The story of the master and the margarita. The riddle of the "wrong" date The main character of the novel written by the Bulgakov master

The novel "The Master and Margarita" is the pinnacle of Bulgakov's work. In the novel, the author touches on many different problems. One of which is the literary tragedy of a man who lived in the 30s. For a real writer, the most terrible thing is not to be able to write about what you think about, to freely express your thoughts. This problem also affected one of the main characters of the novel - the Master.

The master differs sharply from other writers in Moscow. All ranks of MASSOLIT, one of the largest Moscow literary associations, write to order. The main thing for them is material wealth. Ivan Homeless confesses to the Master that his poems are terrible. In order to write something good, you need to put your soul into the work. And the topics Ivan writes about do not interest him at all. The master writes a novel about Pontius Pilate, while one of characteristic features 30s is the denial of the existence of God.

The master wants to get recognition, to become famous, to arrange his life. But money is not the main thing for the Master. The author of the novel about Pontius Pilate calls himself the Master. His beloved also calls him. The name of the Master is not given in the novel, since this person appears in the work as a talented writer, author of a genius creation.

The master lives in a small basement of the house, but this does not oppress him at all. Here he can calmly do what he loves. Margarita helps him in everything. The novel about Pontius Pilate is the work of the Master's life. He put his whole soul into writing this novel.

The tragedy of the Master is that he tried to find recognition in the society of hypocrites and cowards. They refuse to publish the novel. But it was clear from the manuscript that his novel had been read and re-read. Such a work could not go unnoticed. There was an immediate reaction in the literary milieu. Articles that criticized the novel were showered. Fear and despair settled in the soul of the Master. He decided that romance was the cause of all his misfortunes, and so he burned it. Soon after the publication of Latunsky's article, the Master ends up in a psychiatric hospital. Woland returns the novel to the Master and takes it and Margarita with him, since they have no place among greedy, cowardly, insignificant people.

The fate of the Master, his tragedy echoes the fate of Bulgakov. Bulgakov, like his hero, writes a novel, where he raises questions of Christianity, and also burns the first draft of his novel. The novel The Master i-Margarita remained unrecognized by critics. Only many years later he became famous, was recognized as a genius creation of Bulgakov. The famous phrase of Woland was confirmed: "Manuscripts do not burn!" The masterpiece did not disappear without a trace, but received worldwide recognition.

The tragic fate of the Master is typical for many writers who lived in the 30s. Literary censorship did not allow works that differed from the general flow of what needed to be written. The masterpieces could not find recognition. Writers who risked freely expressing their thoughts ended up in psychiatric hospitals, died in poverty, without achieving fame. In his novel, Bulgakov reflected the real situation of the writers at this difficult time.

One of the main characters of Bulgakov's novel "The Master and Margarita" is the Master. The life of this person, like his character, is complex and unusual. Each epoch in history gives humanity new talented people, whose activities reflect, to one degree or another, the reality surrounding them. Such a person is also the Master, who creates his great novel in conditions where they cannot and do not want to appreciate it according to its merits, just as they cannot appreciate the novel of Bulgakov himself. In The Master and Margarita, reality and fantasy are inseparable from each other and create an extraordinary picture of Russia in the twenties of our century. bulgakov master pilate tragedy

The atmosphere in which the Master creates his novel does not in itself dispose to the unusual theme to which he devotes it. But the writer, independently of her, writes about what excites and interests him, inspires to creativity. His desire was to create a work that would be admired. He wanted well-deserved fame, recognition. He was not interested in the money he could get for a book if it was popular. He wrote, sincerely believing in what he creates, not aiming to get material benefit... The only person who admired him was Margarita. When they read the chapters of the novel together, unaware of the disappointment that lay ahead, they were excited and truly happy.

There were several reasons why the novel was not properly appreciated. First, it is the envy that appeared among mediocre critics and writers. They realized that their work was insignificant in comparison with the Master's novel. They did not need a competitor to show what true art is. Secondly, this is a taboo theme of the novel. She could influence the views in society, change the attitude towards religion. The slightest hint of something new, something beyond the scope of censorship, must be destroyed.

The sudden collapse of all hopes, of course, could not but affect the state of mind of the Master. He was shocked by the unexpected disdain and even contempt with which they reacted to the main work of the writer's entire life. It was a tragedy for a man who realized that his goal and dream were unrealizable. But Bulgakov cites a simple truth, which is that true art cannot be destroyed. Even after years, but it will still find its place in history, its connoisseurs. Time erases only mediocre and empty things that do not deserve attention.

Teacher's word

In Bulgakov's novel there is a hero who is not named. He himself and those around him call him the Master. The power of this man's talent is extraordinary. It manifested itself in the novel about Pontius Pilate and Yeshua. So who is he, why doesn't he give his name? Let's talk about his tragic fate and the world into which he comes with his novel.

Question

In which episode does the Master first appear?

Answer

The poet Ivan Bezdomny, witnessing the death of Berlioz, pursues Satan and his retinue, goes through various misadventures and ends up in a psychiatric hospital, which in the novel is called "the house of sorrow." This is where the acquaintance with the Master will take place.

Exercise

In chapter 13, we read the description of the appearance of the person whom Homeless sees through the balcony door.

Answer

"From the balcony, a shaven, dark-haired man with a pointed nose, anxious eyes and a lock of hair hanging down on his forehead was cautiously peering into the room, a man of about thirty-eight."

Teacher's word

When Ivan asked why, if a visitor has the keys to the balcony doors, he cannot "escape" from here, the guest will answer that he has "nowhere to escape."

These are the words that will become the starting point for us in the conversation in the lesson. It is necessary to understand why a person who is still quite young and talented does not consider it necessary to leave his present shelter. Thus, we will continue the conversation about the problem of "man and power", we will come to the issues of the correlation of talent and mediocrity, we will talk about the tragedy of a real artist in modern world and about love as a saving force for a person.

Question

The guest will call himself simply the Master, rejecting the word “writer” applied to him by Ivan and threatening him with his fist. Why?

Possible answers:

He knew all too well who the "writers" were when he took the novel to the editor.

He knows his own worth and is fully aware that he has the right to be called a master, i.e. a person, especially knowledgeable or skillful in his business (definition from the dictionary of V. Dahl).

Question

Why will Ivan Bezdomny earn the Master's trust?

Answer

Ivan will talk about what happened to him for that short term, which passed from the "hour of an unprecedentedly hot sunset" on the Patriarch's Ponds.

“The guest didn’t dress Ivan as crazy, showed the greatest interest in what he was telling, and as this story developed, he was finally delighted ... Ivan did not miss anything, it was so easier for him to tell the story and gradually got to the moment when Pontius Pilate in a white robe with bloody lining went out onto the balcony.

Then the guest folded his hands in prayer and whispered:
- Oh, how I guessed! Oh, how I guessed everything! "

A degree of trust will be established between them, which will help everyone to realize something in themselves. The master will find in this confirmation of his guesses, and for Ivan this meeting will become the starting point of a new life.

Exercise

Let us restore the past of the Master from the text.

Answer

The life of a historian by training, who worked in one of the Moscow museums, was rather colorless until he won a hundred thousand rubles. And here it turned out that he had a dream - to write a novel about Pontius Pilate, to express his own attitude to history that took place two thousand years ago in an ancient Jewish city. He devoted himself entirely to work. And it was at this time that he met a woman who was as lonely as he was.

“She carried in her hands disgusting, disturbing yellow flowers... Thousands of people walked along Tverskaya, but I can assure you that she saw me alone and looked not only alarmingly, but even painfully. And I was struck not so much by her beauty as by the extraordinary, unseen loneliness in her eyes! "

About the reason for this loneliness, Margarita will say later to Azazello: "My tragedy is that I live with someone whom I do not love, but I consider it unworthy to spoil his life."

So, two loneliness met. "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!" And the life of these two people was filled with great meaning. It was Margarita who began to urge him on in his work, call him the Master, it was she who promised him glory.

The novel was finished.

Question

What does the phrase mean "And I went out into life, holding it in my hands, and then my life ended."? What will happen to the Master? How will the literary world meet his version of the biblical story?

Answer

The novel was not accepted for publication; everyone who read it - the editor, members of the editorial board, critics - attacked the Master, responded with devastating articles in the newspapers. The critic Latunsky was especially furious. In one of the articles "The author suggested hitting, and hitting hard, on the Pilatchina and that bogomaz who took it into his head to drag (this damned word again!) Her into print".

Question

What was the art world that the author of the novel about Pontius Pilate was forced to enter?

Answer

The novel has chapters specially devoted to this, and along with them separate episodes that allow us to present a terrible picture of mediocrity, adaptability, the desire to destroy all living and talented.

Question

What episodes can we remember?

Answer

Chapter 5. "There was a case in Griboyedov."

The literary brethren gathered here are most attracted by "Ordinary desire to live like a human being"... But is it human, if these people only dream of dachas ( "There are only twenty two dachas, and there are three thousand of us in Massolit"), about sabbatical (everything is precisely calculated here: up to two weeks - for a short story, up to one year - for a novel); in "Griboyedov" - the distributor of goods, they gather to eat tasty and cheap food.

"Any visitor, if he was, of course, not at all a dumbass, hitting Griboyedov, immediately realized how well the lucky ones - the members of MASSOLIT, were living, and black envy slowly began to torment him."

NB! The building described in the novel as "Griboyedov" is very reminiscent of former House Herzen, at that time he was occupied by the RAPP board.

The writers' surnames speak for themselves: Dvubratsky, Zagrivov, Glukharev, Bogokhulsky, Sladky and, finally, “merchant orphan Nastasya Lukinishna Nepremenova”, who took the pseudonym “Shturman Georges”!

The reader has the opportunity to observe how only one evening passes in Massolit, but after the author he is ready to exclaim: "In a word, hell ... Oh gods, my gods, poison to me, poison ...".

The literary world of Moscow is terrible. It turns out that the themes of the works are imposed on the writers; it is not for nothing that the editor is trying to get from the Master, who advised him to compose a novel on such a strange topic. Let us recall that Berlioz reprimands Ivan Bezdomny for not being able to write, as required, an anti-religious poem ordered to him.

Homeless himself understands perfectly well that he writes bad poetry. To Stravinsky's question: "Are you a poet?" - answers in the affirmative, but "for the first time I felt some kind of inexplicable disgust for poetry, and his own poems immediately recalled to him seemed for some reason unpleasant." His narrow outlook, primitive thinking is also evidenced by the fact that he suddenly realizes that "Among the intelligentsia, there are also extremely smart ones"... And he also believes that Kant should be sent to Solovki. But Homeless will begin to see clearly when an otherworldly force invades his life and when he meets the Master. The master will ask him:

“- Are your poems good, tell yourself? - Monstrous! Ivan suddenly said boldly and frankly. - Do not write anymore! - asked the visitor pleadingly. - I promise and I swear! - Ivan said solemnly. "

The poet Ryukhin continues the theme of the mediocrity of the published authors. He turns out to be merciless to himself only at night, when he brings Ivan Bezdomny to Stravinsky's clinic and suddenly realizes that he is completely healthy. A moment's epiphany makes him realize that he writes bad poetry, because he does not believe in what he writes. But when "Day is falling uncontrollably on the poet", he admits that “nothing can be fixed in his life, but you can only forget”.

This is how these people live in the world, who have forgotten about the high purpose of the writer, who have lost their shame and conscience. It is not for nothing that evil spirits will deal with Berlioz so terribly, throwing him under the tram, and then stealing his head from the coffin.

Question

Why did Berlioz deserve such a punishment?

Answer

He stands at the head of MASSOLIT, at the head of those who can exalt or kill with a word. He is a dogmatist, he teaches young writers to think independently and freely. Finally, he serves the authorities, is consciously committed to a criminal idea. And if Homeless can be forgiven for something because of his youth and ignorance (which, of course, we must hurry to get rid of), then Berlioz is experienced and educated ( "The editor was a well-read man and very skillfully pointed out ancient historians in his speech"), and the more terrible it turns out to be for truly talented people.

Question

Who else among the people the Master will face is faithfully serving the authority?

Answer

The guys will remember the informer-journalist Aloisy Mogarych, the very one about whom the Master will say: "I suddenly got a friend"... He, this "friend", could "In one minute" to explain some article incomprehensible to the Master in the newspaper, "and it was clear that this explanation did not cost him absolutely nothing"... The master, on the other hand, did not understand something in the newspapers, because he was a normal person, not spoiled by this world.

Question

How did the Master, over time, explain to himself the attacks on himself and his novel?

Answer

The master gradually begins to see clearly and realize that "the authors of the articles do not say what they want to say, and that this is what causes their rage."

Question

What is the result of this insight?

Answer

Fear descends on the Master. And that inner freedom, which made him turn to the novel about Pilate and Yeshua, is now suppressed by fear caused by things that are completely unrelated to articles about the novel or the novel. “So, for example, I became afraid of the dark. In a word, the stage of mental illness has come. "

Question

Why did the Master's novel deserve "Tribute to glory: crooked talk, noise and abuse"? (The author of these words, Pushkin, expected such a reaction from his enemies to the novel "Eugene Onegin" - the fate of an artist is always the same!)

Answer

Time has changed, but people have not changed. In the novel of the Master, officials from literature saw themselves, i.e. those who were fed by the power, which means that they depended on who two thousand years ago could bear the name of the emperor Tiberius or Pontius Pilate, and now the name sounds differently.

There is no need to look for direct parallels with the rulers during which Bulgakov and his hero lived. Times change, but man does not cross "To the kingdom of truth and justice, where no power will be needed at all".

Question

What was the fate of the novel written by the Master?

Answer

Reality broke the Master. During his bitter wanderings with the novel through the editors, he learned that side of life that was hitherto unknown to him. And as a result, he burns up the novel. "At times the ashes overwhelmed me, stifled the flame, but I fought with it, and the novel, stubbornly resisting, nevertheless perished."

Question

How will Margarita behave in this situation?

Answer

She will do everything for the Master to recover and restore the novel. Margarita decides to have an honest conversation with her unloved husband and leaves her beloved, plunging into madness, only for the night.

"A quarter of an hour after she left me, there was a knock on my window."

Question

Answer

This is the story of his arrest, although the word “arrest” is not spoken.

Question

If the Master was arrested, then he was a danger to the system. Which one? Let's go back to the word “pilatchina” that was constantly spoken by the persecutors of the Master. The word is formed by analogy with the words "Oblomovism", "Khlestakovism", "Repetilovism", that is, an access to a social phenomenon is made. So what is Pilatchina?

Answers

Those in power and their servants believed: the ruler cannot doubt the truth of his deed. How, then, can ordinary people live?

Question

Or maybe there was no arrest of the Master, this is just our assumption?

Answer

One detail will tell you where the Master was from "half of October" to "half of January":

"... at night, in the same coat, but with torn buttons, I huddled from the cold in my yard ... Cold and fear, which became my constant companion, drove me to a frenzy."

The idea of ​​a "novel about the devil" came to Bulgakov as early as 1928. The manuscript of the first edition, apparently with part of the drafts and preparatory materials, was destroyed by him in March 1930. He reported this in a letter to the government dated March 28, 1930 ( "And personally, I, with my own hands, threw into the stove a draft of a novel about the devil") and in a letter to V.V. Veresaev dated August 2, 1933 ("A demon has possessed me. , I began to smear page after page of my novel destroyed three years ago. Why? I know ").

The text of the first edition, as can be inferred from the surviving drafts, was significantly different from the published final edition of the novel. Almost the leading role was played by the satirical beginning with elements of humor. As he worked on the novel, its philosophical sound intensified: like the outstanding realists of the 19th century, the writer tried to solve the "damned" questions about life and death, good and evil, about man, his conscience and moral values, without which he cannot exist.

The novel "The Master and Margarita" consists, as it were, of two novels (novel in novel- the technique used by Bulgakov in his other works). One novel is from ancient life (a novel-myth), which is written by the Master, then Woland tells; another - about modern life and about the fate of the Master himself, written in the spirit of fantastic realism. At first glance, there are two narratives completely unrelated to each other: neither in content, nor even in execution. You might think that they were written absolutely by different people... Bright colors, fantastic images, bizarre style in modern paintings and a very precise, strict, even somewhat solemn tone in the novel about Pontius Pilate, which is maintained in all biblical chapters. But, as one of the most interesting researchers of the novel L. Rzhevsky notes, "two plans of Bulgakov's novel - modern, Moscow, and ancient Yershalaim - are compositionally linked by means of cohesion, repetition and parallels."

Yershalaim scenes are projected onto Moscow ones. One cannot but agree with B.V. Sokolov and a number of other researchers who argue that the characters ancient history and XX century form parallel structures: Yeshua - the Master, Levi Matvey - Ivan Homeless, Kaifa - Berlioz, Judas - Baron Meigel. In both plans, the action takes place before Easter. Many episodes and descriptions are also parallel: the Yershalaim crowd is very reminiscent of the audience of a variety show; the place of execution and the mountain where the Sabbath takes place have the same name. The descriptions of the weather in Yershalaim and Moscow are close to each other: the scorching heat of the sun is replaced by a thunderstorm. The latter motives are very close to the apocalyptic scenes of the "White Guard". There is also an absolute coincidence here: as in the "White Guard", the last murder - the murder of Yeshua - led to the "sun burst". In fact, humanity in the novel experiences the Hour of Judgment twice: during Yeshua and in the 20th century.

Bulgakov did not accidentally turn to the genre philosophical novel-myth. On the one hand, the philosophical novel is closely related to modernity; on the other hand, an appeal to myth, which carries the broadest generalization, moving away from everyday life, allows you to translate the narrative into the sacred world, to combine historical time with the cosmic, everyday life - with symbolism. Two plans of the novel allowed the writer to give two finals: real and symbolic. There was no place for the Master and Margarita in the real earthly world. Some heroes find genuine moral values(Ivan Homeless finds a home and becomes a professor of history), others take a step towards the norms of human behavior (Varenukha became kind, took up the Sempliarov business, Likhodeev became healthier), and still others (including the informer and traitor Aloisy) lead their former lives. The stay of Woland and his retinue only slightly changes the course of everyday life.

Another thing is in the mythologized, conditional plot of Satan's visit to Moscow. Like Yershalaim, the Moscow broken sun is extinguished in the glass and at the same time the curtain of the future is slightly opened: "everything will be right," "it will be as it should be." A foreshadowing of this is perceived the flame that engulfed not only the "bad apartment", the basement on the Arbat, but also the "Griboyedov". Symbolically, Woland's half-joking, half-serious conversation with Koroviev, who allegedly helped the firefighters:

"- Oh, if so, then, of course, we will have to build a new building.

• “It will be built, Messire,” Koroviev responded, “I dare to assure you of this.
• “Well, well, all that remains is to wish it to be better than before,” remarked Woland.
• "It will be so, Messire," said Koroviev. "

These words echo what Yeshua said to Pilate: "The temple of the old faith will collapse and a new temple of truth will be created." The struggle between light and darkness, black clouds and fire ends in Bulgakov in the distant future with the victory of Light. Despite all the shortcomings of humanity, its suffering the best people, on the overwhelming burden that they carry, the writer remains faithful to the great secret of life - the predetermination of a successful outcome, which gives the novel an optimistic sound. The writer connects the possibility of such a victory with the extent to which people will follow the highest destiny. So the roll call of the two plot plans allows the philosophical idea of ​​the unity of people and morality in all historical eras. It is no coincidence that Woland answers to the main question of interest to him "have the townspeople [that is, people] changed internally":

"... People are like people. Well, they are frivolous ... well, well ... and mercy sometimes knocks at their hearts ... ordinary people ... In general, they remind the former ... the housing issue only spoiled them." ...

“The housing problem,” as Bulgakov understands it, thinking about the origins of the tragic destinies of our time, is a lost House and a lost God. In the novel, all the characters of the Moscow scenes suffer from this "question" explicitly or implicitly: the Master, and Margarita, and Berlioz, and Poplavsky, and Latunsky, and Aloisy Mogarych, etc. One of the characters is generally called Homeless, and Woland himself lives on someone else's "living space". It is in this vein that one should understand Woland's discussion with Moscow writers. To the question of Satan, "if there is no God, then the question arises, who controls human life and all the order on earth in general?" Ivan Nepomniachtchi immediately gives the answer: "The man himself controls!"

This answer, on the one hand, in the same chapter receives a weighty refutation: Berlioz, presumptuously making plans for the near future, is under a tram. On the other hand, the Yershalaim chapters, like the entire storyline of Margarita, prove that a person not only within certain limits can, but must control his own destiny, however, being guided by the highest moral criteria common to all times and peoples. Despite the fact that Yeshua Ha-Notsri is a "vagabond" and "alone in the world," he retains the ability to believe in people, the conviction that a time will come when the state will not put pressure on a person and everyone will live according to the laws of morality, Kantian categorical imperative. Ns accidentally the name of the German philosopher is mentioned in the same first chapter of the novel, where there is a dispute about whether there is a God, the concept of which is equivalent to Bulgakov's concept of higher morality. Through all the scenes of the novel, the writer proves that if God is the support of man, then man is the support of God. The "secret" of a person's spiritual survival in the situation of the collapse of the former House of Bulgakov sees the need for a new feat, similar to what Yeshua Ha-Nozri accomplished two thousand years ago.

The antagonists of the Yershalaim part of the novel are Yeshua and Pontius Pilate. Bulgakov's Yeshua is, of course, not biblical, at least not canonical Jesus Christ, which is constantly emphasized in the text of the novel. There is no hint here that he is a son of God. In Bulgakov's version, Yeshua is an ordinary man of about twenty-seven who does not remember his parents; by blood, he "seems to be a Syrian", originally from the city of Gamal, he has only one student, Matthew Levi, which causes a far from unambiguous assessment of the author. It is not the Gospel story about the crucifixion and resurrection of Jesus that is important to the author, but the trial of Yeshua by Pilate and its consequences. Yeshua appears before Pilate to approve the Sanhedrin's death sentence, which consists of two charges. One of them allegedly consists of Yeshua's appeal to the people with an appeal to destroy the temple. After the prisoner explains what he said, the procurator will reject this accusation. But the second charge is more serious, since it concerns the Roman emperor: Yeshua is violating the "Law on insult to majesty ...". The accused admits that he expressed his views on the state power. The author highlights the scene in which Pilate gives Yeshua the opportunity to extricate himself, to escape, to avoid execution, if only he lies and refutes his words about Caesar:

“Listen, Ha-Nozri,” the procurator began, looking at Yeshua in a strange way: the procurator’s face was menacing, but his eyes were alarmed, “have you ever said anything about the great Caesar? Answer! Did you? .. Or .. ... did not ... say? - Pilate extended the word "not" a little more than it should be on the court, and sent Yeshua in his glance some thought that he would like to instill in the prisoner. "

Despite the obviousness of the most dire consequences, Yeshua did not take advantage of the opportunity given to him by Pilate: "It is easy and pleasant to speak the truth," he declares.

"Among other things, I said<...>that all power is violence against people, and that the time will come when there will be no power of the Caesars or any other power. A person will pass into the kingdom of truth and justice, where no power will be needed at all. "

Pilate is shocked and frightened - now, if Yeshua is pardoned, he himself is in danger:

"Do you think, unfortunate, that the Roman procurator will release the man who said what you said? Oh gods, gods! Or do you think that I am ready to take your place?"

As L. Rzhevsky notes, "the theme of Pilate's crime" is one of the "structural themes of the novel," and it is no coincidence that the Master's novel is called "the novel about Pilate." In Bulgakov's work, Pilate was not punished for sanctioning the execution of Yeshua. If he did the same, being in harmony with himself and his concept of duty, honor, conscience, there would be no guilt behind him. His fault is that he didn't the fact that, while remaining yourself, should have done. The writer psychologically accurately conveys the state of Pilate, who understands that he is committing an unrighteous act:

"Hateful city," the procurator suddenly muttered for some reason and shrugged his shoulders, as if he were cold, and rubbed his hands, as if washing them ... "

The famous gesture, thanks to which the name of Pilate became a household name, as the very expression "wash your hands" became common, here means something opposite to what it means in the Gospel. There, with this symbolic gesture, Pilate demonstrates his innocence to what is happening. For Bulgakov, this gesture is a sign of the strongest emotional excitement. The procurator knows in advance that he will not act as his own soul or conscience tells him to, but as the one who owns his whole being tells him to. fear, for which it is subject to the judgment of the higher powers. Pontius Pilate is punished with a terrible sleeplessness lasting twelve thousand moons. In the last chapter of "The Master and Margarita", which is called "Forgiveness and Eternal Refuge", there is a kind of combination of two novels - the novel of the Master and the novel of Bulgakov. The master meets his hero and receives an offer from Woland to end his novel with one phrase:

“The master seemed to have been waiting for this already, while he stood motionless and looked at the seated procurator. He folded his hands like a megaphone and shouted so that the echo jumped over the deserted and treeless mountains:

- Free! Free! He's waiting for you!"

Pontius Pilate receives forgiveness, the path to which lies through suffering, through the awareness of his guilt and responsibility, and not only for his actions and actions, but also for thoughts and ideas.

“Two thousand years ago, in ancient Yershalaim, this sin was committed, inspired by the king of darkness, in the eternal and inscrutable struggle of darkness with light,” writes L. Rzhevsky. “Two thousand years later, this sin was repeated in another, already modern, huge city And he brought with him a terrible mastery of evil among people: the destruction of conscience, violence, blood and lies. "

This is how two planes, two streams of narration closed. The writer associates a further solution to this problem with the Yeshua - Master pair. The similarity of the portraits, the unwillingness to dissemble, make it possible to establish the commonality of these characters. The more striking is the difference. Yeshua was not broken. The fate of the Master is more tragic: after being released from the hospital, he no longer wants anything. At the request of Yeshua, Woland provides lovers peace.

The question of why the Master was not taken into the world, combined with the sadly uttered phrase of Levi Matthew: "He did not deserve the light, he deserved peace" - causes controversy among literary scholars. The most common opinion is that “the Master was not awarded the light precisely because he was not active enough, which, unlike his mythological counterpart, allowed himself to be broken, and burned the novel”; "did not fulfill his duty: the novel remained unfinished." GA Leskis expresses a similar point of view in his comments to The Master and Margarita:

"The fundamental difference between the protagonist of the second novel is that the Master turns out to be untenable as a tragic hero: he lacked the spiritual strength that Yeshua discovers on the cross as convincingly as during interrogation by Pilate ... None of the people dares to reproach the tormented one man for such a surrender, he deserved peace. "

Of interest is the point of view expressed in the works of the American scientist B.V. Pokrovsky. In his opinion, the novel "The Master and Margarita" shows the development of rational philosophy that led to communism. The novel of the Master himself takes us not two millennia into the past, but to the beginning of the 19th century, to that point of historical development, when, after the "Critique of Pure Reason" by Immanuel Kant, the process of demythologization of the sacred texts of Christianity began. As Pokrovsky believes, the Master is among these demythologizers (he frees the Gospel from the supernatural, removes the main issue for Christianity about the Resurrection of Christ), and therefore is deprived of light. According to the scientist, the Master was given a chance to atone for his sin (I mean the episode when Ivan Homeless in the Stravinsky clinic tells the Master about his meeting with Woland), but he did not realize it: he took the testimony of the devil as the truth (“Oh, how I guessed! guessed it! "). That is why he "did not deserve the light."

Developing a similar point of view, it can be assumed that Bulgakov in this respect gave the Master autobiographical features. It is no accident that in our time some Orthodox critics accused the writer himself of distorting (desacralizing) the Holy Tradition. One must think that the author of The Master and Margarita, himself dreaming of free creativity, follows Pushkin's tradition: an artist needs a Home, inner peace; in his actions he should be guided exclusively by his inner conviction ("There is no happiness in the world, but there is peace and will"). What the Master received corresponds to the best of Pushkin's and Bulgakov's ideal of the creator, especially since the last lines of the novel do not deny the possibility for the Master to meet Yeshua in the distant future.

On the other hand, it is difficult to agree with B.V. Pokrovsky when he writes: "Paradoxical as this statement is, historically the Master is the predecessor of the educated theorist Berlioz and the ignorant practitioner Ivan Bezdomny, Ivan before his rebirth." To see in the figure of the Master "the nightmare of the mind absolutizing itself", to compare him with Professor Persikov and even with Preobrazhensky is clearly incorrect. Although Bulgakov's ideas and theories are often the cause of misfortune ("Fatal Eggs" and "Heart of a Dog"), in the last novel of the writer the Master embodies not rationalism and pragmatism (Berlioz is the exponent of these functions), but, in the words of V. S. Solovyov, "a universal reasonable idea of ​​good, acting on a conscious will in the form of an unconditional duty or a categorical imperative (in Kant's terminology). Simply put, a person can do good in addition to and in spite of selfish considerations, for the sake of the very idea of ​​good, out of respect for duty or moral law. "

The embodiment of this way of life in the novel is Margarita - the only character who has no couples in the biblical plot of the book. Thus, Bulgakov emphasizes the uniqueness of Margarita and the feeling that possesses her, reaching the point of complete self-sacrifice. (In the name of the Master's salvation, Margarita concludes an agreement with the devil, that is, destroys her immortal soul.) Love is combined in her with hatred and at the same time with mercy. Having destroyed the apartment of Latunsky, whom she hates, she calms the tear-stained child, and a little later refuses Azazello's offer to kill the critic. The scene after the ball is extremely important, when Margarita, instead of asking for the Master's salvation, intercedes for the unfortunate Frida. Finally, the image of Margarita is associated with Bulgakov's favorite theme of the House, of love for the family hearth. The Master's room in the cutter's house with a table lamp, books and a stove, which is unchanged for the artistic world of Bulgakov, becomes even more comfortable after the appearance here of Margarita, the Master's muse.

One of the most interesting characters in the novel is Woland. Just as Yeshua is not Jesus Christ, so Woland does not embody the canonical devil. Already in the drafts of 1929 there was a phrase about Woland's love for Yeshua. For Bulgakov, Satan is not an immoral evil force, but an effective principle, so tragically absent in Yeshua and the Master. There is an inextricable connection between them, as between light and shadow, about which, by the way, Woland sarcastically says to Matthew Levi:

"What would the earth look like if the shadows disappeared from it ... Do you want to peel off the entire globe, taking all the trees and all living things from it because of your fantasy of enjoying the naked light?"

This is also evidenced by the epigraph of the novel, taken from Goethe's Faust: "I am a part of the power that always wants evil and always does good."

Bulgakov's Satan, notes V. Ya. Lakshin, is a "pensive humanist", he and his retinue for the main characters are not demons of evil, but rather guardian angels: "Woland's gang protects decency, purity of morals." Moreover, the researchers unanimously noted that neither Woland himself nor his retinue bring any harm to Moscow life, except for the murder of Baron Meigel, the "earpiece and spy." Their function is to manifest evil.

Of course, the biblical chapters of the novel contain the philosophical quintessence of Bulgakov's thought, but this in no way diminishes the content of the chapters about modernity: one does not exist without the other. Post-revolutionary Moscow, shown through the eyes of Woland and his retinue (Koroviev, Begemota, Azazello), is a satirical-humorous, with elements of fantasy, an unusually vivid picture with tricks and disguises, sharp remarks along the way and comic scenes. During his three days in Moscow, Woland explores the habits, behavior and life of people of different social groups and strata. Before the readers of the novel, there is a gallery of heroes similar to Gogol's, only smaller, albeit from the capital. It is interesting that each of them in the novel is given an impartial characterization. So, the director of the Variety Theater, Styopa Likhodeev, "gets drunk, gets in touch with women, using his position, does not do a damn thing, and he cannot do anything ..." scammer, etc.

See the answers by clicking "Answers to the test". Write down the question and answer number so that you can later test your knowledge and compare with the correct answers.

The tests based on the novel by MA Bulgakov "The Master and Margarita" were compiled by the teacher of the Russian language and literature Yuri Nikolaevich Steklov.

1. Which of the heroes of the novel owns the words that have become catchphrase: "This cannot be! .."?

2. Berlioz Mikhail Alexandrovich had

1) viola,

2) high tenor,

3) low bass,

4) contralto,

5) lyric soprano.

3. Which of the heroes of the novel has “the right eye is black, the left for some reason is green”?

4. Poet Ivan Ponyrev wants to send Kant

1) to the Kolyma,

2) to Norilsk,

3) to Kamchatka,

4) in Solovki

5) to Magadan.

5. What kind of cigarettes did the foreigner treat Ivan Nikolaevich Ponyrev?

1) "Belomorkanal",

2) "Prima",

3) "Our brand",

4) "People's power",

5) Kazbek.

6. “He was in an expensive gray suit, foreign, in the color of the suit, shoes. He famously twisted his gray beret over his ear, under his arm he carried a cane with a black knob in the shape of a poodle's head. In appearance - more than forty years. The mouth is kind of crooked. Shaved smoothly. Brunet. The eyebrows are black, but one is higher than the other. " Who is this?

3) Berlioz,

4) Koroviev,

5) Woland.

7. “Dressed in a gray summer pair, short, fat, bald, carrying his decent hat with a pie in his hand, and on his well-shaven face were placed supernatural-sized glasses in a black horn-rimmed frame”. it

3) Varenukha,

4) Berlioz,

8. “One spring, at the hour of an unprecedented hot sunset, in Moscow, ..., two citizens appeared”.

1) at Chistye Prudy,

2) on the Arbat,

3) at the Patriarch's Ponds,

4) on Malaya Bronnaya,

5) on Sadovaya.

9. "In the hour of an unprecedented hot sunset" wore gloves

1) Mikhail Alexandrovich Berlioz,

2) poet Ivan Homeless,

3) citizen in plaid,

4) a foreigner,

5) Josephus Flavius.

10. Berlioz (1), Homeless (2), foreigner (3) were

A) in a beret, b) in a checkered cap, c) in a hat

1) 1a, 2b, 3c,

2) 1b, 2a, 3c,

3) 1c, 2b, 3a,

4) 1a, 2c, 3b,

5) 1b, 2c, 3a,

6) 1c, 2a, 3b.

A) weird subject, German, French, not English,

B) unknown, foreigner, foreign tourist, foreign eccentric, foreign guest, foreigner, stranger,

C) an Englishman, a Pole, a spy, a Russian emigrant, a foreign goose.

1) 1a, 2b, 3c,

2) 1c, 2b, 3a,

3) 1b, 2c, 3a,

4) 1b, 2a, 3c,

5) 1a, 2c, 3b,

6) 1c, 2a, 3b.

How does this attitude towards a foreigner characterize each of them?

12. In what order were Homeless, Berlioz and the foreigner sitting next to each other on the bench?

1) in the middle of Berlioz, to his left is a foreigner, to his right is Homeless,

2) in the middle of Berlioz, to his left is Homeless, to his right is a foreigner,

3) in the middle is a foreigner, to his left is Homeless, to his right is Berlioz,

4) in the middle is a foreigner, to his left is Berlioz, to his right is Homeless,

5) Homeless in the middle, a foreigner to his left, Berlioz to his right,

6) Homeless in the middle, Berlioz to his left, a foreigner to his right.

Prove the non-randomness of such seating.

13. What languages ​​did the Roman procurator of Judea Pontius Pilate speak?

1) Syrian,

2) Aramaic,

3) Persian,

4) Greek,

5) German,

6) Latin.

14. “This man was dressed in an old and torn blue tunic. His head was covered with a white bandage with a strap around his forehead. " it

3) at Berlioz,

4) at Pontius Pilate,

5) at Yeshua Ha-Notsri,

6) at Koroviev.

23. Poet Ivan Homeless stole from someone else's apartment

1) a light bulb,

2) a bicycle,

3) hat and trousers,

4) a candle

5) kerosene stove,

6) an icon.

24. Woland's checkered assistant was called

1) Bassoon,

2) Koroviev,

3) Fagot-Koroviev,

4) Hippo,

5) Azazello,

6) Abadonna.

25. "Have these townspeople changed internally?" - asks

1) Pontius Pilate,

2) Yeshua Ha-Nozri,

3) Joseph Kaifa,

4) Woland,

6) Roman.

26. "... appropriated one of these candles, as well as a paper icon"

1) Varenukha,

2) Likhodeev,

3) master,

4) Ivan Ponyrev,

5) Annushka,

6) Margarita.

27. What does citizen Parchevsky have to do with citizen Zelkova?

1) Must pay alimony,

2) must register it for himself,

3) promised to give her a car,

4) adopted her children.

28. "The rain of money, getting thicker and thicker, reached the seats, and the audience began to catch the pieces of paper." These were

1) brands,

2) dollars,

3) ducats,

4) sterling,

5) lyres.

29. The big black cat from Woland's retinue was called

1) Bassoon,

2) Azazello,

3) Quantum,

4) Panther,

5) Hippo.

30. The chairman of the acoustic commission of Moscow theaters was

1) Georges Bengalsky,

2) Mikhail Alexandrovich Berlioz,

3) Jerome Poprikhin,

4) Mstislav Lavrovich,

5) Ivan Savelyevich Varenukha,

6) Arkady Apollonovich Sempleyarov.

31. "Shaved, dark-haired, with a sharp nose, anxious eyes and a lock of hair hanging on his forehead, a man of about thirty-eight." it

1) Yeshua Ha-Nozri,

2) Roman,

3) Georges Bengalsky,

4) master,

5) the writer Zheldybin,

6) Ivan Homeless.

32. The master "stole a month ago ..."

1) a bunch of keys,

2) an archive book,

3) an ampoule with poison,

4) an icon with a candle,

5) an ancient manuscript,

6) ten thousand rubles.

33. What was embroidered on the master's black cap?

1) crescent,

2) № 119,

3) his initials,

4) red cross,

5) flower,

6) the letter "M".

34. Who was the master by education?

1) a journalist,

2) an insurance agent,

3) a historian,

4) a doctor,

5) an engineer,

6) an artist.

35. What languages ​​did the master know?

1) Russian, Tatar, Chinese, English;

2) Russian, English, German, Spanish, Japanese;

3) Russian, English, French, German;

4) Russian, English, French, German, Latin, Greek.

36. The master won one hundred thousand rubles,

1) when playing cards,

2) with a lottery ticket,

3) when playing chess,

4) when you bought the bond.

37. The master worked

1) at the Institute of Culture,

2) in the archive,

3) in the editorial office of the journal,

4) in the museum.

38. The foreman "hired from a developer in an alley near the Arbat two rooms from the front." The first room was, according to the master, huge. how many square meters was its area?

1) fourteen square meters,

2) eighteen square meters,

3) twenty four square meters,

4) twenty six square meters,

5) twenty eight square meters,

6) thirty six square meters.

39. What was the marital status of the master before meeting Margarita?

1) was single,

2) recently buried his wife who died of tuberculosis,

3) his wife left him and went with her six-year-old daughter to her parents in Saratov, 4) divorced his wife-actress,

5) was married to Varenka,

6) was going to marry the beautiful Anna Richardovna, but did not marry.

40. What flowers did the master like?

1) asters,

2) black tulips,

3) carnations,

4) roses,

5) field daisies,

6) hyacinths.

41. Who called Margarita's beloved master?

1) the master himself,

3) Ivan Ponyrev,

4) Margarita Nikolaevna,

5) Woland.

3) after the restoration of the burned manuscript, it was published in Paris, 4) no one dared to publish, but one editor published a large excerpt from the novel.

43. Many heroes of the novel use the expression “the devil only knows” in their speech. It flies out of the mouth

1) Berlioz,

2) Ivan Homeless,

3) Pontius Pilate,

4) Yeshua Ha-Nozri,

5) masters,

6) Woland.

44. “It cost me,” says the sick master, “before going to bed to extinguish the lamp in a small room, it seemed to me that through the window, although the window was closed, it creeps in ...”

1) some kind of snake,

2) some kind of huge spider,

3) some kind of octopus,

4) death with a scythe,

5) a burglar with a crooked knife,

6) the critic Latunsky kicking forward.

45. Who was placed in room 120 of the psychiatric hospital?

1) Georges Bengalsky,

2) Varenukha,

3) the poet Ivan Bezdomny,

4) Barefoot,

46. ​​How did the master end up in the mental hospital?

1) He was arrested and taken away in a special vehicle.

2) Without his consent, he was transferred there from the city hospital.

H) Aloisy Mogarych brought him there by fraudulent means.

4) I went there myself.

5) Margarita Nikolaevna persuaded to be treated there.

47. “A completely naked girl appeared - a redhead, with glowing phosphoric eyes. The girl came close to ... and put her palms on his shoulders.

“Let me kiss you,” the girl said tenderly, and there were shining eyes near his very eyes.

Whom did the naked girl kiss?

1) Barefoot,

2) Roman,

3) Korovieva,

4) Poplavsky,

5) Varenukha.

48. "Gray-haired as snow, without a single black hair, an old man who was only recently ... ran to the door, opened it and rushed to run along the dark corridor."

1) Roman,

2) Varenukha,

3) Barefoot,

4) Homeless,

5) Swallow.

49. Rimsky Grigory Danilovich, findirector of the Variety, fearing evil spirits, left Moscow for

1) Kiev,

2) Leningrad,

3) Yaroslavl,

4) Yalta,

5) Smolensk.

50. Who was placed in room 119 of the psychiatric clinic?

1) Varenukha,

2) Ponyreva,

3) Bengali,

4) Barefoot,

5) the master.

51. “I took it, but took it with our Soviets. Prescribed for money, I do not argue, it happened. Let's face it, all thieves are in the house management. But I didn’t take currency! ”-

is recognized

1) Ivan Savelievich,

2) Grigory Danilovich,

3) Mikhail Alexandrovich,

4) Nikanor Ivanovich,

5) Savva Potapovich.

52. In which room of the psychiatric clinic was the master?

1) In room number 116,

2) in room No. 117,

3) in room No. 118,

4) in room number 119,

5) in room no. 120.

53. “You are the god of evil. You are not an almighty god. You are a black god. I curse you, god of robbers, their patron and soul! " - exclaims

1) Margarita Nikolaevna,

2) Levi Matvey,

3) master,

4) Ivan Ponyrev

5) Dismas.

54. “A hoarse, meaningless song was heard from the nearest pillar. The man who was hanged on it ... by the end of the third hour of the execution went mad with flies and the sun. "

1) Gestas,

3) Yeshua Ha-Nozri,

4) Dismas,

5) Barrabban.

55. What kind of death did Yeshua Ha-Nozri die?

1) on the gallows,

2) on the cross from the heat,

3) pierced by an arrow of a legionnaire on the cross,

4) on the cross from the knife of Matthew Levi,

5) on the cross from the blow of the executioner with a spear in the heart.

56. “Under this wall, a queue of many thousands, a kilometer long, was molded in two rows.”

What is this queue?

1) queue for tickets for the first session of black magic,

2) the queue for beer on Sadovaya,

3) queue at the cashier for currency exchange,

4) queue for tickets for the second session at the Variety

5) the queue in Red Square at the mausoleum.

57. “Among the employees of the Variety there was immediately a whisper that it was none other than the famous Tuzbuben.”

Tuzbuben is

1) a well-known gambling cheat in Moscow,

2) famous German psychiatrist,

3) the famous hypnotist from San Francisco,

4) police bloodhound dog,

5) the chief physician of a psychiatric clinic.

58. “At a huge writing table with a massive inkwell sat an empty suit and with a dry nib not dipped in ink, ran over the paper, but there was no neck or head above the collar, and no hands protruded from the cuffs”.

Who owned the recorder suit?

1) Koroviev,

2) the accountant of the Variety, Vasily Stepanovich Lastochkin,

3) artist Kurolesov Savva Potapovich,

4) Sergei Gerardovich Dunchil, a currency dealer,

5) the chairman of the Entertainment Commission, Prokhor Petrovich.

59. In what institution did all of its employees sing a song against their will?

1) At the branch of the Entertainment Commission,

2) in the Entertainment Commission,

60. Why was the accountant of the Variety Vasily Stepanovich Lastochkin arrested?

1) for bribes,

2) for waste,

3) for theft on an especially large scale,

4) for foreign money that he tried to deposit at the cashier,

5) for keeping currency at home.

61. To whom was the following telegram addressed?

I just got stabbed to death by a tram on the Patriarch's. Funeral Friday, three o'clock in the afternoon. Come. Berlioz.

1) to the beautiful Anna Richardovna,

2) economist-planner Maximilian Andreevich Poplavsky,

3) kind-hearted Praskovya Fyodorovna,

4) Claudia Ilinichna Porokhovnikova,

6) the theater artist Militsa Andreevna Pokobatko.

62. “Then the red-haired robber grabbed the chicken by the leg and with all this chicken, flat, firmly and terribly hit it on the neck ... that the body of the chicken bounced off, and the leg remained in his hands ...”.

Instead of ellipses, enter the desired words in sequence:

1) Likhodeeva, Korovieva;

2) Roman, Behemoth;

3) Bengalsky, Bassoon;

4) Varenukhi, Abadonna;

5) Poplavsky, Azazello.

63. Woland or his assistants accurately described all the circumstances of the future death

1) Likhodeev and Berlioz,

3) Berlioz and Rimsky,

4) Berlioz and Poplavsky,

5) Berlioz and Varenukha.

64. Who owns the phrase "sturgeon of the second freshness", which has become a winged one?

1) Woland,

2) Koroviev,

3) Sokov,

4) Varenukha,

5) Hippo.

65. “He took off his straw hat and, jumping up with fear, screamed softly. In his hands was a velvet beret with a battered cock feather. ... crossed himself. At the same instant, the beret meowed, turned into a black kitten and, jumping back on his head ..., with all his claws dug into his bald spot. "

Instead of ellipses, enter the desired words accordingly:

2) Accountant, Vasily Stepanovich;

3) Chairman, Prokhor Petrovich;

4) Economist, Maximilian Andreevich;

5) Findirector, Grigory Danilovich.

66. To which doctor did the barman of the Variety Andrei Fokich Sokov turn for help?

1) To one of the best specialists - Professor Bernadsky,

3) to Professor Persikov,

4) to Professor Kuzmin,

5) to Professor Stravinsky,

6) to Professor Bure.

67. How old was Margarita Nikolaevna when she met the master?

1) twenty five,

2) twenty seven,

3) thirty,

4) thirty three,

5) thirty five.

68. "Since ... Margarita Nikolaevna got married and got into the mansion, she did not know happiness."

1) sixteen years old,

2) seventeen years old,

3) eighteen years old,

4) nineteen years old,

5) twenty years old.

69. What flowers did Margarita Nikolaevna carry at the first meeting with the master?

1) roses,

2) asters,

3) tulips,

4) mimosa,

5) carnations,

6) hyacinths.

1) Annushka who spilled oil;

1) the spring full moon ball, or the ball of a hundred kings;

2) Easter ball, or the ball of thirteen kings;

3) the full moon ball, or the witches' sabbath;

4) the witches' sabbath, or the thirteenth king's ball;

5) the great ball of Satan, or the coven of witches.

82. What requirements should the future hostess of Satan's great ball meet first of all?

1) must be beautiful and not be afraid of evil spirits,

2) must be ready for anything in order to fulfill their dreams,

3) must certainly bear the name of Margarita and be a local native,

4) must be very beautiful and only brunette,

5) must be very beautiful and not more than thirty years old.

83. How many women could qualify for the role of the hostess of the ball before the choice fell on Margarita?

1) thirteen,

2) twenty eight,

3) thirty three,

4) sixty six,

5) one hundred twenty one,

6) six hundred sixty six.

84. Who was Margarita Nikolaevna's great-great-great-grandmother?

1) the Oryol serf peasant,

2) a Tula landowner,

3) the Moscow boyaryn,

4) the French queen,

5) a Tatar princess.

85. Where did the first meeting between Margarita and Azazello take place?

1) at the Patriarch's Ponds,

2) at Chistye Prudy,

3) in the buffet Variety,

4) in the Alexander Garden,

5) in Woland's room.

86. "And what the hell do you need a tie for if you're not wearing pants?"

Who owns this catchphrase?

1) Koroviev,

2) Ponyrev,

3) Margarita,

4) Hippopotamus,

5) Woland.

87. "Everyone adorns himself with what he can." This phrase also became a catch phrase. Who pronounces it?

1) Gella,

2) Natasha,

3) Margarita,

4) Hippo,

5) master.

88. "He stopped and began to turn his globe in front of him, made so skillfully that the blue oceans on it moved, and the cap on the pole lay like a real one, icy and snowy."

Whose is this globe?

1) Pontius Pilate,

2) the high priest,

3) Woland,

4) Azazello,

5) Abadonna.

89. What game did Woland and Behemoth play when Margarita first met the prince of darkness?

1) in cards,

2) checkers,

3) billiards,

4) chess,

5) in the knuckles.

90. "Margarita was extremely interested and amazed that the chess pieces were ...".

1) alive,

2) transparent,

3) from flowers,

4) from pearls,

5) perfume bottles.

91. At the "great ball" of Satan, "an orchestra of about one and a half hundred played a polonaise."

- Who is the conductor? - flying away, asked Margarita.

“…,” The cat shouted.

1) Amadeus Mozart,

2) Pyotr Tchaikovsky,

3) Ludwig Beethoven,

4) Johann Strauss,

5) Mikhail Glinka.

92. “Finally we flew to the platform, where, as Margarita understood, Koroviev met her in the darkness with a lamp. Now, on this site, the eyes were blinded by the light pouring from the crystal ... ".

1) chandeliers,

2) bunches of grapes,

3) lanterns,

4) apples and pears,

5) bananas and coconuts.

93. Margarita receives guests at Satan's ball. The first were a certain Jacques with his wife. Jacques "became famous for the fact that ...".

1) invented the elixir of youth,

2) seduced the French queen,

3) poisoned the royal mistress,

4) robbed the royal treasury,

5) strangled his own wife at a party.

94. "... served in a cafe, the owner once called her into the pantry, and nine months later she gave birth to a boy, took him to the forest and put a handkerchief in his mouth, and then buried the boy in the ground."

1) Gella,

2) Frida,

3) Adelfina,

4) Grunya,

5) Anna,

6) Militsa.

95. To which of the guests did the hostess of the ball pay more attention?

1) conductor Johann Strauss,

2) Count Robert,

3) Fride,

4) to the Emperor Rudolph,

5) Malyute Skuratov,

6) Mrs. Tofane.

96. To whom did Woland address at the end of the ball with a rather lengthy speech and drank his blood?

1) to Viet Nam,

2) to Monsieur Jacques,

3) to Berlioz,

4) to Nikolai Ivanovich,

97. Where was the stolen head of Berlioz found?

1) in the cemetery,

3) at the Museum of Anthropology,

4) at the ball of Satan,

5) on the banks of the Moskva River.

98. “Never ask for anything, especially from those who are stronger than you. They themselves will offer and they themselves will give everything! " - so asserts

1) Margarita,

2) master,

4) Woland,

5) Yeshua Ha-Nozri.

99. "What do you want for the fact that today you were my mistress?" - Woland turns to Queen Margot.

What did she ask for?

1) return the master to her,

2) stop serving Frida a handkerchief,

4) take revenge on everyone who hounded the master,

5) return the burned master's manuscript.

100. Leaving Woland's residence after the ball, Margarita lost his gift -

1) jewelry box,

2) garnet bracelet,

3) golden horseshoe studded with diamonds

4) the restored manuscript of the master's novel,

5) a gold box with a magic ointment.

101. Where did Satan's “great ball” take place?

1) in apartment No. 50 of building No. 302-bis on Sadovaya Street in Moscow,

2) in a dewy meadow under the moonlight,

3) on the hills among the huge pines,

4) in the apartment of Latunsky No. 84,

5) in the "Colosseum",

6) in the restaurant of the House of Griboyedov.

102. What nickname did “the same Annushka, that on Wednesday spilled, on Mount Berlioz, sunflower oil at the turntable” bore?

1) Kikimora,

2) Witch,

3) Shkelet,

4) Ulcer,

5) Cholera,

6) Plague.

103. "I hereby certify that the bearer of this Nikolai Ivanovich spent the aforementioned night at a ball with Satan, being attracted there as ..."

1) dear guest,

2) an assistant to the hostess of the ball,

3) entertainer,

4) a living statue,

5) means of transportation.

104. "You, old witch, if you ever pick up someone else's thing, hand it over to the police, but don't hide it in your bosom!"

1) Hippo,

2) Bassoon,

3) Azazello,

4) Koroviev,

5) Woland,

6) Abadonna.

105. “… I lit the headlights and rolled out through the gate past a dead man in the alley. And the lights of the big black car disappeared among other lights on the sleepless and noisy Sadovaya. "

1) Raven,

2) Rook,

3) Rooster,

4) Hog,

5) Boar,

6) Cat.

106. “This was the same man who, before the verdict, whispered with the procurator in the darkened room of the palace and who, during the execution, sat on a three-legged stool, playing with a twig”.

What was his name? What was his position?

1) the head of the secret service under the procurator of Judea Afranius,

2) the Jewish high priest Joseph Kaifa,

3) centurion Mark Ratslayer,

4) tax collector Levi Matvey.

107. "I received information today that ... they will be stabbed to death tonight."

1) Bar-Rabban,

2) Judas of Kiriath,

3) Yeshua Ha-Nozri,

4) Gestas.

108. What was the name of Pontius Pilate's dog?

1) Danba,

2) Ganda,

3) Banga,

4) Ganba,

5) Wang.

109. “Her face, the most Beautiful face what he had ever seen in his life became even more beautiful. "

This face

1) Margaritas,

2) Gells,

3) Natasha,

4) Bottoms,

5) Enants.

110. "To make sure that ... - a writer, take any five pages from any of his novels, and without any certification, make sure that you are dealing with a writer," states ....

Write the words you want instead of dots.

1) Bulgakov, master;

2) master, Bulgakov;

3) Leo Tolstoy, Behemoth;

5) Dostoevsky, Koroviev.

111. "What would good do if there were no evil, and what would the earth look like if the shadows disappeared from it?" - says with a grin

1) Ivan Ponyrev to the master,

2) master Ivan Bezdomny,

4) Woland to Levi Matvey,

5) Pontius Pilate Yeshua Ha-Nozri.

112. Who calls Woland "the spirit of evil and the lord of the shadows"?

1) Margarita,

3) Levi Matvey,

4) Koroviev,

5) master.

113. Who read the master's novel?

1) Margarita,

2) critic Latunsky,

3) Ivan Ponyrev,

4) Pontius Pilate,

5) Yeshua Ha-Nozri,

6) Berlioz.

114. "He did not deserve light, he deserved peace" - says so about the master

1) Yeshua Ha-Nozri,

2) Woland,

3) Levi Matvey,

4) Margarita,

115. Azazello came to the basement apartment of the master and Margarita on the Arbat, “willingly sat down at the table, having previously placed some kind of bundle in dark brocade in the corner by the stove”.

What was in the package?

1) a bottle of wine,

2) a gift from Woland,

3) fried chicken

4) a chest with jewelry,

5) the master's novel in the form of a book.

116. “Together with the hot horse, she threw ten fathoms to the side. An oak tree was uprooted next to her, and the ground was covered with cracks up to the river. A huge layer of the bank, together with a pier and a restaurant, landed in the river. The water in it boiled, surged up, and a whole river tram with completely unharmed passengers splashed onto the opposite bank, green and low-lying. "

It happened because next to

1) a fuel tank exploded,

2) thunder struck hard,

3) the Behemoth Primus exploded,

4) Koroviev whistled,

5) Yeshua Ga-Nozri threw a sacred fire into the river.

117. "One of the most important human vices" Yeshua Ga-Notsri considered

1) betrayal,

2) cowardice,

3) cruelty,

4) cowardice,

5) indifference.

118. "The only thing that the brave dog" of Pontius Pilate was afraid of was

1) thunderstorm,

2) earthquake,

3) sea tide,

4) ship rolling,

5) burning torch.

119. “The one who loves, - says Woland, - should share ...”.

1) the fate of a beloved woman,

2) the fate of the beloved,

3) the fate of a loved one,

4) the fate of the one he worships,

5) the fate of the one he loves.

120. Who has become Ivan Nikolaevich Ponyrev in his "thirty-odd"?

2) the chairman of the Moscow Writers' Union,

3) an employee of the Institute of History and Philosophy, professor,

5) an unknown writer.

Answers to the test:

01=4) 5) 21=1) 41=4) 61=2) 81=1) 101=1)

02=2) 22=3)6) 42=4) 62=5) 82=3) 102=6)

03=5) 23=4)6) 43=2)5)6) 63=2) 83=5) 103=5)

04=4) 24=1)2)3) 44=3) 64=3) 84=4) 104=3)

05=3) 25=4) 45=1) 65=1) 85=4) 105=2)

06=5) 26=4) 46=4) 66=4) 86=5) 106=1)

07=4) 27=1) 47=5) 67=3) 87=4) 107=2)

08=3) 28=3) 48=1) 68=4) 88=3) 108=3)

09=4) 29=5) 49=2) 69=4) 89=4) 109=4)

10=3) 30=6) 50=4) 70=3) 90=1) 110=5)

11=4) 31=4) 51=4) 71=5) 91=4) 111=4)

12=4) 32=1) 52=3) 72=1) 92=2) 112=3)

13=2) 4) 6) 33=6) 53=2) 73=4) 93=3) 113=1)4)5)

14=3) 34=3) 54=1) 74=5) 94=2) 114=3)

15=5) 35=4) 55=5) 75=2) 95=3) 115=1)2)

16=4) 5) 7) 36=4) 56=4) 76=4) 96=5) 116=4)

17=2) 6) 37=4) 57=4) 77=5) 97=4) 117=2)

18=5) 38=1) 58=5) 78=4) 98=4) 118=1)

19=1) 39=5) 59=1) 79=4) 99=2) 119=5)

20=3) 40=4) 60=4) 80=4) 100=3) 120=3)

The master also belongs to the other world in the novel.This is a character, of course, autobiographical, but built primarily on the basis of well-known literary images in a wide literary and cultural context, and not with an orientation towards real life circumstances. It is least of all similar to a contemporary of the 20s or 30s, it can be easily moved to any century and at any time. This is a philosopher, thinker, creator, and it turns out that the philosophy of “The Master and Margarita” is connected with him in the first place.

The portrait of the Master: “shaved, dark-haired, with a pointed nose, anxious eyes and a clump of hair hanging over his forehead, a man of about thirty-eight years old,” betrays an undeniable portrait resemblance to Gogol. For this, Bulgakov even made his hero shaved when he first appeared, although later on several times he specially emphasized that he had a beard, which in the clinic was trimmed twice a week with a typewriter (here is evidence that the terminally ill Bulgakov did not have time to edit the text to the end) ... The master's burning of his novel is repeated as the burning by Gogol “ Dead souls”And Bulgakov's burning of the first edition of“ The Master and Margarita ”. Woland's words addressed to the Master: “And what will you live with?” Is a paraphrase of the well-known statement of N.A. Nekrasov, addressed to Gogol and quoted in the memoirs of I.P. Papaev: “But you also need to live on something”. But the main role in the creation of the Master was played, we repeat, by literary sources.

So, the words “I, you know, can’t stand noise, fuss, violence” and “especially I hate the human cry, whether it’s a cry of anguish of rage or some other cry” almost literally reproduce the maxim of Dr. Wagner from “Faust”.

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

Bulgakov's Master is a philosopher. He even bears some resemblance to Kant. He, like Kant, is indifferent to the joys of family life. The master quit his service and in the basement of the developer near the Arbat sat down to write a novel about Pontius Pilate, which he considered his highest destiny. Like Kant, he never once left his place of solitude. The Master, like Kant, had only one close friend - the journalist Aloisy Mogarych, who conquered the Master with an extraordinary combination of passion for literature with 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 - from age, some details of his creative biography and ending with the most creative history 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 an introverted person as the master was brought out in the novel, was not completely suppressed by the hardships of life. He liked friendly meetings, certain, albeit narrow, especially in last years life, circle of friends.

The Master has a romantic beloved 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, obviously, is explained by the desire of the writer 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 being in the novel, for it is mercy and love that calls for the Bulgakovs to form the basis of human relations and social structure.

Margarita acts in all three dimensions: modern, otherworldly and ancient. This image is not ideal in everything. Becoming a witch, the heroine hardens and smashes the house of Dramlit, where the master's persecutors live. But the threat of the death of an innocent child turns out to be the threshold that a truly moral person can never cross, and Margarita becomes sober. Her other sin is participating in Satan's ball together with the greatest sinners of all times and peoples. But this sin is committed in an irrational, otherworldly world, the action of Margarita here does no 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 leads the story of this love. It was not extinguished either by the bleak, dark days, when the Master's novel was trashed by critics and the life of the lovers stopped, nor Mater's serious illness, nor his sudden disappearance for many months. Margarita could not part with him for a minute, even when he was not there and, one had to think, would not be at all.

Margarita is the only remaining support of the Master, she supports him in his creative work. But they could finally unite only in the other world, in the last shelter provided by Woland.

In one of the earliest versions of the second edition of Bulgakov's novel, dated 1931. Woland says to the hero (master): "You will meet Schubert and bright mornings there." In 1933. the award to the Master is drawn 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 in the sand, whom you composed, but never think of him again. You get noticed and you get what you deserve<…>The house on Sadovaya, the terrible Bossoy, will disappear from the 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 not see Yeshua, you will not leave your shelter ”. In the 1938 version. the last edition Bulgakov, obviously, returned to the plan of 1931. and gave light to his hero, sending him and Margaret along the lunar road after Yeshua and the forgiven Pilate.

However, in the final text, a certain ambiguity of the award bestowed on 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 concluding monologue of the lyrical hero “The Master and Margarita”: “Gods! My gods! How sad is the evening land ... ”, not only conveys the experiences of a terminally ill writer.

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