Sections: Literature

Class: 11

Target: students will understand why the Master deserved peace, and not light, why Margarita was also granted peace; form an attitude towards forgiveness, mercy as the highest Christian value.

Tasks:

  • to help students trace the main stages of the fate of the Master and his novel, the fate of Margarita on the basis of a citation plan;
  • to organize work on comparing the images of the Master and Yeshua, the Master and Bulgakov;
  • to organize work on the analysis of the episodes “Sentence to the Master”, “Sentence to Margarita”;
  • organize independent work on the compilation of a cluster, mind maps.
  • organize work on the analysis of themes, motives, images of the final chapter;
  • organize a discussion

Teaching methods:

Equipment: a projector, the text of the novel, dictionaries, a fragment of the feature film "The Master and Margarita" directed by V. Bortko.

Preliminary homework:

  • Option 1 - Make a quotation plan on the topic: "The fate of the Master and his novel."
  • Option 2 - Make a quotation plan on the topic: “The Fate of Margarita”.
  • Read the final chapter.
  • Individual task. An expressive reading of the episode "Woland's Gift" from Ch.
  • vocabulary work: find out the meaning of the word “homunculus” using dictionaries.
  • Individual task: expressive reading of the episode “The Eternal Shelter of the Master”.
  • Individual task: expressive recitation of poems by A.S. Pushkin "Autumn", "It's time, my friend, it's time", "Monument".

During the classes

Epigraph to the lesson:

The Devil demands justice. God is above justice.)
Saint Maximus the Confessor

Stage 1. Motivational target.

1) The word of the teacher.

So, we have come to the final stage of work on M. Bulgakov's novel The Master and Margarita. Today we will try to comprehend the ending of the novel, revealing its ambiguity.

2) Call stage.

As you reread the final chapters, what questions did you ask yourself?

(Students share their thoughts. During the discussion, the problematic issues of the lesson are identified).

3) Statement of a problem question.

Why are the heroes granted peace, and not darkness, not light? Who and why will give them peace?

Stage 2. Information and activity.

Teacher's word:

To answer these questions, let's turn to homework.

Implementation homework 1st option. Sounds like a monologue. One of the students tells about the fate of the Master and his novel, based on quotes written out at home, for example, from chapter 13:

I am a master...

I know five languages ​​besides my native...

Once I won a hundred thousand rubles.

Ah, it was a golden age, a completely separate apartment, and also a front one, and there was a sink with water in it ...

She carried disgusting, disturbing yellow flowers in her hands.

Love jumped out in front of us, like a murderer jumping out of the ground in an alley, and hit us both at once ... etc.

a) Talk to the class.

What is the meaning of the word "Master"?

What do the Master and Bulgakov have in common?

What do the Master and Yeshua have in common? What is the difference between their positions?

b) Drawing up an intellect map by groups. Each of the three groups presents their work. (Appendix No. 1)

Analysis of the episodes "Sentence to the Master".

View a fragment from the film by V. Bortko "The Master and Margarita". Did this fragment help you answer the problematic question of our lesson.

a) Viewing a fragment of the film (from episode 9).

b) Students share their impressions, discuss.

4). Implementation of individual homework.

What gift does the hero get from Woland? Read an excerpt from the chapter?. Expand the meaning of the word homunculus.

(“O thrice-romantic master, don’t you want to walk with your girlfriend under the cherry blossoms during the day, and listen to Schubert’s music in the evening? Wouldn’t it be pleasant for you to write by candlelight with a quill pen? Don’t you want, like Faust, to sit over the retort in the hope that you will be able to fashion a new homunculus? There, there! There is already a house and an old servant waiting for you, the candles are already burning, and soon they will go out, because you will immediately meet the dawn. Along this road, master, along this, goodbye! I have to go.")

After the student's report, independent work is carried out with the text to compile the table:

How the eternal shelter of the Master is depicted. An expressive reading of an episode from Ch. 32. Implementation of homework.

How can you understand the word "peace"? Building a cluster. (Appendix No. 2)

What literary reminiscences arise? Why?

a) Implementation of homework: expressive reading by heart of poems by A.S. Pushkin "Autumn", "It's time, my friend, it's time", "Monument".

b) Students share their experiences.

Class conversation:

Why didn't the Master deserve the light?

a) Students give their guesses.

b). The teacher introduces fragments from the book of literary critic I.L. Galinskaya.

(In the book by I. L. Galineka, a very simple answer is given: the light is prepared for the saints, and peace is intended for the “true” person. What prevents Bulgakov’s Master from being considered a saint? earthly. He does not want to overcome the human, bodily beginning in himself and forget, for example, his great, but sinful love for Margarita. He dreams of staying with her in the afterlife. The second assumption is that the Master could not stand the test and despaired, he did not accept the feat , which was prepared for him by fate, and burned his book. Woland invites him to continue the novel about Yeshua and Pontius Pilate, but the Master refuses: “It is hateful to me, this novel ... I experienced too much because of him” (2, 24 ).The third assumption is that the Master himself did not strive for the divine light, that is, he did not have true faith. Evidence for this can be the image of Yeshua in the Master's novel: the author portrays Yeshua as morally beautiful person, which is not enough for a believer (the posthumous resurrection is never shown)).

How literary critic answered this question? Do you agree with her opinion?

Why doesn't the Master contest the verdict?

(He considers the verdict fair. He evaluates himself on the same scale of values ​​as his heroes. Master Pontius Pilate is an internal parallel. Pilatchina is withdrawal into himself, from his conscience. Pontius Pilate is punished by the Master with immortality, the immortality of eternal guilt. The Master showed unbelief and cowardice.The master understands that a person is responsible for his decisions.

By what law is peace granted to the Master? (If students find it difficult to answer the question, we refer to the epigraph.)

(According to the law of justice, Woland's law. Justice is higher than good and evil.)

(He accomplished a creative feat by writing a book about Yeshua Ha-Nozri during the time of militant atheism. The fact that the book was not finished does not detract from the deed of its author. And yet, the life of the Master was adorned with true, true love, the one that is stronger than death. Creativity and love for Bulgakov is the highest values ​​that atoned for the lack of proper faith in the hero.)

10). Implementation of homework 2nd option. "Sentence to Margarita".

A). There is a monologue response about the fate of Margarita based on a quotation plan, for example:

I was struck not so much by her beauty as by the extraordinary, unseen loneliness in her eyes. (ch.13)

I believe! Something will happen! (Ch.20)

Invisible and free!

There was one aunt in the world. And she had no children, and there was no happiness at all either. And so, at first she cried for a long time, and then she became angry ... (ch. 21), etc.

b). Class conversation:

Why was Margarita granted peace? And not the world? Not darkness?

By whom and by what law is the heroine given peace? What episode in the novel will help us answer this question?

(Students share their thoughts, discuss).

eleven). Appeal to the final chapter of the novel.

A ) - Read the lyrical digression ch. 32. Artistic reading of the episode.

b) Conversation with the class:

What themes and motifs sound?

(The theme of the delusions of the human soul, the motives of fatigue, loss, weakness.)

(The image of a dark purple knight, “who joked unsuccessfully” speaks of a person’s responsibility for actions, decisions made, the artist’s responsibility for creativity).

(Retribution is inevitable, payment for all mistakes and delusions is inevitable.)

It turns out that Bulgakov's heroes are deluded people suffering from cowardice and unbelief?

(Sympathy, compassion and faith in forgiveness. The Master “releases” his hero, “forgives” him, Bulgakov “releases the Master in the hope of forgiveness as the highest value.)

This means that Bulgakov's novel is a novel of redemption, repentance, faith that God is above justice.

So by what law is Margarita granted peace?

(By the law of mercy.)

What does the writer put above: justice or mercy, forgiveness?

Let's turn to the epigraph. Saint Maximus the Confessor said: “The Devil demands justice. God is above justice.) Do you agree with him?

(Students discuss).

Stage 3. Reflective-evaluative. Appeal to the problematic issue of the lesson.

- Why are the heroes granted peace, and not darkness, not light? Who and why will give them peace?

(Students' monologue answers sound).

So what is the ending of Bulgakov's novel - happy or tragic?

Discussion.

D/Z. Write an essay on one of the suggested topics:

  • “What questions did the novel make you think about?”
  • "The Moral Lessons of Mikhail Bulgakov".
  • “What do we, people of the 21st century, care about the spiritual duel between Yeshua and Pontius Pilate?”

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

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The world of the novel "Master and Margarita" by M. Bulgakov with a bizarre interweaving of fantastic, unexplained phenomena and everyday realities will not leave anyone indifferent. We find ourselves in a timeless space, where two realities: eternal and transient - are layered on top of each other.

Woland, the prince of darkness, the devil, is in Moscow for the Supreme Court. The very fact that Satan himself begins to administer a just Judgment speaks volumes and makes one think. What people have come to in their vices, they turned away from God so much that Evil itself considered it its duty to do good for the sake of universal balance. The scales: good-evil - clearly tipped in the direction of evil. And Woland appears in the world of people to restore order.

Everyone gets it for merit: members of MASSOLIT, the director of the Variety, critics. The fate of the main characters is also decided by Woland.

The last 32nd chapter "Forgiveness and Eternal Refuge" is written in a high style. The night catches up with the galloping, rips off their deceitful veils. This night everything will be in the true light, illusions are dispelled. At night, there is no place for the antics of Koroviev and Behemoth, and the author's irony disappears from Chapter 32. Bassoon is transformed, he is now "a dark purple knight with the gloomiest and never smiling face." The cat Behemoth, who can eat pickled mushrooms from a fork and pay the fare, "now turned out to be a thin young man, a page demon, the best jester that ever existed in the world." Azazello, the Master have changed. And, finally, Woland flew in his real form. This night, the fate of the heroes is decided, irony is out of place here.

The first to receive forgiveness is the Great Procurator of Judea, Pontius Pilate. Two thousand years ago, he did not listen to his heart, did not heed the truth, did not manage to free himself "from the power that is beautiful for people, ..., Emperor Tiberius." He got scared. He was frightened and sent to execution the beggar "tramp", the philosopher, the bearer of the Highest Truth Yeshua Ha-Notsri. It is cowardice that Woland calls the most serious vice. Pilate was punished for his cowardice. He tried in his own way to save Yeshua, hinting to him at the words of renunciation. The prisoner did not heed his hints, because "it is easy and pleasant to tell the truth." Approving the death sentence, Pilate hoped that the Sanhedrin would have mercy on Yeshua, but the high priest of Kaif chooses the murderer Barravan. And again Pilate failed to object, he did not save Yeshua.

That night the sentence expired. For Pilate asks the One whom he sent to execution, with whose fate he was forever connected, with whom he was trying to talk like that.

In the epilogue, in the dream of Ivan Nikolaevich Ponyrev, the former Bezdomny, we learn what the Procurator of Judea wanted to ask the prisoner Ha-Nozri so much. Pilate wanted to hear from the lips of Yeshua that this execution did not take place, that it was not he who pronounced the verdict. He wanted to wake up and see a living "doctor" in front of him human souls. And the former prisoner confirms that the Procurator imagined this execution.

The fate of the Master is more uncertain. Matvey Levi came to Woland with a request to give the Master peace, since "he did not deserve the light, he deserved peace." There was a lot of controversy among researchers about the "eternal shelter" of the Master. L. Yanovskaya says that the rest of the Master will forever remain only promised to him. The hero in the novel never sees his "eternal home". V. Kryuchkov declares that the Master's peace is devilish obsession peace is not attainable. The researcher's evidence of this is the lines of the novel, which say that the Master's memory begins to fade. And the memory of the novel and earthly love is the only thing he has left. Creativity is impossible without memory. Therefore, the Master's peace is not divine, but deceitful. But most researchers of Bulgakov's novel adhere to a more optimistic point of view. They believe that the Master nevertheless entered his "eternal home" and was rewarded with peace.

So did the Master get his peace, and why didn't he deserve the light? His feat is not Christian, it is the feat of an artist. Perhaps that is why he did not deserve the light. The master did not get rid of the earthly, he did not forget his earthly love Margarita. But did the hero need light, perhaps peace - the ego is the only thing his tired soul craves. It seems to me that the Master has received his peace, because the last chapter is even called "Forgiveness and Eternal Refuge." By the fact that Woland gives peace to the Master, the author wanted to emphasize that the artist is neither a saint nor a sinner, his highest desired reward is peace in which he can create next to his beloved woman. And the lines “and the memory of the Master, the restless memory punctured by needles began to fade” can be interpreted as a washing out of the memory of all the tragic that happened to him. Masters will no longer worry about everyday troubles, the stupidity of critics, misunderstanding. All this for the sake of creativity, because it gives immortality: "manuscripts do not burn."

The epilogue differs sharply in style from the last chapter. There is irony in it again. We will learn about the fate of all the heroes left on earth. A memorable meeting with the devil did not pass without a trace for anyone. The epilogue is written in the spirit of modern pseudo-fantastic films: when, after terrible and inexplicable events, the hero wakes up, and everything that happened turns out to be just a dream. In the epilogue, we learn that everything that happened was imagined by Ivan Bezdomny.

He took the Master's advice never to write poetry. The homeless man became a professor of history, found his way. But every spring full moon he loses his peace and common sense. Ivan Nikolaevich goes to the Patriarch's Ponds and recalls those events. He dreams about Pontius Pilate, about the number one hundred and eighteen and his beloved

The next morning, Ivan gets rid of lunar ghosts and obsessions. "His punctured memory fades away, and no one will disturb the professor until the next full moon." It is no coincidence that the epilogue ends with words about memory in the same way as chapter 32. A punctured memory cannot be killed; it does not completely disappear either for the Master or for the Homeless. This feels tragic: nothing is forgotten. Memory does not die, it only fades until the next full moon.

The finale of the novel, and the novel itself, can be understood in two ways: to accept everything that happened on faith, or to calm down with the thought that all this is nonsense of the sick consciousness of Ivan Bezdomny. Bulgakov gives us the choice of what to choose - the individual matter of each reader.

romance diabolical obsession

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The poet's life is only the first part of his biography; another and more important part is the posthumous history of his poetry.
V. O. Klyuchevsky

The finale refers to the last chapter of the novel "Forgiveness and Eternal Refuge" and the epilogue. In them, the writer finishes the story about all the characters that appeared on the pages of the book.

Quite understandable changes took place in the lives of minor characters: each of them took the place that corresponds to his talents and business qualities. Cheerful entertainer Georges Bengalsky retired from the theater. The rude and ill-mannered administrator Varenukha became sympathetic and polite. Former director Variety theater, a lover of alcohol and women, Styopa Likhodeev is now the director of a grocery store in Rostov, he stopped drinking port wine, but drinks only vodka and avoids women. Financial director Rimsky from Variety went to work in a children's puppet theater, and Sempleyarov, chairman of the acoustic commission of Moscow theaters, abandoned acoustics and is now in charge of harvesting mushrooms in bryansk forests, to the great joy of Muscovites who love mushroom delicacies. With the chairman of the house committee, Nikanor Ivanovich Bosy, a stroke took place, and the Master's neighbor and informer Aloisy Mogarych took the place of financial director in the Variety Theater and poisoned Varenukha's life. Variety barman Andrey Fokich Sokov, as Koroviev predicted, died nine months later from liver cancer... The fate of the main characters in the finale is unclear, which is quite understandable: Bulgakov cannot accurately describe the posthumous fate of the Master and Margarita in the transcendental world. It follows that the ending of the novel can be interpreted in different ways.

Leaving Moscow with his retinue on the eve of Easter, Woland takes the Master and Margarita with him. The whole company on fantastic horses flies to the mountains, where Pontius Pilate sits in a stone chair on a “bleak flat top” (2, 32). The master pronounces the last phrase of his novel, and the forgiven Pilate hurries to the city along the lunar path: “Above the black abyss (...) an immense city caught fire with sparkling idols reigning over it over a garden that has grown magnificently for many thousands (...) moons” ( there). This magical city resembles the New Jerusalem, as it is depicted in the Apocalypse (21: 1, 2) or in the philosophical works of European utopians - a symbol of the new earthly paradise, the "golden age". "Should I go there (...)?" the Master asked uneasily” (ibid.), but received a negative answer from Woland; “Woland waved his hand towards Yershalaim, and it went out” (ibid.).

Master defined higher powers different than Pontius Pilate: “He didn’t deserve the light, he deserved peace” (2, 29), Leviy Matthew informs Woland. What is light and peace in the novel? Some literary scholars believe that Bulgakov's novel reflects the ideas of the Ukrainian religious philosopher of the 18th century Grigory Skovoroda, the latter's books, no doubt, were known to the writer at least through his father. Peace, according to the philosophical concept of Skovoroda, is “a reward for all the earthly suffering of a “true” person”, peace (...) personifies eternity, an eternal home. And the symbol of the resurrection and the last segment of the path to peace is the moon, “intermediate between the earth and the sun”, or rather, a moon path resembling a bridge ”(I.L. Galinskaya. Riddles of famous books. M., 1986, p. 84). It is easy to see that the “eternal shelter” in the last chapter of The Master and Margarita and the painful dream of Ivan Ponyrev in the epilogue, due to some details, can be perceived as an artistic illustration of the reasoning of the Ukrainian philosopher.

Other literary scholars believe that the finale of Bulgakov's novel echoes Dante's Divine Comedy (V.P. Kryuchkov. The Master and Margarita and The Divine Comedy: on the interpretation of the epilogue of M. Bulgakov's novel.//Russian Literature, 1995, No. 3 ). In the third part of Dante's Comedy (in Paradise), the hero meets Beatrice, who leads him to the Empyrean, the fiery center of paradise. Here streams of light stream from a dazzling point and God, angels, blissful souls abide. Maybe Matthew Levi is talking about this light? The hero-narrator himself in Dante places himself not in the Empyrean, but in Limbo - the first circle of hell, where ancient poets and philosophers and the Old Testament righteous live, who are spared from eternal torment, but also deprived of the eternal joy of uniting with God. The hero Dante finds himself in Limbo because, from a Christian point of view, he has a vice - pride, which is expressed in the desire for absolute knowledge. But this vice is also worthy of respect, because it is fundamentally different from mortal sins. In the last chapter of the novel, Bulgakov draws an afterlife reminiscent of Limbo. The master and Margarita, having parted with Woland and his retinue, cross “in the brilliance of the first morning rays over a stone mossy bridge” (2, 32), walk along a sandy road and rejoice in the peace and quiet that they dreamed about in earthly life, and now they will enjoy them in an eternal house twined with grapes.

Why didn't the Master deserve the light? In the aforementioned book, I. L. Galineka gave a very simple answer: light is prepared for the saints, and peace is intended for the “true” person (op. cit., p. 84). However, it is necessary to explain what does not allow Bulgakov's Master to be considered a saint? It can be assumed that both in life and beyond the threshold of death, the hero remains too earthly. He does not want to overcome the human, bodily beginning in himself and forget, for example, his great, but sinful love for Margarita. He dreams of staying with her in the afterlife. The second assumption is that the Master could not stand the test and despaired, he did not accept the feat that was prepared for him by fate, and burned his book. Woland invites him to continue the novel about Yeshua and Pontius Pilate, but the Master refuses: “I hate him, this novel ... I experienced too much because of him” (2, 24). The third assumption is the Master himself and did not strive for the divine light, that is, he did not have true faith. The image of Yeshua in the Master's novel can serve as proof of this: the author portrays Yeshua as a morally beautiful person, which is not enough for a believer (posthumous resurrection is never shown).

It must be admitted that the reward of the light of the life-weary Master would be unconvincing, it would contradict the artistic conception of the novel. And besides, there is much in common between Bulgakov and the Master, so Bulgakov, like Dante, could not reward a hero similar to himself with heavenly radiance-bliss. At the same time, the Master, from the point of view of the author, is certainly a positive hero. He accomplished a creative feat by writing a book about Yeshua Ha-Nozri during the time of militant atheism. The fact that the book was not finished does not detract from the act of its author. And yet, the life of the Master was adorned with true, true love, the one that is stronger than death. Creativity and love for Bulgakov are the highest values ​​that atoned for the lack of proper faith in the hero: the Master and Margarita did not deserve heaven, but escaped hell, having received peace. This is how Bulgakov expressed his philosophical skepticism, so characteristic of the writers of the 20th century.

Describing the Master in the finale, Bulgakov does not give an unambiguous interpretation. Here one should pay attention to the state of the protagonist when he goes to his eternal (that is, the last) shelter: “... Margarita’s words flow in the same way as the stream left behind flowed and whispered, and the Master’s memory, restless memory pierced by needles, became go out. Someone released the Master, as he had just released the hero he had created” (2, 32). The memory of the novel, of earthly love - this is the only thing that remained with the Master. And suddenly “memory fades”, which means that sublime love experiences die for him, the creativity that the hero so dreamed of in earthly life becomes impossible. In other words, the Master receives body-spiritual, not divine peace. Why should a Master retain his creative powers if no one will read his works? For whom to write? Bulgakov does not bring the depiction of the Master's fate to a clear end.

Bulgakov retains his understatement in relation to Ivan Bezdomny. In the final, the proletarian poet lives in real world, stops his poetic exercises and becomes an employee of the Institute of History and Philosophy. He did not write a continuation of the novel about Yeshua, as bequeathed to him by the Master.


Page 1 ]

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

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

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

Topics and issues

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

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

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

Composition

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

Main characters: characteristics

  1. Yeshua Ha-Nozri (Jesus Christ) is a wandering philosopher who believes that all people are good in themselves and that the time will come when the truth will be the main human value, and the institutions of power will no longer be needed. He preached, therefore he was accused of an attempt on the power of Caesar and was put to death. Before his death, the hero forgives his executioners; dies without betraying his convictions, dies for people, atoning for their sins, for which he was awarded the Light. Yeshua appears before us real person made of flesh and blood, able to feel both fear and pain; he is not shrouded in a halo of mysticism.
  2. Pontius Pilate - procurator of Judea, indeed historical figure. In the Bible, he judged Christ. Using his example, the author reveals the theme of choice and responsibility for one's actions. Interrogating the prisoner, the hero realizes that he is innocent, even feels personal sympathy for him. He invites the preacher to lie in order to save his life, but Yeshua is not bowed and is not going to give up his words. His cowardice prevents the official from defending the accused; he is afraid of losing power. This does not allow him to act according to his conscience, as his heart tells him. The procurator condemns Yeshua to death, and himself to mental torment, which, of course, in many ways worse than torment physical. The master at the end of the novel frees his hero, and he, along with the wandering philosopher, rises along the beam of light.
  3. The master is a creator who wrote a novel about Pontius Pilate and Yeshua. This hero embodied the image of an ideal writer who lives by his work, not looking for fame, awards, or money. He won large sums in the lottery and decided to devote himself to creativity - and this is how his only, but, of course, brilliant work was born. At the same time, he met love - Margarita, who became his support and support. Unable to withstand criticism from the highest literary Moscow society, the Master burns the manuscript, he is forcibly placed in a psychiatric clinic. Then he was released from there by Margarita with the help of Woland, who was very interested in the novel. After death, the hero deserves peace. It is peace, and not light, like Yeshua, because the writer betrayed his convictions and renounced his creation.
  4. Margarita is the beloved of the creator, ready for anything for him, even attending Satan's ball. Before meeting the main character, she was married to a wealthy man, whom, however, she did not love. She found her happiness only with the Master, whom she herself named after reading the first chapters of his future novel. She became his muse, inspiring to continue to create. The theme of loyalty and devotion is connected with the heroine. The woman is faithful to both her Master and his work: she brutally cracks down on the critic Latunsky, who slandered them, thanks to her the author himself returns from psychiatric clinic and its seemingly irrevocably lost romance about Pilate. For her love and willingness to follow her chosen one to the end, Margarita was awarded Woland. Satan gave her peace and unity with the Master, what the heroine most desired.

    5. The image of Woland

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

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

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

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

    good and evil

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

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

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

    The meaning of the novel

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

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

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

    The theme of creativity

    The master lives in the capital of the 30s. During this period, socialism is being built, new orders are being established, and moral and moral norms are sharply reset. A new literature is also born here, which we get acquainted with on the pages of the novel through Berlioz, Ivan Bezdomny, members of Massolit. The path of the protagonist is difficult and thorny, like that of Bulgakov himself, however, he retains a pure heart, kindness, honesty, the ability to love and writes a novel about Pontius Pilate, containing all those important issues which each person of the generation of the present or the future must decide for himself. It is based on moral law lurking within each personality; and only he, and not the fear of God's retribution, is able to determine the actions of people. The spiritual world of the Master is subtle and beautiful, because he is a true artist.

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

    Two worlds of Bulgakov

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

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

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

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

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MBOU "Pogorelskaya secondary school" named after the Hero of the Soviet Cherkasov, Zubtsovsky district, Tver region

There is no happiness in the world, but there is peace and will.

A. Pushkin

I want freedom and peace...

M. Lermontov

The meaning of the finale of the novel "The Master and Margarita". Light and peace in the novel.

Target: to reveal the meaning of the finale of the novel, showing its ambiguity, based on religious performances about good and evil and biographical data from the life of the writer.

During the classes.

1. The word of the teacher. Conversation.

So, we have come to the final stage of work on M. Bulgakov's novel The Master and Margarita. Today we will try to reveal the meaning of the finale of the novel, revealing its ambiguity and opposition.

What happens to the main characters at the end? What gift did the Master receive from Woland?

(“O thrice-romantic master, don’t you really want to walk with your girlfriend under the cherry blossoms during the day, and listen to Schubert’s music in the evening? Wouldn’t it be pleasant for you to write by candlelight with a quill pen? Don’t you want, like Faust, to sit over the retort in the hope that you will be able to mold a new homunculus? There, there! There is already a house and an old servant waiting for you, the candles are already burning, and soon they will go out, because you will immediately meet the dawn. Along this road, master, along this goodbye ! I have to go".)

By whose will does the master receive such an award? (Yeshua asked Woland, this is in his competence, but at the behest of the forces of light.)

https://pandia.ru/text/78/274/images/image002_24.gif" height="111 src="> Promises Margarita will actually receive

Eternal home temporary rest until the Last Judgment;

A house with Venetian glass in the evening gives darkness, there is no light;

Margarita will be there will be there until the Last Judgment

Conclusion: the master is doomed to eternal torment, he is intellectually barren. Woland is the father of lies, and his reward is twofold.

The master finds himself free (“Someone let the master go free…”) Does he find happiness? (Even if the master can create, he will not be able to show it to anyone. This is a creative death. And for a writer, this is worse than physical death. D. Kedrin wrote: “A poet should be published at least occasionally. A book is a summing up, harvesting Without this, it is impossible to exist in literature.") Compare what was said with the epigraph - the words of Lermontov from the poem "I go out alone on the road":

I want freedom and peace...

So that all night, all day cherishing my hearing,

Above me, so that it is forever green,

The dark oak leaned and rustled.

When the master and Margarita crossed the stream, "the memory of the master, restless, punctured by needles, began to fade." Bulgakov's freedom is due to the loss of memory and loses a significant part of its positive value: physical and spiritual freedom is possible for the master only in the other world.

“Sometimes it seems to me,” Bulgakov shared with S. Yermolinsky, “that death is a continuation of life ... We just can’t imagine how this happens.” Bulgakov is interested in the fate of a creative personality

“The peace gained by the Master is a reward, in some ways more valuable than light,” because Woland “is not going to deprive his ward of the ability to think and create”; “Only in the other world does he find conditions for creative peace, which he was deprived of on earth” () 1;

“The peace of the Master is not just an escape from life's storms tired person, but the implementation internal state“out of choice”, this is a disaster, a punishment for refusing to make a choice between good and evil, light and darkness "( Barkov A.)2

What do you think?

Why do you think the master did not deserve the light? (The master received intuition, money, Margarita from Woland, used his services. The master has no name, which means that he abandoned his guardian angel, God. In theological writings we find: “Departure from Him leads to a failure into the abyss non-existence". Darkness is realistic, but it is not omnipotent. Everything in the world is done by the will of God. N. Berdyaev wrote: "The insane power of evil in modern world proves that there is a God. The light is outside the novel, outside the desires of the characters, everyone wants peace.)

We learn about how the master “lives” after death from the sentence of the epilogue: “Then a woman of exorbitant beauty forms in the stream and leads to Ivan by the hand timidly looking around a man overgrown with a beard. Why does the hero look around fearfully? (Afraid to return to people?) Why overgrown with a beard? (Indifferent to appearance? Why?)

3. The results of the lesson.

Conclusion: It is impossible to say unequivocally whether the master received an award or eternal torment, his image is ambiguous. His life after death is also ambiguously interpreted. But how the master could perceive such an award, we can learn from the first lines of the chapter “Forgiveness and Eternal Shelter”:

« Gods, my gods! How sad is the evening earth! How mysterious are the mists over the swamps. Who wandered in these mists, who suffered a lot before death, who flew over this land, carrying an unbearable load, knows this. The tired one knows it. And without regret he leaves the mists of the earth, its swamps and rivers, he surrenders with a light heart into the hands of death, knowing that she is the only one ... " And who, besides Bulgakov, could best know and feel what he wrote about, because the fate of the master is in many ways similar to the fate of the great writer...

Material used

1. http://www. /lit/eretic/finalMM

2.Barkov A. Who are they - Master and Margarita? // Science and life. 1991. No. 9, 10.

3. ***** // News. en: AKADEMIA. Special course "Master and Margarita"