The Master and Margarita worlds. Three worlds in the novel "The Master and Margarita" - essay

Literature lesson in 11th grade

Goals: show the features of the compositional structure of M. Bulgakov’s novel “The Master and Margarita”; understand the writer’s intention, notice and comprehend the echoes of the lines of the novel, understand the moral lessons of M. Bulgakov, promote the development of interest in the personality and work of the writer.

Download:

Preview:

Literature lesson in 11th grade

“Three worlds in Bulgakov’s novel “The Master and Margarita.”

Goals: show the features of the compositional structure of M. Bulgakov’s novel “The Master and Margarita”; understand the writer’s intention, notice and comprehend the echoes of the lines of the novel, understand the moral lessons of M. Bulgakov, promote the development of interest in the personality and work of the writer.

Equipment: presentation, video material.

"I am part of that force that always wants evil

and always does good"

"Faust" by Goethe

“Why, why, where does evil come from?

If there is a God, then how can there be evil?

If there is evil, then how can there be God?

M. Yu. Lermontov

1.Teacher's opening speech

“Manuscripts don’t burn...” - with this belief in the power of art the writer M. A. Bulgakov died, all of whose main works lay unpublished in the drawers of his desk at that time and only a quarter of a century later came to the reader one after another. The novel “The Master and Margarita,” which incorporates the infinity of time and the immensity of space, is so multifaceted that it does not fit into the usual framework and diagrams. It combined philosophy, science fiction, satire, politics, love; the devilish and the divine are intertwined. There is hardly a person for whom all the secrets of the novel, all the riddles, have been solved.

The novel takes place in several worlds at once. The purpose of our lesson: to understand the purpose of each world and find the “place” of the main characters, the Master and Margarita.

Many researchers distinguish three worlds, three levels of reality in the novel. Name them.

Determine whether the characters in the novel belong to one of the three worlds.(Work in groups. Drawing up a table.)

The system of images in the novel by M.A. Bulgakov "The Master and Margarita"

	Modern Moscow world	Ancient Peace of Yershalaim	Otherworldly World
"Bearers of Truth"
"Students"
Informers
Rulers making decisions
"Executioners"
Animals
Maids

Heroes of the novel: Master, Margarita, Pontius Pilate, Yeshua, Rat Slayer, Natasha, Gella, Niza. Krovyov-Fagot, the cat Behemoth, Azazello, Woland, Afrany, Judas, Aloisy Mogarych, Levi Matvey, Ivan Bezdomny (Ponyrev), etc.

How are these three worlds connected?(The role of the connecting link is played by Woland and his retinue. Time and space sometimes shrink, sometimes expand, sometimes converge at one point, intersect, sometimes lose boundaries, that is, they are both concrete and conditional.)

Many characters in the Moscow world have counterparts in the ancient world. In turn, there is a parallelism between the images of the other world and the ancient world, and partly the Moscow one; Moreover, triads of images have been created. Why does the writer make such complex constructions? Let's try to figure it out.

2. Analytical conversation. Work in groups.

At the hour of an unusually hot sunset on the Patriarch's Ponds, our acquaintance with Moscow of the 30s begins. And following Ivanushka, rushing through the streets, running into communal apartments, we see this world.

1 group. Moscow World - Moscow in the 30s of the 20th century.

Problematic question:Why was Berlioz punished so terribly?Because he is an atheist? Because he is adapting to the new government? For seducing Ivanushka Bezdomny with unbelief?Woland gets irritated: “What do you have, no matter what you’re missing, there’s nothing!” Berlioz gets “nothing”, non-existence. He receives according to his faith.)

For what purpose does Woland and his retinue visit Moscow? What are the objects and techniques of Bulgakov's satire?

Individual messages:

Styopa Likhodeev (chapter 7)
Varenukha (chap. 10, 14)
Nikanor Ivanovich Bosoy (chapter 9)
Bartender (Ch. 18)
Annushka (Ch. 24, 27)
Aloysius Mogarych (chapter 24)

Conclusion: Punishment takes different forms, but it is always fair, done in the name of good and deeply instructive. Punishment is in the people themselves

2nd group. “Gospel” chapters – 1 AD.

What lies at the basis of human behavior - a coincidence of circumstances, a series of accidents, predestination or adherence to chosen ideals and ideas? Who controls human life? If life is woven from chance, is it possible to vouch for the future and be responsible for others? Are there any unchanging moral criteria, or are they changeable and a person is driven by the fear of power and death, the thirst for power and wealth?

“In a white cloak with a bloody lining, a shuffling gait, in the early morning of the 14th of the spring month of Nisan, the procurator of Judea, the son of an astrologer, the horseman Pontius Pilate, came out into the covered colonnade of the palace of Herod the Great in the city of Yershalaim that he hated...”

(“Cowardice is the most serious vice,” Woland repeats (chapter 32, night flight scene). Pilate says that “most of all in the world he hates his immortality and unheard-of glory”)

Problematic question:What is the difference between the “Gospel” and “Moscow” chapters? How are Yershalaim and Moscow similar?(The two worlds are very similar, although separated by time. The two cities are described in the same way (clouds, a thunderstorm that came from the west). Different clothes, different habits, different houses, But the essence of people is the same. What they have in common are tyranny, unfair trials, denunciations, executions, enmity .)

Two worlds are connected, connected by a Master who guessed and wrote a novel,

– How is the Master similar to Yeshua?(They are united by truthfulness, incorruptibility, devotion to their faith, independence, the ability to empathize with the grief of others. But the master did not show the necessary fortitude, did not defend his dignity. He did not fulfill his duty and found himself broken. That is why he burns his novel).

The two worlds are connected with each other and with the power of evil that has always been present everywhere.

We are entering the third world - the world of otherworldly power.

3rd group. The world of otherworldly power is eternal.

Problematic question: The main question that interests us: “Is the evil spirit in the novel evil or good?”

– Who did Woland come to earth with?

It turns out that the world is surrounded by grabbers, bribe-takers, sycophants, swindlers, opportunists, and self-interested people. And so Bulgakov’s satire matures, grows and falls on their heads, the conductors of which are aliens from the world of Darkness

But Woland saves Pilate from the pangs of conscience, returns his novel to the Master and gives him eternal peace, helps Margarita find the Master.

In Bulgakov, Woland personifies the fate that punishes Berlioz, Sokov and others who violate the norms of Christian morality.. Woland does not betray, does not lie, does not sow evil. He discovers, manifests, reveals the abomination in life in order to punish it all. It is thanks to Woland that truth and honesty are reborn. This is the first devil in world literature, punishing for non-observance of the commandments of Christ. We can say that Woland is an eternally existing evil that is necessary for the existence of good. (back to epigraphs)

Let's see what happened after Woland disappeared from Moscow. The punishment is over. Rimsky returned, Varenukha ceased to be a vampire, the patients of the Stravinsky clinic were cured. This means that Woland is needed not only to punish those who could not resist temptation. He left a warning. And the punishment is inside.

Woland collapsed into a black hole, Pontius Pilate, released by the Master, walked away along the moonbeam. But the Master is not with them. Where is the place for The Master and Margarita?

4th group. The Master and Margarita

Peace, promised to the Master, looks attractive after everything he has suffered. But the nature of the peace is unclear. The Master did not deserve either happiness on earth or departure into the world. The most serious sin of a master is refusal to create, from the search for truth. True, having atoned for his guilt by discovering the truth, the Master has earned forgiveness and is worthy of freedom and peace. Perhaps peace is death, because the Master receives this reward from the hands of Woland, the Prince of Darkness. The master is endowed with the ability to “guess” the truth. His gift can save people from unconsciousness, from their forgotten ability to do good. But the Master, having written a novel, could not stand the struggle for it.

Who told you that there is no true, faithful, eternal love in the world? May the liar's vile tongue be cut out! Margarita is an earthly, sinful woman. She can swear, flirt, she is a woman without prejudices. Is she the only hero who doesn’t have a double? Why?(Her image is unique. She loves selflessly, to the point of self-sacrifice, she sells her soul to the devil, she decides to share even death with her lover.)

How did Margarita deserve the special favor of the higher powers that control the Universe? In the name of what does she perform this feat?Margarita, probably one of those one hundred and twenty-two Margaritas that Koroviev spoke about, knows what love is.

What is love?Love is the second path (after creativity) to super-reality, something that can resist the eternally existing evil. The concepts of goodness, forgiveness, responsibility, truth, and harmony are also associated with love and creativity.

- Find confirmation of this in the text.

Conclusion: Margarita values the novel more than the Master. With the power of his love he saves the Master, he finds peace. The theme of creativity and the theme of Margarita are associated with the true values affirmed by the author of the novel: personal freedom, mercy, honesty, truth, faith, love

What is the main conclusion of the novel?Everyone will be rewarded according to their deserts. The world is built on this. God is in your souls - CONSCIENCE. She prevents you from committing evil deeds and protects you from all temptations.

3. Lesson summary.

– all plans of the book are united by the problem of good and evil;
– themes: search for truth, theme of creativity
– all these layers and space-time spheres merge at the end of the book

The truth, the bearer of which was Yeshua, turned out to be historically unrealized, while remaining at the same time absolutely beautiful. This is the tragedy of human existence. Woland makes a disappointing conclusion about the immutability of human nature, but these same words contain the idea of the indestructibility of mercy in human hearts.

4. Homework: essay “What would good do if evil did not exist?”

Appendix No. 1

Using the questions given to you, prepare a coherent story. Support your answer with quotes from the text, indicating the part and chapter, as well as your own point of view.

Group 1.

What time is ahead of us? How and what do Muscovites live? What is the language of these chapters? What subtext can we find?

- Quite modern people, busy with immediate problems, operate in this world. What does the Master say about Berlioz? Why?

What strange things happened to Berlioz and Ivan Bezdomny?

Group 2.

How does Bulgakov portray Pilate? How does his portrait reveal Pilate's character?

How does Pilate behave at the beginning of his meeting with Yeshua and at the end of their meeting?

Remember the interrogation scene. Pilate asks a question that should not be asked during interrogation. What kind of question is this?

What is Yeshua's core belief?

Why is Pilate trying to save Yeshua from execution?

Why does Pilate approve the death sentence?

Why was Pilate punished? What is the punishment?

Group 3.

– Who did Woland come to earth with? How does the author portray him? What role does each of Woland’s retinue perform? Your attitude towards this hero. How does it make you feel?

Who is Woland tempting? Who did you kill? Who did you punish?

– What is the reality in Moscow?

What is the role of the Devil and his retinue in the novel?

Group 4.

The master did not deserve light, he deserved peace. Is peace a punishment or a reward?

How did Margarita deserve the special favor of the higher powers that control the Universe? In the name of what does she perform this feat?

M. A. Bulgakov's novel "The Master and Margarita" belongs to those works that we want and definitely need to re-read in order to better understand the subtext, to see new details that we did not pay attention to the first time.

We come across the number three in our world more than once: this is the main category of life (birth - life - death), thinking (idea - thought - action), time (past - present - future). In Christianity, too, much is built on the trinity: the trinity of the divine trinity, the governance of the earthly world (God - man - the Devil).

Mikhail Bulgakov was sure that the trinity corresponds to the truth, so you can see that the events in the novel take place in three dimensions: in the ancient “Yershalaim” world, in the contemporary Moscow world of the 30s and in the mystical, fantastic, otherworldly world.

At first it seems to us that these three planes hardly touch each other. It would seem, what kind of relationship can modern Muscovites have with the heroes of a literary novel with an evangelical theme, and even more so with Satan himself? But very soon we realize how wrong we were. Bulgakov sees everything in his own way and offers to look at the surrounding reality (and not just the events of the novel) in a new way.

In fact, we are witnessing constant interaction, a close relationship between three worlds: creativity, ordinary life and higher powers, or providence. What happens in the Master’s novel about the ancient world of Yershalaim clearly echoes the events of modern Moscow. This roll call is not only external, when the literary heroes of the “novel within a novel” are similar in portraiture and actions to Muscovites (the Master shows features of Yeshua Ha-Nozri, the Master’s friend Aloisy Mogarych resembles Judas, Levi Matvey, with all his devotion, is as limited as the poet Ivan Bezdomny). There is also a deeper similarity, because in the conversations of Pontius Pilate with Ha-Notsri, many moral problems are touched upon, questions of truth, good and evil, which, as we see, were not fully resolved either in Moscow in the 30s, or even today - These questions belong to the category of “eternal”.

Woland and his retinue are representatives of the other world, they are endowed with the ability to read in human hearts and souls, see the deep relationships of phenomena, predict the future, and therefore Bulgakov gives them the right to act as human judges. Woland notes that internally people have changed little over the past millennia: “They are people like people. They love money, but this has always been the case. Well, they are frivolous... well, well... in general, they resemble the old ones...” Cowardice, greed, ignorance, spiritual weakness, hypocrisy - this is not a complete list of those vices that still guide and largely determine human life. Therefore, Woland, endowed with special power, acts not only as a punitive force, punishing careerists, sycophants, greedy and selfish, but also rewards the kind, capable of self-sacrifice, deep love, who knows how to create, creating new worlds. And even those who, having committed evil, do not hide, like an ostrich, with their heads in the sand, but bear responsibility for their actions. Everyone is rewarded according to their deserts, and many in the novel (and the majority - to their own misfortune) get the opportunity to fulfill their desires. At the end of the novel, all three worlds, quite clearly demarcated at the beginning, merge together. This speaks of the close and harmonious relationship of all phenomena and events in the world. A person needs to learn to be responsible not only for his actions, but also for his emotions and thoughts, because an idea that arises in someone’s head can come true even on the other side of the Earth.

Three worlds. There are few novels in Russian literature that would cause as much controversy as Bulgakov’s novel “The Master and Margarita” caused. Literary scholars, historians and just readers never cease to talk about the prototypes of his heroes, book and other sources of the plot, about its philosophical and moral-ethical essence. Each new generation finds something of its own in this work, in tune with the era and its own ideas about the world. Each of us has our favorite pages. Some people prefer the “novel within a novel”, others prefer the funny devilry, others never tire of re-reading the love story of the Master and Margarita. This is understandable: after all, in the novel there simultaneously exist, as it were, three worlds, three layers of the narrative: the gospel, the earthly and the demonic, associated with Woland and his retinue. All three layers are united by the figure of the main character - the Master, who lived in Moscow in the 30s of the 20th century and wrote a novel about Pontius Pilate. The novel is unpublished and unrecognized, causing its creator severe torment.

It is to restore justice that Satan himself, the almighty Woland, appears in Moscow. A force beyond the control of the almighty NKVD! During the thaw of the 60s, when Bulgakov’s novel was published, the restoration of historical justice was associated with the victims of the repressions of the 30s, so the disgrace of the “authorities” was perceived by readers with evil triumph. And it was at this time that interest in Christianity, in a religion that had long been under oppression and an unspoken ban, was revived among the intelligentsia. For the generation of the 60s, Bulgakov’s novel itself became a kind of Gospel (from the Master, from Satan - it doesn’t matter). And the fact that the main character of the “novel within a novel” is not Jesus, not Yeshua Ha-Nozri, but the procurator Pontius Pilate, was not just a polemic with the gospel texts. Bulgakov is not engaged in preaching Christianity: for him this is a completely indisputable thing. He talks about something else - about the personal responsibility of a person in power for what is happening in the world. The writer is not very interested in Judas (in the novel he is not a traitor, not a beloved student who has renounced his teacher, but an ordinary provocateur). According to Bulgakov, the main fault is not with those who, out of self-interest, without delving into the essence, give a person into the hands of executioners, but with those who, understanding everything, want to use Yeshua, bend him, teach him to lie.

Bulgakov had a difficult relationship with Stalin (perhaps it was he who partly served as the prototype for Pilate in the Master’s novel). Of course, the writer was not arrested, not shot in the Butyrka basement, or sent to Kolyma. He was simply not allowed to speak out, they tried to force him to cooperate, they played with him like a cat plays with a half-dead mouse. And when they realized that they couldn’t use it, they trampled it. This is how Pilate tried to use Yeshua, a healer and philosopher, even wanted to save him - but at the cost of lies. And when this failed, he gave it away for flour. And he received hateful immortality: Pilate has been commemorated daily for two thousand years in prayer, which the Orthodox call the “Creed.” This is the retribution for cowardice, for cowardice.

The world of Moscow philistinism is saturated with cowardice and money-grubbing, in which Woland and his retinue unexpectedly appear: the nasal checkered Koroviev, the sinister and gloomy Azazello, the foolishly charming Behemoth, the dutiful and seductive Eella. Drawing the Prince of Darkness, Bulgakov slightly laughs at the world literary tradition. There is little scary or demonic in his tiredly ironic Woland (but one can clearly feel the connection with Faust’s Mephistopheles in an operatic interpretation!). And the cat Behemoth is the most quoted character in the novel. Suffice it to recall the famous: “I don’t play pranks, I don’t hurt anyone, I fix the primus stove.” Woland and his faithful assistants not only easily deal with petty swindlers like Rimsky, Varenukha, Styopa Likhodeev or Berlioz’s uncle Poplavsky. They give justice to both the unprincipled Berlioz and the provocateur Baron Meigel. The cheerful riot of the devil's retinue does not cause us to protest - the Moscow reality of the 30s is very unsightly: the third layer, the third world of the novel.

With particular sarcasm, Bulgakov describes his fellow writers - regulars at the “House of Griboyedov”. Just look at the names and pseudonyms of the “engineers of human souls”: Beskudnikov, Dvubratsky, Poprikhin, Zheldybin, Nepremenova - “Navigator Georges”, Cherdakchi, Tamara Crescent, etc.! Each of them simply asks to be included in Gogol’s list of “Dead Souls”. And these are truly “dead souls”, for whom pitiful attempts at creativity are just an excuse to snatch an apartment, a ticket to a holiday home and other benefits of life. Their world is a world of envy, denunciation, fear, comfortably covered outside with the decorations of the “Griboedov House”. I really want to blow up this world. And you understand Margarita, in the guise of a witch, selflessly trashing the apartment of the venerable critic Latunsky. The bright, passionate, spontaneous beloved of the Master is one of the links connecting the human world with the devilish world. The proud queen of the Satanic ball is, of course, a witch - after all, all women are a little bit of a witch. But it is precisely her charm, her tenderness, kindness and fidelity that connects darkness and light, physicality and spirituality. She believes in the Master’s talent, in his destiny, in the fact that she is able to revive patient No. 118, who is in a mental hospital, back to life.

Next to her, evil forces once again perform a good deed: Woland grants the Master peace. Here is another question that causes controversy among readers. Why still peace and not light? You involuntarily look for the answer in the old Pushkin: “There is no happiness in the world, but there is peace and will.” As conditions for creativity. What more does a writer need? And by the way, unlike the recklessly integral Levi Matthew, neither the life of the Master nor his novel became a guide to action for anyone. He is not a fighter dying for his beliefs, not a saint. In his novel, he managed to correctly “guess” the story. That is why the Master’s student Ivan Bezdomny, having given up writing, becomes a historian. He only sometimes, on a full moon (and the moon in the novel always accompanies the heroes’ insight) remembers the tragedy that played out before his eyes and touched his soul. He just remembers: Ivan Bezdomny is also not a fighter or a saint. Oddly enough, the wise skeptic Woland does not allow us to be completely disappointed in our contemporaries, who says, looking around Moscow at night: “They are people like people. They love money, but that's always been the case. Well, frivolous... well, well... and mercy sometimes knocks on their hearts... ordinary people... in general, they resemble the old ones... the housing problem only spoiled them..." Yes, stuffy, bustling Moscow strangely and terribly resembles ancient Yershalaim with its political struggle and intrigue , secret investigation. And just like two thousand years ago, in the world there is good and evil (sometimes indistinguishable from each other), love and betrayal, executioners and heroes. Therefore, in Bulgakov’s novel, all three worlds are intricately intertwined, the characters in some ways repeat each other: the Master shows the features of Yeshua Ha-Nozri, the Master’s friend Alozy Mogarych resembles Judas, the devoted, but in some ways very limited Levi Matthew is also wingless, as a student of the Master Ivan Bezdomny. And a character like the repentant Pilate, who finally found forgiveness and freedom, is completely unthinkable in Soviet Moscow.

So, “a novel within a novel” is a kind of mirror in which Bulgakov’s contemporary life is reflected. And Woland and his retinue hold this mirror like the trolls in Andersen’s “The Snow Queen.” And the “magic crystal” is in their power: “I am part of that force that always wants evil and always does good” (Goethe’s “Faust”),

Lesson objectives:

Show the genre and compositional originality of M. Bulgakov’s novel “The Master and Margarita”.
Philosophical understanding of the number “three” in M. Bulgakov’s novel “The Master and Margarita”.
Understand the features of the interpenetration of the three worlds in the novel.
Learn moral lessons, the main values that the writer talks about.
To promote the development of interest in the personality and creativity of the writer.

Lesson equipment: multimedia installation, CD with a recording of an electronic lesson, an exhibition of the writer’s books, a stand “The Life and Work of M.A. Bulgakov”, a newspaper “Satire in M. Bulgakov’s novel “The Master and Margarita”, an installation on the topic.

Lesson plan.

Teacher's opening speech.

Hello, dear guys, dear guests! Grade 11B of secondary school No. 78 in the Volga region of Kazan welcomes you to a lesson on the topic: “Three worlds in M. Bulgakov’s novel “The Master and Margarita.”

Today we will continue to study the novel created by M. Bulgakov. So, the goals of our lesson are as follows:

1. Show the genre and compositional originality of M. Bulgakov’s novel “The Master and Margarita”.

2. Pay attention to the symbolism of the number “three” in M. Bulgakov’s novel “The Master and Margarita”.

3. Comprehend the interpenetration of the three worlds.

4. Learn moral lessons, the main values that the writer talks about.

We have three groups that will represent the three worlds of the novel:

Peace of Yershalaim;

Moscow reality;

Fantastic world.

1) Messages from trained students (philosophy of P. Florensky, G. Skovoroda about the trinity of being)

2) Group work

So, the first group is working.

Ancient Yershalaim world

Teacher:

How does his portrait reveal Pilate's character?

How does Pilate behave at the beginning of his meeting with Yeshua and at the end of their meeting?

What is Yeshua's core belief?

The idea of the work: all power is violence over people, “the time will come when there will be no power either of Caesar or of any other power.”

Who is the personification of power?

The personification of power, the central figure is Pontius Pilate, procurator of Judea.

How does Bulgakov portray Pilate?

Pilate is cruel, he is called a ferocious monster. He only boasts of this nickname, because the world is ruled by the law of force. Behind Pilate is a great life as a warrior, full of struggle, hardship, and mortal danger. Only the strong, who do not know fear and doubt, pity and compassion, win in it. Pilate knows that the winner is always alone, he cannot have friends, only enemies and envious people. He despises the mob. He indifferently sends some to execution and pardons others. He has no equal, no person with whom he would just want to talk. Pilate is sure: the world is based on violence and power.

Creation of a CLUSTER.

Please find the interrogation scene (chapter 2). Pilate asks a question that should not be asked during interrogation. What kind of question is this?

“What is truth?”

Pilate's life has long been at a dead end. Power and greatness did not make him happy. He is dead in soul. And then a man came who illuminated life with new meaning. The hero is faced with a choice: to save an innocent wandering philosopher and lose his power, and possibly his life, or to maintain his position by executing an innocent man and acting against his conscience. In essence, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth turns out to be more valuable to him than life. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sanhedrin does not change its decision.

Why does Pilate approve the death sentence?

Why was Pilate punished?

“Cowardice is the most serious vice,” Woland repeats (chapter 32, night flight scene). Pilate says that “more than anything else in the world he hates his immortality and unheard-of glory.” And then the Master enters: “Free! Free! He is waiting for you!” Pilate is forgiven.

Modern Moscow world

Never talk to strangers.

PRESENTATION.

What does the Master say about Berlioz? Why?

Students:

The master speaks of him as a well-read and very cunning person. Berlioz has been given a lot, and he deliberately adjusts himself to the level of the worker poets he despises. For him there is no God, no devil, nothing at all. Apart from everyday reality. Where he knows everything in advance and has, if not unlimited, but quite real power. None of the subordinates is engaged in literature: they are only interested in the division of material wealth and privileges.

Why was Berlioz punished so terribly?

Because he is an atheist? Because he is adapting to the new government? For seducing Ivanushka Bezdomny with unbelief?

Woland gets irritated: “What do you have, no matter what you’re missing, there’s nothing!” Berlioz gets “nothing”, non-existence. He receives according to his faith.

Each will be given according to his faith (chapter 23) By insisting that Jesus Christ did not exist, Berlioz thereby denies his preaching of goodness and mercy, truth and justice, the idea of good will. Chairman of MASSOLITA, editor of thick magazines, living in the power of dogmas based on rationality, expediency, devoid of moral foundations, denying belief in the existence of metaphysical principles, he implants these dogmas in human minds, which is especially dangerous for a young fragile consciousness, which is why the “murder” of Berlioz Komsomol member takes on a deeply symbolic meaning. Not believing in other existence, he goes into oblivion.

What are the objects and techniques of Bulgakov's satire?

Styopa Likhodeev (chapter 7)
Varenukha (chap. 10, 14)
Nikanor Ivanovich Bosoy (chapter 9)
Bartender (Ch. 18)
Annushka (Ch. 24, 27)
Aloysius Mogarych (chapter 24)

The punishment is in the people themselves.

Critics Latunsky and Lavrovich are also people invested with power, but deprived of morality. They are indifferent to everything except their career. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of the vicious power. History sends such people into oblivion.

The townspeople have changed a lot on the outside...a much more important question is: have these townspeople changed on the inside?

Answering this question, the evil spirit comes into play, conducts one experiment after another, organizes mass hypnosis, a purely scientific experiment. And people show their true colors. The revelation session was a success.

The miracles demonstrated by Woland's retinue are the satisfaction of people's hidden desires. Decency disappears from people, and eternal human vices appear: greed, cruelty, greed, deceit, hypocrisy...

Woland sums up: “Well, they are people like people... They love money, but this has always been the case... Ordinary people... in general, they resemble the old ones, the housing issue only spoiled them...

What is the evil spirit making fun of and mocking? By what means does the author depict ordinary people?

The image of the Moscow philistinism is served by cartoon, grotesque. Fiction is a means of satire.

The Master and Margarita

Who told you that there is no true, faithful, eternal love in the world?

May the liar's vile tongue be cut out!

Margarita is an earthly, sinful woman.

How did Margarita deserve the special favor of the higher powers that control the Universe?

Margarita, probably one of those one hundred and twenty-two Margaritas that Koroviev spoke about, knows what love is.

Love is the second path to super-reality, just like creativity - this is what can resist the eternally existing evil. The concepts of goodness, forgiveness, responsibility, truth, and harmony are also associated with love and creativity. In the name of love, Margarita accomplishes a feat, overcoming fear and weakness, defeating circumstances, without demanding anything for herself. Margarita is the bearer of enormous poetic and inspired love. She is capable not only of boundless fullness of feelings, but also of devotion (like Matthew Levi) and the feat of fidelity. Margarita is able to fight for her Master. She knows how to fight, defending her love and faith. It is not the Master, but Margarita herself who is now associated with the devil and enters the world of black magic. Bulgakov’s heroine takes this risk and feat in the name of great love.

Find evidence of this in the text.

Woland's ball scene (chapter 23), Frida's forgiveness scene (chapter 24).

Margarita values the novel more than the Master. With the power of his love he saves the Master, he finds peace. The theme of creativity and the theme of Margarita’s love are associated with the true values affirmed by the author of the novel: personal freedom, mercy, honesty, truth, faith, love.

Creation of a CLUSTER.

So, what is the central issue raised in the actual narrative plan?

The relationship between the creator-artist and society.

How is the Master similar to Yeshua?

They are united by truthfulness, incorruptibility, devotion to their faith, independence, and the ability to empathize with the grief of others. But the master did not show the necessary fortitude and did not defend his dignity. He did not fulfill his duty and found himself broken. That's why he burns his novel.

Otherworld

PRESENTATION.

With whom did Woland come to earth?

Woland did not come to earth alone. He was accompanied by creatures who, by and large, play the role of jesters in the novel, putting on all sorts of shows, disgusting and hateful to the indignant Moscow population (they simply turned human vices and weaknesses inside out).

For what purpose did Woland and his retinue end up in Moscow?

Their task was to do all the dirty work for Woland, serve him, prepare Margarita for the Great Ball and for her and the Master’s journey to a world of peace.

Who made up Woland's retinue?

Woland’s retinue consisted of three “main jesters: Behemoth the Cat, Koroviev-Fagot, Azazello and the vampire girl Gella.

The problem of the meaning of life.

Woland's gang, committing murders, outrages, and deceptions in Moscow, is ugly and monstrous. Woland does not betray, does not lie, does not sow evil. He discovers, manifests, reveals the abomination in life in order to punish it all. There is a scarab mark on the chest. He has powerful magical powers, learning, and the gift of prophecy.

Creation of a CLUSTER.

What is reality like in Moscow?

Real, catastrophically developing reality. It turns out that the world is surrounded by grabbers, bribe-takers, sycophants, swindlers, opportunists, self-interested people. And so Bulgakov’s satire matures, grows and falls on their heads, the conductors of which are aliens from the world of Darkness.

Punishment takes different forms, but it is always fair, done in the name of good and deeply instructive.

How are Yershalaim and Moscow similar?

Yershalaim and Moscow are similar in landscape, hierarchy of life, and morals. Tyranny, unfair trials, denunciations, executions, and hostility are common.

3)Analysis of individual works:

Drawing up clusters (images of Yeshua, Pontius Pilate, the Master, Margarita, Woland, etc.);

Presentation of student work.

4) Lesson summary, conclusions.

all plans of the book are united by the problem of good and evil;
themes: search for truth, theme of creativity
All these layers and space-time spheres merge at the end of the book.

The genre is synthetic:

And a satirical novel

And a comic epic

And utopia with elements of fantasy

And historical storytelling.

INSTALLATION and ANSWER TO THE MAIN QUESTION OF THE LESSON

So in the name of what can one ascend to Golgotha? In the name of what did Jesus Christ, Yeshua, the writer’s contemporaries, and M.A. Bulgakov himself go to torment?

Main conclusion:

You can ascend Calvary in the name of TRUTH, CREATIVITY, LOVE - the author believes.

5) Homework: essay on the topic: “Human mercy” (fragment from the feature film by V. Bortko “The Master and Margarita” - The Master forgives P. Pilate).

LITERATURE

1. Andreevskaya M. About “The Master and Margarita”. Lit. review, 1991. No. 5.

2. Belozerskaya - Bulgakova L. Memoirs. M. Hood. Literature, 1989. pp. 183 - 184.

3. Bulgakov M. The Master and Margarita. M. Young Guard. 1989. 269 p.

4. Galinskaya I. Riddles of famous books. M. Nauka, 1986. pp. 65 - 125.

5. Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969. P. 261

6. Gudkova V. Mikhail Bulgakov: expanding the circle. Friendship of Peoples, 1991. No. 5. pp. 262 - 270.

7. Gospel of Matthew. “Collection on the night of Nisan 14” Ekaterinburg Middle-Urals. book publishing house 1991 pp. 36 - 93.

8. Zolotonosov M. Satan in unbearable brilliance. Literary review.1991. No. 5.

9. Karsalova E. Conscience, truth, humanity. Bulgakov's novel “The Master and Margarita” in the graduating class. Literature at school. 1994. No. 1. P.72 - 78.

10. Kryvelev I. What history knows about Jesus Christ. M. Sov. Russia. 1969.

11. Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991. P. 41

12. France A. Procurator of Judea. Collection “On the night of the 14th of Nisan” Ekaterinburg. Middle-Ural book ed. 1991. P.420 - 431.

13. Chudakova M. Mikhail Bulgakov. The era and fate of the artist. M.A. Bulgakov. Favorites by Sh.B. M. Education pp. 337 -383.

14..Internet sites:

uroki.net.
5 ka.at.ua
referatik.ru
svetotatyana.narod.ru

The novel “The Master and Margarita” is a mystery. Each person who reads it discovers its own meaning. The text of the work is so full of problems that it is very difficult to find the main one, I would even say impossible.

The main difficulty is that several realities are intertwined in the novel: on the one hand, the Soviet life of Moscow in the 20-30s, on the other, the city of Yershalaim, and finally, the reality of the all-powerful Woland.

First world - Moscow of the 20-30s.

Satan came to Moscow to bring justice, to rescue the Master, his masterpiece and Margarita. He sees that Moscow has turned into something like a Great Ball: it is inhabited by traitors, informers, sycophants, bribe-takers, currency traders. Bulgakov presented them both as individual characters and as employees of the following institutions: MASSOLIT, Variety Theater and the Entertainment Commission. Every person has vices that Woland exposes. A more serious sin was committed by MASSLIT workers who call themselves writers and scientists. These people know a lot and at the same time deliberately lead people away from the search for truth and make the brilliant Master unhappy. For this, punishment comes to the Griboedov House, where MASSOLIT is located. The Moscow population does not want to believe in anything without evidence, neither in God nor in the devil. In my opinion, Bulgakov hoped that someday people would realize the horror that had consumed Russia for many years, just as Ivan Bezdomny realized that his poems were terrible. But this did not happen during Bulgakov’s lifetime.

The second world is Yershalaim.

Yershalaim is associated with many characteristic details that are unique to it and at the same time unite it with Moscow. This is the scorching sun, narrow intricate streets, and the terrain. The similarity of some elevations is especially surprising: the Pashkov House in Moscow and Pilate’s Palace, located above the roofs of city houses; Bald Mountain and Sparrow Hills. You can also pay attention to the fact that if in Yershalaim a hill with the crucified Yeshua is surrounded, then in Moscow it is surrounded by Woland leaving it. Only three days are described from the life of the city. The struggle between good and evil does not stop and cannot stop. The main character of the ancient world, Yeshua, is very similar to Jesus. He is also a mere mortal who remains misunderstood. Yershalaim, invented by the Master, is a fantasy. But it is he who looks the most real in the novel.

The third world is the mystical, fantastic Woland and his retinue.

Mysticism in the novel plays a completely realistic role and can serve as an example of the contradictions of reality. The otherworldly world is headed by Woland. He is the devil, Satan, "prince of darkness", "spirit of evil and lord of shadows." The evil spirits in The Master and Margarita expose us to human vices. Here comes the devil Koroviev - a drunken drunkard. Here is the cat Behemoth, very similar to a person and at times turning into a person very similar to a cat. Here is the bully Azazello with an ugly fang. Woland personifies eternity. He is the eternally existing evil that is necessary for the existence of good. The novel changes the traditional image of Satan: he is no longer an immoral, evil, treacherous demon-destroyer. Evil spirits appear in Moscow with an audit. She is interested in whether the townspeople have changed internally. Observing the audience at the Variety Show, the “professor of black magic” is inclined to think that essentially nothing has changed. Evil spirits appear before us as evil human will, being an instrument of punishment, carrying out intrigues at the suggestion of people. Woland seemed to me fair, objective, and his justice was manifested not only in the punishment of some heroes. Thanks to him, the Master and Margarita are reunited.

All the characters in the novel are closely related to each other; without the existence of some, the existence of others would be impossible, just as there can be no light without darkness. The novel “The Master and Margarita” talks about a person’s responsibility for his actions. The actions are united by one idea - the search for truth and the fight for it. Hostility, mistrust, and envy reign in the world at all times. This novel belongs to those works that definitely need to be re-read in order to better understand the subtext, to see new details that you might not have noticed the first time. This happens not only because the novel touches on many philosophical issues, but also because of the complex “three-dimensional” structure of the work.