Does margarita have a double and why? Bulgakov's triads: a mysterious novel
Created by Mikhail Afanasyevich Bulgakov in the period from 1929 to 1940, the unique novel “The Master and Margarita” still remains one of the most unusual works Russian literature. Literary scholars classify the novel as a genre of fantastic realism, the traditions of which were laid down in their time by such writers as Gogol, Goethe, and Hoffmann.
A thread runs through the novel supernatural events. Starting with the development of the storyline and ending everyday life characters of the work, mysticism is found everywhere in the novel. Here and there unexpected miracles and encrypted symbolism appear. The relationships between the characters in the novel are also shrouded in mystery.
Of course, the main heroes in the novel are the Master and his beloved Margarita. But Ivan Bezdomny is also present, to whom, in fact, the author addresses himself through all the events occurring in the novel.
According to researchers, Mikhail Afanasyevich Bulgakov distributed everyone characters novel by certain groups. There are nine such groups in the novel. They consist of one dyad and eight triads. Each group, in addition to bright, expressed characters, includes a double - a hidden, inconspicuous character located in the shadows.
The first triad includes iconic characters: Woland, Doctor Stravinsky and Pontius Pilate. They - each in their own way - decide people's destinies, while the idea of salvation is simply in the air. Doctor Stravinsky strives to save the Master in Moscow madhouse. Woland, in otherworldly realms, seems to save the Master. The fate of the preacher Yeshua depends on Pontius Pilate in Yershalaim. But Pilate was destined to retreat.
The second triad includes the first assistants of the “rulers”: doctor Fyodor Vasilyevich - assistant to Doctor Stravinsky; Koroviev-Fagot - Woland's assistant; Afranius - right hand Pontius Pilate.
Triad number three consists of executioners. The demonic Azazelo carries out all of Woland’s dirty orders. Mark the Ratboy “teaches” Yeshua the correct behavior with the Procurator Pilate. Archibald Archibaldovich is like a copy of them in the real world.
The fourth triad includes, oddly enough, animals. Woland has his favorite cat named Behemoth, endowed by Bulgakov supernatural powers. Pilate has a dog named Banga. Only Bunga eases the suffering of the fifth Procurator of Judea during the terrible migraine attacks that torment him, because he loves and understands his owner. Police dog Tuzbuben - transferred to real world projection of Pilate's Banga.
The fifth triad consists of women. Koroviev-Fagot has a maid, Gella, who confuses visitors to her bad apartment with her appearance. Margarita's maid Natasha becomes a witch. An agent of Afranius named Nisa takes revenge for the betrayal of Yeshua.
The sixth triad includes Joseph Kaifa, Berlioz and the editor of a “thick” magazine. In each character, a certain flaw can be traced, which allows us to classify these characters as heroes with a minus sign. The editor is being disingenuous by portraying a foreigner. Berlioz waves his militant atheism like a flag. Caiaphas, although aware of the absurdity of Yeshua’s execution, orders it to be carried out.
The seventh triad consists of traitors. This is Baron Meigel, who let Woland down, Aloysius Mogarych, who hurt the Master, and Judas, who betrayed Yeshua.
The last, eighth triad includes students of their mentors. Among them are Ryukhin - an unsuccessful student of Pushkin, Ivan Bezdomny - a student of Masterr, destined to continue his novel, and Levi Matvey - a faithful follower of Yeshua.
There is only one dyad in the novel “The Master and Margarita”. It includes the main characters: the Master, who accomplished a creative feat, and Yeshua, who performed the saving feat of sacrifice.
Such unusual groupings of characters in the novel also constitute one of its unsolved mysteries.
The Master and Margarita Bulgakova is a masterpiece of Russian literature, which can be called an encyclopedia of the writer’s times. It, like a mirror, reflects customs, life, morality Soviet Russia, where they are depicted different types and the characters of people, personifying not only the best, but also the worst, and even dark sides.
Bulgakov's novel is a multi-level world with many characters. These characters are connected in space by an elusive thread. The structure of the writer’s work is complex, and it is through the system of images in the work The Master and Margarita that the pattern of the novel is revealed.
In general, the writer’s novel is very crowded. If you believe the researchers, then there are about five thousand people in it, of which more than one hundred and fifty have proper names. The remaining characters are nameless and collective; an example could be employees of an organization or viewers of Variety.
Doubles in the novel
Reading the writer’s work, we understand that two worlds coexist here, I would even say three. This is the world of Pontius Pilate and Yeshua, that is, the ancient Yershalaim world. This is modern Moscow for the writer, that is, Moscow in the thirties of the twentieth century. And the third world is the eternal other world. Thus, you can notice doubles in the novel The Master and Margarita, or even triads of characters, because we see three worlds. Characters from different worlds have common similarities both in actions, goals and motivations, and are sometimes similar in appearance. Thus, we can distinguish the following triads of persons, whose similarity can be called undeniable. So, this is Pontius Pilate, who has his counterparts in the images of Stravinsky and Woland. Afranius' doubles are Fyodor Vasilyevich and Koroviev Fagot. Mark Ratboy has doubles in the images of Archib Archibldovich and Azazello. The next triad is Banga - Tuzbuben - Behemoth. Judas' doubles are Alozy Mogarych and Baron Meigel. Nisa's doubles are Natasha and Gella. Accordingly, they are representatives of the ancient, modern and other worlds.
The most interesting thing is that in the work, among the invented system of images, it is difficult to identify the main characters. This is the peculiarity of the novel. Would you say that the main characters are the Master and Margarita, since the work is named after them? But these heroes appear almost in the middle of the entire storyline, and no less significant heroes Woland and Ivan Bezdomny are here. In addition, the world of Yershalaim also has its own heroes, where the author singles out Yeshua and Pontius.
As you can see, the novel is multi-layered and complex, but despite this, there is no sense of disunity. The entire composition, like the system of images in the writer’s novel, is holistic, which is created thanks to the very connecting threads that connect the past, present and future.
1. Two plot lines of the novel.
2. A novel about Pontius Pilate.
3. A novel about the destinies of the Master and Margarita.
4. Doubles and antipodes in the novel.
5. Complex unity of composition and character system.
M. A. Bulgakov’s novel “The Master and Margarita”, which became programmatic work for the creator and textbook for all Russian literature, is complex both compositionally and stylistically. In the plot, two worlds coexist in parallel, then uniting into a single whole - the world of Pontius Pilate and Yeshua Ha-Nozri and Moscow of the 30s of the XX century, contemporary to the writer. This unusual composition is associated with no less complex system characters, including large number doubles, antitheses and parallels. The novel consists of two independent ones, but united by common moral and ethical ideas of the author and the characters of the story. The first occurs in biblical times and is connected with the fate of the procurator Pontius Pilate, the second depicts the fate of the Master. Both stories are opposed to each other. But at the same time they are in a complex ideological and emotional unity.
The story of Pontius Pilate occupies a smaller part in general composition works. But at the same time, its semantic role is very important, since this part of the text contains deep philosophical overtones. It consists of four chapters, scattered, mixed with chapters from the cycle about the Master. The first chapter, "Pontius Pilate", is presented to Berlioz and Bezdomny by Woland, the second - "Execution" - is a dream of Ivan Bezdomny, seen in psychiatric hospital. The last two parts - “How the procurator tried to save Judas from Kiriath” and “Burial” - become parts of the Master’s lost manuscript restored by Woland. Already at this stage it becomes clear that the smaller part of the novel about Pontius Pilate is introduced into the main theme with the help of characters - Woland, who tells the beginning of the story and restores the ending, Bezdomny, who observes the main development of the action in a dream, and Margarita, who reads the final lines. The image of the Master as the creator of this work runs through all three characters, uniting them.
The chapters devoted to the procurator of Judea differ not only in time frame from the main one storyline, but also with an unusual style - stingy with epithets, measured, precise, truly conveying the sensations of reading the Old and New Testaments. In the chapter “Execution” the style becomes sublimely pathetic, approaching high tragedy: “You are not an omnipotent god. You are a black god. I curse you, god of robbers, their patron and soul!”
The main part of the novel about the Master is devoted to modern realities Moscow life, its customs and inhabitants. Here there are sharp satirical and grotesque scenes, and lyrical-dramatic and phantasmagoric moments. Here there is both low, courtyard vocabulary, characteristic of the Muscovites themselves and members of Woland’s retinue (“If you, bastard, allow yourself to get involved in the conversation again...”), and the high poetic style inherent in passages about the Master and replete with epithets, subtle metaphors and associations (“disturbing yellow flowers"). It should also be noted that the scenes dedicated to the adventures of Woland and his gang boil down to one thing: fairy tale plot- meeting, test, exposure, punishment.
Woland's personality is secondary in the novel, but the meaning embedded by the author in this image has universal significance within the framework of the narrative. With his retinue, he comes to Moscow in order to find out whether the sacrifice made by Yeshua in ancient times turned out to be useful and whether it brought any benefit. However, the contemporary Moscow he saw for the writer greatly disappointed him. The people he saw remain the same as they were - moderately greedy, selfish, but also quite merciful. "People are like people, housing issue only spoiled them” - this phrase became a catchphrase and is still used today. People living in Moscow do not feel their responsibility. That’s why bribery, denunciations, and lies flourish in the city. However, the residents of Pilate Yershalaim are also no different from Muscovites and also do not feel their responsibility. By choosing to die the innocent Ha-Nozri instead of the truly guilty villain Bar-Rabban, people thereby serve evil and darkness.
The motif of serving darkness is also found in modern Moscow. Visitors to the Variety Show who exchange their old clothes for new ones thereby enter into an agreement with the devil. Those who picked up the flying banknotes were punished for their greed. The director of the entertainment sector was punished for his inability to work correctly and fulfill the imposed obligations - Bulgakov, in the person of his infernal hero, was able to clearly show that even an empty suit can do such work. Styopa Likhodeev was sent for “re-education” to Yalta, Nikanor Ivanovich was punished, having proven his greed by choosing between his dues and money. In all of the above episodes, Woland and his retinue act as a punishing hand, bringing justice and retribution. The novel, consisting of two seemingly independent worlds, also has two systems of images, headed by Yeshua and the Master. These are double heroes. The same doubles are Ivan Bezdomny and Levi Matvey as followers of their teachers, Aloysius Mogarych and Judas from Kiri-af as traitors.
Important in the work and love line. It is as complex and associative as the entire novel. So the relationship between the Master and Margarita is directly related to the change of seasons. An inherently idyllic love story collapses when faced with harsh living conditions. The same otherworldly forces that are supposed to do evil, but ultimately restore justice, are helping to restore it. Like many heroes of the work, the Master and Margarita are faced with the need to choose. The master makes his choice, consciously renouncing the novel about Pontius Pilate, which had become hateful to him - this novel brought him too much grief. Margarita sacrifices her own happiness and takes the path of self-denial for the sake of her loved one. She prefers the Master’s small, poor apartment to luxurious apartments, full provision and a personal maid. And is it worth thinking about living conditions if the health of a loved one is at stake? She gives herself up without complaint evil spirits and becomes a witch only for the sake of the Master, for which she gains eternal and true love.
Bulgakov deliberately goes against the genre canons in the novel, describing in it not individual human destinies and not even the fate of the people, but the merged fate of all humanity.
Bulgakov's novel "The Master and Margarita" has the so-called frame composition, that is, the novel is placed within the novel. We can distinguish here two styles of narration, differing from each other and intonationally highlighting parts of the two main characters, similar as a reflection in a mirror. Despite the difficulty in forming the composition and system of images in the novel, the feeling of fragmentation of the work does not arise. The secret of the novel's compositional integrity lies in the threads connecting the past with the present and flowing into the future.
System of images. Due to the fact that the novel consists of two parts, it has two main characters: the Master and Yeshua. They are twin heroes. Accordingly, many are doubles minor characters. Thus, Ivan Bezdomny and Levi Matvey are followers of their teachers, Aloysius Mogarych and Judas from Kiriath are their traitors.
The master writes a novel about Yeshua and Pontius Pilate. With his novel, he affirms the idea that the struggle between good and evil is eternal. The prince of darkness is not terrible for him, for the Master does not believe in either dark or light forces. For him there is faith in Man himself and unchanging moral laws. The master leaves earthly life, but finds peace. However, the real reward for him is selfless love Margaritas. The fate of the Master in many ways repeats the fate of Bulgakov. And in Elena Sergeevna you can notice the features of Margarita.
The love of the Master and Margarita is destroyed in a collision with the outside world and is restored with the help of otherworldly forces. Margarita takes the path of dedication, sacrificing herself for the sake of her loved one. She prefers the Master to hers
a rich, carefree life in her husband's house, then sacrifices herself in the name of love, becoming a witch in order to find out something about the Master.
Pontius Pilate seems to himself and to people to be a powerful man. But Yeshua’s insight amazes the procurator. The governor's complacency and his right to control everything are called into question. The procurator decides the fate of Yeshua. But in reality, it is Yeshua who gains true freedom, and not Pontius Pilate, who finds himself a hostage to his own position, career, and conscience.
Yeshua is not afraid of anything and has incredible fortitude. His life philosophy is contained in words that, in their content and meaning, are relevant at all times. Free in thoughts and pure soul, Yeshua says: “ Evil people No";; “all power is violence against people”;; “The time will come when there will be neither Caesars nor any other authority. Man will pass into the kingdom of truth.”
Woland and his retinue come to Moscow to see how much people have changed and whether Yeshua’s sacrifice was in vain. At a performance at the Variety Theater; he sees that people have not changed: “People are like people, the housing issue has only spoiled them.” Denunciations, greed, and bribery of Muscovites do little to distinguish them from the residents of Yershalaim. Woland is the evil without which balance and justice in the world cannot exist. This is the court of eternity, rewarding everyone according to their deserts. The master, like his hero Yeshua Ha-Nozri, was acquitted by this court.
The writer’s portrayal of Moscow in the 1930s is unusually vivid. Bulgakov presents with irony and sometimes grotesqueness the literary union MASSOLIT, in the description of which one can easily recognize the RAPP (Russian Association of Proletarian Writers) of that time. Literary environment appears very unsightly in Bulgakov’s portrayal. Writers are not so concerned creative problems, how many household ones: country houses, food stores, etc. Among the writers depicted by Bulgakov, not a single one is directly engaged in creativity. And Berlioz, who stood at the head of the literary society, pays for all these sins, for lack of faith.
Glossary:
- system of images in the novel The Master and Margarita
- doubles in the novel The Master and Margarita
- The Master and Margarita image system
- Master and Margarita image system
- system of images of the novel The Master and Margarita
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"Sunset" novel by M.A. Bulgakov is considered a work of fantastic realism, leading the tradition from Goethe, Hoffmann, and Gogol. Even decades after the creation of The Master and Margarita (1929-1940), the novel is considered one of the most mysterious phenomena Russian literature. The magic and secrets of the novel are manifested at all levels: from the plot action in Moscow of Woland's retinue to everyday life heroes, into which symbols, signs, secret codes and ciphers. The author does not deviate from the mystical tradition in the interconnection of the characters he created.
It is difficult to single out the main character in the novel - the Master and his beloved Margarita, of course, come to the fore, but there is also Ivan Bezdomny, to whom, according to researchers, the entire action of the work is addressed. All heroes are united by M.A. Bulgakov’s groups include 8 triads and 1 dyad, and along with bright, colorful heroes, the group may also include an inconspicuous hero, barely perceptible on the pages of the novel, a secret double.
Triad 1 is represented by the rulers of people's destinies and lives. These are Pontius Pilate, Woland and Doctor Stravinsky. Each of them rules in the world “entrusted” to him: Pilate in Yershalaim, Woland in Moscow, Stravinsky in a clinic for the mentally ill. Each of them is obsessed with the idea of salvation. Pilate tries to save the preacher Yeshua, but retreats (cowardice is the most terrible sin); Woland - in other world- saves the Master, and Stravinsky unsuccessfully tries to save the Master in the Moscow world.
Triad 2 consists of the closest assistants of the “power holders”: Afranius in Pilate, Koroviev-Fagot in Woland, and, finally, the doctor Fyodor Vasilyevich in Stravinsky. Each of them is the right hand of his “master”, carrying out any order.
Mark Ratboy, Azazello, Archibald Archibaldovich - triad 3, triad of executioners. Mark the Ratboy willingly “teaches” Yeshua how to behave with the Procurator. Azazelo - demon killer - performs dirty work on behalf of Woland. And Archibald Archibaldovich becomes their projection in the real world.
Triad 4 is unusual in that its heroes are animals. This is Banga, Pilate’s dog, his only salvation during headache attacks, the only creature who understands and loves the Cruel fifth procurator of Judea, the Horseman of the Golden Spear. Tuzbuben is a projection of Banga in the Moscow world, a “police” dog. Behemoth is Woland’s favorite cat, capable of riding as a “hare” on a tram and appearing from a mirror.
The 5th triad is purely female: Nisa is the agent Afrania, Gella is the agent and servant of Koroviev-Fagot, Natasha is the servant of Margarita. Each commits an act shrouded in mystery: Nisa takes revenge for the betrayal of Yeshua, Gella disturbs visitors to the bad apartment with her appearance, and Natasha... becomes a witch.
Berlioz, Joseph Kaifa and the editor of Tolstoy literary magazine combined into the 6th triad. They are also “power holders”, but undoubtedly of a lower rank. Each of them has a wormhole that transfers them to the category negative heroes: Caiaphas understands the absurdity of Yeshua’s execution, but insists on it; Berlioz imposes his “militant” atheism on everyone; the editor pretends to be a foreigner. 
Triad of traitors - triad 7: Judas, who betrayed Yeshua, Baron Meigel, who offended Woland, and Aloysius Mogarych, who offended the Master.
And finally, the 8th triad is the triad of students who became last hope his mentors: Levi Matvey - a former tax collector and the only disciple of Yeshua; Ivan Bezdomny is a student of the Master who was supposed to continue his novel; Ryukhin is a failed student of Pushkin.
The only dyad of the novel is the dyad of heroes who have accomplished a feat: Yeshua is a sacrificial feat, the Master is a creative feat.
The grouping of the novel's heroes is another example of the three-worlds of The Master and Margarita, which is far from its only mystery.
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