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Plot and compositional features of the novel by M. A

The menippea is extremely interesting for literary analysis. Combining unbridled fantasy with the formulation of global worldview problems, this genre deliberately creates provocative situations to confirm or refute certain philosophical ideas. One of the most important characteristics of the menippea is a moral-psychological experiment that involves a violation of the normal course of events. The mixing of reality with a fictional world, the combination of chronotopes make it possible to create conditions for testing traditional ideas about eternal values, about immutable truths. The features of the genre determine the plot and compositional originality of the work.

There are several chronotopes in Bulgakov's menippea. One of them is the Russian capital of the 30s of the XX century; the second - Yershalaim, the first three decades of our era (this is not real space and time, but the Master's novel); the third chronotope has conditional coordinates, it is most likely eternity and infinity. Bulgakov's prince of darkness resides here. He is provided with access to all spheres of human existence: to the artistic world of the history invented by the Master, to the specific space of the city in which the main characters live, and, amazingly, even to the sphere of mental illness. All these circumstances testify to the complexity of the author's methods of transforming the plot into a plot.

The composition can be called discrete: the main action is interrupted by the chapters of the novel about Pilate. The frame episodes are based on biblical reminiscence. The connection between these two storylines is determined by the common ideological concept and the presence of a fantastic element in them.

The most important semantic accents are concentrated in grotesque scenes; here the fantastic hero becomes a form of the author's presence. One of the episodes - a session of black magic - can serve as evidence. In this exciting fragment, fantasy helps the writer to expose the vices of the townsfolk. The technique of "tearing off the masks" before Bulgakov already existed in Russian literature, but the goal of the creator of The Master and Margarita, unlike his predecessors, was not only to punish the scoundrels. Woland in the novel represents a power not so much punishing as just, and therefore he allows himself to check whether mercy and compassion have been preserved in people. At this point, farce and buffoonery, based on fantasy, turn into a deep philosophical study of the real world.

Woland's words that Muscovites resemble people of the "former" ones become a plot motivation: there are points of contact between the world of Moscow and Yershalaim, they must be seen in order to understand the philosophical idea. What makes officials, who have settled in all metropolitan institutions, lose their human appearance? Thirst for power, material wealth, petty-bourgeois comfort. Why does Pontius Pilate, contrary to sincere inner impulses, go against his desires and conscience? He is hindered by spiritual lack of freedom (its reason, oddly enough, is also power, but more powerful than that of Moscow officials). Woland - a hero from an unreal world - discovers a connection between all human beings who have lost their purity of thoughts due to certain privileges; he deduces a philosophical axiom underlying several plot lines of the novel: a person cannot be free if the spiritual principle does not prevail in him. This means that the compositional unity of Bulgakov's menippea is explained by the fact that all its collisions are due to the verification of universal human truths.

Thus, another important feature of The Master and Margarita is revealed: the severity of conflicts in each storyline is based not on the ups and downs of the action, but on the difference in ideals. This is especially evident in the chapters about the ruler of Judah. There are two main conflicts here. The first is between the ideological positions of Yeshua and the procurator; the second is connected with the spiritual contradictions of Pontius Pilate himself. As a result, the main conflict of this part of the novel arises, and the reader comes to understand the difference between real and imaginary freedom.

In the plot of the novel, this theme passes through the real and retrospective chronotopes. There are other problems common to the entire plot space: evil and good, justice, mercy, forgiveness. That is why the author arranges the composition in such a way that the characters from different spatio-temporal planes unite in counterpoint - in a chapter symbolically called "Forgiveness and Eternal Refuge". In this episode, Bulgakov proves the thesis that sounds twice (but slightly differently) in the novel of the Master and in the novel about the Master ("To each according to his deeds" - "To each according to his faith").

Here, another important storyline comes to the end - love. The test of feeling is carried out in Woland's novel, so the author allows Margarita to stay in the fantasy world longer than all the other characters. The interweaving of several semantic lines in different episodes takes place not for the sake of exacerbating the plot, not for the sake of entertaining the reader - it's just that one and the same hero, the prince of darkness, conducts all moral and psychological experiments in the menippea.

Consequently, Woland, as well as the Master, Margarita, Pontius Pilate, Yeshua, can be attributed to the plot characters in the first place. Other characters have plot functions, but their role is still very significant. So, for example, "distorting mirrors" of a caricature image of reality are held by fantastic characters. Here, besides Woland, the inhabitants of the unreal world accompanying him are also important. Koroviev and Behemoth are brawling in "decent places" not for fun: they expose and punish, draw the reader's attention to ordinary abominations, which, unfortunately, have ceased to be considered vices in the real world.

All fantastic heroes of the novel can stay in reality, mix with it. To make this happen, Bulgakov builds the composition in a special way: the three worlds do not exist in parallel, but one in the other, all together, although in different space and time. The author uses discreteness and mystification when he connects reality with the Master's novel. The characters of the unreal world move freely throughout the artistic canvas, uniting heroes from different chronotopes in separate episodes of the work. The complex frame composition does not complicate, but facilitates the perception of the philosophical ideas that permeated The Master and Margarita.

Weaving real and fantastic storylines, Bulgakov relied on the experience of his predecessors, on the traditions of Russian classical literature; Saltykov-Shchedrin he considered his teacher. “I am a mystical writer,” said M. A. Bulgakov, and called his novel fantastic. Of course, this statement is justified, but such a definition does not reflect the whole diversity of the problematics of the work, does not explain its plot and compositional complexity.

The plot and composition of the novel "The Master and Margarita" was analyzed by Fyodor Korneichuk.

Bulgakov is a very famous and world-renowned writer. Personally, I really love his work and admire the peculiarities of the plot and compositional lines. Today we will talk about the features of composition and plot in this work, namely in the novel "The Master and Margarita".

Bulgakov devoted almost all the last years of his life to writing the novel The Master and Margarita.

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The main theme of Bulgakov's works was the theme of the antithesis of good and evil. In the novel "The Master and Margarita" this theme is central. The composition of the work is multifaceted, because it combines modernity, fantasy and history. Its peculiarity is that the novel depicts three separate worlds (Moscow, Otherworldly, Yershalaim). Each world has its own structure. The compositional plot of the Moscow world is the appearance of Woland in Moscow, the culmination is the "Satan's Ball".

There are three storylines in The Master and Margarita: Moscow, Yershalaim, the line of relations between the Master and Margarita. Another feature is the presence in the work of a system of plot doubles, that is, each world has its own system of actors.

We can distinguish love (Mater and Margarita), philosophical (contrasting good and evil), mystical and satirical. Two different periods of time are intertwined in the work (Biblical, 1st century AD, Bulgakov's present, 30s of the 20th century).

The novel can be called autobiographical, because the prototype of Margarita was Bulgakov's third wife, Elena Sergeevna, in the image of the Master, you can recognize the writer himself.

"The Master and Margarita" is a "novel within a novel", that is, it tells the action of the novel about Pontius Pilate and the fate of the Master and Margarita. Both novels are part of a single work, despite their opposition.

Updated: 2018-01-23

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The genre uniqueness of the novel "The Master and Margarita" - "the last, sunset" work of M. A. Bulgakov still causes controversy among literary critics. It is defined as a mythical novel, a philosophical novel, a menippea, a mystery novel, etc. Almost all genres and literary trends in the world are very organically combined in The Master and Margarita. According to the English researcher of Bulgakov's work, J. Curtis, the form of The Master and Margarita and its content make it a unique masterpiece, parallels with which "are difficult to find both in Russian and in the Western European literary tradition."

No less original is the composition of The Master and Margarita - a novel within a novel, or a double novel - about the fate of the Master and Pontius Pilate. On the one hand, these two novels are opposed to each other, while on the other hand they form a kind of organic unity.

Two layers of time are originally intertwined in the plot: biblical and modern Bulgakov - the 1930s. and I c. ad. Some of the events described in the Yershalaim chapters are repeated exactly 1900 years later in Moscow in a parodic, reduced version.

There are three storylines in the novel: philosophical - Yeshua and Pontius Pilate, love - Master and Margarita, mystical and satirical - Woland, his retinue and Muscovites. They are dressed in a free, bright, sometimes bizarre form of narration and are closely interconnected with Woland's infernal image.

The novel begins with a scene at the Patriarch's Ponds, where Mikhail Alexandrovich Berlioz and Ivan Bezdomny argue heatedly with a strange stranger about the existence of God. To Woland’s question “who governs human life and the whole order on earth,” if there is no God, Ivan Bezdomny, as a convinced atheist, answers: “Man himself governs.” But soon the development of the plot refutes this thesis. Bulgakov reveals the relativity of human knowledge and the predetermination of the life path. At the same time, he affirms the responsibility of man for his own destiny. Eternal questions: "What is the truth in this unpredictable world? Are there immutable, eternal moral values?", - are posed by the author in the Yershalaim chapters (there are only 4 (2, 16, 25, 26) of the 32 chapters of the novel), which, undoubtedly , are the ideological center of the novel.

The course of life in Moscow in the 1930s. merges with the Master's story about Pontius Pilate. Hounded in modern life, the genius of the Master finally finds peace in Eternity.

As a result, the storylines of the two novels come to an end, having closed in one space-time point - in Eternity, where the Master and his hero Pontius Pilate meet and find "forgiveness and eternal shelter". Unexpected turns, situations and characters of the biblical chapters are mirrored in the Moscow chapters, contributing to such a plot completion and revealing the philosophical content of Bulgakov's narrative.

M. Bulgakov's novel "Master and Margarita". History of creation. Features of the genre and composition .

LESSON OBJECTIVES:

1. Introduce the history of the creation of the novelM.A. Bulgakov "The Master and Margarita";

2. Determine the features of the genre and composition of the novel;

3. To form the ability to independently analyze the work, use reference literature.

4. Raise interest in the work of M. Bulgakov

EQUIPMENT: text of the novel, presentation, students' reports, tests.

DURING THE CLASSES

Organizing time

We continue to get acquainted with the work of M. Bulgakov. And I would like to start our lesson with a biographical warm-up. Answering my questions one by one.

biographical warm-up

The years of life of M. Bulgakov. (1891 - 1940)

What education did the writer have? (Medical Faculty of Kyiv University)

When did he finally give up "the title of doctor with distinction" and move into literature? (in 1921 he left for Moscow)

Which newspaper became Bulgakov's permanent place of employment? (railroad newspaper "Gudok")

Name the works of M. Bulgakov known to you

What events in the life of the writer prompted him to write the novel "The White Guard"? (in 1918 there were 14 coups in Kyiv, he was mobilized as a doctor by Petliurists, Reds, Denikins)

Which play, according to B. Pasternak, received a "protection certificate"? ("Days of the Turbins", Stalin watched 15 times)

Methodical techniques: teacher's lecture, with elements of conversation and the use of ESM.

TEACHER

Today we will start talking about the work Bulgakov, which was published many years after the death of the writer and had a stunning effect on readers, baffled critics, because until then Soviet literature had not known a single such work. Disputes about him do not subside to this day. I think you guessed it: it isAbout The Master and Margarita ».

SLIDE 1

Goals: we will get acquainted with the creative history and fate of the novel, define the features of the genre, composition and problems of the novel

SLIDE 2

TEACHER

The novel "The Master and Margarita" is not in vain called "sunset romance"

M. Bulgakov. For many years he rebuilt, supplemented and polished his final work. Everything that M. Bulgakov experienced in his lifetime - both happy and difficult - he gave all his most important thoughts, all his soul and all his talent to this novel. This novel cannot leave anyone indifferent. And I want to start talking about himpoem by A. A. Akhmatova “In memory of M. A. Bulgakov »

SLIDE 3

Here I am for you, instead of grave roses,

Instead of incense smoking;

You lived so harshly and brought it to the end

Great contempt.

You drank wine, you joked like no one else

And suffocated in stuffy walls,

And you yourself let in a terrible guest

And he was alone with her.

And there is no you, and everything around is silent

About the mournful and high life,

And on your silent feast.

Oh, who dared to believe that I was crazy,

To me, the mourner of the days of the dead,

To me, smoldering on a slow fire,

All lost, all forgotten -

We'll have to remember the one who, full of strength,

And bright intentions, and will,

It's like talking to me yesterday

Hiding the tremor of death pain.

1940 A.Akhmatova

These mournful lines of Anna Andreevna tell truthfully about the life of Bulgakov in those years when he worked on the novel. Let's listen to the message.

STUDENT MESSAGE

On May 7, 1926, guests knocked at Bulgakov's apartment ... with a search. The owner of the apartment was not at home, the guests were silent until the arrival of the owner, and then they got down to business: they did not stand on ceremony, turned the chairs over, pricked them with some kind of long knitting needle.

From that time on, Bulgakov was placed under supervision: both over his life and over his work. . During the search, the following works were seized: "Heart of a Dog" and "My Diary". The writer appeals to the Council of People's Commissars with applications for the return of his manuscripts, ... but months, years fly by, his noose, the state noose, are overwhelmed more and more, and the more insistentlyresists writer, the tighter it drags on.

On October 3, 1929, the manuscripts were finally given to him. Bulgakov destroyed his diary, but first cut out four tiny fragments from it with scissors... But the manuscript did not disappear, a copy of it was kept there... in the OGPU.

By this time, all talented, extraordinary writers had already received labels. Bulgakov was relegated to the extreme flank, called "internal emigrant", "an accomplice of the enemy ideology". And now it was no longer just about literary reputation, but about the whole fate and life. He rejected humiliating complaints and wrote a letter to the government of the USSR. He wrote that he was not going to create a communist play and repent. He spoke of his right as a writer to think and see in his own way. He asked for a job.

In July 1929, Bulgakov writes in a letter to Stalin:“This year marks 10 years since I began to engage in literary work in the USSR ... But the more famous my name became in the USSR and abroad, the more furious the press reviews became, which finally took on the character of violent abuse.

By the end of the 10th year, my strength broke down, not being able to exist anymore, hunted, knowing that I can no longer be published or staged within the USSR, driven to a nervous breakdown, I turn to you and ask for your petition to the Government of the USSR for expulsion me outside the USSR together with my wife, who joins this petition.

Poverty, obscurity in Moscow, public alienation, and then a severe incurable illness - this is the atmosphere in which Bulgakov creates his novel.

MESSAGE STUDENT

SLIDE 4

HISTORY OF CREATING THE NOVEL.
Bulgakov dated the start of work on The Master and Margarita in various manuscripts either 1928 or 1929. . In the first edition, the novel had variants of the names "Black Magician", "Engineer's Hoof", "Juggler with a Hoof", "V.'s Son", "Tour". It was an expanded diaboliad, where the action was concentrated around Woland's Moscow adventures. AndThe first edition of "Master Margarita" was destroyed by the author on March 18, 1930 after receiving the news about the ban on the play "The Cabal of the Saints". Bulgakov reported this in a letter to the government: “And personally, with my own hands, I threw a draft of a novel about the devil into the stove ...”
Work on The Master and Margarita resumed in 1931 . Rough drafts were made for the novel, andMargarita and her unnamed companion, called Faust, have already figured here, and in the final text - the Master,AWoland got his violent retinue . The second edition was subtitled "Fantastic Novel" and variant titles "The Great Chancellor", "Satan", "Here I am", "The Black Magician", "The Hoof of the Consultant".
In the second half of 1936, Bulgakov wrote new versions of the first five chapters. Thus, work began on the third edition of the novel.which was originally called "prince of darkness ", but it's goodin 1937 now knowntitled The Master and Margarita ". In May– June 1938 the full text was reprinted for the first time. The epilogue was written by M. Bulgakov on May 14, 1939 A.

Mikhail Afanasyevich was very strict about what he wrote. On one of the manuscripts, he made a note: "Don't die until I'm done." Elena Sergeevna Bulgakova recalled:“When, at the end of his illness, he had already almost lost his speech, sometimes only the ends of words or the beginnings of words came out of him. There was a case when I was sitting next to him, as always, on a pillow on the floor, near the head of his bed, he let me know that he needed something, that he wanted something from me. I offered him medicine, drink, but I clearly understood that this was not the point. Then I guessed and asked: “Your things?” He nodded with an air of yes and no. I said: “Masters and Margarita?” He, terribly delighted, made a sign with his head that "yes, it is." And squeezed out two words: "To know, to know."

Bulgakov wrote The Master and Margarita in total. 12 years

The novel by Mikhail Afanasyevich Bulgakov "The Master and Margarita" was not completed and was published during his lifetime. By the fact that this greatest literary work has reached the reader, weowe to the writer's wife Elena Sergeevna Bulgakova, who in the difficult Stalinist timesmanaged to save the manuscript novel. She became her husband's guardian angel, never once doubted him, supported his talent with her faith. She recalled: “Mikhail Afanasyevich once told me:“The whole world was against me - and I alone. Now we are together, and I'm not afraid of anything. To her dying husband, she vowed to print the novel. Tried to do it 6 or 7 times - without success. But the strength of her loyalty overcame all obstacles. 26 years after Bulgakov's deathin 1966 Vmagazine "Moscow" the novel was published, however, in an abbreviated version (a total of 159 text removals were made). In the same year in Paris, the novel was printed in full and immediately translated into many European languages. In the homeland of Bulgakovthe full text of The Master and Margarita appeared only in 1973 year.

SLIDE 5 ( name options)

Let's watch a fragment from the film "The Master and Margarita" Did you recognize the characters?

CONVERSATION

teacher's word

Teacher: 12 years of hard work and disappointments, 8 editions of the novel, almost 50 years of oblivion. This "impossible" novel. Let's try to figure it out. Let's start with the definition of the genre, about which there is still controversy. Let's start by defining the genre. That this is a novel, I think, no one doubts. Let's remember the definition

SLIDE 6 Genre

Definition of novel genre

Roman (from French - roman) - a genre of narrative literature that reveals the history of several, sometimes many human destinies over a long period of time, sometimes for entire generations. A specific feature of the novel in its classical form is the ramification of the plot, reflecting the complexity of relations in society, depicting a person in the system of his social ties, character - in the conditionality of the environment. Thus, the novel is a genre that allows you to convey the most profound and complex processes of life.

Students provide evidence. What signs of a novel can you name?

Slide 7 signs of a romance

1. Many heroes

2. Action for a long time

3. Transferring the action to different places

4. Multiple storylines

4 storylines :

philosophical - Pontius Pilate and Yeshua Ha-Nozri

Lyubovna I am Master and Margarita

mystical - Woland and his retinue

satirical– Moscow and Muscovites.

teacher's word

we have a novel. But after all, novels are different: historical, adventure, science fiction, etc., it all depends on the subject or ideological and emotional assessment.What definition would you give to Bulgakov's novel? Let's express our opinions and try to argue them. Pay attention to storylines

STUDENT ANSWERS

Love (story

Mystical

Fantastic Give examples

Household (paintings

Philosophical

Autobiographical

teacher's word

In critical literature, there is a set of such definitions of this work:novel-myth, novel-mystery, novel-utopia, novel-parable, adventure, historical, philosophical, satirical ... and in the drafts of the novel there is a note written by M. Bulgakov "fantastic novel"That. questionabout genre nature novelstill not resolved yet. It is impossible to give an unambiguous definition of this novel, because thismulti-genre novel .

But the mostits striking feature is, of course, hiscomposition .

Now let's remember the definition of composition. What is composition?

SLIDE 8

DefinitionComposition 7 ( from lat. compositio - compilation, connection, connection) - the construction, arrangement and interconnection of all parts, images, episodes, scenes of a work.

Student message. Features of the composition of the novel.

Student message. Features of the composition of the novel

Composition of the novel as original as the genre - a novel within a novel. One about the fate of the Master, the other about Pontius Pilate. On the one hand, they are opposed to each other, on the other hand, they seem to form a single whole.This novel within a novel collects global problems and contradictions. The masters are concerned with the same problems as Pontius Pilate. At the end of the novel, you can see how Moscow connects with Yershalaim; that is, one novel is combined with another and goes into one storyline.

Reading the work, we are immediatelyin two dimensions: the 30th years of the 20th century and the 30th years of the 1st century AD . We see that the events took place in the same month and a few days before Easter, only with an interval of 1900 years, which proves a deep connection between the Moscow and Yershalaim chapters.

The actions of the novel, which are separated by almost two thousand years, are in harmony with each other, and they are connected by the struggle against evil, the search for truth and creativity. ANDHowever, the main character of the novel is love. . Love is what captivates the reader. In general, the theme of love is the most beloved for the writer. According to the author, all the happiness that has fallen in a person's life comes from their love. Love elevates a person above the world, comprehends the spiritual. Such is the feeling of the Master and Margarita. That is why the author included these names in the title. Margarita completely surrenders to love, and for the sake of saving the Master, she sells her soul to the devil, taking on a huge sin. Nevertheless, the author makes her the most positive heroine of the novel and takes her side himself.

There are three storylines in the novel: philosophical - Yeshua and Pontius Pilatelove - Master and Margarita,mystical and satirical - Woland, all his retinue and Muscovites. These lines are closely connected with Woland's image. He feels free both in the biblical and in the contemporary writer's time.

Composition of the novel "Master and Margarita"and its features are due to non-standard methods of the author such as creating one work within another. Instead of the usual classical chain - composition - plot - climax - denouement, we see the interweaving of these stages, as well as their doubling.The plot of the novel : meeting between Berlioz and Woland, their conversation. This happens in the 30s of the XIX century. Woland's story also takes the reader back to the thirties, but two millennia ago. And here begins the second plot - the novel about Pilate and Yeshua.

Next comes the tie. These are tricks of Voladn and his company in Moscow. From here the satirical line of the work also originates. A second novel is also developing in parallel.The climax of the master's novel - the execution of Yeshua, the climax of the story about the master, Margaret and Woland - the visit of Levi Matthew.Interesting denouement : in it both novels are combined into one. Woland and his retinue are taking Margarita and the Master to another world to reward them with peace and quiet. Along the way, they see the eternal wanderer Pontius Pilate. "Free! He is waiting for you!" - with this phrase, the master releases the procurator and completes his novel.

Another feature of this work is that it is autobiographical. In the image of the Master, we recognize Bulgakov himself, and in the image of Margarita - hisfavorite a woman, his wife Elena Sergeevna. This is probably why we perceive the heroes as real personalities. We sympathize with them, we worry, we put ourselves in their place. The reader seems to move along the artistic ladder of the work, improving along with the characters.

Teacher's word. Generalization

So what iscomposition of the novel "Master and Margarita"? (A novel in a novel: Bulgakov writes a novel about the Master, and the Master writes about Pontius Pilate)

Which chapters talk about Pontius Pilate ?

STUDENT ANSWERS (work with text)

Chapter 2 Chapter 16 Chapter 19

teacher's word

You probably noticed that

The chapters of the inserted novel about one day of the Roman procurator do not follow one after another, but are dispersed in the main narrative.

To tie everything together, M.A. Bulgakov uses a special compositional technique -“ braces ”, repetitive sentences that end one chapter and begin the next( give examples of clips from the text).

STUDENTS GIVE EXAMPLES FROM THE TEXT

Novelswritten by different people , hence,they are also opposed in the manner of narration.

The story of the events that took place in Yershalaim , Coldobjective, tragically tense andimpersonal. The author does not make any statements about himself. - neitherappeals and to the readerno expression of opinion about what is happening.

Quite different writtena novel about a master , Woland, Muscovites . He's markedpersonalized personality of the author who turned his whole story to the reader. Thisthe author expresses his attitude to the events and heroes: sympathy, joy, grief, indignation.

The result of the lesson. Generalization genre and composition, time of action and system of images

SLIDES 8,9, 10

1 When was the novel The Master and Margarita published in our country?1973

2 What is its genre identity?multi-genres

3 What is interesting about the composition of the novel?Roman within a novel

Researchers have repeatedly noted that "The Master and Margarita" -double romance . It consists of the master's novel about Pontius Pilate and a novel about the fate of the master himself. These novels are:opposed to each other , and secondly, they form suchorganic unity , which takes The Master and Margarita out of the novel genre. This work is not dedicated to the fate of an individual, family, or group of people, butconsiders the fate of all mankind in its historical development , the fate of the human personality as a component of humanity.

Teacher's word. Summarizing what was said in today's lesson , I want to say again that Bulgakov's work is unusual both in genre and in composition. I think that you were able to verify this today. But we have just begun to study the novel, and many more amazing discoveries await us ahead.

Novelbecame a classic of world literature , withstoodmulti-million circulation here and abroad.Translated into many languages of Europe, America and Asia. many timesstaged and filmed. On its plot created musical works , operas, ballets, musicals. Let's listen to the song.

A. Rosenbaum's song "The Master and Margarita" with a video sequence

Teacher's word. slide 11

I want to end the lesson with these words:Bulgakov's novel "The Master and Margarita" is a great book, because great ideas are expressed in it: about the greatness of a person and about the immorality of power as a manifestation of violence against a person; about the beauty of love and people capable of love; about compassion and mercy, courage and fidelity to one’s calling as the highest human qualities, about the inseparability of good and evil, life and death…

Such manuscripts really do not burn!..

Evidence of this is the most famous quotes that have become aphorisms.

Slides 12-19

INSTRUCTION

Homework.

TEST

What languages did Yeshua Ga-Nozri speak?

How did Matthew Levi want to relieve Yeshua's suffering?

What did the procurator hate the most?

Name of Pontius Pilate's dog.

Where did Matthew Levi get a knife?

How was Pontius Pilate punished for his weakness?

What were the last words of Yeshua?

What was the procurator's nickname?

Name the heroes

A) "Oh, I'm stupid! he muttered, swaying on a stone in mental pain and scratching his swarthy chest with his nails, “a fool, an unreasonable woman, a coward!” I am a carrion, not a man!”

B) This man was dressed in an old and torn blue tunic. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back.

C) “The swollen eyelid rose, covered with a haze of suffering

stared at the prisoner. The other eye remained closed…”

CONTENT TEST

Name and surname of the poet Homeless?

Who, according to Koroviev and Behemoth, did not need any certificate to make sure that he was a writer?

How many languages, besides his native, did the Master know?

What words ended the Master's novel?

What was the name of the ball that Messire gave every year?

At what moment during the nighttime conversation between Rimsky and Varenukha did Rimsky become seized with desperate fear?

What was Margarita supposed to shout as she flew over the gate?

What is the name of the woman who spilled oil near the tram tracks?

Who was the Master of Education?

What did Woland drink at the ball?

4. Woland suite.

Homework.

2. Answer the test questions on the content of these chapters

TEST

1. What languages did Yeshua Ga-Nozri speak?

2. How did Matthew Levi want to relieve Yeshua's suffering?

3. What did the procurator hate the most?

4. The name of the dog Pontius Pilate.

5. Where did Matthew Levi get a knife?

6. How was Pontius Pilate punished for his weakness?

7. What were the last words of Yeshua?

8. What nickname did the procurator have?

9. Name the heroes

2. Answer the test questions on the content of these chapters

CONTENT TEST

1. The name of the poet Homeless?

2. Who, according to Koroviev and Behemoth, did not need any certificate to make sure that he was a writer?

3.. How many languages, besides the native, did the Master know?

4. What words did the Master's novel end with?

Why did Margarita go outside with yellow flowers that day?

5. What was the name of the ball that Messir gave every year?

6. At what moment during the night conversation between Rimsky and Varenukha did Rimsky become seized with desperate fear?

7. What was Margarita supposed to shout, flying over the gate?

8. What is the name of the woman who spilled oil near the tram tracks?

9. Who was the Master in education?

10. What did Woland drink at the ball?

Problems of the novel.

Man and power.

Mercy and forgiveness.

The fight between good and evil.

What is truth?

Loyalty and betrayal.

Inner freedom and non-freedom of a person

STUDENT ANSWERS

1. Love (story relationship between the Master and Margarita)

2.Mystical (Woland and his retinue, Satan's ball)

4. Household (paintings Moscow life 20-30 years)

5. Philosophical (eternal topics are raised: good and evil, truth and lies, loyalty and betrayal, responsibility for one's actions, etc.)

6. Autobiographical (Atmosphere of harassment, lack of livelihood, complete renunciation of literary and social life, constant expectation of arrest, denunciation articles, devotion and selflessness of the beloved woman.)

STUDENT ANSWERS (work with text)

Chapter 2 "Pontius Pilate" (Woland tells Berlioz and Homeless).Chapter 16 "Execution" (A homeless man saw in a dream in a lunatic asylum)Chapter 19 - Azazello reads an excerpt from the manuscript.Chapter 25, Chapter 26 "Burial", Chapter 27- Margarita reads the resurrected manuscripts in the basement.

Examples of fantasy and mysticism in the novel

1. Resettlement of Stepan Likhodeev.

2. Fantastic events in Variety: rain of money falling on the audience; trick with a Parisian fashion store that appeared out of nowhere.

3. Azazello's magic cream endowed Margarita not only with wonderful beauty, she became invisible.

4. Woland suite.

5. The pursuit of the Homeless, taking place with fantastic speed, for evil spirits.

WHAT DEFINITION WOULD YOU GIVE A NOVEL?

STUDENT ANSWERS

1. Love (story relationship between the Master and Margarita)

2.Mystical (Woland and his retinue, Satan's ball)

3. Fantastic Give examples

4. Household (paintings Moscow life 20-30 years)

5. Philosophical (eternal topics are raised: good and evil, truth and lies, loyalty and betrayal, responsibility for one's actions, etc.)

Which chapters talk about Pontius Pilate?

STUDENT ANSWERS (work with text)

Examples of fantasy and mysticism in the novel

1. Resettlement of Stepan Likhodeev.

2. Fantastic events in Variety: rain of money falling on the audience; trick with a Parisian fashion store that appeared out of nowhere.

3. Azazello's magic cream endowed Margarita not only with wonderful beauty, she became invisible.

4. Woland suite.

5. The pursuit of evil spirits that takes place with the fantastic speed of the Homeless.

6. Margarita's flight to the witches' sabbath.

The writer, who turns to the genre version of the novel about the novel, faces a difficult compositional task: to combine two different stylistic plans. On the one hand, this is a story about the history of the novel, about the circumstances surrounding its creation, about the social and cultural environment that gave rise to it. On the other hand, this is actually a novel text, the history of which becomes the plot-forming factor of the work. The complexity of this task for Bulgakov was aggravated by the fact that the Master writes a novel about the events of two thousand years ago, refers not only to a fundamentally different social and historical environment, but also to events that predetermined the spiritual evolution of mankind for millennia to come. Naturally, there is a huge tradition of narration about them - from the canonical texts of the Gospel to many apocrypha, both ancient and created in the last century. Such apocrypha can, for example, include the story of Leonid Andreev "Judas Iscariot". Of course, the text created by the Master belongs to this kind of apocrypha.

Consequently, Bulgakov was faced with the task of stylistically distancing the narrative about Moscow in the 1930s and Yershalaim at the beginning of our era. The writer solves this problem by introducing the image of the narrator into the Moscow chapters. The Yershalaim chapters are created in a completely different stylistic manner. Jokes and the ironic tone of the narration that characterize the Moscow chapters are out of place here. This is a kind of new apocrypha that claims to reproduce the truth, the apocrypha from Woland - it is not for nothing that it sanctions the truth of everything depicted.

The idea of the truth of what was "guessed" by the Master is stated by Woland in the very first conversation with Berlioz. “Your story is extremely interesting, professor,” Berlioz addresses Woland after he and Bezdomny heard the first chapter of the novel about Pilate from him, “although it does not at all coincide with the gospel stories.

“Excuse me,” the professor responded with a condescending grin, “someone, and you, must know that absolutely nothing of what is written in the Gospels has actually ever happened ...” Following this, Woland undertakes to confirm the truth of what was written by the Master, for he himself witnessed what was happening two thousand years ago.

So, if the Master's text claims to be true, then it cannot contain a stylistically expressed image of the narrator, whose consciousness would refract the described events, interpret them in one way or another. The author acts only as a mean witness to what is happening. Therefore, stylistically, the Moscow and Yershalaim chapters are completely different.

The style of the novel about Pilate does not change depending on how they are introduced into Bulgakov's text, who tells about the events; The character of the narrator is not expressed in any way. Therefore, the writer can resort to various plot motivations for introducing them into the novel composition. These are Woland's story at the Patriarch's Ponds (Chapter 2. Pontius Pilate), Ivanushka's dream in a psychiatric hospital (Chapter 16. Execution), Margarita's reading of the Master's notebook (Chapter 25. How the procurator tried to save Judas from Kiriath; Chapter 26. Burial).

But the compositional unity of the novel is formed not only by the plot motivations for including the Yershalaim chapters in the text and their stylistic distance. The two time layers are correlated both at the level of problems and at the level of the composition of the novel The Master and Margarita.

The Moscow and Yershalaim chapters are mirrored in many respects. They are united by the character system. In both, there are two pairs of ideologists, the conflict between which determines the novel's problems. These are, on the one hand, Yeshua and Pilate, on the other, Woland and Berlioz. Both have two heroes whose images are typical of the philosophical novel genre, in which they go from one system of views to another: Levi Matthew (follow the path of this hero from a tax collector to a follower of Yeshua) and Ivan Bezdomny. The images of Yeshua and the Master are clearly correlated: for them, the call of the moral imperative is higher than any other motives, but both lack activity, an active principle, which leads to worldly and vital helplessness and tragic blindness. That is why both are victims of betrayal. The images of traitors are also correlated: these are Judas and Aloisy Mogarych. The stories of the relationship between the victim and the traitor are also mirrored in the two time plans of Bulgakov's novel. This is a story of friendship and insidious selfish betrayal: Judas receives thirty tetradrachms, and Aloisy Mogarych receives the Master's apartment.

The correlation of the storylines of the two time plans reveals that good without activity is powerless and meaningless. Therefore, Woland appears in the novel, the embodiment of activity and omnipotent deed.

The compositional unity of the novel is also created by the fact that Bulgakov, creating an apocrypha from Woland, parodies some Christian motifs and rituals in the Moscow chapters. In a dream, Nikanor Ivanovich Bosoy sees that “some people with golden pipes in their hands (angels?) Lead him, and very solemnly, to large lacquered doors” (gates of heaven? Or hell?), After which he hears a voice from heaven : “Welcome, Nikanor Ivanovich! Hand over the currency!

Ivan Bezdomny's pursuit of Woland's gang, which began at the Patriarch's Ponds and ended in a very strange appearance in MASSOLIT, parodies the rite of baptism: Ivan is then really born again, from that evening the evolution of the hero begins. Throwing around Moscow (here the devil leads him, Bulgakov realizes the saying) Ivan takes a paper icon and a wedding candle in the apartment where he ended up for some unknown reason. After that, having bathed in the Moscow River (having been baptized with water), he discovers that the pleasant bearded man, to whom he entrusted his clothes, has safely disappeared, leaving behind his striped underpants, a torn sweatshirt, a candle, an icon and a box of matches. In a new vestment, in a torn whitish sweatshirt with a paper icon of an unknown saint pinned to his chest, with a lit wedding candle, Ivan Bezdomny appears in the restaurant of the Griboyedov House.

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