The attitude of margarita to the work of the master. The composition “The Image of the Master

Introduction

The novel "The Master and Margarita" raises many problems, the relevance of which does not fade with time. Creativity in the novel "The Master and Margarita" is one of such topics. The way of its disclosure is interesting for readers and critics. Mikhail Bulgakov depicts the concept of creativity on the example of three people: the critic and editor Berlioz, the free poet Ivan Bezdomny and the real creator - the master. These people are completely different, their fates and way of life differ no less than the attitude to what they do.

Creativity in the understanding of Berlioz

The theme of creativity in the novel "The Master and Margarita" rises from the first pages.

The first chapter of the novel begins with the appearance of Berlioz. Taking into account the fact that in the same chapter "the chairman of the board of one of the Moscow literary associations and the editor of a thick art magazine" suddenly and completely stupidly dies, it may seem that his character is insignificant. In fact, this is absolutely not the case. The image of Berlioz embodies all the bureaucracy and belittling the role of creativity and the creator, which both Bulgakov himself and his master had to endure.

For the first time the reader sees Berlioz in a conversation with Bezdomny, at the Patriarch's Ponds. Mikhail Bulgakov portrays the editor as a man confident in himself and his knowledge. He talks about Jesus, denying his existence, giving examples, and enjoying the effect it has on the young poet. As for creativity, for Berlioz this is work, consisting in narcissism and perfect tyranny. Describing the chairman of the Massolit, Bulgakov resorts to the subtlest irony. What is the phrase "Mikhail Alexandrovich climbed into the jungle, into which he can climb without risking breaking your neck, only a very educated person." Berlioz boasts of his education and erudition, as if he were a valuable treasure, replacing true knowledge with passages and quotations from books he read, the essence of which for him remained “behind the scenes”.

In addition to the image of the “writing brethren”, Mikhali Bulgakov also introduces the image of the young poet Ambrose. Describing him as “ruddy-lipped” and “puffy-cheeked”, the writer ironically over the purely bodily, base beginnings of the pseudo-poet.

Creativity for Ivan Homeless

Ivan Ponyrev, who writes under the sonorous pseudonym Bezdomny, embodies the image of modern youth of the Bulgakov period. He is full of zeal, the desire to create, but blindly following the criteria and requirements of the Berlioz and "thick magazines" turns him not into a free artist, but an experimental mouse running around in the wheel of criticism.

The problem of creativity in the novel on the example of Homeless is the crossroads on which the poet stands. As a result, already in the hospital, he understands that his poems are "monstrous", and he still made a mistake in choosing the path. Mikhail Bulgakov does not blame him for the mistake he made, and does not sneer. Perhaps the master could have gone down this path, if his inner fire had not been stronger than conventions and traditions.

Having reached the realization of the fallacy of his desire for fame, Ivan completely changes as a person. He is aware of the depth of creativity and spirituality. He is not destined to become a poet, but he is able to subtly feel the very essence of creativity and the subtle spiritual world. The rejection of the Massolite ticket is reminiscent of Levi Matthew's disdain for money, a disciple and friend of Yeshua.

Creativity and master

Of course, in the novel The Master and Margarita, the problem of creativity is revealed most fully on the example of the master. You can't call him a writer, he really is a master. For him, creativity is not a way of self-affirmation at someone else's expense, as in the case of Berlioz, and not an opportunity to lead a bohemian lifestyle, as for Ponyrev-Bezdomny at first. Not for nothing, the chapter in which the master appears is called "The Appearance of a Hero." He is truly a true hero and creator. The master does not write a novel, he lives by it so much that the rejection of the novel and devastating articles hurt him to the very heart, and resentment and bitterness materializes in “an octopus with very long and cold tentacles”, which he begins to see everywhere, “as soon as the lights go out” . The master writes a novel, and seems to live it. When Margarita appears, love and creativity are intertwined into one ball. They walk side by side, for Margarita, love for the master extends to his novel, which once again confirms that the master puts his heart and soul into his work.

Margarita helps him, imbued with his work because it is - and there is a master. When the novel is over, for this couple "joyless days have come", they are devastated, confused. But their love does not fade away and will save them.

conclusions

Mikhail Bulgakov masterfully reveals the theme of creativity in the novel. He shows her from the point of view of three people. For Berlioz, Massolit is just a way of expressing himself and satisfying his mundane desires. As long as such an editor manages the magazine, there is no place for real artists in it. The writer knows what he is writing about. He had to deal with such unfortunate editors more than once. His great romance will also not be immediately understood and published thanks to the people who hold the reins of government of organizations, in the essence of which they see only a way to satisfy own interests, but not as a service to creativity.

Ivan Bezdomny treats his gift reverently, he dreams of the laurels of a poet, but gets entangled in the intricacies of the real and the false, exchanging his talent for "poems to order" and, in the end, realizes that his poems are "monstrous" and he writes them more will not be.

On the example of the master, the acuteness of the problem of creativity reaches its climax. He writes not because he wants to become an author, he writes because he cannot help writing. The novel lives its own life, and the master puts all his strength and energy into it. He does not remember his own name or his own ex-wife but knows by heart every line of the novel. Even when burned, this work continues to live its own life until Woland resurrects it from the ashes, as when the novel The Master and Margarita itself rose from the ashes.

Artwork test

The Master and Margarita is a lyric-philosophical poem in prose about love and moral duty, about the inhumanity of evil, about true creativity, which is always the overcoming of inhumanity, an impulse towards light and goodness, the affirmation of truth, without which humanity cannot exist.

The true creator, the Master, should not obey anyone or anything. He must live with a sense of inner freedom, because it is lack of freedom that gives rise to evil in its various forms, and good is born by freedom.

The hero of the novel, the Master, lives in Moscow in the 1920s and 1930s. This is the time of building socialism, blind faith in the correctness of the government's policy, fear of it, the time of the creation of "new literature". M.A. himself Bulgakov considered the self-styled “new literature”, to which the proletarians referred themselves, to be self-deception, he said that any art is always “new”, unique and at the same time eternal. And although the Bolsheviks exclusively prevented Bulgakov from writing, publishing, and staging his works on stage, they could not prevent him from feeling like a Master.

The path in the work of the hero M.A. Bulgakov is thorny, like the path of the writer himself, but he is honest, kind, he writes a novel about Pontius and Pilate, focusing in himself the contradictions that all subsequent generations of people, every thinking and suffering person must solve with their lives. In his novel, there lives faith in an immutable moral law, which is contained within a person and should not depend on religious horror before the coming retribution. The spiritual world of the Master is revealed by such beautiful, lofty words as "love", "fate", "roses", "moonlight". And now he comes into contact with the realities of life, primarily literary. After all, he wrote a novel, he must find his reader. The word "horror" is accompanied by the Master's memories of entering the "world of literature".

This world is ruled by Berlioz, the critics Latunsky and Ariman, the writer Mstislav Lavrovich, the secretary of Lapeshnikov's editorial office, which they covered themselves with and who, "trying not to get her own eyes" into the eyes of the Master, reported that "the question of publishing the novel" disappears "". But if only the novel had not been published. The honest, free-flying thoughts of the writer began to be poisoned with critical articles, it is proposed to “hit”, and hit hard on Pilatchina and that bogomaz who took it into his head to smuggle (again that damned word!) It into print. “What irritated all these hacks so much? And the fact that the Master is not like them: he doesn’t think like that, he doesn’t feel that way, he says what he thinks, unlike critics who “say what they don’t want to say.” They are slaves of their time, all residents of a “bad apartment”, where “two years ago inexplicable incidents began: people began to disappear from this apartment without a trace.” People "disappeared", their rooms for some reason turned out to be "sealed". And those that have not yet disappeared are not in vain full of fears, like Styopa Likhodeev or the same neighbor of Margarita, Nikolai Ivanovich: “Someone will hear us ...” In all of Moscow there is only one institution where people are liberated, become themselves. This is the Stravinsky clinic, a madhouse. Only here they get rid of the glamours of unfreedom. It is no coincidence that the poet Ivan Bezdomny is here cured of Berlioz's dogmatic instructions and his boring versification. It is here that he meets the Master and becomes his spiritual and ideological successor. And the Master? Why did he get here? Wasn't he free? No, but he was seized with despair, he had to deal with the circumstances, to protect his creation. But the Master was not strong enough for that. And now the manuscript is burned. In October, its author was “knocked” on... And when in January he returned “in the same coat, but with torn buttons”, Aloisy Mogarych, a provocateur and informer, a direct descendant of Judas from Cariath, already lived in his apartment. “Coldness and fear have become constant companions of the Master. And he had no choice but to go and surrender to a lunatic asylum.

Unfreedom won freedom? How could it be otherwise in those days? Having made the Master a winner, Bulgakov would have violated the laws of artistic creativity, would have betrayed the sense of realism. But, having won, the tyranny of lies, violence, cowardice turned out to be powerless to destroy, trample on what the soul of the Master was full of. Yes, the hero showed weakness, failed to fight the regime, but he did not bow to his stranglers, he did not ask for mercy. I preferred something else. “When people are completely robbed, like you and me,” says the Master, “they seek salvation from the otherworldly power! Well, I agree to look there. The otherworldly power allowed him not only to feel his freedom, but also to feel it with a special fullness inaccessible in real life: to find a disciple, his follower, to get the right to free Pontius Pilate from eternal torment.

So, the Master is rewarded for his suffering, he is granted eternal peace and immortality. He is not able to physically fight evil, but his novel is already a feat, as it brings people faith in goodness, justice, love, humanity and opposes evil and violence. This is the purpose of a true creator.

M.A. Bulgakov "The Master and Margarita"

The problem of creativity in the novel by M.A. Bulgakov

"Master and Margarita"

The novel "The Master and Margarita" was published after the death of the author, and without cuts in our country was released only in 1973. It is known that M.A. Bulgakov dictated the last insertions to the novel to his wife in February 1940, three weeks before his death. The author himself defined the genre as a "fantastic novel".

And for several decades, disputes around this unusual work have not ceased. The novel struck everyone with its form. She bewitched and distracted. The gospel story with Yeshua confused all the cards. Some kind of veil hung between the insignificant reality, which provides food for an anecdote, and the majestic otherness, where the moonbeam, obliquely resting against the sky, leads.

This last work of Bulgakov inherits from other novels, in particular, from The White Guard, questions about light and peace, the theme of home, the connection between a private person and history, the connection between heaven and earth, and the theme of creativity. The problem of creativity is one of the cross-cutting ones in The Master and Margarita. Despite the importance of other problems, we will try to single out this one as one of the important ones.

The novel opens with an epigraph from Goethe's Faust. This epigraph, as it were, hints at the eternal plot, it also gives a hint at the origin of this plot from literature. As if pushing aside the theme of peace and home, history and fate, the main ones for the White Guard, the theme of art enters the novel The Master and Margarita.

At the end of May, Woland arrives in Moscow with his "revision". At the same time, at sunset on Wednesday, a few days before Orthodox Easter, two people were walking on the boulevards near the Patriarch's Ponds - Mikhail Alexandrovich Berlioz, chairman of the Massolit writers' organization, and the poet Ivan Nikolaevich Ponyrev, writing under the pseudonym Ivan Bezdomny.

The homeless man wrote a poem about Christ—anti-religious, of course. He did this by order of Berlioz, who simultaneously occupies the post of editor. The poem turned out not quite the way its editor would like to see it. Jesus in the image of the national poet turned out "well, just like a living one." An interesting detail: one hero - a master who will appear later, writes a novel about Pontius Pilate and Yeshua (one of the names of Christ), the other - about Christ. While they are separated from each other by millions of miles, sharing culture and agitation. But Jesus is still obtained by Ivan Bezdomny "as if alive." Apparently, both the master and Woland (who speaks about this in no uncertain terms), and Ivan Bezdomny, who did not subordinate his pen to Berlioz, agree that the hero of the poem existed.

Moscow, its inhabitants are the authors and consumers of mass culture. One of them is Mikhail Berlioz, chairman of the board of MASSOLIT, which stands for "mass literature and literature for the masses." The unfortunate Berlioz dies under the wheels of a tram through the evil will of not only the devil, but also Annushka, who spilled oil on the tram rails; she is part of that "mass" for which the indefatigable Berlioz forges his art.

The hero, whose name is given to the novel, appears only somewhere in the middle of the first part. In the description of appearance, something reminiscent of the author of the novel suddenly flashes: "shaved, dark-haired, with a sharp nose ... a man about thirty-eight years old." The same can be said about the whole history of the life of the master, his fate, in which one can guess a lot of personal, suffered by the author.

The master writes a novel “not at all about that” and goes with him into the near-literary world. The novel was not published, but various articles appeared. Tormented by fear, the master burns his novel. On the denunciation of Aloisy Mogarych, the master was arrested for possession of illegal literature, and when he was released, he himself came to a psychiatric hospital. "Oh, how I guessed!" - says the master, when Ivan Bezdomny tells him in the ward about the incident at the Patriarch's Ponds. Here he names the name of Woland, who did not have time to introduce himself as Woland only to Stepan Likhodeev. The events of the novel within the novel, connected with the life of the master in Moscow and the extraordinary adventures of "evil spirits" in this city, are also the creations of the master, who already knows everything about his fate. Three figures stand too close: Bulgakov, Yeshua, the master. It is not easy to separate the hero from the author himself.

A master for Bulgakov is more than a writer. Bulgakov's master serves a certain higher spiritual task, in contrast to the idle life near art that writers lead at the Griboedov's tables or in the corridors of MASSOLIT. The Master is not vain, he is inwardly independent. Like Yeshua, the master responds to the suffering of others. But Bulgakov's hero does not share the idea of ​​forgiveness. He bears little resemblance to a passion-bearer, a Christian, a righteous man.

The master survived non-recognition, persecution in the literary environment, he cannot reconcile and forgive his enemies. No, he didn't get scared. This is where you really understand the difference between cowardice and fear. Cowardice is fear multiplied by meanness. Bulgakov's hero did not compromise his conscience and honor. But fear has a destructive effect on the artist's soul.

The gospel plot artistically covers the master. In the chapters about Yeshua, he gets freedom, artistic freedom. Art in its perfection, as it were, kills the pain. This is the master's escape to wonderland. Scenes of execution, Pilate's palace, a white cloak with bloody lining - the colors are dazzling. This is how you look at Karl Bryullov’s painting “The Last Day of Pompeii”: you admire the beauty of bodies, light and darkness, retreating from the fact that the city is dying. There is luxury in the scenes of suffering on the cross and execution, and there is no simplicity befitting the moment.

Can we say that this is a game of pure art? No. This is the flight of the master, preceding his true removal from the novel. Fairy tale? Blood is shed in a fairy tale, but we are not afraid. But a fairy tale is different. What Bulgakov draws - Moscow of the thirties, the "tour" of Mr. Woland and the companies that the master invented - is a bitter reality. Here is a mixture of a fairy tale with a fairy tale, a mixture. The master tries to escape in the game. What the heroes saw in their dreams in The White Guard or in a moment of revelation alone with themselves is now brought to the square. In the theater, at the end of the performance, Yeshua, along with other actors, comes out to bow to the audience. The director also takes Yeshua for an actor.

The writing of the novel, the legend of the novel, the loss of the novel and its restoration occupy the minds of the heroes of the novel and its creator.

Upon learning of the death of Berlioz, the master does not regret him, he only regrets that such a fate did not befall the Latunsky and others. The element of vengeance dominates, although mercy, as Woland says, climbs from all cracks. The devil here is not even a devil, but like a fallen angel, once again feeling an angel in himself, hiding behind a black cloak, settles accounts with the true devil, with the one who hid the Stravinsky master in the clinic, who put Berlioz at the head of MASSOLIT. Two poets end up in a lunatic asylum, the poet Ryukhin angrily envies Pushkin. Self-confident, all-powerful leaders of mass culture (the Likhodeevs, the Latunskys, the Romans, the Berliozes) get their way. This is no longer Last Judgment but a ridiculous court, the court of art over life, the retribution of art. The idea of ​​MASSOLIT is wrecked. This happens at a session of black magic, where the crowd contemplates art for the masses, and at the end of the session, like the leaders of the theater, it turns out to be undressed.

The gap between the mass and the master is obvious. Annushka is indifferent both to the creations of the master and to the creations created under the wing of Berlioz.

But there is a certain bridge across which both the master's novel and art itself are able to reunite with the viewer and reader. This bridge is Ivan Bezdomny and his fate.

In the moments of the lunar flood, Ivan Ponyrev sleeps in his room with a happy face, But his happiness is guarded by a sharp syringe

"Art is immortal," Bulgakov argued in The White Guard. Yes, art is immortal, the master agrees, yes, "manuscripts do not burn." And the master leaves. He does not fall "into the light", Yeshua invents a special fate for him, rewarding him with "peace", which the master knew so little in his life.

How terrible this departure, and how mercilessly it is paid for! Bulgakov's hand punishes the master's offenders, but it does not spare the master himself. What awaits him on the other side of life? There is a cruel phrase in the novel: "It does not happen that everything becomes as it was." It refers to the master. He has nothing else to write about. Bulgakov is finishing his novel with a dying hand and seems to doubt the regenerating power of art. He believes in Ivanushka and fears for him. He sees in his fate a repetition of the fate of the master. As in the scene on Sparrow Hills, at the end of the novel, the reader is overcome by grief and pain. The novel again becomes sensitive to pain, muffled by the elements of laughter and the play of art. Suffering does not burn in fire, just as manuscripts do not burn.

Bulgakov's novel is a novel by a master who too well understood and felt another master, his hero - his fate, his writer's loneliness.

An approximate plan (if necessary, but the text does not quite follow the plan; plan from the manual for teachers, for oral work of the group on the novel) .... Pilate and Yeshua were not invented either, he was “guessed”. This is confirmed by Woland, who was personally present at the events described in the manuscript. So, the Master writes in his basement on the Arbat. Margarita helps him, supports him, does not let him stop. Their whole life is contained in the novel that has not yet been completed, they exist for the sake of it. The manuscript belongs to Margarita no less than to the Master, making up ...

And in something more valuable than light. It is sharply contrasted in the novel with the peace of Judas from Cariath and Aloysius Mogarych, doomed due to the death and suffering of people. The reality of the first part and the fiction of the second. The Master and Margarita is clearly divided into two parts. The connection between them and the line between them is not only chronological. Part one of the novel is realistic, despite the obvious fantasy...

Lyrics: "Song of the Falcon", Song of the Petrel", "Legend of Danko"). 2. Artistic embodiment of the categories of freedom and lack of freedom in M.A. Bulgakov's novel "The Master and Margarita". 2.1 Freedom and lack of freedom in the life and work of M .A. Bulgakova "It's not about the road we choose; ...

The theme of creativity and the fate of the artist interested Mikhail Bulgakov all his life. But the pearl of all the writer's work was his last work - the novel "The Master and Margarita".

The word "master" is not accidentally handed down by M.A. Bulgakov as the title of his famous novel The Master and Margarita. The master is indeed one of the central figures in Bulgakov's work. The master is a historian who has become a writer. The master is a talented person, but extremely impractical, naive, timid in everyday affairs. Some critics consider his image to be autobiographical, reflecting the real experiences and life conflicts of Bulgakov himself. Others are looking for a prototype of the master in the literary environment of Bulgakov. But it is obvious to everyone that Bulgakov painted a typical tragic fate of an honest writer in a totalitarian society.

The life of the Master, a historian by education, was colorless. However, he had a dream - to write a novel about Pontius Pilate, to embody his own vision of a story that took place two thousand years ago in an ancient Jewish city. Soon the opportunity presented itself to fulfill this dream - he won one hundred thousand rubles. The master devoted himself to work. Together with creativity, true love comes to him - he meets Margarita. It was Margarita who called him the Master, hurried him, promised him glory.

The novel has been completed. But tests begin: the novel was not accepted for publication, only a part of it was printed, criticism responded to the publication with devastating articles. The master is arrested, ends up in a psychiatric hospital.

Against the background of other MASSOLIT writers, the Master stands out precisely for his authenticity. M. Bulgakov shows that these so-called creative people do not have creative interests at all. They only dream of dachas, sabbaticals, tasty and cheap food. The reader has the opportunity to observe how only one evening passes in MASSOLIT. The themes of works are imposed on writers, as well as performance.

Quite different with the work of the Master. He freely chooses the theme of his novel, but this freedom is not so simple. Let us note that the text of the Master's novel in Bulgakov's novel exists, as it were, apart from the Master. At first, we learn this text from Woland's story, then from Homeless's dream, and only at the end, when we know that the novel was burned, from the manuscript restored by Woland. This situation is symbolic: "manuscripts do not burn," because the authentic artistic creativity exists not only on paper and even not only in the mind of the artist. It exists objectively, as a reality equal in rights to life, and the writer does not so much create it as guesses.

There is hardly a reader who will take the liberty of claiming that he has found the keys to all the riddles lurking in the novel. But much in the novel will be revealed if we at least briefly trace the ten-year history of its creation, while not forgetting that almost all of Bulgakov's works were born from his own

Experiences, conflicts, upheavals. On the example of the fate of the master M. a. Bulgakov in the novel places the most important thoughts for him, judgments and reflections on the place of the artist, creative personality in society, in the world, about its relationship with the authorities and its conscience. M.A. Bulgakov comes to the conclusion that the artist should not lie to himself or to other people. An artist who lies, who is at odds with his conscience, loses all right to create.

Having made the master his double, giving him some twists and turns of his fate and his love, M.A. Bulgakov kept for himself the deeds for which the master no longer had the strength, and could not be due to his character. And the master receives eternal rest along with Margarita and the manuscript of the novel that he burned, which has risen from the ashes. And I repeat with confidence the words of the omniscient Woland: "manuscripts do not burn ..."

M. Bulgakov repeatedly tried to reveal the essence of the relationship between a creative person and the society around him. He devoted several of his works to this topic. And the most vivid disclosure of such a connection was manifested precisely in the novel The Master and Margarita.

When the reader passes his eyes over the lines of this work, extraordinary scenes appear in his imagination, such as Satan's ball, the transformation of an ordinary girl into a real witch. We understand that the author of the novel gave freedom to his creative imagination, but, at the same time, he set strict limits beyond which it is not allowed to go.

We get acquainted with the image of the Master in the eleventh chapter, and a more detailed description occurs in the thirteenth chapter.

In his creative work, M. Bulgakov does not name the hero in any way. He received the nickname Master from his beloved - and then, several times denied him. The man appears to be about thirty-eight years old, with a sharp nose and a rather worried look. Main character similar to the creator of a novel - for him, writing creative works was the meaning of all life. The main character does not consider himself a writer. He exalts his nature over them, because poets write such poems that they themselves do not believe in.

In the course of reading the novel, the reader understands that the Master is quite a lucky person. Already from the first chapters of the work, we learn about his decent winnings, for most of which he was able to build a library. After that, a great desire wakes up in him to write a novel, and then, he meets the beautiful Margarita and falls in love with her. But, despite the fortune, the Master is very weak in spirit. He cannot protect himself or his beloved from the criticism of others. The master burns the novel, goes to a mental hospital and renounces Margarita.

The man betrayed both his creativity and his love. That is why, in the end, he deserves peace, and not the path to the light. However, his novel was destined to earn fame and a long life.