The Master and Margarita love line analysis. Essay on literature. The tragic love of the master and Margarita in conflict with the surrounding vulgarity. Love story of the Master and Margarita

The master also belongs to a greater extent to the other world in the novel. This is a character, of course, autobiographical, but constructed primarily based on well-known literary images in a broad literary and cultural context, and not with an orientation towards real life circumstances. It looks the least like a contemporary from the 20s or 30s, and could easily be transported to any century and any time. He is a philosopher, thinker, creator, and it turns out that the philosophy of “The Master and Margarita” is primarily associated with him.

The portrait of the Master: “a shaved, dark-haired man with a sharp nose, anxious eyes and a tuft of hair hanging over his forehead, about thirty-eight years old,” shows an undeniable portrait resemblance to Gogol. For this reason, Bulgakov even made his hero shaved upon his first appearance, although later several times he specifically emphasized the presence of his beard, which was trimmed twice a week in the clinic with a clipper (here is evidence that the terminally ill Bulgakov did not have time to fully edit the text) . The master’s burning of his novel repeats both Gogol’s burning of “Dead Souls” and Bulgakov’s burning of the first edition of “The Master and Margarita.” Woland’s words addressed to the Master: “How will you live?” is a paraphrase of the famous statement by N.A. Nekrasov, addressed to Gogol and cited in the memoirs of I.P. Papaev: “But you need to live on something.” But we repeat, literary sources played the main role in the creation of the Master.

Thus, the words “I, you know, cannot stand noise, fuss, violence” and “I especially hate human screams, be they the screams of suffering rage or some other scream” almost literally reproduce the maxim of Dr. Wagner from Faust.

The master is also likened to Dr. Wagner, a supporter of humanitarian knowledge. Finally, from Faust the Master has his love for Margarita.

Bulgakovsky Master - philosopher. He even bears some similarities with Kant. He, like Kant, is indifferent to the joys of family life. The master quit his job and, in the basement of a developer near Arbat, sat down to write a novel about Pontius Pilate, which he considered his highest destiny. Like Kant, he never left his place of solitude. The Master, like Kant, had only one close friend - the journalist Aloisy Mogarych, who captivated the Master with his extraordinary combination of passion for literature and practical abilities and became the first reader of the novel after Margarita.

In the Master, as we have repeatedly emphasized, there is a lot from Bulgakov himself - starting from his age, some details of his creative biography and ending with the very creative story of the “cherished” novel about Pontius Pilate. But there are also very significant differences between the writer and his hero. Bulgakov was not at all such a closed person as the master is depicted in the novel; he was not completely depressed by life’s adversities. He loved friendly meetings, a definite, although narrow, especially in the last years of his life, circle of friends.

The Master has a romantic lover, Margarita, but their love does not imply the achievement of earthly family happiness. The heroine, whose name is included in the title of Bulgakov's novel, occupies a unique position in the structure of the work. This uniqueness is obviously explained by the writer’s desire to emphasize the uniqueness of Margarita’s love for the Master. The image of the heroine in the novel personifies not only love, but also mercy (it is she who seeks forgiveness first for Frida and then for Pilate). This image plays the role of a monad - the main structure-forming unit of existence in the novel, for it is mercy and love that Bulgakov calls for as the basis of human relations and social structure.

Margarita operates in all three dimensions: modern, otherworldly and ancient. This image is not ideal in everything. Having become a witch, the heroine becomes embittered and destroys the house of Dramlit, where the master’s persecutors live. But the threat of the death of an innocent child turns out to be a threshold that a truly moral person can never cross, and Margarita becomes sober. Her other sin was participation in Satan’s ball along with the greatest sinners of all times and peoples. But this sin is committed in the irrational, otherworldly world; Margarita’s action here does not cause any harm to anyone and therefore does not require atonement. Margarita remains for us, readers, the ideal of eternal, enduring love.

Throughout the entire novel, Bulgakov carefully, chastely and peacefully tells the story of this love. Neither the joyless, dark days, when the Master's novel was crushed by critics and the lovers' lives stopped, nor Mater's serious illness, nor his sudden disappearance for many months, extinguished it. Margarita could not part with him for a minute, even when he was not there and, one had to think, would never be there again.

Margarita is the only remaining support for the Master; she supports him in his creative work. But they were able to finally unite only in the other world, in the last refuge provided by Woland.

In one of the earliest versions of the second edition of Bulgakov's novel, dating back to 1931. Woland says to the hero (master): “You will meet Schubert and bright mornings there.” In 1933 The reward for the Master is depicted as follows: “You will not rise to the heights, you will not listen to romantic nonsense.” Later, in 1936, Woland’s speech is as follows: “You have been awarded. Thank Yeshua, who wandered on the sand, whom you composed, but never remember him again. You've been noticed and you'll get what you deserve.<…>The house on Sadovaya, the terrible Barefoot, will disappear from memory, but the thought of Ganotsri and the forgiven hegemon will disappear. This is not a matter of your mind. The torment is over. You will never rise higher, you will never see Yeshua, you will never leave your shelter.” In the 1938 version. In the latest edition, Bulgakov obviously returned to the plan of 1931. and gave light to his hero, sending him and Margarita along the lunar road after Yeshua and the forgiven Pilate.

However, in the final text, a certain duality of the reward given to the Master still remained. On the one hand, this is not light, but peace, and on the other hand, the Master and Margarita meet the dawn in their eternal shelter. The famous final monologue of the lyrical hero of “The Master and Margarita”: “Gods! My gods! How sad the evening earth...” not only conveys the experiences of a terminally ill writer.

The peace gained by a master is a reward no less, and in some ways more valuable, than light. In the novel, it is sharply contrasted with the peace of Judas from Kariaf and Aloysius Mogarych, doomed due to the death and suffering of people.

The novel “The Master and Margarita” is considered one of those brilliant creations that can be read repeatedly, and each time you find in it something new, previously unnoticed. The work as a whole represents a complex structure, which includes different eras, different philosophical issues and even different worlds: earthly and otherworldly. Along with the biblical, the central storyline in the novel is the development of the relationship between the Master and Margarita. Their love runs like a red line through the entire work, uniting good and evil, vulgar and divine, people and the devil into one whole. So why was the Master’s passion for a woman tragic? In this essay I will try to answer this question.

This is how Bulgakov describes the meeting of the main character with the object of his future love: “Thousands of people walked along Tverskaya, but I guarantee you that she saw me alone and looked not only anxiously, but even as if painfully. And I was struck not so much by her beauty as by the extraordinary, unprecedented loneliness in her eyes!” - Master tells Ivan Bezdomny. And further: “She looked at me in surprise, and I suddenly, and completely unexpectedly, realized that I had loved this woman all my life!”; “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once! This is how lightning strikes, this is how a Finnish knife strikes!” From these lines it becomes clear to the reader that the feelings of the heroes were not superficial, not fleeting, but deep and all-consuming.

The Master and Margarita are married people, but their family life before meeting each other was unhappy. Maybe that's why the heroes are looking for what they lack so much. Margarita in the novel has become a beautiful, generalized and poetic image of a Woman who Loves. Without this image, the work would lose its appeal.

The master in real life is a talented person who discovered a passion for writing and decided to write a novel about Pontius Pilate. We can say that the image of the main character is a symbol of suffering, humanity, a seeker of truth in the world around us. He wanted to create a novel, but his creation was not accepted by critics. Mental suffering broke the writer, and he never saw his work, at least in his “earthly life.”

Love appears to the Master as an unexpected gift of fate, saving him from loneliness and melancholy. The instantly flared passion between the characters turns out to be long-lasting. Little by little, the fullness of feeling is revealed in it: there is tender love and an unusually high spiritual connection between two people. The Master and Margarita are present in the novel in inextricable unity. When the main character in a mental hospital tells Ivan the story of his life, his entire narrative is permeated with memories of his beloved.

Why did love break out between the Master and Margarita, and what place did this woman take in his life? Perhaps both heroes found in each other what they were looking for in others to no avail. Their feelings have withstood many tests. Neither the joyless everyday life when the Master's novel was not accepted by critics, nor the serious illness of the main character, nor his sudden disappearance extinguished the love. Margarita finally breaks up with her husband, with whom she was connected only by a feeling of gratitude for the good done. On the eve of her meeting with the Master, she experiences a feeling of complete freedom for the first time. A woman is ready to do anything for her lover: “Oh, really, I would pledge my soul to the devil just to find out whether he is alive or not!”

Margarita and the Master gave their souls to the devil, became victims of temptation, and therefore they did not deserve the light. Yeshua and Woland rewarded them with eternal peace. The lovers wanted to be free and happy, but in real life this was impossible. Goodness, love, creativity, art exist in the “earthly” world, but they are not allowed to break out, they have to hide in other dimensions, seek protection from the devil himself - Woland. Bulgakov described heroes full of joy and life, ready to give everything for the sake of love, even their own soul. The Master and Margarita at the end of the novel find each other and find freedom. Then why is their love tragic, despite the fact that their dreams have come true? The Master and Margarita wanted to love not for, but in spite of, and therefore were not understood by the outside world. With their feelings they challenged the whole world and the heavens. Yes, they found their paradise somewhere there, but for this they stepped over themselves, they died, and only after death did their dreams come true. And all this happened thanks to Woland - the devil in human form. As a result, the Master received not light, but eternal peace, not real bright love with its joys and experiences, but eternal peace with his beloved woman in another world.

The novel “The Master and Margarita” closely intertwines themes of history and religion, creativity and everyday life. But the most important place in the novel is occupied by the love story of the master and Margarita. This storyline adds tenderness and poignancy to the work. Without the theme of love, the image of the master would not be possible to fully reveal. The unusual genre of the work - a novel within a novel - allows the author to simultaneously distinguish and combine the biblical and lyrical lines, developing them fully in two parallel worlds.

Fatal meeting

The love between the master and Margarita flared up as soon as they saw each other. “Love jumped out between us, like a killer jumps out of the ground... and struck us both at once!” - this is what the master tells Ivan Bezdomny in the hospital, where he ends up after the critics rejected his novel. He compares the surging feelings to lightning or a sharp knife: “That’s how lightning strikes! This is how amazing a Finnish knife is!”

The master first saw his future beloved on a deserted street. She caught his attention because she was "carrying disgusting, disturbing yellow flowers."

These mimosas became a signal to the master that his muse was in front of him, with loneliness and fire in his eyes.

Both the master and the unhappy wife of a rich but unloved husband, Margarita, were completely alone in this world before their strange meeting. As it turns out, the writer was previously married, but he doesn’t even remember the name of his ex-wife, about whom he doesn’t keep any memories or warmth in his soul. And he remembers everything about Margarita, the tone of her voice, the way she spoke when she came, and what she did in his basement room.

After their first meeting, Margarita began to come to her lover every day. She helped him work on the novel, and she herself lived from this work. For the first time in her life, her inner fire and inspiration found their purpose and application, just as the masters listened and understood for the first time, because from the first meeting they spoke as if they had parted yesterday.

Completing the master's novel became a test for them. But the already born love was destined to pass this and many other tests in order to show the reader that a real kinship of souls exists.

Master and Margarita

The true love of the master and Margarita in the novel is the embodiment of the image of love in Bulgakov’s understanding. Margarita is not just a beloved and loving woman, she is a muse, she is the inspiration of the author and his own pain, materialized in the image of Margarita the witch, who in righteous anger destroys the apartment of an unjust critic.

The heroine loves the master with all her heart, and seems to breathe life into his small apartment. She gives her inner strength and energy to her lover’s novel: “she chanted and loudly repeated certain phrases... and said that this novel was her life.”

The refusal to publish the novel, and later the devastating criticism of the unknown passage that ended up in print, equally painfully wounds both the master and Margarita. But, if the writer is broken by this blow, then Margarita is overcome by insane rage, she even threatens to “poison Latunsky.” But the love of these lonely souls continues to live its own life.

Test of love

In the novel “The Master and Margarita,” love is stronger than death, stronger than the master’s disappointment and Margarita’s anger, stronger than Woland’s tricks and the condemnation of others.

This love is destined to pass through the flames of creativity and the cold ice of critics, it is so strong that it cannot find peace even in heaven.

The characters are very different, the master is calm, thoughtful, he has a soft character and a weak, vulnerable heart. Margarita, on the other hand, is strong and sharp; more than once Bulgakov uses the word “flame” to describe her. Fire burns in her eyes and brave, strong heart. She shares this fire with the master, she breathes this flame into the novel, and even the yellow flowers in her hands resemble lights against the backdrop of a black coat and slushy spring. The master embodies reflection, thought, while Margarita embodies action. She is ready to do anything for the sake of her beloved, and sell her soul, and become the queen of the devil's ball.

The strength of the feelings of the master and Margarita is not only in love. They are so close spiritually that they simply cannot exist separately. Before their meeting, they did not experience happiness; after parting, they would never have learned to live separately from each other. That is why, probably, Bulgakov decides to end the lives of his heroes, in return giving them eternal peace and solitude.

conclusions

Against the background of the biblical story of Pontius Pilate, the love story of the master and Margarita seems even more lyrical and poignant. This is the love for which Margarita is ready to give her soul, since she is empty without her loved one. Being insanely lonely before they met, the characters gain understanding, support, sincerity and warmth. This feeling is stronger than all the obstacles and bitterness that befalls the fate of the main characters of the novel. And it is precisely this that helps them find eternal freedom and eternal peace.

Descriptions of love experiences and the history of relationships between the main characters of the novel can be used by 11th grade students when writing an essay on the topic “The Love of the Master and Margarita”

Work test

Who told you that there is no real one in the world?
true, eternal love? May the liar be cut off
vile language!

The legendary brainchild of Bulgakov, the novel “The Master and Margarita,” occupies a worthy place in Russian literature. This work has not left bookstore shelves for many years due to the relevance of the topics raised by the author in the novel. One of the leading lines of the novel is the love of the Master and Margarita, which will be discussed. Do these people deserve to be together? That's the main question. The author introduces readers to the Master in the thirteenth chapter. Already here the image of a loving man appears before us.

He keeps a cap with the letter “M” embroidered. It was “she” who sewed this hat for the Master. Who is this mysterious “she”? This is the one who believed in her Master. The one who lived his novel. The one who made a deal with the devil just to be with her loved one. This is Margarita. They are both ready for selfless love. On Margarita’s part, these are actions aimed at happiness with the Master. On the Master's part - the desire for his beloved to forget about him. It would have been better for this poor woman.

Their meeting was marked by a bouquet of yellow flowers in the hands of Margarita, which symbolized the difficult path of lovers. But true love turned out to be higher and stronger than all obstacles and hardships. The love of the Master and Margarita is a dilemma: can pure and bright love be achieved only by a deal with the devil? I can confidently answer this question in the affirmative: yes, it can. Love is an all-encompassing feeling, belonging only to two lovers and no one else. You can often hear the phrase that to achieve a goal, all means are good. In the novel, this statement is supported by the actions of the heroine. Her goal was love and happiness with her beloved Master. And will a person, in whom the fire of love does not burn, dare to undertake such feats? No. Margarita was driven by the power of love, enormous and boundless. It was this strong, pure feeling that led the heroes through all the thorny paths, through times and worlds.

Despite the prosperous life in the mansion, Margarita is not happy with her fate. She will prefer the Master’s basement to luxury, in which they sinfully love each other, breathe each other. But together, together. “Forgive me and forget me as soon as possible. I'm leaving you forever. Don't look for me, it's useless. I became a witch because of the grief and disasters that struck me. I have to go. Farewell,” writes Margarita to her husband, flying away towards her true happiness. She is driven not only by love, but also by a feeling of anger and resentment for the Master’s rejected romance. She destroys everything that comes to her hand, avenging her loved one.

In my opinion, Satan's ball is the main episode of the novel. It is he who makes it clear whether Margarita will be able to go through the entire ritual, whether she is worthy of the happiness of being with the Master. She puts clothes on her naked body that bring pain. She drinks blood from the goblet. She obediently offers her knee for the kisses of the dead. She shows mercy by forgiving Frida for her infanticide. Despite her sore feet, Margarita proudly steps and walks around the guests. How else? She is the queen and hostess of the ball! The heroine endures Satan's ball with dignity.

Margarita does not dare to remind Woland of the promise because she is proud. Even when the devil asks the question directly, she still answers that she doesn't need anything.

“Never ask for anything! Never and nothing, and especially among those who are stronger than you. They will offer and give everything themselves! Sit down, proud woman! - Woland said to Margarita’s proud silence.

Margarita’s only wish was voiced with a convulsive face:

“I want my lover, the master, to be returned to me right now, this very second!”

This was the desire to which the heroine went throughout the novel. This once again proves the purity of her thoughts and love. The author managed to convey Margarita’s emotional change through her remarks, which are full of repetitions, ellipses and exclamations. There was no limit to her happiness. But to the Master, all this seemed like a hallucination, so much did he not believe in the possibility of reuniting with his beloved again. Where did the proud woman go? Tears flowed from her eyes, some of happiness, some of grief and pity. But now they are together. They both know it.

Symbolically, the reunion of lovers was accompanied by the resurrected romance of the Master, because “manuscripts do not burn.” And if love is a manuscript that was written days and nights, the success of which they believed in, which they lived by, will it burn? The Master and Margarita, leaving together for the hard-won world of happiness, proved that true love will overcome anything: it will burn in flames, but will rise from the ashes.

May the path of true love be wide.

W. Shakespeare

the woman who was his wife. Soon after they met, she took on her shoulders, perhaps most of his, the Master’s, terrible burden, and became his Margarita.

The story of the Master and Margarita is not one of the lines of the novel, but its most important theme. All events, all the diversity of the novel, converge towards it. They didn’t just meet, fate collided with them on the corner of Tverskaya and Lane. Love struck both like lightning, like a Finnish knife. “Love jumped out in front of us, like a killer jumps out of the ground in an alley...” - this is how Bulgakov describes the birth of love among his heroes. These comparisons already foreshadow the future tragedy of their love. But at first everything was very calm.

When they first met, they talked as if they had known each other a long time ago. Love flared up violently and it seemed like it should burn people to the ground, but she turned out to be homely and calm.

In the Master's basement apartment, Margarita, wearing an apron, kept house while her beloved worked on a novel. The lovers baked potatoes, ate them with dirty hands, and laughed. It was not sad yellow flowers that were placed in the vase, but the roses they both loved. Margarita was the first to read the finished pages of the novel, hurried the author, predicted his fame, and constantly called him Master. She repeated the phrases from the novel that she especially liked loudly and melodiously. She said that this novel was her life. This was an inspiration for the Master; her words strengthened his faith in himself.

when the Master disappeared for many months. Margarita thought about him tirelessly, and her heart never left him for a moment. Even when it seemed to her that her beloved was no longer there. The desire to find out at least something about his fate overcomes his mind, and then the devilish war begins, in which Margarita takes part. In all her devilish adventures, she is accompanied by the loving gaze of the writer. The pages dedicated to Margarita are Bulgakov’s poem in the name of his beloved, Elena Sergeevna. With her, the writer was ready to make “his last flight.” This is what he wrote to his wife on a gifted copy of his collection “Diaboliad”.

With the power of her love, Margarita returns the Master from oblivion. Bulgakov did not invent a happy ending for all the heroes of his novel: everything remained as it was before the invasion of the satanic company in Moscow. And only for the Master and Margarita, Bulgakov, as he believed, wrote a happy ending: eternal peace awaits them in the eternal home that the Master was given as a reward.

Lovers will enjoy the silence, those they love will come to them... The Master will fall asleep with a smile, and she will forever protect his sleep. “The Master silently walked with her and listened. His troubled memory began to fade,” - this is how the story of this tragic love ends.

And although the last words contain the sadness of death, there is also a promise of immortality and eternal life. It is coming true these days: the Master and Margarita, like their creator, are destined for a long life. Many generations will read this satirical, philosophical, but most importantly - lyrical love novel, which confirmed that the tragedy of love is the tradition of all Russian literature.

In the novel “The Master and Margarita,” the author combines what seems impossible to combine: history and fiction, reality and myth, funny and serious. But, reading the novel, you understand that it is impossible to write it any other way, because it presents three worlds - biblical antiquity, Bulgakov’s contemporary reality and the fantastic reality of the devil.

At first it seems that the connection between these worlds is conditional. The novel about Pilate and Yeshua Ha-Nozri is simply a novel within a novel, as a form. But over time, it turns out that the deeper meaning is in how the chapters that talk about biblical antiquity are connected with modernity. The center of the life of any society is a mentality built on moral laws. When you observe the life of Soviet society described by Bulgakov, it seems that people have forgotten about moral rules. So the story about the events of the first century is intended to remind people of the eternal laws of existence. Nothing has lost its relevance since that time. Cowardice is still considered a flaw that leads to crime. Treason remained betrayal.

and evil is the measure of human society's personality. Fair punishment for evil and reward for good serves as the engine of the entire plot for the author. There is something reckless about trying to solve the eternal problem of good versus evil by bringing Satan himself into the mix. So another world is added to reality, quite fantastic at first glance. But through his real world it is freed from gossip, like Aloysius Magarych, or slanderers and bribe-takers, drunkards and liars. The reader understands Margarita, who, having turned into a witch, takes revenge on the critic Latunsky by committing a real pogrom in his apartment.

The return of the Master to his home with Margarita, and the preservation of his novel, and the preservation of his novel seem to be a magical way of obtaining justice - “manuscripts do not burn!” In reality, all worlds are united. Nevertheless, the existence of the world of biblical antiquity, as well as the fantastic world of Woland, fills modernity with new content. Life is not so easy, but there is an eternal law of justice and goodness that guides human actions and the development of all mankind.