Margarita walked with yellow flowers. The place of the first meeting of the master and the margarita. Death of the Master and Margarita

Determining the meeting place of the Master and Margarita, most Bulgakovs agree that this happened near the house at 10 Bolshoy Gnezdnikovskiy lane. This is done not only on the basis of the text of the novel, but also on the biographical data of the writer.

On February 28, 1929, Mikhail Bulgakov and his future third wife Elena Shilovskaya met at the house of the Moiseenko brothers-artists, who lived in the so-called "Nirnzee house" at 10 Bolshoy Gnezdnikovskiy lane. They left the guests together and went for a walk in Moscow ...

Bolshoi Gnezdnikovsky lane next to house 10.

The house of Nirnzee, the ksatati, is remarkable in every way. The first Moscow skyscraper, built in 1912, was called the "bachelor's house" because of the laconic layout of the apartments (most of them had only a bathroom, living room and corridor, there were no kitchens).

House of Nirnsee.

Now the roof of the Nirnsee house can be seen only from a few points of the city, and once its intricate decorations could be seen from all around.

The roof of the Nirnsee house. Photo taken from Tverskoy Boulevard.

But back to the text of the novel. Gnezdnikovsky lane is separated from Tverskaya by an arch. It was into her that Margarita was supposed to turn, and after her the Master.

Gnezdnikovsky Lane really bends a lot. It fully corresponds to the description of "a crooked boring alley. It was somewhere here that the Master and Margarita were supposed to walk on opposite sides of the street.

When writing, the article was used

The action of the immortal Bulgakov's novel is clearly tied to the places in the descriptions of which the writer is very specific, and therefore the specialists managed to identify most of them, which I linked into a single excursion. This is the second version of it, combining numerous posts with fragments of a large route. Perhaps you will complete the entire route, perhaps miss something or be content with some part - the choice is yours.
When composing the route, I tried to make it roughly correspond to the plot of the novel: start where it began, end it too. Unfortunately, then I would have to return a lot, so the resulting version is a compromise between the plot and the geography of Moscow streets. Most of the photographs were taken in early May, in the week before Easter, that is, at the same time as in the novel. True, the city was not this year in a well-known state to us, when "the sun, having heated Moscow, fell in a dry fog somewhere beyond the Garden Ring", but the spring was early and violent, so the state of mind and weather roughly corresponded to that very the right one.
But enough prefaces. "Follow me, reader!"
Main trajectory: Metro Mayakovskaya - Bolshaya Sadovaya st. - Aquarium garden (there was a Variety here) - B. Sadovaya, 10 (in the courtyard - a bad apartment and Bulgakov's museum) - Ermolaevsky lane. - Patriarch's Ponds (no comment) - B. Patriarshi per. - Spiridonovka (the path of Bezdomny's pursuit of Woland and his retinue, 17 - one of the candidates for Margarita's house) - Nikitsky Gate Square - along Tverskoy Boulevard to 25 (Massolit) and back - Tverskaya Street - Bolshoi Gnezdnikovsky Lane (Master and Margarita) - return to the Nikitsky gate square (you can skip this branch) - B. Nikitskaya st. - Knife lane. - Maly Rzhevsky lane, 6 (the best candidate for Margarita's house for my taste) - B. Rzhevsky lane. - st. M. Molchanovka (courtyard of house 10 - 3 sculptures of Rukavishnikov to the monument to the heroes of the novel) - go Novy Arbat - Arbatsky lane. - Arbat - Turn to B. Nikolopeskovskiy per. (Margarita flew here and smashed the House of Dramlit) - Arbat, 54 (Torgsin) - Money lane. - M. Levshinsky per. - Mansurovsky lane, 9 (the Master's house and probably in about the same way Margarita went to him - and maybe the neighboring lanes) - Ostozhenka, d.21 (the most beautiful candidate for Margarita's house) - 1st Zachatievsky lane, d. 13 (here Homeless was looking for Woland, this is my personal assignment, unlike others found in different sources) - Prechistenskaya embankment (Homeless swam here) - walk to the Kropotkinskaya metro station, get to the Vorobyovy Gory station and climb the cable car to the observation deck - a view of Moscow from the Sparrow Hills (Farewell!), or (shorter version) a view of Moscow from the Patriarch Bridge

We start from the Mayakovskaya metro station (corner of Tverskaya and B. Sadovaya streets). Our first object according to B. Sadova - the "Aquarium" garden, was a Variety here, and Woland's retinue (.

The next address is the famous "bad apartment" (B. Sadovaya, 10, walk quite a bit along B. Sadovaya and turn into the courtyard at the signpost).
It was not for nothing that Woland strove to settle there - just a stone's throw from the Variety. ...

Nevertheless, Woland did not live here, but in an apartment located in the next staircase on the fourth floor. A staircase leads there, which is itself a cultural phenomenon. Here are my first impressions from there.
"... You need to visit this entrance. The already forgotten well of old Moscow staircases is covered with dense layers. Here both Tsoi and Diana Arbenina and classic inscriptions like" Vasya was here "and" Gods, gods, how sad our life is "and poetry (apparently our own) and a black cat painted on the window. In general, four floors we make our way between the "talking walls", saturated with the spirit of what the people wanted to say in front of the heroes of the novel. . "

The staircase is periodically painted over, and then painted again. And in the apartment there is

Then we return to the beginning of the novel and head to the Patriarch's Ponds, which are very close.
What can I say about the Patriarchs? Probably Bulgakov has already said everything. You can just walk around and try to imagine where the same shop stood where Woland talked about Pontius Pilate, and where on the Bronnaya side there was the same turnstile near which Annushka spilled oil.

We go around the pond and go along Bolshoy Patriarshy Lane to Spiridonovka. Here, catching up with Woland, Bezdomny ran along Spiridonovka, and in the epilogue he is walking through Spiridonovka with empty and blind eyes to the Arbat lanes.

Here we pay attention to house 17 - the mansion of Savva Morozov (architect Shekhtel) - the first "candidate" on our way for the house of Margarita. In general, something strange is happening with Margarita's house: none of the options fits completely, but it was about him that Bulgakov wrote: "Let him turn to me, I will tell him the address, show him the way - the mansion is still intact." The number of "candidates" for the house of Margarita and the shortcomings of each of them make one think that perhaps it has not survived to this day. Nevertheless, each of the "candidates" is interesting and beautiful in its own way.

The plot of the novel indirectly intersects with the museum of M. Gorky. It is instructive to look here directly after the Bulgakov Museum in order to compare the living conditions of Soviet writers.

Spiridonovka leads us to the Nikitsky Gate Square. Further, the paths of Woland and his companions were divided, and the possible routes also branch out accordingly. You can walk along Bolshaya Nikitskaya to the Alexander Garden (this is how, judging by the text, Bezdomny chased Woland), where he talked with Margarita Azazello, and return to Arbat Square along Znamenka, glancing at the Pashkov house at the corner of Mokhovaya and Znamenka, " one of the most beautiful buildings in Moscow, a building built about 150 years ago ", on a stone terrace on the roof of which, in the last chapters of the novel, Woland watched the gathering thunderstorm and where Matthew Levi came to him. You can walk from Nikitskaya Square along Nikitsky Boulevard to Arbat Square (Koroviev went there by tram). But our route will make a small branch and go along another boulevard - Tverskoy (perhaps this is how Begemot went on the footboard of the tram).
We reach house 25: "an old two-story cream-colored house was located on the boulevard ring in the depths of a stunted garden, separated from the sidewalk of the ring by a carved cast-iron grating."

Now it is the building of the Literary Institute, and in the novel - the House of Griboyedov, or MASSOLIT. By the way, another opportunity to get closer to the MASSOLIT spirit is to dine in the famous oak hall of the restaurant of the modern House of Writers - Central House of Writers, B. Nikitskaya, 53 - where, as far as I know, everyone is now allowed.
From Tverskoy Boulevard we leave on Tverskaya, walk along it quite a bit and turn into Bolshoi Gnezdnikovsky Lane. It was here that the meeting between the Master and Margarita took place (remember: "She turned with Tverskaya into an alley and then turned around ... We walked silently along a crooked, boring alley"). And we will follow this path along a curving alley.

Returning to the Nikitsky Gate Square, we continue the route, repeating the path of Bezdomny in the epilogue - along Bolshaya Nikitskaya Street to Nozhovy Lane and further to Maly Rzhevsky Lane, 6 - it is here that the most suitable (in my subjective opinion) "candidate" for Margarita's house is located (.

It is a pity that the "false jaw" of Novy Arbat, which appeared a lot after Bulgakov, no longer makes it possible to trace the path of Margarita's flight. Therefore, I would like to pass it as quickly as possible, as an annoying obstacle on the Bulgakov route. However, on the outskirts of Novy Arbat there is one more object that deserves attention. "In the backyard" of the Dom Knigi store on Novy Arbat (courtyard of house no. 10 on Malaya Molchanovka St.) there are sculptures - the work of Alexander Rukavishnikov, (see also the top photo)

Then we cross Novy Arbat along the underground passage near the House of Books and go out to the Arbat. The Arbat today is lacquered and filled with food and entertainment establishments; there is little in common with that Arbat, where "under Margarita floated the roofs of buses, trolley buses and cars." However, we will go through almost all of it, because it is worth turning into Bolshoi Nikolopeskovsky lane. It was here that Margarita flew and here in the Dramlit House she smashed Latunsky's apartment.

True, according to literary scholars, the very "luxurious bulk of an eight-story, apparently newly built house" was transferred by Bulgakov's fantasy from Lavrushinsky Lane (17, Tretyakovskaya metro area).
And at 54 Arbat there was Torgsin, where the last Moscow adventures of Koroviev and Begemot took place.

The further route is not strictly fixed, because you can go from Arbat to Prechistenka in different ways. The Arbat lanes are well preserved, you can wander along them, trying to imagine the paths of Bezdomny's pursuit of Woland (we are returning to him again) and the paths of other Bulgakov's heroes. Coming out to Prechistenka, you need to cross it and go along Mansurovsky lane to one of the most interesting places on the route. House 9 is the Master's house, the very "two rooms in the basement of a small house in the garden" (.

Along Mansurovsky lane we go to Ostozhenka and walk a little to the left, to house 21. This is the last and, for my taste, the most architecturally suitable "candidate" for Margarita's house. This small and very beautiful house really resembles a small Gothic castle, and it is so easy to imagine Margarita in the large semicircular window on the second floor.

Then it is worth going to the end of the path of Bezdomny's pursuit and finding house 13 in an alley described as "dull, disgusting and sparingly lit", where he tried to find Woland in apartment 47. Of all the thirteenth houses remaining in the lanes leading to the Moskva River, the most suitable one seemed to me to be the house on the 1st Zachatyevsky Lane, built in the 1920s.

Along the side street you can go to the river where Homeless swam. There is no access to the water now, but the river itself and the view of the Red October factory are almost the same as in those days.
If you still have enthusiasm, you can end the walk in the same place where its heroes say goodbye to Moscow: walk to the Kropotkinskaya metro station, get to Vorobyovy Gory and take the cable car to the observation deck.
Here, on Vorobyovy Gory, Woland with his retinue and the Master with Margarita said goodbye to the city, and Koroviev uttered his whistle. You, like them, will see "the gingerbread towers of the Maiden (Novodevichy) Monastery".

Take a look at the city, which has acquired a completely different look since the time of Bulgakov, where the streets and lanes along which our heroes walked are hidden behind modern buildings.
If you no longer have the strength or time to get to Vorobyovy Gory, you can say goodbye to Moscow from the Patriarchal Bridge. True, it was not in Bulgakov's time, but looking at the Kremlin walls, at the weakened and reborn Cathedral of Christ the Savior in a new guise, at houses of various sizes and a calm river - looking at all this, I just want to say in the words of Woland: “What an interesting city, not is it true? "

#slovoskve
An unsolved mystery for me remains the location of the psychiatric hospital where Homeless lay - "the famous psychiatric clinic recently rebuilt near Moscow on the river bank" - is unknown. I heard that they called a "candidate" in Khimki, but I don't know the details. The Gannushkin Hospital in Sokolniki, on the banks of the Yauza River, is also suitable in terms of its status; it is also a Research Institute of Psychiatry. However, during Bulgakov's time it was far from “near Moscow”.

The secret of the impact of great works of art on their readers, we hope, will never be solved. And the questions they generate will always be much more than the proposed answers. Why did the literary hero do this and not otherwise? Why does thinking about why he did this lead us, the readers, to a certain state, in anticipation of which the text is re-read over and over again? How many and what properties of a literary text can we distinguish, how do these properties affect the images that arise in us? Is there a "pure" perception, or does the reader inevitably bring their own meanings into the work? What are the rules for such an introduction? If the number of details of a work of art is infinite, then what does it depend on what we turn our attention to, and what importance will we attach to it?

There are no answers, but there is a practice of perception. And it is easier to demonstrate than describe. The description, it seems to us, implies "correctness", the so-called objectivity, which we would like to avoid to the greatest extent. It is the acceptance of the mystery, the incomprehensibility of the literary text that frees us from the need to follow any rules or, which is the same, gives us the right to create our own. Let's use this right. Let's read an excerpt from The Master and Margarita, where a man who calls himself a master tells another patient, the poet Ivan Bezdomny, in an insane asylum, an episode of his acquaintance with a woman whom, as it turned out, he loved all his life. Let's ask ourselves unanswered questions, pay attention to the details of the description, without thinking about why exactly they attracted our attention.

“She was carrying hideous, disturbing yellow flowers in her hands. The devil only knows what their names are, but for some reason they are the first to appear in Moscow. And these flowers stood out very clearly on her black spring coat. She was carrying yellow flowers! Not a good color. "

The significant meeting began with the fact that the master drew attention to the bad color of the flowers. Which, firstly, is unusual, and secondly, in itself an alarming sign. Imagine how everything happened next. The man and the woman were obviously walking towards each other. Otherwise, the flowers could not have stood out against the background of her coat, she was not carrying them behind her back. If so, had she noticed the master before she turned into the alley? And he saw the flowers, but not the face?

« She turned from Tverskaya into a side street and then turned around. Well, do you know Tverskaya? Thousands of people walked along Tverskaya, but I can assure you that she saw me alone and looked not only alarmingly, but even as if painfully. And I was struck not so much by her beauty as by the extraordinary, unseen loneliness in her eyes! "

To see the gaze of a person who has turned from the alley onto the street, at that moment one must be opposite the entrance to the alley. The woman looked back not earlier or later. It's hard to imagine what she was waiting for, turning her head back. The distance between them, before she turned, was, most likely, small, since she "turned ... and then turned around." And he could see the expression in her eyes.It, like the flowers, was not beautiful. On the contrary, there was anxiety in her eyes, and even soreness, which, combined with beauty, amaze.

“Obeying this yellow sign, I also turned into an alley and followed in her footsteps. We walked silently down the crooked, boring alley, me on one side and she on the other. And there was, imagine, not a soul in the alley. I was tormented because it seemed to me that it was necessary to talk to her, and was worried that I would not utter a single word, but she would leave, and I would never see her again ... "

She continued her way down the alley only after she saw that he also turned? Or without waiting? Following the yellow sign of loneliness through deserted alleys, the master wants to behave according to the rules, to speak first. He believes that if you do not do the right thing, the one whose signs he obeys will leave forever.And if a person cannot behave in the way he thinks should be, then he begins to worry.

“And, imagine, she suddenly spoke:
- Do you like my flowers?
I distinctly remember how her voice sounded, rather low, but with breakdowns, and, as stupid as it was, it seemed that an echo struck in the alley and reflected off the yellow dirty wall. I quickly went over to her side and, approaching her, answered:
- No".

However, it is not he who starts the conversation, but she and the yellow color accompanies her first phrase. She asks exactly what caught his attention from the very beginning, and it seems completely natural to him. The master stops worrying and his answer sounds "wrong." It can be assumed that most men in this situation would say “Yes”. But the fact of the matter is that the master does not belong to the majority. Or no longer applies. He quickly moved to the other side, where there are no generally accepted rules.
“She looked at me in surprise, and I suddenly, and quite unexpectedly, realized that I had loved this particular woman all my life! That's a thing, huh? Are you crazy, of course? "

How can you understand that you used to, always, loved a woman whom you saw for the first time only now? To do this, you need to answer inappropriately, and she was surprised? And you would not know why she was surprised: was it that she did not expect to hear this, or, on the contrary, did she suddenly hear what she had been waiting for a long time? Isn't all the most important things happening to us in the same way?

Apparently, Margarita's surprised look lasted for more than a moment before she decided to clarify something. The master, in spite of the hostility caught, feels wonderful, trying to get in the leg. Love, as you can see, blurs the line between freedom and submission.

“No, I like flowers, just not like that,” I said.
- And what?
- I love roses.
Then I regretted what I said, because she smiled guiltily and threw her flowers into the ditch. A little confused, I nevertheless picked them up and handed them to her, but she smiled and pushed the flowers away, and I carried them in my hands. "

Contrary to all the rules of communication, the second in a row sounds "No", but what does a woman care about the rules? She just throws out flowers that her chosen one does not like. She is even uncomfortable that the flowers are not what he likes, and she smiles guiltily. But her companion is still not used to simple solutions. He is confused and tries to do the right thing. Who else does not know how a grin differs from a smile? What is she grinning at? His confusion? Or maybe she was just curious about what he would do and fun out of this curiosity? And so, not daring to get rid of the flowers, our hero is forced to carry them himself, feeling obvious awkwardness.

"They walked in this way in silence for a while, until she took the flowers out of my hands, threw them onto the pavement, then passed her hand in a black glove with a socket into mine, and we walked side by side."

Only two of her movements: flowers fly to the pavement, a hand in a black glove with a socket is threaded into the master's hand - and now with yellow flowers, as well as with uncertainty, as well as with falsehood, it is over. Further, the man and woman just walk side by side.

- Farther? - asked the guest. - Well, then you could guess yourself. - He suddenly wiped away an unexpected tear with his right sleeve and continued: - Love jumped out in front of us, like a murderer jumps out of the ground in an alley, and struck both of us at once!
This is how lightning strikes, this is how a Finnish knife strikes!
She, however, later asserted that this was not so, that we loved each other, of course, a long time ago, not knowing each other, never seeing ... "

Where is the line between chance, chance and purpose, especially when it comes to love? Was the woman, who, as it turned out later, was called Margarita Nikolaevna, controlled the course of the meeting with the master, or was she herself a toy, in someone's more powerful hands? What rules can be used to find out which rules should be followed in a given situation, and which ones can be violated? Why do such questions even occur to us?

Once again, we admit that, fortunately, there are real secrets around us, as well as great writers who bring us to these secrets and leave them in a state of beautiful ignorance!

M.Yu. Elterman

[email protected]

“... She was carrying disgusting, disturbing yellow flowers in her hands. The devil only knows what their names are, but for some reason they are the first to appear in Moscow. And these flowers stood out very clearly on her black spring coat. She was carrying yellow flowers! Bad color. She turned from Tverskaya into a side street and then turned around. Well, do you know Tverskaya? Thousands of people walked along Tverskaya, but I can assure you that she saw me alone and looked not only alarmingly, but even as if painfully. And I was struck not so much by her beauty as by the extraordinary, unseen loneliness in her eyes!

Obeying this yellow sign, I also turned into an alley and followed in her footsteps. We walked silently down the crooked, boring alley, me on one side and she on the other. And there was, imagine, not a soul in the alley. I was tormented because it seemed to me that it was necessary to talk to her, and I was worried that I would not utter a single word, but she would leave and I would never see her again ...

And, imagine, she suddenly spoke:

- Do you like my flowers?

I distinctly remember how her voice sounded, rather low, but with breakdowns, and, as stupid as it was, it seemed that an echo struck in the alley and reflected off the yellow dirty wall. I quickly went over to her side and, approaching her, answered:

- No.

She looked at me in surprise, and I suddenly, and quite unexpectedly, realized that I had loved this particular woman all my life! That's a thing, huh? Are you crazy, of course?

And the guest continued:

- Yes, she looked at me in surprise, and then, looking, she asked:

- You don't like flowers at all?

“No, I like flowers, just not like that,” I said.

- And what?

- I love roses.

Then I regretted what I said, because she smiled guiltily and threw her flowers into the ditch. A little perplexed, I nevertheless picked them up and handed them to her, but she, smiling, pushed the flowers away, and I carried them in my hands.

So they walked in silence for a while, until she took the flowers out of my hands, threw them onto the pavement, then passed her hand in a black glove with a socket into mine, and we walked side by side. "

The episode of the first meeting of the Master and Margarita is one of the most important and fateful moments in the development of their relationship. It is with him that the love story of the main characters begins.

In this episode, the problem of true love is most clearly expressed. The meeting between the Master and Margarita was accidental, but the same cannot be said about their feelings for each other. Walking along an empty street, they felt the need for love. The feeling suddenly hit both of them. Bulgakov is convinced that true love arises unexpectedly, and a person is unable to resist it. The meeting of the heroes turned their everyday life into a bright and full of meaning. This love was so strong that the Master saw in this feeling the meaning of his existence. And when Margarita left the basement, everything grew dim for the Master.

In this episode, Bulgakov uses such a symbol as bright yellow flowers against the background of the heroine's black coat to add anxiety and a premonition of tragedy to the description of love.

Thus, this episode occupies an important place in the composition of Bulgakov's novel.

After all, it was after the meeting with Margarita that the period of prosperity began in the life of the Master, and he began to intensively write a work about Pontius Pilate, which became the main thing in his work.

Updated: 2017-07-11

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