Three worlds in the work of the master and margarita. Three worlds in the novel "The Master and Margarita" - essay. Modern Moscow world

Three Worlds in Bulgakov's The Master and Margarita

The novel by M. A. Bulgakov “The Master and Margarita” belongs to those works that you 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 encounter the number three in our world more than once: it is the main category of life (birth - life - death), thinking (idea - thought - action), time (past - present - future). In Christianity, too, much is built on trinity: the trinity of the divine trinity, the management 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 1930s, 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 a constant interaction, a close interconnection of the three worlds: creativity, ordinary life and higher forces, or providence. What is happening 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 portraits and actions similar to Muscovites (the features of Yeshua Ga-Notsri are visible in the Master, the Master’s friend Aloisy Mogarych resembles Judas, Levi Matvey, for all his devotion, is as limited as the poet Ivan Homeless). 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, to see the deep interconnections of phenomena, to 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 it always has been. Well, they are frivolous ... well, well ... in general, they resemble the former 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 punishing force, punishing careerists, sycophants, greedy and selfish, but also rewards the kind, capable of self-sacrifice, deep love, who can create, creating new worlds. And even those who, having committed evil, do not hide like an ostrich with their heads in the sand, but are responsible for their actions. Everyone is rewarded according to their deserts, and very many in the novel (moreover, 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 into one. This indicates a 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 emotions, thoughts, because an idea that has arisen in someone's head can become a reality even on the other side of the Earth.

"... trinity is the most general characteristic of being."

P. A. Florensky

The Master and Margarita is a satirical novel, a fantasy novel, a philosophical novel. A novel about love and creativity... About death and immortality... About strength and impotence... What is guilt and retribution? What is power? What is fearlessness, fear, cowardice? What is the passage of time? And what is a man in time? What is it - the truth or the path to the truth?

The "three-dimensional" structure of the novel expresses Bulgakov's philosophy. The writer argued that the trinity corresponds to the truth. Both the space-time and ethical concept of the novel are based on the trinity.

The three worlds of The Master and Margarita correspond to three groups of characters, and representatives of different worlds form a kind of triad. They are united by their role and similar interaction with other characters, as well as by the Elements of portrait likeness. Eight triads are presented in the novel: Pontius Pilate, procurator of Judea - Woland, "prince of darkness" - Professor Stravinsky, director of a psychiatric clinic; Aphranius, Pilate's first assistant - Fagot-Koroviev, Woland's first assistant - doctor Fyodor Vasilyevich, Stravinsky's first assistant; centurion Mark Krysoboy - Azazello, the demon of the waterless desert - Archibald Archibaldovich, director of the restaurant "House of Griboedov"; dog Buncha - cat Behemoth - police dog Tuztuben; Nisa, agent Aphranius - Hella, maid Fagot-Koroviev - Natasha, maid Margarita; Chairman of the Sanhedrin of Kaif - Chairman of the MASSOLIT Berlioz - unknown in Torgsin; Judas from Kiriath - Baron Meigel - journalist Aloisy Mogarych; Levi Matthew, follower of Yeshua - poet Ivan Bezdomny, disciple of the Master - poet Alexander Ryukhin.

Let us turn to one of the significant triads of the novel: Pontius Pilate - Woland - Stravinsky. “In a white cloak with bloody lining” appears in the world of Yershalaim Pontius Pilate. In the Moscow world, the action takes place thanks to Woland, who, like the procurator of Judea, has his own retinue. Stravinsky manages his clinic, determines the fate of those who came to him as a result of communication with Satan and his servants. It seems that the course of events in the clinic is directed by the actions of Stravinsky, a "small" likeness of Woland. Woland is a “small” likeness of Pilate, for the “prince of darkness” is almost completely devoid of any experiences with which the procurator of Judea, tormented by pangs of conscience for his momentary cowardice, is so richly endowed (courage on the battlefield and civil cowardice - as he often observed such is Bulgakov among his contemporaries). Pilate tries to save Yeshua, but, forced in the end to send him to his death, involuntarily becomes immortal. And in modern Moscow, the eternal Woland saves the Master and gives him a reward. But the creator must die, and with him Margarita. They receive retribution in the other world. Immortality gives the Master a brilliant novel written by him, and Margarita - her true sincere love. Stravinsky also "saves" the Master, who has become a victim of evil spirits; only "salvation" is parodic, for the professor can offer the Master the absolute inactive peace of the asylum.

The power of each of the powerful characters of this triad turns out to be imaginary. Pilate is unable to change the course of events and save Yeshua. Woland, in turn, only predicts the future. So, Berlioz dies under the wheels of a tram, not because Satan "gave" him a tram and Annushka, but because he slipped on oil. Stravinsky's power is generally illusory: he is not able to deprive Ivan Bezdomny of his memories of Pilate and the death of Yeshua, of the Master and his beloved, he is not able to prevent the Master's earthly death and his transition to the other world. material from the site

There is also a portrait resemblance between these heroes: Woland "looks over forty years old" and "smoothly shaved." Stravinsky is "a carefully shaven man of about forty-five, like an actor." Satan's "right eye is black, the left one is green for some reason", and "the right one with a golden spark at the bottom, drilling anyone to the bottom of the soul ...", the professor's eyes are "pleasant, but piercing". The outward resemblance of Stravinsky to Pilate is noted by Ivan Bezdomny (Stravinsky, like the procurator, also speaks Latin). Pilate and Woland are also similar. During the interrogation of Yeshua, Pilate's face turns from yellow to brown, and "the skin on Woland's face seemed to be burned forever by a tan."

Eternal once and for all this strict hierarchy reigns in the other world, reflecting the hierarchy of the ancient Yershalaim world and the modern Moscow one.

Bulgakov's contemporary world is also hierarchical: the Variety Theatre, Stravinsky's clinic, MASSOLIT. And only the Master, Yeshua and Margarita are ruled by love. The Master and Yeshua have no place in a world where there is a hierarchy. And yet the author is convinced that above all social, political, everyday problems are feelings: love, joy.

Didn't find what you were looking for? Use the search

On this page, material on the topics:

• an essay on Bulgakov's fear and fearlessness
• Stravinsky in The Master and Margarita
• three worlds in the novel by M.A. Bulgakov master and margarita
• the second world in the novel the master and margarita
• Trinity in The Master and Margarita

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

The Master and Margarita novel is a mystery. Each person who reads it discovers his own meaning in it. The text of the work is so full of problems that it is very difficult to find the main one, I would even say it is 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 20-30s.

Satan came to Moscow to do justice, to rescue the Master, his masterpiece and Margarita. He sees that Moscow has become something like a Grand Ball: it is inhabited by traitors, scammers, sycophants, bribe-takers, money-changers. Bulgakov presented them both as individual characters and as employees of the following institutions: MASSOLIT, the Variety Theater and the Spectacle Commission. Every person has vices that Woland exposes. A more serious sin was committed by the workers of MASLIT, 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, make the brilliant Master unhappy. For this, punishment overtakes the House of Griboyedov, 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, inherent in it and at the same time uniting with Moscow details. This is the scorching sun, narrow tangled streets, terrain. The similarity of some elevations is especially surprising: Pashkov's 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 the hill with the crucified Yeshua is surrounded, then in Moscow with 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 protagonist of the ancient world, Yeshua, is very similar to Jesus. He is also a mere mortal who remained misunderstood. Yershalaim, invented by the Master, is fantastic. 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 underworld is headed by Woland. He is the devil, Satan, "prince of darkness", "spirit of evil and lord of shadows". The evil spirit in The Master and Margarita exposes human vices before us. Here and the devil Koroviev is a drunken bastard. Here is the cat Behemoth, very similar to a man and at times he turns into a man, very similar to a cat. Here is the hooligan Azazello with an ugly fang. Woland personifies eternity. He is that ever-existing evil that is necessary for the existence of good. In the novel, the traditional image of Satan is changed: it is no longer an immoral, evil, treacherous demon-destroyer. Evil spirits appear in Moscow with a revision. She is interested in whether the townspeople have changed internally. Watching the audience in the Variety, the "professor of black magic" tends to think that, in fact, nothing has changed. The evil spirit appears before us as an evil human will, being an instrument of punishment, committing 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 heroes of the novel are closely connected with 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" tells about the responsibility of a person for his actions. Actions are united by one idea - the search for truth and the struggle for it. Enmity, distrust, envy reign in the world at all times. This novel belongs to those works that must be re-read in order to better understand the subtext, to see new details that you might not have paid attention to at the first time. This happens not only because the novel touches on many philosophical problems, but also because of the complex "three-dimensional" structure of the work.

Similar Documents

The history of the creation of the novel "The Master and Margarita". Ideological and artistic image of the forces of evil. Woland and his retinue. Dialectical unity, complementarity of good and evil. The ball at Satan's is the apotheosis of the novel. The role and significance of the "dark forces" embedded in the novel by Bulgakov.

abstract, added 11/06/2008


Bulgakov's personality. The novel "The Master and Margarita". The main characters of the novel: Yeshua and Woland, Woland's retinue, Master and Margarita, Pontius Pilate. Moscow in the 30s. The fate of the novel "The Master and Margarita". Legacy to descendants. Manuscript of a great work.

abstract, added 01/14/2007


The history of the creation of the novel. Bulgakov's personality. History of "Master and Margarita". Four layers of reality. Yershalaim. Woland and his retinue. The image of Woland and his history. Retinue of the Grand Chancellor. Koroviev-Fagot. Azazello. Hippopotamus. Some mysteries of the novel.

abstract, added 04/17/2006


The system of images and plot lines of the novel "The Master and Margarita". Philosophy Nozri, love, mystical and satirical lines. Pontius Pilate and Yeshua Ha-Nozri. Woland and his retinue. The ideal image of the wife of a genius. Understanding the writer and his life purpose.

presentation, added 03/19/2012


The first edition of Bulgakov's novel "The Master and Margarita". "Fantastic novel" and "Prince of darkness". The human, biblical and cosmic world at work. Visible and invisible "nature" of the worlds. Dialectical interaction and struggle between good and evil in Bulgakov's novel.

presentation, added 02/18/2013


The history of the creation of the novel. The connection between Bulgakov's novel and Goethe's tragedy. Temporal and spatial semantic structure of the novel. A novel within a novel. The image, place and meaning of Woland and his retinue in the novel "The Master and Margarita".

abstract, added 09.10.2006


The history of the creation of M. Bulgakov's novel "The Master and Margarita"; ideological concept, genre, characters, plot and composition originality. Satirical depiction of Soviet reality. The theme of uplifting, tragic love and creativity in an unfree society.

thesis, added 03/26/2012


The history of the creation of the novel. The ideological and artistic role of the forces of evil in the novel. Historical and artistic characteristics of Woland and his retinue. The great ball at Satan's as the apotheosis of the novel.

abstract, added 03/20/2004


Historian turned writer. Creative history of Bulgakov's novel "The Master and Margarita". The main prototype of Margarita. Moscow as a global symbol of the novel. The true face of Woland. Author's correction, variants of titles. The symbolic-semantic aspect of the novel.

presentation, added 04/21/2014


General characteristics of the novel "The Master and Margarita", analysis of a brief history of creation. Acquaintance with the creative activity of M. Bulgakov. Consideration of the key characters of the novel: Margarita, Pontius Pilate, Azazello. Features of the filming of the film.

The novel "The Master and Margarita", which M.A. Bulgakov challenged not only Russian, but also the world tradition, the writer himself called his "sunset", final work. It is with this novel that the name and creative credo of this outstanding artist are now identified. Despite the fact that Bulgakov's "sunset novel" is closely connected with all the writer's previous work, it is a bright and original work, indicating that the author was looking for new artistic ways to solve the problems that worried him. The novel "The Master and Margarita" is distinguished by its genre originality: it can be called both fantastic, and philosophical, and love-lyrical, and satirical. This is also the reason for the unusual artistic organization of the work, in which three worlds open up before us, which, existing separately, at the same time are closely intertwined and interact with each other.

The first world is mythological, biblical, or historical. The most important, key events from the point of view of Christianity take place in it: the appearance of Christ, his dispute with Pontius Pilate about the truth and the crucifixion. In Yershalaim, the action of the "Gospel of Satan" takes place. Bulgakov emphasizes that the events described in the traditional gospels do not correspond to historical truth. True events are open only to Satan, the Master and Ivan Bezdomny. All other sources will certainly begin to distort the truth. The parchment of Levi Matthew played a tragic role in the fate of Yeshua, because Levi understood the words of the Teacher about the destruction of the temple literally. Describing the biblical events, the author of The Master and Margarita wanted to show that knowledge of the truth is available only to higher powers or chosen people. In the biblical plan of the novel, the most important philosophical questions are posed: about the essence of man, about good and evil, about the possibility of moral progress, about the freedom of a person to choose his path and moral responsibility for this choice.

The second world is satirical, which describes the events of the 20-30s of the XX century. In the center of it is the tragic fate of a talented writer - the Master, who "guessed" eternal truths by the power of imagination, but was not demanded by society and persecuted by it. The writer Konstantin Simonov noted that when reading "The Master and Margarita" "it is immediately evident to people of older generations that the main field for Bulgakov's satirical observations was the Moscow philistine, including near-literary and near-theatrical, environment of the late 1920s, with its, as they said then, "burps of NEP". Satirical scenes from the life of the Moscow literary and theatrical environment are written in a language reminiscent of Bulgakov's comic works. This language is characterized by clericalism, colloquial expressions, detailed descriptions of characters.

The third world of the novel is a fantasy world, the world of Woland, the lord of darkness, and his retinue. Fantastic events take place in this world, for example, a ball at Satan's - a kind of parade of human vices and deceit.

Woland and his retinue perform all kinds of miracles, the purpose of which is to show the imperfection of the human world, the spiritual baseness and emptiness of the inhabitants. Fantasy characters play a very important role in the novel. Their main activity is the balancing of the forces of good and evil, the implementation of a fair trial of human weaknesses and vices.

Woland, and hence the author himself, understands justice not only as mercy, but also as retribution according to the principle "to each according to his faith." "Not according to reason, not according to the correct choice of mentality, but according to the choice of the heart, according to faith!" Woland weighs every hero, the whole world on the scales of human conscience, humanity and truth. "I don't believe in anything I write!" - Ryukhin exclaims, realizing his mediocrity, human emptiness, and thus pays his bills. The image of Woland turns out to be perhaps the most important in the system of characters: he holds together all three planes of the novel's narrative, carries out the main motive of retribution, judgment. Appearing in the very first chapter of The Master and Margarita, he passes through the entire work and goes into eternity along with the rest of the characters at the end of the book.

Each of the worlds of Bulgakov's novel has its own time scale. In the world of Yershalaim, the main action unfolds over the course of one day and is accompanied by memories of previous events and predictions of the future. Time in the Moscow world is more blurry and flows relatively smoothly, obeying the will of the narrator. In a fantasy world, time almost stopped altogether, merged into a single moment, which is symbolized by the clock lasting midnight at Satan's ball.

Each of the three worlds has its own heroes, who are a vivid reflection of their space and time. So, in the other world there is a meeting of the Master, Yeshua and Pilate. The master writes a novel about Pontius Pilate, at the same time telling about the moral feat of Ha-Notsri, who, even in the face of painful death, remained firm in his humanistic preaching of universal kindness and free thinking.

However, it cannot be said that the teachings of Yeshua or the book of the Master exist on their own. They are peculiar moral and artistic centers from which the action of the whole novel is repelled and at the same time directed. That is why the image of the Master, just like the image of Woland, is present not only in his own world, but also penetrates into the rest of the storylines of the story.

It operates both in the modern world and in the other world, connecting the historical world with the fantastic world. And yet the novel is dominated by satirical images.

In terms of the significance of harm to society, the image of Berlioz, chairman of the board of one of the largest Moscow literary associations and editor of a thick magazine, can be safely placed in the first place in the modern world.

Bezdomny quickly wrote the work, but it did not satisfy Berlioz, who was convinced that the main idea of ​​the poem should be the idea that Christ did not exist at all. Before us appear two different, but equally harmful to society characters. On the one hand, there is an official who inflicts moral and ethical harm on society, turns art into custom-made and cripples the taste of the reader; on the other hand, a writer forced to engage in juggling and distortion of facts.

Here we also see a businessman from the theatrical life of Rimsky who, more than anything else, was afraid of responsibility. To restore justice, as in other cases, Woland is called upon, who cruelly proves to the writers the reality of the existence of both Christ and Satan, exposing in the Variety not only representatives of art, but also ordinary people.

Here Woland and his retinue appear before us in all their strength.

A sudden encounter with evil spirits instantly reveals the essence of all these Berliozes, Latunsky, Meigels, Aloysius, Mogarychs, Nikanorov Ivanovichs and others. The fantastic twist allows us to see a whole gallery of unsightly characters. The session of black magic, which Woland and his assistants give in the capital's Variety Show, literally and figuratively "undresses" some viewers. And the case with Berlioz emphasizes the author’s idea that “the moral law is contained within a person and should not depend on religious horror before the coming retribution, the very Last Judgment, a caustic parallel to which can be easily seen in the death of the official who headed MASSOLIT.

Thus, we see that all three worlds of the novel penetrate each other, are reflected in certain events or images, and are constantly evaluated by higher powers. The author painted a picture of the modern world, revealed historical and religious facts to us, created a magnificent world of fantastic images and made them exist in a constant and inextricable connection. In The Master and Margarita, modernity is tested by eternal truths, and the direct conductor of this test is a fantastic force - Woland and his retinue, who unexpectedly burst into the life of Moscow, the capital of the state, in which a gigantic social experiment is being carried out. Bulgakov shows us the failure of this experiment. In the imaginary realm of truth, people have managed to do so much evil that, against its background, real evil spirits seem good. With the advent of fantastic power, all value orientations are shifted: what was previously perceived as terrible appears absurd and ridiculous, the highest value of earthly ambitious people - power over people - turns out to be empty fuss.

Striking and varied are also the connections between the biblical chapters of the novel and the rest of the narrative lines. They consist, first of all, in the commonality of themes, phrases and motives. Roses, red, black and yellow colors, the phrase "Oh gods, gods" - all this implies temporal and spatial parallels between the characters and events.

The description of Moscow in many ways reminds us of pictures of the life of Jerusalem, which is repeatedly emphasized and enhanced by the repetition of motives and structural elements, from the features of the landscape to the real movement of the characters around the city. “Combining Moscow and Yershalaim,” wrote S. Maksurov, “the author, as it were, puts one city into another, the story of the events in Yershalaim takes place in Moscow, we learn about Moscow life and at the same time see Yershalaim together with Muscovites and the eyes of Muscovites ... This resembles a Russian nesting doll, where each subsequent figure is made in the image and likeness of the previous one and at the same time contains the next one.

The worlds in Bulgakov's novel do not exist on their own, separately from each other. They intertwine, intersect, forming an integral fabric of the narrative. Events separated from each other by two millennia, plots, real and fantastic, are inextricably linked, they emphasize and help to understand the immutability of human nature, the concepts of good and evil, eternal human values...

“Roman Woland and his retinue” - The name Azazello was formed by Bulgakov from the Old Testament name Azazel. Probably, Bulgakov was attracted by the combination in one character of the ability to seduce and kill. Woland is a character in the novel The Master and Margarita, who leads the world of otherworldly forces. Woland is largely focused on Mephistopheles "Faust" by Johann Wolfgang Goethe.

"Bulgakov's novel Master and Margarita" - Heroes of the novel. Real Moscow 20 - 30 years of the XX century. Master. Last flight. Goethe. "Faust". Pilate and Yeshua. 1928 - 1938 8 editions. 1931 - 1932 Continuation of work, the appearance of images of the Master and Margarita. Azazello. 1928 Concept. 1930 burned the manuscript. Why is Woland interested in the Master's novel? The novel The Master and Margarita.

"Master and Margarita" - Anti-creativity. Such is the feeling of the Master and Margarita. Saadi. MASSOLIT and Master. But now the novel is over, so what? The ulcers are familiar to you, the balm is also familiar! The symbol of writers - varnishers of reality - in the novel is MASSOLIT. Master. Follow me, reader! What sacrifices is a loving person ready for? And it was Margarita's love, the ability to sacrifice herself that made the Master's revival possible.

"Love of the Master and Margarita" - Self-examination. Master's novel. Pontius Pilate is one of the main characters in Bulgakov's The Master and Margarita. Bulgakov's Modernity (30s of the 20th century). Mystical. The forces of hell in the novel. CD-disk with a recording of the novel, 2009 Woland personifies the norms of Christian morality. The distant past has not gone forever, but exists in parallel with the present.

"Mikhail Bulgakov Master and Margarita" - The story "The Devil". 1924 - Divorce from T.N. Lappa and the beginning of a life together with L. E. Belozerskaya. Faust. Woland is at the head of the force that implements the motive of retribution - the court. Two worlds in the novel "Master and Margarita": light and darkness. Azazello. M. A. Bulgakov. The story "Fatal eggs". Bulgakov leaves medicine and is engaged only in journalism and literary work.

"Margarita Bulgakov" - He does not understand that he has come into contact with the devilish world. Conclusion. Intertwining fantasy and reality. Portrait of Margaret. The Master and Margarita is clearly divided into two parts. History of the Master and Margarita. The novel "The Master and Margarita" went to the reader for a long time. Bulgakov's Master is a philosopher. Koroviev-Fagot.

In total there are 7 presentations in the topic