "Would you be kind enough to think about the question: what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it?" Woland asks Levy Matvey.

The Gospel of Matthew mentions the name Beelzebub. The Bible associates this name with the name of the Philistine god Bal-Zebub - Lord of the Flies. In the novel, Woland appeared before Margarita in a dirty shirt, lying down, with an amulet around his neck in the form of a beetle. In the image of Woland, many literary sources are organically fused. The name itself is taken from Goethe's Faust, it is one of the names of the devil. Now let's turn to Woland's retinue: Azazello - his name comes from the name of a demon in Judaism, Abadonna - the name of this hero is derived from the name Avadon, which means death in Hebrew, the name Behemoth, possibly taken from the Old Testament, where this animal is defined as something powerful, invincible, like a bridle for a proud man, and, finally, the only female character in Woland's retinue - Gella (in ancient German mythology, Gella is a goddess who lived in the underworld). It is important that any clear subordination of them to each other cannot be deduced from these characteristics, since they are taken from various mythologies. Members of Woland's retinue, as a matter of choice, have physical disabilities, and the Bible says that "no one who has a defect on his body should start" worship.

It is also important where and when Woland appears. Woland appears at the hour of a hot sunset at the Patriarch's Ponds. The patriarchs got their name from the Patriarch's settlement, it was also called Goat. The Patriarchal Goat in the semantics of Bulgakov's novel is read as a place of God. Woland appears in Moscow near the swamp, which has become a pond, from which, moreover, one cannot get drunk. The swamp, according to folk legends, is the habitat of evil spirits. It is important that the action in the novel takes place on the eve of Easter: it begins on Holy Wednesday, and ends on the night from Holy Saturday to Sunday. According to the Bible, Jesus was betrayed by Judas on Wednesday, Jesus was crucified on Friday, and on the night from Saturday to Sunday, His resurrection. It can be assumed that on these days of Passion Week there is a struggle of divine power.

Bulgakov is gradually moving away from the interpretation of biblical motifs that represent Satan as God's enemy, the tempter of human souls, the accuser of the human race in the direction of dualistic views that recognize the equality of good and evil in the world, which have long existed in the history of Christianity and are reflected in the "Divine Comedy" by Dante Alighieri . The reason for this retreat is that Bulgakov distances Woland from Mephistopheles (Satan) in search of a more accurate understanding of the nature of good and evil and their relationship to each other in real earthly life.

Woland is clearly not Yeshua's enemy, but rather his assistant. The devil, having power over the Earth, is unable to decide when to end human life. AND the last word in deciding the fate of the Master and Margarita also does not belong to him. Yes, and it is by no means the cry of Margarita that brings Pilate freedom, but the intercession of the one with whom he so desperately wants to talk, that is, Yeshua.

The most important motive is connected with the image of Woland - the motive of faith. Bulgakov expresses a direct denial of unbelief, godlessness, atheism. "Forgive my importunity, but I understand that, among other things, you still do not believe in God? ... Are you atheists?!" Woland asks Berlioz and Homeless with horror. Further development of events shows that even from the point of view of Satan, godlessness is the most terrible sin: both Bezdomny and Berlioz are severely punished for him, the first - by madness, the second - by non-existence. The homeless man is saved from non-existence by the fact that he, apparently, was brought up in Orthodoxy from childhood, subconsciously believes in God. This is evidenced by his poem, where Christ turned out to be alive and existing, and the fact that he was the first to understand that he had encountered the devil. Even a drop of faith allowed him to be saved and cleansed. Belief in any gods according to Bulgakov is preferable to atheism. The refrain of the novel is the exclamation: "Oh gods, you are gods!", testifying to the plurality human notions about the divine, which Bulgakov does not condemn at all. For Bulgakov, Christianity is only one of the possibilities for the spiritual quest of mankind. "Defending faith in any form and taking up arms against atheism, he distorts the gospel, but he uses the ideas of Judaism, and the ideas of Buddhism, and the ideas of the one universal church of V. Solovyov" . However, the writer is clearly aware of the significance of Christianity as the most beautiful ethical doctrine, which is the embodiment of Love and Forgiveness.

Thus, in the image of Woland, the most important biblical motifs are seriously interpreted.

2.3 Pontius Pilate in the biblical tradition and Bulgakov's interpretation

An important motif of the novel is the motif of cowardice, lack of freedom, embodied in the image of Pontius Pilate. Pontius Pilate is known to us as the man who sentenced Jesus Christ to be crucified. This is a familiar biblical story. But Bulgakov sees these events differently. The name of the biblical character Pontius Pilate, unlike Yeshua and Woland, has not even been changed. But Bulgakov also managed to show this image from an unexpected side. The Biblical Pilate, after condemning Christ to execution, washed his hands, showing by this that he relieves himself of responsibility for this act, shifting the blame onto the shoulders of the Jews. Pilate Bulgakov could not remove from his soul the responsibility for the death of Yeshua, because during the life of the latter, in conversations with him, he saw the light of truth and, having lost it, he suffers spiritually. But he had the opportunity to save Ga-Notsri, but he did not use it. And this Pilate responsible for his choice, Bulgakov punishes with immortality.

From the very beginning, an unusually lively hero looms before us. The fifth procurator of Judea, Pontius Pilate, is not a "fierce monster", but an unfortunate man who hates the city he rules and is tortured terrible disease"hemicrania". Almighty Pilate is drawn into the conversation with Yeshua, and now he is already imbued with sympathy for him and wants to save him from a terrible, painful death. But Judas, as in Scripture, betrayed his teacher. Pilate is too cowardly to allow Ha-Nozri free thoughts about the impermanence of Caesar's power. And here the motives of Bulgakov's diabolism appear: "... he imagined that the prisoner's head had floated away somewhere, and another one appeared instead. On this bald head sat a rare-toothed golden crown; on his forehead there was a round ulcer, corroding the skin and smeared with ointment; sunken toothless mouth with a drooping lower capricious lip ... ". The hegemon feels his impending curse: “short, incoherent and unusual thoughts rushed:“ Perished! ”, then:“ Perished! ... ”. to save Yeshua, he is prevented by fear, cowardice, he is afraid to be in the place of a philosopher in the future. Here Bulgakov very clearly showed the inconsistency of Pilate. He longs to save Ha-Nozri, not only because he is a harmless insane, but also because he feels: if he does not do this, he will be damned forever.But his position and fear of condemnation by the Sanhedrin makes the hegemon go against the voice of conscience.

Pilate punished terrible agony conscience. “Twelve thousand moons for one moon once,” Pilate is tormented by sleepless nights because “he didn’t finish something then, long ago, on the fourteenth spring month Nisan" that he did not "go to any lengths to save from execution a resolutely innocent mad dreamer and doctor" .

Consequently, in the depiction of Pontius Pilate, Bulgakov also offers his own vision of the biblical motifs associated with this character.

2.4 Similarities and differences between Bulgakov's ideas and traditional biblical traditions

Yeshua in The Master and Margarita says: “But one day I looked into this parchment and was horrified. -for the fact that he incorrectly writes down for me ". These phrases contain Bulgakov's understanding of the Bible. Rethinking traditional biblical traditions, Bulgakov comes to the conclusion that Christ really lived in this world, but his followers saw in him what they wanted to see, and not what he really was. The former tax collector Levy Matthew is largely to blame for this confusion, in which readers can easily recognize the very gospel Matthew, on whose behalf it is revealed New Testament.

Researchers identify a number of evidence (albeit indirect to a certain extent) of Bulgakov's incomplete separation from the Christian tradition. The main one lies on the surface: after all, it is obvious that it was Christ, it was the Gospel and its interpretation that were still the main problem for the artist that tormented him. It is also important that, for all his enthusiasm for non-traditional interpretations of the Gospel, Bulgakov in his novel fully respects the measure of artistic convention. Bulgakov's humanism is "simply humanism, that is, strongly secularized Christianity; magic in the novel is fully artistic and conditional magic." Magic, the tricks of evil spirits still play a subordinate role in him; magic as such is not here the universal principle of life. All the rampant demonism in the novel is an exceptional situation, and not the rule of life. Moscow was placed at the disposal of Woland and his retinue not at some random time, but at a quite definite time: from about noon on Holy Wednesday until the evening of Great Saturday, when on the eve of Holy Pascha, on the eve of Resurrection, the famous phrase sounds: "Messire, the sun is approaching sunset , it is time". The host of demons is unable to endure the light of Christ's Resurrection. The ball at Satan's takes place on the night from Maundy Thursday to Good Friday when Christ has already died, but has not yet risen, and the forces of evil temporarily triumph. Thus, it is quite obvious that Bulgakov, as a rather traditional artist, bound by the framework of the traditional European culture Christian mythology, could not allow in his novel, for example, rampant demonism at Easter.

The main thing coincides with the gospel motifs: Pilate felt in the wandering philosopher the tremendous power of the Healer, the Sage, the Teacher. He felt that only Yeshua was able to heal him, Pilate, from excruciating pain, to answer the fatal question "What is truth?" Ha-Notsri, a prisoner tormented by executioners and subjected to a painful execution, evokes in the novel not pity, like the Master, but respect and admiration from both Pilate and the reader. He appears at the end of the novel in the same way that Christ appears in the New Testament: the Bearer of mercy. He urges us to be indulgent towards miserable vain people: " Evil people out of the blue."

But still, in general, the biblical motives in the understanding of Bulgakov significantly diverge from traditional ideas. The author is sure that the struggle between light and darkness will end in the victory of light, but he sees the key to future success in the presence of eternal moral values in people. In understanding God, Bulgakov is close to Dostoevsky, who understood God not as a miracle worker, but as a manifestation of higher morality, a categorical imperative, as I. Kant called it, whose name the author quite consciously introduces into the novel. The decisive proof of the existence of God, the author considered the existence in the minds of people of the moral law, the idea of goodness. For Berlioz, Caifa and Pontius Pilate at the moment the latter made the decision to execute Yeshua, there is no moral laws. All of them are guided by momentary interests, as, indeed, a number of other characters.

The proof of the eternity and inviolability of moral laws are the images of Yeshua and Woland in the novel. At the same time, these two heroes, unlike traditional biblical characters, do not oppose each other, and this idea can be traced already in the epigraph. Yeshua and Woland are just different facets of the same world order, in which light and goodness remain leading. The idea of the equality of good and evil, the possibility of a certain balance, their complementarity, the necessity of evil for the existence of good, is not at all characteristic of the biblical tradition.

Thus, Bulgakov's divergence from traditional biblical views, despite some similarities, is quite large and is a reflection of the writer's views.

CONCLUSION

Bulgakov's novel "The Master and Margarita" is Bulgakov's pinnacle work, on which he worked until the end of his life. The novel accumulates all the searches of the writer, concentrating all the motives of faith, good, evil, truth, power, order, peace that are essential for Bulgakov. The novel reveals all the most important motives touched upon by the author in his early works. Biblical motifs, philosophically reinterpreted by Bulgakov, have a special place for understanding the meaning of the work.

On the pages of the novel there are many biblical characters, events, facts, plots. Some of them are undergoing a serious rethinking, some are acquiring a new sound, revealing new facets. The gospel ideas of kindness, mercy, forgiveness are close to the writer, but still the discrepancy with the traditional biblical canons is quite serious.

Rethinking biblical motives, Bulgakov sought to find answers to the most important philosophical questions: what is the meaning of being, why does a person exist, what is love, betrayal, good and evil. The biblical motifs presented in Bulgakov's philosophical rethinking give the reader an idea of the writer's worldview, his understanding of biblical traditions, his attitude towards people and life.

Bulgakov acts as a synthetic, not a Christian thinker, trying to generalize the views of various ethical teachings, and this is the inalienable right of any creator. Like a great artist, Bulgakov comes to realize great power morality, harmony and justice reigning in the world. Thoughts about the power of good, about the secondary nature and subordination of evil to it, about the perfection of life in all of it sound, but shout from the pages of the novel: "Everything will be right, the world is built on this."

LIST OF USED LITERATURE

1. Bible: Books of the Holy Scriptures of the Old and New Testaments. - M .: Edition of the Moscow Patriarchate, 2002.

2. Bulgakov M.M. Master and Margarita. - M .: Fiction, 1998.

3. Galinskaya I.L. Riddles of famous books. - M.: AST - Press, 2005.

4. Gasparov B.M. From observations on the motive structure of M. Bulgakov's novel "The Master and Margarita" // Literary leitmotifs. Essays on Russian literature of the twentieth century. - M.: Knowledge, 1993.

5. Nikolsky S.V. In the mirror of irony and satire: Hidden motives and allusions in M. Bulgakov's prose // Izv. Ros. AN. Ser. lit. and yaz. 1995. V. 54, No. 2.

6. Petelin V. Bulgakov's life: To finish writing before dying. – M.: Lakdos, 2000.

7. Sokolov B.V. Bulgakov Encyclopedia. - M.: Enlightenment, 1999.

8. Creativity of Mikhail Bulgakov: Research. Materials. Bibliography. - St. Petersburg: VLADOS, 2003.

9. Tselkova L.N. Motive / / Introduction to literary criticism: Ed. L.V. Chernets.-M.: Academy, 2004.

10. Chudakova M.O. Biography of M. Bulgakov. - M.: Astrel, 2002.

11. Yablokov E. A. Motives of Mikhail Bulgakov's prose - M.: RGGU, 1999.

12. Yanovskaya L.M. creative path Mikhail Bulgakov. - M.: Enlightenment, 1983.

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