ROMAN M. A. BULGAKOVA
"MASTER AND MARGARITA"
Roman M.A. Bulgakov "The Master and Margarita" - one of the mysterious phenomena of Russian literature of the 20th century. This work has many reading options; none of the readers remains indifferent. Some people read the novel, but for some readers this novel evokes a feeling of rejection. Many critics have spoken out about the novel, sometimes with diametrically opposed points of view. What is the specificity of this work, what did the author want to tell his readers? The novel "The Master and Margarita", which came to the reader only in the 80s, became the object of controversy and different points of view of our contemporaries. It is important for the teacher to convey to the student the versatility of the novel, the depth of its philosophical meaning, and the sparkling social scenes. In my work as a teacher-writer, a system of lessons has developed, based on the “art of communication” by E.N. Ilyin. The teacher, preparing for the lesson, determines the range of issues for discussion, but the course of communication itself can go in different directions, since communication is the ability of the conversation to “turn the lesson to the children, themselves - to the book, through the book - to life and from life - again to the book" (p. 215)
Lesson system
First lesson
.
Second lesson
.
The unusual nature of M.A. Bulgakov’s novel “The Master and Margarita”The composition of the novel, its problems.
Third lesson. Good and evil. The meaning of the dispute between Pontius Pilate and Yeshua Ha-Nozri in the novel.
Lesson four . The originality of “Bulgakov’s devilry” in the light of the world literary tradition.
Fifth lesson. The problem of creativity and the fate of the artist in the novel. Tragic love of heroes.
First lesson.
Life, creativity, personality of M. A. Bulgakov. The fate of the works.
Purpose of the lesson: M.A. Bulgakov is a lyricist, satirist, writer of everyday life, science fiction writer, humorist and philosopher. Talent from God. In the life of every talented person there are milestones that determine his destiny. The life of any person is a series of photographs, a set of memorable events, these are milestones of his destiny. Today we will go through the main events of M.A. Bulgakov’s life and try to determine his life goals, his relationship to people, to writing, to himself
Family.
“The Bulgakov family was well known in Kyiv - a huge, extensive, thoroughly intelligent family. Outside the windows of their apartment one could constantly hear the sounds of a piano and even a piercing French horn, the voices of young people, running, laughing, arguing and singing” (K.G. Paustovsky)
Born into a large large family of the Bulgakovs - there were seven children - on May 15, 1891. Father is a professor at the Kyiv Theological Academy, a church historian. The mother, a busy and active woman, will be able to give her son an education, despite the fact that after the death of her husband in 1907 she raised the children alone.
"Notes of a Young Doctor"
In 1916 he graduated from the Faculty of Medicine of Kyiv University. He worked in front-line and rear hospitals, gaining difficult medical experience. Later he was sent by the zemstvo doctor to the village of Nikolskoye, Smolensk province. As a doctor he was unusually popular and, avoiding an unbearable burden, asked and was transferred to Vyazma, where living and working conditions were easier. The real events of those years formed the basis of the book “Notes of a Young Doctor.”
To understand the writer’s attitude to the work of a doctor, in general, to the position, I think that we should dwell on some of the stories from this book, such as “Towel with a Rooster” and “Steel Throat”. (Retelling the content, reading selected passages)
"White Guard"
It's 1918. Worried about the fate of his relatives, he returned to Kyiv. Later, M.A. Bulgakov would write that he counted fourteen coups in Kyiv at that time. “He had no intention of going anywhere as a volunteer, but as a doctor he was constantly mobilized: either by the Petliurists or by the Red Army. It was probably not of his own free will that he ended up in Denikin’s army and was sent with a train through Rostov to the North Caucasus.” Due to typhus, he remains in Vladikavkaz when Denikin’s troops retreat.
Let's remember Alexey Turbin's prophetic dream. God says to Sergeant Zhilin: “...I have neither profit nor loss from your faith. One believes, the other doesn’t believe, but your actions are all the same: now you’re at each other’s throats... All of you, Zhilin, are the same to me - killed on the battlefield...” And the heroes of the “White Guard”, considering themselves involved in everything that happening in the world, we are ready to share the blame for the bloodshed. No wonder it is Elena who says: “We are all guilty of blood...”
"Notes on Cuffs"
In 1921 he left for Moscow, having finally realized that he was a writer; finds himself here without money, influential patrons, running around editorial offices, looking for work. In the newspaper "Gudok" he works together with young writers who, like him, have glory yet to come - these are Y. Olesha, V. Kataev, I. Ilf, E. Petrov. At all the ups and downs of fate, Bulgakov remained faithful to the laws of dignity: “I took my top hat to the market from hunger. But I won’t take my heart and brain to the market even if I die.” We find these words in “Notes on Cuffs” - a book that is perceived as a writer’s autobiography.
Dramaturgy
For organizing Chekhov and Pushkin evenings, he was accused of trying to corrupt the public and found himself on the verge of starvation. M.A. Bulgakov turned to drama. He works a lot for the theater. The Art Theater invited the author to stage a dramatization of the novel “The White Guard.” On October 5, 1926, the play “Days of the Turbins” was performed for the first time on the stage of this theater. She was a huge success. The names of actors Khmelev, Dobronravov, Sokolova, Tarasova, Yanshin, Prudkin, Stanitsyn sparkled, immediately winning over the audience. The roles of the characters they played remained inextricably linked with their acting fame.
Then “Zoyka’s Apartment” was staged at the future Vakhtangov Theater. But the Glavrepetkom could not stand bright performances for a long time. And both plays were removed from the stage. The play “Running,” written in 1927, was promised success not only by the actors of the Art Theater, but also by M. Gorky, but it did not reach the stage at all, because the author forgave his hero, the white officer Khludov, who was punished by his own conscience for shedding blood.
Satirical stories
The story “The Diaboliad” (1923), with its mystical-fantastic plot, shows how well Bulgakov knew the bureaucratic life of the Soviet country. In the story “Fatal Eggs” (1924), he talks about the ignorance that penetrates science. Scientist Persikov, a specialist in naked reptiles, discovered a device for producing a red ray; this ray helps living organisms develop at incredible speed. As a result, in the chicken state farm, instead of peaceful chickens, huge reptiles: snakes and crocodiles are uncontrollably multiplying. They begin an invasion of Russia, and neither the GPU nor the entire Red Army can resist them. A miracle saves us - 18 0 frost in mid-August. This story sounded like a warning. The Rappovites became wary.
The author will continue the theme of science in “Heart of a Dog” (1925). He will not see this story published, however, like most of his works. It will be published in 1987. Professor Preobrazhesky got a man out of a dog, but life itself educates Sharikov and, above all, Shvonder, who stuffs Sharikov with slogans and gives Engels to read. As a result, the arrogant, aggressive creature threatens its creators. The professor makes him a dog again. Bulgakov argues that science cannot be devoid of an ethical principle; A scientist cannot escape life only into medical problems; he must be concerned with everything that happens in life.
Master's Theme
In the 30s, Bulgakov was not published. But he continued to write plays, maintaining an interest in satirical fiction: “Adam and Eve” (1931), “Ivan Vasilyevich” (1935-1936). In 1930 he sent a letter to Stalin. And he received a kind of “safe conduct letter”. After which he worked as an assistant director at the Moscow Art Theater for 6 years.
“The Life of Monsieur de Moliere” is a work that was commissioned by ZhZL. The novel introduces the theme of a master whose talent was ahead of his time. This theme will be continued in the novel “The Master and Margarita,” which he conceived and began writing in the winter of 1928-1929. He dictated the last insertions into the novel to his wife in 1940, three weeks before his death. This is a novel about the devil and Christ (at first it was called “The Engineer with a Hoof”) and about himself, about the Master, and about his faithful companion Margarita.
M.A. Bulgakov was helped by his last novel to say everything important in his life by his wife Elena Sergeevna, known to the whole world as Margarita. She became her husband’s guardian angel, never doubted him, and supported his talent with unconditional faith. She recalled: “Mikhail Afanasyevich once told me: “The whole world was against me - and I was alone. Now it’s just the two of us, and I’m not afraid of anything.” She vowed to her dying husband to publish the novel. I tried this six or seven times without success. But the strength of her loyalty overcame all obstacles. In 1967-1968, the Moscow magazine published the novel The Master and Margarita. And in the 80-90s, Bulgakov’s archives were opened, and almost the first interesting studies were written. The name of the Master is now known throughout the world.
Second - third lessons. The unusualness of M.A. Bulgakov’s novel “The Master and Margarita” The composition of the novel, its problems. Good and evil. The meaning of the dispute between Pontius Pilate and Yeshua Ha-Nozri in the novel.
Purpose of the lesson: the composition and problems of the novel are inextricably linked with the dispute between Pontius Pilate and Yeshua, let's try to see and understand this connection, see and understand the unusualness of the novel. During the lesson, we will turn to the paintings of famous artists who also tried to answer the question: “What is truth?”
The unusualness of the novel: a combination of fantasy and philosophical and biblical motifs, satire and deep psychologism. There are deeply sad lines in the novel, and there are mischievous, funny episodes and scenes. The true key to understanding the entire novel is the confrontation between freedom and unfreedom. To the question: “Who controls everything?” and the author tries to answer. The answer to this question is already in chapter 1, when Berlioz and Bezdomny met with Woland, and the devil spoke about the trial of Pontius Pilate, the procurator of Judea. To Wolond’s question: “if there is no God, then, the question arises, who controls human life and the entire routine in general on the ground?" Ivan Bezdomny, as if it were a matter of course, answers: “The man himself controls.” However, the spirit of evil, clearly ironic about the ignorance of his interlocutor, says: “Guilty... in order to manage, you need, after all, to have an accurate plan for some, at least somewhat decent, period. Let me ask you, how can a person manage if he is not only deprived of the opportunity to draw up any plan for at least a ridiculously short period of time, well, say, a thousand years, but cannot even vouch for his own tomorrow?” And further: “imagine that you, for example, begin to manage, manage both others and yourself, in general, so to speak, get a taste for it, and suddenly you... cough... cough... lung sarcoma... And it can be even worse: just a person is planning to go to Kislovodsk... a seemingly trivial matter, but he can’t do that either, because for some unknown reason he suddenly slips and gets hit by a tram! Are you really going to say that it was he who governed himself this way? Isn’t it more correct to think that someone completely different dealt with him?”
Who do you think controls everything: us, the world in which we live?
From the depths of centuries, from the 1st century AD, there is a dispute about who controls everything, this is the dispute between Yeshua Ha-Nozri and Pontius Pilate.
Let's imagine these people having an argument. Who are they?
Pontius Pilate is the procurator of Judea with unlimited power, and Yeshua Ha-Nozri is a wandering twenty-seven-year-old philosopher who, by the will of fate, now finds himself before the eyes of the ruler.
Let's turn to the portraits of the heroes. (Reproduction of the painting by N. Ge “What is truth. Christ and Pilate”)
“This man was dressed in an old and torn blue chiton. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back. The man had a large bruise under his left eye and an abrasion with dried blood in the corner of his mouth. The man brought in looked at the procurator with anxious curiosity.”
“Wearing a white cloak with a bloody lining and a shuffling cavalry gait, early in the morning of the fourteenth day of the spring month of Nisan, the procurator of Judea, Pontius Pilate, came out into the covered colonnade between the two wings of the palace of Herod the Great.”
What do we pay attention to in the description of Pontius Pilate?
One word in this description immediately attracts attention: the lining is “bloody”, not red, bright, crimson, etc. The man is not afraid of blood: he, who has a “cavalry gait”, is a fearless warrior, it is not for nothing that he is nicknamed “Golden Horseman” A spear".
We remember the role that detail plays in a work of art, especially in a portrait. Particular attention should be paid to the eyes of the procurator: “Now both sick eyes looked heavily at the prisoner”... “He looked with dull eyes at the prisoner”... In the description of Yeshua, the main thing is his speech, his words.
- Why does Yeshua call the procurator a good man? Have you ever heard such an appeal in our everyday life? Who usually says that? Why?
Is the prisoner afraid of Pontius Pilate?
Why does Yeshua reject Pontius Pilate's secret suggestions about how he should answer questions?
Yeshua, brutally beaten and sentenced to death, remains free; it is impossible to take away his freedom of thought and spirit. He does not listen to the advice of Pontius Pilate; they are alien to his spiritual essence.
How does Pontius Pilate try to save Yeshua?
He is thinking of declaring the wandering philosopher mentally ill, having not found corpus delicti in his case, and, having removed him from Yershalaim, subjected him to imprisonment where the residence of the procurator was located.
Why didn't Pontius Pilate believe the story of Matthew Levi?
Why can’t the almighty Pontius Pilate, in whose hands the life of any of the Jews, save Yeshua, although he wants to?
He does not know freedom, he is a slave to Caesar and his position and his career. And although he wants to save Yeshua, to cross the chains of this slavery beyond his strength. No less than Ivan Bezdomny and Berlioz, he is convinced of his unlimited abilities to control the course of history. The procurator thinks that by the power of the power given to him he can control human destinies, but Yeshua refutes this confidence of his: “And in this you are mistaken,” the prisoner objected, smiling brightly and shielding himself from the sun with his hand, “you must admit that cutting a hair can probably only be the one who hung him?
How was Pontius Pilate punished?
Pilate is punished with immortality. “The same incomprehensible melancholy... permeated his entire being. He immediately tried to explain it, and the explanation was strange: it seemed vague to the procurator that he had not finished speaking to the convict about something, or perhaps he had not listened to something.
Pilate drove away this thought, and it flew away in an instant, just as it had arrived. She flew away, and the melancholy remained unexplained, because it could not be explained by some other short thought that flashed like lightning and immediately went out: “Immortality... Immortality has come... Whose immortality has come? The procurator did not understand this, but the thought of this mysterious immortality made him feel cold in the sun.”
The topic of immortality has always worried people. Which of the characters you know was punished with immortality?
Immortality was often punished for a person who had committed evil in life. There is already a similar story in the Bible, it is dedicated to Cain and Abel. God makes Cain immortal to punish him for killing Abel. Cain is constantly tormented by repentance, but death does not come to him as salvation from mental torment. In M. Gorky’s legend about Larra (the story “Old Woman Izergil”), a proud man trampled on the laws of his tribe, believing that there were no more people like him. He, an arrogant and proud man, was driven away by people and doomed to immortality.
How is the procurator Pontius Pilate trying to correct his actions and alleviate the pangs of conscience?
He orders the suffering of Yeshua, crucified on a pillar, to end. But everything is in vain. This is nothing compared to the words that Yeshua, before his death, asks to convey to Pilate. (Chapter 25.) They will be repeated to the procurator of Judea by Afranius, the head of the secret service.
“Did he try to preach anything in the presence of the soldiers?
- No, hegemon, he was not verbose this time. The only thing he said was that among human vices, he considers cowardice to be one of the most important.”
He orders Afranius to kill Judas, this conversation is full of omissions, but the servant will understand his master, who gave the order to guard Judas.
“And, nevertheless, he will be stabbed to death today,” Pilate repeated stubbornly, “I have a presentiment, I tell you!” There was no chance that it deceived me,” then a spasm passed over the procurator’s face, and he briefly rubbed his hands.
“I’m listening,” the guest responded obediently, stood up, straightened up and suddenly asked sternly: “So they’ll kill you, hegemon?”
- Yes,” answered Pilate, “and all hope lies only in your diligence, which amazes everyone.”
Let's turn to the "Epilogue". The “Epilogue” talks about a dream that Ivan Nikolaevich Ponyrev (no longer Ivan Bezdomny) sees. “A wide lunar road stretches from the bed to the window, and a man in a white cloak with a bloody lining rises onto this road and begins to walk towards the moon. Walking next to him is a young man in a torn tunic and with a disfigured face. Those walking are talking passionately about something, arguing, wanting to agree on something.
- Gods, gods,” says that man in a cloak, turning his arrogant face to his companion, “ what a vulgar execution! But please tell me,” here the face turns from arrogant to pleading, “ because she wasn't there! I beg you, tell me, wasn’t it?
- Well, of course it wasn’t,” the companion answers in a hoarse voice, “you imagined it.”
- And you can swear to this? - the man in the raincoat asks ingratiatingly.
“I swear,” the companion answers, and for some reason his eyes smile.
- I don’t need anything else! - the man in the cloak screams in a broken voice and rises higher and higher towards the moon, carrying away his companion.”
So, it is not enough for Pontius Pilate that he was forgiven. His soul will calm down only when Yeshua tells him that there was no execution. There are actions that cannot be corrected. And my conscience won’t let me live in peace
Years, centuries, millennia pass, eras change, the world of things surrounding a person changes, but the people themselves remain the same - this is the thought to which M. Bulgakov stubbornly leads the reader.
In support of this idea, which is very important for the writer, a number of parallels are introduced into the work in the Yershalaim and Moscow parts of the novel. Before us is Moscow, filled with people free from God, the Tsar, and everything. Is it so?
How did the tram conductor react when a cat got on the tram and gave her a dime for a ticket?
She saw this only as a violation of the order: “Cats are not allowed! Cats are not allowed!”, “Get off, otherwise I’ll call the police!” She was not surprised at anything, her brain was so well saturated with the usual “should” and “shouldn’t.”
Let's pay attention to the writers gathered at Mikhail Berlioz's place. Why do they wait so long for the boss, not daring to leave? What are they talking about?
While Berlioz is their boss, they are afraid of him, and they cannot leave: suddenly they will take away the apartment or not give them the dacha. Having learned about Berlioz's death, they diligently began to respect the deputy, in case he was their future boss.
The composition of the novel is unique: it mixes chapters telling about Moscow in the 30s of the 20th century and chapters from Yershalaim. Who and what connects these eras and worlds?
What three worlds are depicted in the novel? How are they related?
Moscow 30s of the 20th century
A novel about Pontius Pilate (you guessed it right)
Otherworld
Woland and his retinue (saw)
Yershalaim 1st century AD
Court of Pontius Pilate
The Yershalaim chapters are a novel written by the Master, this is a story by Woland. Woland arrived in Moscow to conduct his social experiment: have people changed over these millennia? What attracts people, what do they love and value?
The thirst for spectacle in people has not faded at all. The chapter “Execution” describes the scene of the execution of Yeshua and two robbers. The execution takes place in an open place. It's "hellishly hot". But it does not frighten several “thousands of curious people” and crowds of pilgrims who “wanted to be present at an interesting spectacle.” The same thirst for spectacle and pleasure drives people almost two millennia later. The day after Woland’s scandalous show at Variety, a line “a kilometer long” gathered outside the theater building. The line behaved very excitedly, attracted the attention of citizens flowing past and were busy discussing incendiary stories about yesterday's unprecedented session of black magic. ...They told God knows what, including how after the end of the famous session some citizens ran down the street in an indecent manner, and so on...
By ten o'clock in the morning the line of people wanting tickets was so swollen that rumors about it reached the police..."
People also love money and pleasure, just like two thousand years ago.
Muscovites’ love for money is most fully shown in the chapters “Nikanor Ivanovich’s Dream” and “Black Magic and Its Exposure.” The latter, among many other things, tells how, during Woland’s performance at the Variety Show, money rained down on the audience and “... the audience began to catch pieces of paper.
Hundreds of hands rose, the audience looked through the pieces of paper at the illuminated stage and saw the most faithful and righteous watermarks. The smell also left no doubt: it was the incomparable smell of freshly printed money. First joy, and then amazement gripped the entire theater. The word “chervonetsy, chervonetsy” was buzzing everywhere, and cries of “ah, ah!” and cheerful laughter. Some were already crawling in the aisle, groping under the chairs. Many stood on the seats, catching fidgety, capricious pieces of paper...
A voice was heard on the mezzanine: “What are you grabbing? That's mine! It was flying towards me!” - and another voice: “Don’t push me, I’ll push you myself!” And suddenly there was a splash..."
Money can turn people into those obsessed with the desire to become the owner of crispy pieces of paper; they lose basic dignity and pride.
In the chapter “Nikanor Ivanovich’s Dream”, humanity’s love for money is depicted from a different angle. It turns out that money can be significant for people not only as a means of achieving some blessings in life, but also because money itself is already a goal. A person can only experience pleasure from the knowledge that he is the owner of secret wealth (“there are piles of gold there, and they belong to me!”), and it does not matter whether he will ever be able to use them. This is especially clearly shown in the scene of the exposure of a certain Sergei Gerardovich Dunchil, who, without any benefit for himself, kept “eighteen thousand dollars and a necklace worth forty thousand in gold... in the city of Kharkov in the apartment of his mistress Ida Gerkulanovna Vors.”
A position that gives power, money and debt. The position of Pontius Pilate gave him power, authority, and pleasure. Yeshua’s behavior, the dignity and courage with which he behaved during the investigation and during the brutal execution speak of the absolute firmness of his will in observing his duty. Precisely duty, since in his earthly life Yeshua was simply a moral person, and not a saint. He does not have a complete coincidence of duty and pleasure: Yeshua would like to go free, walk outside the city with Pilate, express his thoughts to him, the memory of the scourge causes him horror, and Pilate’s words instill anxiety. However, even on the cross, Yeshua is faithful to the highest moral law, and in response to the thief’s evil reproaches of injustice, he asks his executioner: “Give him something to drink...” Thus, through his life and death, Yeshua reveals to people the truth that affirms the existence of God.
The bureaucratic system of Moscow in the 30s “reached perfection.” The concept of duty and position is depicted in a grotesque form. It doesn’t matter at all whether a person gives orders, signs orders, or a suit from which its owner has temporarily disappeared (Chapter 27, “The End of Apartment No. 50”). The most amazing thing is that “having returned to his place, in his striped suit, Prokhor Petrovich completely approved of all the resolutions that the suit had imposed during his short absence.”
Kant's teachings were the philosophical basis of the entire work. I. Kant believed that initially any person is free. Two paths are open to him that he can follow - the path of good or the path of evil. The German philosopher argued that choosing the path of good is a person’s moral duty. And, according to I. Kant, a person can and should choose the path of goodness not for selfish reasons, but for the sake of the very idea of goodness, out of sheer respect for duty or moral law.
Yeshua is an ordinary, physically rather weak person, but he is a highly developed individual, a person in the full sense of the word.
What is the essence of the dispute between Yeshua and Pontius Pilate?
Yeshua is confident in the possibilities of words, ideas, souls, in the possibilities of changing the world and people for the better. Pilate considers circumstances, the environment, to be omnipotent.
What is Yeshua guilty of?
Did he disrupt the order with speeches about faith and truth, about violence and power, about goodness?
What does Pontius Pilate disagree with him about?
I agree with everything, but cannot or does not want to admit it. Pilate's strong mind was at odds with his conscience. And the headache is a punishment for the subordination of his mind to selfish considerations, for the fact that his mind allows for the unfair structure of the world. A headache is a longing for spiritual harmony. The essence of life is reason, goodness, intelligence and conscience.
Yeshua and Pilate argue about life and death. Pilate says that he can cut the hair of Yeshua's life. But Yeshua says that “only the one who hung can cut the hair.” What is the point of this dispute? What is life?
Life is not a body, not flesh, but a spiritual existence, spiritual values: beliefs, ideas, views, principles - until a person renounces them. Yeshua never abandoned them - nothing threatens this life: it is immortal.
Why should goodness change the world?
Good is omnipotent, but only under certain conditions. Firstly, goodness cannot rely on violence, it has its own specific weapon: the greatest goodwill, readiness and desire to understand another person, hence sincerity, understanding, responsiveness?
Secondly, goodness is the originality of thought, the breadth of cultural horizons, the ability to work and creativity, aimed at the benefit of people.
Thirdly, goodness is perseverance of the soul, firmness, and the greatest selflessness.
Why did Yeshua, a vagabond, a weak man, manage to turn the life of Pontius Pilate, an all-powerful ruler, around?
The idea of a good person is tested in the most difficult situations: in relation to Judas, Pilate and the Rat Slayer. The smarter a person is, the easier it is to change.
What then is evil?
Yeshua believes that there are no evil people in the world. Bulgakov believed that evil is a relic of pre-human society. Man begins where evil ends. Human strength comes only from goodness, and any other strength comes from the “evil one.”
“The Master and Margarita” is a novel about the omnipotence of good. But only under one condition: if a person does not leave the path of good in anything, under any of the most difficult and dramatic circumstances. This is a novel about human responsibility for good. The question of the writer’s responsibility is especially important,
Lithuanian artist and composer Mikalojus Ciurlionis has a painting called “Truth”. Against the background of a man’s face is a burning candle and a moth flying towards the flame. He will die, but he cannot help but fly towards the light! So is Yeshua Ha-Nozri. He knows what threatens him with the desire to tell only the truth (and simply the inability to lie!), and the desire to live only by the truth, but he will never behave differently. And vice versa, you only have to chicken out once, like Pontius Pilate, and your conscience will not give you peace.
talented person.
Lesson four. The originality of Bulgakov's devilry.
The purpose of the lesson:
Who represents the world of evil spirits in the novel? Who are they, Woland's retinue? What is unique about Bulgakov's devilry? Here are the questions for this lesson.
The other world, the world of evil spirits, is Woland and his retinue: Koroviev (Fagot), Behemoth, Azazelo and Gella. Woland's retinue, which commits murder, abuse, and deception in Moscow, is ugly and monstrous. But Woland does not betray, does not lie, does not sow evil. He discovers, manifests, reveals the abomination in life in order to punish it all. There is a scarab mark on the chest. He has powerful magical powers, learning, and the gift of prophecy. A collision with Woland’s retinue is a collision with oneself on a “sub-human” level.” Woland and his retinue are created from human shortcomings, hidden and manifested where the human retreats and yields.
Who is Woland?
For Ivanushka Bezdomny - a foreign spy, for Berlioz - a professor of history, a crazy foreigner, for Styopa Likhodeev - an artist, a black magician,” for the Master - a literary character. At the end of the novel, Margarita saw him in his real guise (chapter 32). "AND Finally, Woland also flew in his real guise. Margarita could not say what the reins of his horse were made of, and thought that it was possible that these were moon chains and the horse itself was just a block of darkness, and the mane of this horse was a cloud, and the rider’s spurs were white spots of stars.” Before us is a picture of the cosmos, in the depths of beginningless and infinite matter life arises,
It turns out that Woland is the eternal evil that is necessary for the establishment and existence of good and eternal justice on earth. Let us remember the epigraph of the novel from Goethe: “I am part of that force that always wants evil and always does good.”Woland tests people, and even if he sets traps for them, he always gives the experienced the opportunity to choose between good and evil, a chance to use their good will!
How do different people behave when they find themselves in contact with evil spirits? (Berlioz, Styopa Likhodeev, Maxim Poplavsky, barman from a variety show)
Why are Styopa Likhodeev being forced out of the apartment, what caused the anger of evil spirits?
For what purpose does Woland conduct a black magic session at a variety show?
Woland asks Fagot: “What do you think, the Moscow population has changed significantly?
The magician looked at the silent audience, amazed by the appearance of the chair out of thin air.
- “Exactly so, sir,” Koroviev-Fagot answered quietly. - You are right. The townspeople have changed a lot in appearance, I say, just like the city itself, however... But I, of course, am not so interested in buses, telephones and so on...
“Equipment,” suggested the checkered one.
- “Exactly right, thank you,” the magician said slowly in a heavy bass voice, “how much more important is the question: have these townspeople changed internally?”
And the examination begins of what has changed in people over two millennia. The brilliant performance is interrupted either by applause, admiration caused by money flying from somewhere above, by the opportunity to get a free dress, or by screams of horror when the head of the vulgar Bengalsky, who has bothered everyone, is torn off. This is a testing ground for passions, frank and shameless.
Woland gets the opportunity to conclude: “Well, well... they are people like people. They love money, but this has always been the case... Humanity loves money, no matter what it is made of, whether leather, paper, bronze or gold. Well, they are frivolous... well, well... and mercy sometimes knocks on their hearts... ordinary people... in general, they resemble the old ones... the housing problem has only spoiled them..."
Are there any recurring scenes in the novel that are comparable to Satan’s ball?
The ball at Griboedov's house was like hell. The author calls an ordinary restaurant evening a real hell: the same revelry of passions, a beautiful life, devoid of spiritual content.
What is the role of the Satan's ball scene in the novel?
At the ball, the devil demonstrates his achievements: crowds of murderers, molesters, conquerors, criminal lovers, poisoners, rapists of all kinds. The guests of the ball are the embodiment of evil, non-humans of all eras, ready to commit any crime in order to assert their evil will. Woland's Ball is an explosion of the most incredible desires, boundless whims. The explosion is bright, fantastic, colorful - and deafening with its diversity, stupefying with its, ultimately, monotony. Even Woland himself did not hide his boredom: “There is no charm in him and no scope either.”
Lesson five. The problem of creativity and the fate of the artist in M.A. Bulgakov’s novel “The Master and Margarita”. Tragic love of heroes.
Purpose of the lesson: A.S. Pushkin and N.V. Gogol, M.Yu. Lermontov and N.A. thought about creativity, about the purpose of the writer and poet at different times. Nekrasov, L.N. Tolstoy and A.P. Chekhov. The gift of talent is given to a select few. How to use this gift, how not to destroy it, what is the purpose of the writer - this is another set of questions in M.A. Bulgakov’s novel, which we will try to answer.
In Bulgakov's novel there is a hero who is not named. He himself and those around him call him Master.
Why do you think the hero doesn't have a name?
I want to write this word with a capital letter, because the power of this person’s talent is extraordinary. It appeared in the novel about Pontius Pilate and Yeshua. So who is he, why doesn’t he say his name? During the lesson we will talk about his tragic fate and the world into which he comes with his novel.
When does the Master first appear?
The poet Ivan Bezdomny, having witnessed 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 a “house of sorrow.” This is a continuation of the terrible real world because, when accepting patients, they first of all ask whether they are members of a trade union
In Chapter 13, we will read a description of the appearance of the person whom Homeless will see through the balcony door. “From the balcony, a shaved, dark-haired man with a sharp nose, anxious eyes and a tuft of hair hanging over his forehead, about thirty-eight years old, cautiously looked into the room.” There will be an introduction. To Ivan’s question why, if the visitor has the keys to the balcony doors, he cannot “escape” from here, the guest will answer that he “has nowhere to escape.”
Who gave this name to the hero, who called him Master?
Let's try to reconstruct the Master's past from the text. The life of a historian by training, who worked in one of the Moscow museums, was rather colorless until he won one 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 the story that happened two thousand years ago in the ancient Jewish city. He devoted himself entirely to work. And it was at this time that he met a woman who was just as lonely as he was.
How did he recognize Margarita, his kindred spirit?
“She was carrying disgusting, alarming yellow flowers in her hands... Thousands of people were walking along Tverskaya, but I guarantee you that she saw me alone and looked not only alarmingly, but even as if painfully. And I was struck not so much by her beauty as by the extraordinary, unprecedented loneliness in her eyes!” So, two solitudes met.
Why is Margarita lonely?
Margarita will later tell Azazello about the reason for this loneliness: “My tragedy is that I live with someone I don’t love, but I consider it unworthy to ruin his life.” “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once!” And the lives of these two people were filled with great meaning. It was Margarita who began to encourage him in his work, to call him Master, it was she who promised him fame.
- “And I went out into life, holding it in my hands, and then my life ended.” What are these words of the Master about?
This is a novel about Pontius Pilate, not about Yeshua, but Pontius Pilate. Why?
What will happen to the Master? How will the literary world greet his version of the biblical story? The novel was not accepted for publication; everyone who read it: the editor, members of the editorial board, critics - attackedagainst the Master, responded in the newspapers with devastating articles. The critic Latunsky was especially furious. In one of the articles, “the author suggested hitting, and hitting hard, pilatchina and to that godman who decided to smuggle (that damned word again!) it into print.”
What didn’t suit the writers in the Master’s novel?
To answer this question, let's take a closer look at the world of art, where the author of the novel about Pontius Pilate was forced to come. Let's read the names of writers and poets, their ridiculous pseudonyms. This is a world of mediocrity, opportunism, the desire to destroy everything living and talented - and this is the world of art!
And again to the writers - what are their telling names worth: Dvubratsky, Zagrivov, Glukharev, Bogokhulsky, Sladky and, finally, the “merchant orphan Nastasya Lukinishna Nepremenova”, who took the pseudonym “Navigator Georges”! Ivan Bezdomny also understands that his poems are mediocre. The reader has the opportunity to observe how only one evening passes at MASSOLIT, but after the author he is ready to exclaim: “In a word, hell... Oh gods, my gods, poison for me, poison for me...”
This is how these people live in the world, having forgotten about the high purpose of the writer, having lost shame and conscience. No wonder the evil spirits dealt so terribly with Berlioz, throwing him under a tram and then stealing his head from the coffin.
Why did Berlioz deserve such punishment?
It is he who stands at the head of MASSOLIT, at the head of those who can exalt or kill with a word. He is a dogmatist, he discourages young writers from thinking independently and freely. Finally, he serves the authorities, he is consciously committed to a criminal idea. And if Bezdomny can be forgiven for something because of his youth and ignorance (which, of course, one must hasten 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.
Time has changed, but people have not changed. In the Master's novel, literary officials saw themselves, that is, those who were fed by power, and therefore depended on someone who, two thousand years ago, could bear the name of Emperor Tiberias or Pontius Pilate, but now has a different sounding name. Times change, but man does not move “to the kingdom of truth and justice, where no power will be needed at all.”
Which of the heroes of the novel written by the Master does Margarita resemble in her quest to save her lover? How will she get her love back?
Margarita is now as selfless and courageous as Matthew Levi, who tried to save Yeshua.Peopledid everything to separate the lovers, and Margarita will help return the Masterdevilry. Let's turn to the plot of the novel and remember how Margarita meets Woland.
What request does Matvey Levi come to Woland with?
“He read the Master’s work,” Matthew Levi spoke, “and asks you to take the Master with you and reward him with peace. Is it really difficult for you to do this, spirit of evil?
- Tell me what will be done,” Woland replied.
Why didn't the Master deserve light?
The master did his job on earth: he created a novel about Yeshua and Pilate and showed that a person’s life can be determined by one of his actions - one that will elevate and immortalize him or make him lose peace for the rest of his life and suffer from acquired immortality. But at some point the Master retreated, broke down, and was unable to fight for his brainchild to the end. Maybe that's why he didn't deserve the light?
Bulgakov believed that a person, especially an artist, is responsible with all the forces of his soul and conscience for improving the world in which he lives. The master is sentenced to peace, the big world remains behind, and a ghostly conditional existence lies ahead. The master was broken by the adversity that befell him and broken by himself from the inside. Therefore, the only way out for him is death, oblivion. And Margarita shares his fate with him. But the life of the Master sprouts. He did not disappear without a trace. Ivan Bezdomny has completely changed, now he is Ivan Nikolaevich Ponyrev. He abandoned existence under an absurd and offensive pseudonym, and from writing absurd and ignorant poetry. He got his own name and his own business - the difficult task of comprehending life. He is now going his own way.
How do you understand the ending of the novel: “Manuscripts don’t burn”?
The ending of the novel is bright and joyful. Manuscripts do not burn. These words are born from the confidence that any real work into which a person’s soul and mind is invested does not disappear without a trace. This idea has been confirmed more than once in the fate of Bulgakov himself and his novel.
The love of heroes is tragic. What was happiness for them?
Margarita is a free bird by nature. Before meeting the Master, she had everything a woman needed for a woman’s happiness from the point of view of the average person: a kind husband, a luxurious mansion, money. But there was no happiness. And only when Margarita guessed him among thousands of people, happiness reigned in a small basement on Arbat: freedom, creativity, love.
Who destroyed this happiness?
This happiness was destroyed at the moment when his neighbors convicted the Master that he was not like them. Happiness, acquired at the cost of suffering, turns out to be too fragile, and only in the other world are the souls of lovers reunited
Knowledge of the circumstances of M. Bulgakov’s personal life helps to understand what is described in the novel. The meeting of the master and Margarita is reminiscent of the writer’s acquaintance with his last wife, Elena Sergeevna Shilovskaya.
Like Bulgakov's heroine, Elena Sergeevna was married to a man holding a high position in the state - division commander E.A. Shilovsky. Like Margarita, having met her beloved and realizing that this was her destiny, she was not afraid of the difficulties of the upcoming breakup and loss of material well-being. The starting point of Elena Sergeevna’s love for Bulgakov, like the heroine of the immortal novel, who “had a passion for all people who do something first-class,” was an interest in the work of her lover. This is how his last wife explained her desire to meet Bulgakov: “I have been interested in him for a long time. Since I read “Fatal Eggs” and “The White Guard”. I felt that this was a completely special writer, although our literature of the 20s was very talented. Russian literature had an extraordinary rise. And among everyone there was Bulgakov, and among this large constellation he stood somehow apart in his unusualness, unusualness of language, look, humor: everything that, in fact, defines a writer. All this amazed me... I was just the wife of Lieutenant General Shilovsky, a wonderful, noble man. It was, as they say, a happy family: a husband in a high position, two beautiful sons. In general, everything was fine. But when I met Bulgakov by chance in the same house, I realized that this was my destiny, despite everything, despite the incredibly difficult tragedy of the breakup. I did all this because without Bulgakov there would have been neither the meaning of life nor justification for it.”
Agree that not every woman, a mother of two children, will destroy a family, and even having a “wonderful, noble man” as a husband. Only a determined, strong-willed person can do this. This is exactly what Elena Sergeevna was like, and the writer endowed the heroine of his work with the same character traits. Margarita is a much stronger personality than her lover, who is a type of weak-willed person who is entirely at the mercy of circumstances. Only an unexpected win of one hundred thousand rubles forced the master to quit a job that did not suit him, buy an apartment and begin writing a novel about the era of Christ. Thanks to Margarita, the master enters the struggle for his “immortal” work, but the very first failures plunge him into mortal horror: he burns his creation, goes crazy and ends up in an insane asylum. Just as easily as he comprehended the truth, the master refuses, simply renounces it: “I no longer have any dreams and I have no inspiration either... I was broken, I’m bored, and I want to go to the basement... I hate it, this novel...”
List of used literature
Andreevskaya M. About “The Master and Margarita”. Lit. review, 1991. No. 5.
Belozerskaya - Bulgakova L. Memoirs. M. Hood. Literature, 1989. pp. 183 - 184.
Bulgakov M. The Master and Margarita. M. Young Guard. 1989. 269 p.
Galinskaya I. Mysteries of famous books. M. Nauka, 1986. pp. 65 - 125.
Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969. P. 261
Gudkova V. Mikhail Bulgakov: expanding the circle. Friendship of Peoples, 1991. No. 5. pp. 262 - 270.
Gospel of Matthew. “Collection on the night of Nisan 14” Ekaterinburg Middle-Urals. book publishing house 1991 pp. 36 - 93.
Zolotonosov M. Satan in unbearable splendor. Literary review.1991. No. 5.
Karsalova E. Conscience, truth, humanity. Bulgakov's novel “The Master and Margarita” in the graduating class. Literature at school. 1994. No. 1. P.72 - 78.
Kryvelev I. What history knows about Jesus Christ. M. Sov. Russia. 1969.
Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991. P. 41
France A. Procurator of Judea. Collection “On the night of the 14th of Nisan” Ekaterinburg. Middle-Ural. book ed. 1991. P.420 - 431.
Chudakova M. Mikhail Bulgakov. The era and fate of the artist. M.A. Bulgakov. Favorites by Sh.B. M. Education pp. 337 -383.
Internet sites: uroki.net.
Technologies: creating a presentation in Microsoft Power Point, using the Gimp program.
Lesson objectives:
2. Pay attention to the symbolism of the number “three” in M. Bulgakov’s novel “The Master and Margarita”.
Lesson equipment: multimedia installation, CD with a recording of an electronic lesson, GIMP program.
Lesson Plan
Teacher: Hello, dear guys, hello, dear guests! Class 11 “A” of secondary school No. 20 named after Vasley Mitta with in-depth study of individual subjects presents the author’s program for the lesson “Three Worlds in M. Bulgakov’s novel “The Master and Margarita”.
Today we will continue our journey through the amazing world created by M. Bulgakov. The objectives of our lesson are as follows:
1. Show the features of the genre and compositional structure of M. Bulgakov’s novel “The Master and Margarita”.
2. Pay attention to the symbolism of the number three in M. Bulgakov’s novel “The Master and Margarita”.
3. Understand the writer’s intention, notice and comprehend the echoes of the novel’s lines.
4. Understand the moral lessons of M. Bulgakov, the main values that the writer talks about.
5. Contribute to the development of interest in the personality and creativity of the writer.
We have three groups that will represent the three worlds of the novel:
Peace of Yershalaim;
Moscow reality;
Fantasy world.
Messages from trained students (philosophy of P. Florensky about the trinity of being)
Group work.
Ancient Yershalaim world
Questions:
How does his portrait reveal Pilate's character?
How does Pilate behave at the beginning of his meeting with Yeshua and at the end?
What is Yeshua's core belief?
Student answers.
Teacher: If the “Moscow chapters” leave a feeling of frivolity and unreality, then the very first words of the novel about Yeshua are weighty, precise, and rhythmic. There is no game in the “gospel” chapters. Everything here breathes authenticity. We are not present anywhere in his thoughts, we do not enter his inner world - it is not given. But we only see and hear how he acts, how the familiar reality and the connection of concepts crack and spread. From afar, Yeshua Christ sets a great example for all people.
The idea of the work: all power is violence over people; the time will come when there will be no power of either Caesar or any other power.
Who is the personification of power?
How does Bulgakov portray Pilate?
Students: Pilate is cruel, he is called a ferocious monster. He only boasts of this nickname, because the world is ruled by the law of force. Behind Pilate is a great life as a warrior, full of struggle, hardship, and mortal danger. Only the strong, who do not know fear and doubt, pity and compassion, win in it. Pilate knows that the winner is always alone, he cannot have friends, only enemies and envious people. He despises the mob. He indifferently sends some to execution and pardons others.
He has no equal, there is no person with whom he would just want to talk. Pilate is sure: the world is based on violence and power.
Creating a cluster.
Teacher: Please find the interrogation scene (chapter 2).
Pilate asks a question that should not be asked during interrogation. What kind of question is this?
Students read an excerpt from a novel. (“What is truth?”)
Teacher: Pilate's life has long been at a dead end. Power and greatness did not make him happy. He is dead in soul. And then a man came who illuminated life with new meaning. The hero is faced with a choice: to save an innocent wandering philosopher and lose his power, and possibly his life, or to maintain his position by executing an innocent man and acting against his conscience. In essence, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth turns out to be more valuable to him than life. Pilate decides to save Yeshua from execution. But Kaifa is adamant: the Sanhedrin does not change its decision.
Why does Pilate approve the death sentence?
Why was Pilate punished?
Students: “Cowardice is the most serious vice,” Woland repeats (chapter 32, night flight scene). Pilate says that “more than anything in the world he hates his immortality and unheard-of glory.” And then the Master enters: “Free! Free! He is waiting for you!" Pilate is forgiven.
Modern Moscow world
Never talk to strangers
Students: The master speaks of him as a well-read and very cunning person. Berlioz has been given a lot, and he deliberately adjusts himself to the level of the worker poets he despises. For him there is no God, no devil, nothing at all. Apart from everyday reality. Where he knows everything in advance and has, if not unlimited, but quite real power. None of the subordinates is engaged in literature: they are only interested in the division of material wealth and privileges.
Teacher: Why was Berlioz punished so terribly? Because he is an atheist? Because he is adapting to the new government? For seducing Ivanushka Bezdomny with unbelief? Woland gets irritated: “What do you have, no matter what you’re missing, there’s nothing!” Berlioz gets “nothing”, non-existence. He receives according to his faith.
Each will be given according to his faith (chapter 23) By insisting that Jesus Christ did not exist, Berlioz thereby denies his preaching of goodness and mercy, truth and justice, the idea of good will. Chairman of MASSOLIT, editor of thick magazines, living in the power of dogmas based on rationality, expediency, devoid of moral foundations, denying belief in the existence of metaphysical principles, he implants these dogmas in human minds, which is especially dangerous for a young fragile consciousness, therefore the “murder” of Berlioz Komsomol member takes on a deeply symbolic meaning. Not believing in other existence, he goes into oblivion.
What are the objects and techniques of Bulgakov's satire? Work on the text.
Styopa Likhodeev (chapter 7)
Varenukha (chap. 10, 14)
Nikanor Ivanovich Bosoy (chapter 9)
Bartender (Ch. 18)
Annushka (Ch. 24, 27)
Aloysius Mogarych (chapter 24)
The punishment is in the people themselves.
Teacher: Critics Latunsky and Lavrovich are also people invested with power, but deprived of morality. They are indifferent to everything except their career. They are endowed with intelligence, knowledge, and erudition. And all this is deliberately placed at the service of the vicious power. History sends such people into oblivion.
The townspeople have changed a lot on the outside... a much more important question is: have these townspeople changed on the inside? Answering this question, evil spirits come into play, conduct one experiment after another, arrange mass hypnosis, a purely scientific experiment. And people show their true colors. The revelation session was a success.
The miracles demonstrated by Woland's retinue are the satisfaction of people's hidden desires. Decency disappears from people and eternal human vices appear: greed, cruelty, greed, deceit, hypocrisy...
Woland sums up: “Well, they are people like people... They love money, but this has always been the case... Ordinary people, in general, resemble the old ones, the housing issue only spoiled them...”
What is the evil spirit making fun of and mocking? By what means does the author depict ordinary people?
Students: Moscow philistinism is depicted using cartoons and grotesques. Fiction is a means of satire.
Master and Margarita
Who told you that there is no true, faithful, eternal love in the world?
May the liar's vile tongue be cut out!
Teacher: Margarita is an earthly, sinful woman. She can swear, flirt, she is a woman without prejudices. How did Margarita deserve the special favor of the higher powers that control the Universe? Margarita, probably one of those one hundred and twenty-two Margaritas that Koroviev spoke about, knows what love is.
Love is the second path to superreality, just as creativity is what can resist the eternally existing evil. The concepts of goodness, forgiveness, responsibility, truth, and harmony are also associated with love and creativity. In the name of love, Margarita accomplishes a feat, overcoming fear and weakness, defeating circumstances, without demanding anything for herself. Margarita is the bearer of enormous poetic and inspired love. She is capable not only of boundless fullness of feelings, but also of devotion (like Matthew Levi) and the feat of fidelity. Margarita is able to fight for her Master. She knows how to fight, defending her love and faith. It is not the Master, but Margarita herself who is now associated with the devil and enters the world of black magic. Bulgakov’s heroine takes this risk and feat in the name of great love.
Find evidence of this in the text. (Scene of Woland’s ball (chapter 23), scene of Frida’s forgiveness (chapter 24).
Margarita values the novel more than the Master. With the power of his love he saves the Master, he finds peace. The theme of creativity and the theme of Margarita are associated with the true values affirmed by the author of the novel: personal freedom, mercy, honesty, truth, faith, love.
So, what is the central issue raised in the actual narrative plan?
Students: The relationship between the creator-artist and society.
Teacher: How is the Master similar to Yeshua?
Students: They are united by truthfulness, incorruptibility, devotion to their faith, independence, and the ability to empathize with the grief of others. But the master did not show the necessary fortitude and did not defend his dignity. He did not fulfill his duty and found himself broken. That's why he burns his novel.
Otherworld
Teacher: Who did Woland come to earth with?
Students: Woland did not come to earth alone. He was accompanied by creatures who, by and large, play the role of jesters in the novel, putting on all sorts of shows, disgusting and hateful to the indignant Moscow population. They simply turned human vices and weaknesses inside out.
Teacher: For what purpose did Woland and his retinue end up in Moscow?
Students: Their task was to do all the dirty work for Woland, serve him, prepare Margarita for the Great Ball and for her and the Master’s journey to a world of peace.
Teacher: Who made up Woland’s retinue?
Students: Woland’s retinue consisted of three “main jesters: Behemoth the Cat, Koroviev-Fagot, Azazello and also the vampire girl Gella.
Teacher: What problem does the author raise in the other world?
Students: The problem of the meaning of life. Woland's gang, committing murders, outrages, and deceptions in Moscow, is ugly and monstrous. Woland does not betray, does not lie, does not sow evil. He discovers, manifests, reveals the abomination in life in order to punish it all. There is a scarab mark on the chest. He has powerful magical powers, learning, and the gift of prophecy.
Teacher: What is reality like in Moscow?
Students: Real, catastrophically developing reality. It turns out that the world is surrounded by grabbers, bribe-takers, sycophants, swindlers, opportunists, and self-interested people. And so Bulgakov’s satire matures, grows and falls on their heads, the conductors of which are aliens from the world of Darkness.
Punishment takes different forms, but it is always fair, done in the name of good and deeply instructive.
Teacher: How are Yershalaim and Moscow similar?
Students: Yershalaim and Moscow are similar in landscape, hierarchy of life, and morals. Tyranny, unfair trials, denunciations, executions, and hostility are common.
Individual work:
Drawing up clusters (images of Yeshua, Pontius Pilate, the Master, Margarita, Woland, etc.);
Drawing symbolic images on a computer (GIMP program);
Presentation of student work.
Checking the completion of tasks.
Lesson summary, conclusions.
All plans of the book are united by the problem of good and evil;
Topics: search for truth, theme of creativity;
All these layers and space-time spheres merge at the end of the book
The genre is synthetic:
And a satirical novel
And a comic epic
And utopia with elements of fantasy
And historical narrative
Main conclusion: The truth, the bearer of which was Yeshua, turned out to be historically unrealized, while remaining at the same time absolutely beautiful. This is the tragedy of human existence. Woland makes a disappointing conclusion about the immutability of human nature, but these same words convey the idea of the indestructibility of mercy in human hearts.
Homework: create a test or crossword puzzle “Three worlds in M. Bulgakov’s novel “The Master and Margarita” using modern computer technologies.
Tatiana Svetopolskaya, teacher of Russian language and literature at gymnasium No. 6 in the city of Novocheboksarsk, Chuvash Republic
Illustration: http://nnm.ru/blogs/horror1017/bulgakov_mihail_afanasevich_2/
The folder contains lesson notes on the topics: “Biography of M.A. Bulgakov”, “Creative history of the novel “The Master and Margarita””, “Chapters of Yershalaim”, “Satirical depiction of Moscow”, “The Fate of the Master”, “Evil spirits in the novel”. Each lesson includes a presentation.
Download:
Preview:
TOPIC: Ershalaim chapters in the novel by M.A. Bulgakov "The Master and Margarita".
Goal: to show the role of the Yershalaim chapters in the structure of the novel, raising “eternal” problems; help to understand the inviolability of moral laws, the importance of the highest court - the court of conscience.
During the classes
SLIDE 1. Teacher's word.
So, we found out that three storylines are intricately intertwined in the novel: events in Yershalaim two thousand years ago, the story of the Master and Margarita, and pictures of Moscow life in the 30s. But the core on which the entire work rests are the Yershalaim chapters.
The purpose of the lesson: find out why a 20th century writer turns to these biblical events? What does he want to tell us, the readers?
SLIDE 2. First, let's find out where Bulgakov deviated from the biblical story.
In the Gospel the main character is Jesus. Can Yeshua be called a god-man, and therefore the main character in the Master’s novel? (Students compose the right column of the table themselves).
Bible. | Novel “The Master and Margarita” |
Son of God, 33 years old, born in Bethlehem. | Yeshua -Ha-_Nozri is 27 years old, born in the city of Gamala. (Portrait p. 23) |
Mother Mary, Father Joseph the carpenter. | Doesn't remember his parents. The father may be a Syrian, a vagabond. |
Has 12 disciples - apostles. | 1 student - Matvey Levi. |
Popular among the people; a solemn meeting at the entrance to Jerusalem on a donkey. Sermon on the Mount. | Nobody knows him in the city. There is no donkey. |
Crucified on the cross, buried and resurrected on the 3rd day. | Crucified on a pillar, died, Yeshua's body was stolen by Matthew Levi. |
Judas hanged himself. | Judas is killed by order of Pontius Pilate. |
Miracles of Divine Origin. | The doctor and philosopher relieves Pontius Pilate of his headaches with an earthly word. |
SLIDE 3. Conclusion: No, Yeshua is an earthly man without any divine predestination.
SLIDE 4. Who is in charge then? Pontius Pilate is the main character of the Master's novel. Woland asks the Master: “What is the novel about?” And what does he hear in response? “A novel about Pontius Pilate,” is the Master’s remark.
- Let's find out why the Master makes Pontius Pilate the main character of his novel.
What is known about him from history? Pontius Pilate was a good administrator, a smart strategist, and a keen-sighted politician. However, the reign of Pontius Pilate was marked by violence and executions.
What kind of person is Pilate as depicted by Bulgakov? Read the portrait description. P.22
– What detail in the description of Pontius Pilate attracts attention? (bloody lining, not red, not bright... This is one of the symbols that carries a certain load).
– What does this mean? (the man is not afraid of blood, a fearless warrior, it is not for nothing that he was nicknamed “Horseman of the Golden Spear” - p. 40. He himself is ready to repeat about himself what others say about him: “a ferocious monster.” Cruel, strong, not knowing pity and compassion , despises the mob, indifferently sends some to execution and has mercy on others.)
- - What else can you say about this man?He exercises the authority of Rome in Judea. Now he has an unbearable headache, so he thinks about poison. He is lonely and loves only his dog. They are afraid of him. His power is limitless. Tries to understand the case of the arrested person. The interrogation turns into a conversation-argument.
SLIDE 5. What are the heroes arguing about? What is truth? P. 27
SLIDE 6. Everyone understands the truth in their own way. This is how the dictionary interprets this concept. True: 1) what exists in reality reflects reality, truth. 2) a statement, a judgment, verified by practice, experience).
– What is amazing about Yeshua’s answer? P. 27 An abstract concept turns out to be a human concept, it comes from a person and is closed in him. The insightful Yeshua guessed from his eyes about Pilate’s suffering. And P.P. began to treat the arrested man differently from other people like Yeshua, and became interested in his speeches.
– Is the prisoner afraid of Pontius Pilate? (chapter 2 p. 28) With P.P. he speaks calmly. He is afraid to experience physical pain, but he is unshakable when he defends his view of the world, the truth. He sympathizes with the procurator and saves Pontius Pilate from his headache with an earthly word, telling him what no one dared to say. Convinces Pontius Pilate of loneliness and lack of faith in people. – p.28.
– What fact confirms that he knows how to convince people? (The story of Matthew Levi, chapter 2 p. 26).
- The next question that caused controversy among opponents, - What does a person’s fate depend on? Does a person have the right to control other people’s destinies? P. 30. (Pontius Pilate is confident that the world is based on violence and power. As for the life and fate of a person for Yeshua, no one can control his life; whoever hangs him will cut him off.)
Are all people really good?Pilate has not trusted people for a long time, which is why he is lonely. For Yeshua, the truth is that “there are no evil people in the world.” Yeshua preaches forgiveness. And if he had talked to Ratkiller, he would have changed dramatically.
SLIDE 7. In what way is the philosophy of Yeshua close to the teachings of Christ? Jesus: “Love your neighbor as yourself.”Yeshua forgives the Rat Slayer who beat him, Dismas, the crucified robber suffering from thirst and looking at him with hatred and Pontius Pilate who betrayed him. Yeshua is convinced that all people on earth are“good people...there are no evil people in the world.”
– Pontius Pilate after this part of the conversation makes a decision in favor of Yeshua. Which? Why? (p. 31, chapter 2) Declare Yeshua mentally ill, without finding evidence of a crime, remove him from Yershalaim and place him in his residence. Keep it with him because there are only people around him who are afraid of him, and he has finally found someone who understands him, he wants to get to know this person better.)
– Why is he forced to abandon this decision? Let's follow the text. The secretary, taking notes during the interrogation, sympathizes with him (p. 32, chapter 2)
What kind of vision does the procurator see? This is how Pilate sees Caesar, and therefore does not serve him out of respect. Then why?Pilate is a brave warrior on the battlefield, but a coward when it comes to Caesar's power. He is so afraid for himself that he will even go against his conscience.
Forced to pass judgment on Yeshua, he knows that along with the death of the wandering philosopher, his own death will come, what? (Moral, he will suffer from remorse. (p. 32 “Thoughts ran short...).
– How does Pilate try to save him? Did he himself suggest Yeshua a way out, a saving answer? (p. 33. “Listen, Ga Notsri,” he suddenly spoke...” For this, Yeshua needs to be away from his views.)
With what words did Yeshua sign his death warrant? There will be no one's power over people. He continues to preach dangerous ideas, encroaching on official power. P. 34 (“Among other things…)
– Does Pontius need such truth? (no, p. 35) Pontius Pilate acts contrary to his feelings. He washes his hands, but forever and ever he will not be able to wash away the blood of this preacher.
– Why didn’t Pontius Pilate save Yeshua Ha-Nozri, having such power? He is not free because he depends on the power of Tiberius, he is afraid to find himself in the place of the arrested person and lose everything. A fearless warrior, he is afraid and does not find the strength to go against those who are disturbed by the preacher, not fitting into the system. This is how the novel sounds about the theme of a totalitarian state that worried the author.
– After the decision of execution was approved by the Sanhedrin, what feeling gripped Pilate? Some kind of incomprehensible melancholy pierced his entire being; it seemed to him that he had not finished speaking to the condemned man, had not listened to the end of something. This thought flew away, and the melancholy remained unexplained.
Another thought came, the thought of immortality. But whose immortality has come? The procurator did not understand this. (p. 39)
– Why does the possibility of immortality not make a person happy, but gives rise to horror in his soul? He will remain in people's memory not for his exploits, not for his wise policies, but as a coward and a traitor. Pontius Pilate is one of those people who have a conscience. A conscientious man, Pilate knows that he will have no peace day or night.
How else is Pilate trying to save Yeshua? (p. 39-40. He persuades Caiphas, threatens him. As events unfold, the reader recognizes the new Pilate - tormented, suffering, bitterly regretting that he “sent the philosopher to his death with his peaceful preaching.” We We see the terrible judgment that Pilate inflicted on himself: “He was carried away, suffocating and burning, by the most terrible anger, the anger of powerlessness,” writes Bulgakov.
What frightens the high priest in Yeshua? p. 41
Chapter 16. (Dream of Ivan Bezdomny). - What other act will Pilate commit, trying to soften the fate of the condemned? (He orders the execution to stop at the fifth hour of suffering.)
In chapter 25, Pilate talks with Afranius, the chief of the secret police. What aspects of the execution interest Pilate?
In order to somehow justify himself, Pilate gives orders to the chief of the secret police. What and how does he do it?The conversation is full of omissions, half-hints. But Afranius will understand his master. (pp. 326-327). The executive Afranius reported to Pilate at night that, unfortunately, “he was unable to save Judas from Cariathus; he was stabbed to death at night.”
Pilate avenges the death of Yeshua, and on his orders Judas of Cariath is killed. But is his conscience at peace? 328 No, this is self-deception.
What dream is he having? pp. 339-340.
SLIDE 8. Let us remember another hero - Matthew Levi. How will Matthew Levi behave when he learns about the inevitability of Yeshua’s death? p. 186. (He made an attempt to break through to the place of execution. For this he received a heavy blow to the chest with the blunt end of a spear. Most of all, Matvey wants (p. 190-191).
– How will Levi Matvey fulfill his last duty to his teacher? (He will take down Yeshua's body and carry it away from the top of the mountain.)
– Remember what conversation took place between Pontius Pilate and Levi? (Ch. 26 p. 349)
SLIDE 9 . Why can we say that Matvey Levi is a worthy student? Levi will behave proudly and will not be afraid of Pilate. He was as tired as a man can be who thinks of death as a rest. Levi refuses Pilate's offer to serve him (chapter 26, p. 350). Only once does Pontius realize his triumph over Levi when he says that he killed Judas.
Why do Woland and Pontius Pilate reproach Matthew Levi for not being a true disciple of Yeshua? Pontius Pilate says: “You are cruel, but he was not cruel.” Levi Matthew wanted to kill Judas. Murder is evil, however, from the point of view of Pilate and Matthew, the murder of Judas is good, and Yeshua, before his execution, worries about the fate of the “young man from Kiriath.”
SLIDE 10 . How did fate punish Pilate for his cowardice? Let's turn to chapter 32 “Forgiveness and eternal peace.” The procurator of 12 thousand moons will be tormented by guilt. He is not an executioner, but a victim of power, of fear of it. (To Margarita’s question: “What is he saying?” Woland answers: p. 405.)
– Do you remember that the topic of immortality has always worried people. Immortality was often punished for a person who had committed evil in life. Already in the Bible there is a similar story dedicated to Cain and Abel. God makes Cain immortal to punish him for killing Abel. Cain is tormented by repentance, but death does not come as a deliverance from torment.
– Which literary heroes suffered a similar fate? (M. Gorky “Old Woman Izergil”, legend of Larra).
So. Pontius Pilate has been suffering for about two thousand years. And Margarita, traveling with Woland, asks to let him go (p.405).
– Will the procurator of Judea calm down now? Why don't these words end the stories of Pontius Pilate and Yeshua? What episode will conclude the novel written by the Master? ( epilogue).
SLIDE 10-2. So, it is not enough for Pontius Pilate that he was forgiven. The soul will calm down when Yeshua tells him that there was no execution.
SLIDE 11. Lesson summary. Recording the Problems of a Novel.
What is the purpose of the “gospel” chapters in the novel? In the gospel chapters - a kind of ideological center of the novel - the most important questions of human existence are posed that concern people at all times, “eternal questions”:
- What is truth?
- What is good and evil?
- Man and his faith.
- Man and power.
- What is the meaning of human life?
- Inner freedom and non-freedom of a person.
- Loyalty and betrayal.
- Mercy and forgiveness.
Bulgakov was sure that life on earth is based on higher, Spiritual laws. And the writer’s job is precisely to prove the existence of these higher laws, to constantly remind people that living according to spiritual laws is the meaning and purpose of human life.
Homework.Select material relating to the life of Moscow and Muscovites, using Ch. 1,6,7,9,12,15, 17,18, 24,27.
Preview:
TOPIC: “Evil spirits” in the novel. The problem of mercy, forgiveness and justice.
Lesson objectives: reveal the meaning of the image of Woland and his retinue in the novel “The Master and Margarita”; consider the artistic techniques that the author uses to create these characters; find out how M.A. reveals Bulgakov issues of mercy and justice, good and evil in the novel; understand the writer's intention.
During the classes
...what would your good do if evil did not exist, and what would the earth look like if shadows disappeared from it? After all, shadows come from objects and people.
M. Bulgakov “The Master and Margarita”
SLIDE 1. Recording the topic of the lesson.
SLIDE 2. The epigraph defines the main function of Satan and his retinue. Which one? He “eternally wants evil and always does good.”
SLIDE 3. Find in ch. 29 Woland's thoughts about Good and Evil. What is the point of these discussions? (Epigraph) The problem of Good and Evil, Light and Darkness is considered as a core that unites all the images of the heroes of the novel into a single system. Why does Evil exist in the world, why does it often triumph over Good? What is Light for a person and what is Darkness? These questions concern each of us, and for Bulgakov they acquired particular urgency because his entire life was crippled, crushed by the Darkness that triumphed in his time and in his country.
Our task is to find out why in Bulgakov’s novel good and evil are so closely connected and cannot exist without each other?
SLIDE 4. Characteristics of Woland and his retinue.What is their real appearance that demons acquire in ch. 32? With. 403.
SLIDE 5. Koroviev-Fagot– Volond’s first assistant, introduces himself as a translator and former regent (director) of a church choir. He became a “dark purple knight with the gloomiest and never smiling face.” Ch. 1 p. 10: “...a strange-looking citizen. On his small head is a jockey cap, a checkered short jacket... he is a fathom tall, but narrow in the shoulders, incredibly thin and has a mocking face.”
SLIDE 6. Hippopotamus - the werecat “turned out to be a thin youth, a demon-page, the best jester that has ever existed in the world.” Chapter 4 p. 55: “... huge, like a hog, black, like soot or a rook, and with desperate cavalry ears."
SLIDE 7. Azazello- “demon of the waterless desert, demon-killer.” Ch. 7 p. 91: “...small, but unusually broad-shouldered, wearing a bowler hat on his head and with a fang protruding from his mouth, disfiguring his already unprecedentedly vile face. And at the same time he is also fiery red” - empty black eyes, white cold face. One eye with a cataract. Ch. 19 p. 242. “Punching the administrator in the face, or kicking my uncle out of the house, or shooting someone... this is my direct specialty...”
SLIDE 8. Gella – the vampire woman turns into a dead girl. Chapter 10 p. 122: “a naked red-haired girl with glowing phosphorescent eyes.”
SLIDE 9 . – What definitions of Woland are found in the text of the novel? Woland - this is the devil, Satan, “the spirit of evil and the lord of shadows” (chapter 29, p. 382).
What is the portrait description of Bulgakov's devil in Chapter 32? A horseman with a huge black cloak covering the sky (p. 402), Woland’s horse is a block of darkness, the mane is a cloud, and the rider’s spurs are white spots of stars.
SLIDE 10. Woland is darkness itself, the primordial darkness that appeared when God said: “let there be light,” dividing chaos into light and darkness. Darkness is a child of the Creator, like everything else. Bulgakov's universe resembles a horseshoe magnet. Light and Darkness are brothers and cannot exist without each other. And although they are oppositional, there may be no personal enmity between them.
SLIDE 11. Read the portrait description of Woland in Chapter 1 p. 12 “his height... just tall”, “on the left side... platinum crowns, and on the right - gold”, gray suit, foreign shoes, gray beret, “cane with a black knob in the shape of a poodle’s head.” “Smooth shaven. Brunette. The right eye is black, the left... green. The eyebrows are black, but one is higher than the other. In a word, a foreigner." Introduces himself as a professor, a specialist in black magic.
SLIDE 12 . Ch. 22 p. 269 “The right one with a golden spark at the bottom, drilling anyone to the bottom of the soul, and the left one is empty and black, kind of like a narrow eye of a needle, like an exit into a bottomless well of all darkness and shadows. Woland's face was slanted to the side, the right corner of his mouth was pulled down, and deep wrinkles were cut into his high, bald forehead, parallel to his sharp eyebrows. The skin on my face... seemed to be forever burned by a tan.”
- What do you think the devil's different colored eyes symbolize? They symbolize the duel of life and death, the struggle between good and evil.
What details indicate that this is the devil? (A cane with a knob in the shape of a poodle; The image of a black poodle is a symbol of the power of evil; the place of the first meeting is the Patriarch's Ponds, the former Witch's Swamps). But the diamond triangle on Woland’s cigarette case and watch is a sign of God the Father.
SLIDE 13. Why is Satan called Woland in the novel? The name Woland itself is taken from Goethe's poem, where it is mentioned only once. This is what Mephistopheles calls himself in the Walpurgis Night scene, demanding that the evil spirits give way: “The nobleman Woland is coming!” In German Voland- devil.
SLIDE 14. We found out the purpose of Woland’s arrival in Moscow. In Chapter 12, P. 131, Woland asks Fagot: “... a much more important question: have these townspeople changed internally?”What did he conclude? Woland draws a conclusion about the immutability of human nature, but here the thought is expressed about the indestructibility of mercy in the human heart.
SLIDE 15. List the actions that Woland and his assistants commit? Woland objectively does good, punishing informers, criminals, restores justice, returning the burned manuscript to the Master, giving him peace as a reward for creativity, i.e. acts in the novel as a judge who gives everyone what they deserve.
SLIDE 16. The culmination of Woland's activities in Moscow isSatan's Ball on Good Friday evening. It is no coincidence that the ball takes place on this very night.Evil celebrates the execution of Christ, in which there are 2 interesting circumstances:
1.
Jesus was crucified between two thieves. One of them said: “I believe in you.” And Christ took him with him to heaven. The ball is not just a celebration in memory of the events of two thousand years ago. This night is a night of great forgiveness for the condemned, their holiday.One convicted person must be forgiven.
2 . One informer must be killedin memory of Judas.
Where does the big ball take place? (In the “bad apartment” No. 50 on Sadovaya Street 302 bis. To do this, it was necessary to expand the space of an ordinary Moscow apartment to supernatural dimensions. And, as Koroviev explains, “for those who are well acquainted with the fifth dimension, it costs nothing to expand the room to the desired limits.")
SLIDE 17. What is Margarita ready to do to get her love back, and what does she do? Ch. 19, p. 237 “Oh, really, I would pledge my soul to the devil just to find out whether he’s alive or not!” Turns into a witch to meet the Master.
What feeling overwhelmed Margarita when she accidentally flew past the “Dramlit House”?
Tell us about the pogrom that Margarita causes inLatunsky's apartment. With. 251-254 Artistic details: she let out a predatory, strangled scream, shredded the sheets with scissors, smashed flowerpots, picked up a heavy hammer, smashed the piano... - reflect the psychological state of the heroine.
How do the feelings of retribution and mercy correlate in the image of Margarita?The witch's furious hatred disappears, giving way to reason and mercy, only at the sight of a frightened child.
SLIDE 18. Let us turn to Lakshin’s statement: “And yet mercy for Bulgakov is higher than revenge. Margarita trashes Latunsky’s apartment, but rejects Woland’s offer to destroy him (p. 295). And in the same way, Matthew Levi, with his fanaticism as a faithful disciple, is ready to kill Pilate, and Yeshua forgives him.The first level of truth is justice, the highest is mercy.”.
Why do you think Bulgakov’s mercy is always higher than retribution? The ability to forgive and compassion spiritually cleanses a person and reveals true values to him.
SLIDE 19. Why was Margarita chosen to play the role of ball hostess? Chapter 22 With. 267 Koroviev explains the reasons for choosing her as queen: “A tradition has been established...”
What is the meaning of the advice that Koroviev gives to Margarita before the start of the ball? Ch. 23, p. 277 “Allow me, queen... Anything, but not inattention. They will wither away from this...”Margarita's main task at the ball is to love everyone and thereby resurrect the souls of the dead. Margarita came to the ball with her living soul, so that, by giving it to sinners, she could “bless” them with new life. (It is no coincidence that the name Margaret, which means “pearl” - in Gnostic literature, a precious human soul).
Who had an equally high mission? At Christ's. It is no coincidence that the orchestra conductor shouts after Margarita: “Hallelujah!”, which means “praise God.”So, Margarita’s path at Satan’s ball is a distorted representation of the mission of Christ.
How is the suffering, martyrdom role of Margarita emphasized? Ch. 23 p. 286 Margarita’s guests are great sinners, and Margarita’s well-being is getting worse every minute. “The worst suffering was caused to her by her right knee, which was being kissed. It was swollen, the skin on it turned blue, despite the fact that Natasha’s hand appeared near this knee with a sponge several times.” The sponge is another detail that connects Margarita with Christ at the associative level.
SLIDE 20. Which informer was killed at the ball in memory of Judas? Why isn't he forgiven? Ch. 23 p. 290-291. Baron Meigel is a secret informant. Bulgakov considered denunciation one of the most terrible sins; even Satan cannot forgive a person for this.
Who is killing him? Neither Woland nor his retinue can deal with the man themselves. Abadonna's permission is needed, and on a day like this they, of course, get it.
How does Margarita behave after the ball? Ch. 24 s. 299 With dignity, she is royally strong and royally proud. “I just want to get out of here,” Margarita thinks, “and then I’ll reach the river and drown myself.” In parting, she doesn’t ask for anything: “I’m not at all tired and had a lot of fun at the ball...”
SLIDE 21 . Woland tells Margarita that he can fulfill only one of her wishes. What will Margarita ask for? Why? Ch. 24 s. 301 “I asked you for Frida only because I had the imprudence to give her firm hope. She is waiting, sir, she believes in my power. And if she remains deceived, I will be in a terrible position. I will not have peace all my life...” And this is also royal: to keep your word if you were careless to give hope to someone.
So, Woland was not mistaken in choosing the queen. She proved her right to this title with her beauty, exquisite courtesy, self-control, pride, and mercy towards the fallen.
Why, of all the guests - poisoners, villains - only Frida deserved forgiveness? Ch. 23 p. 283-284. For 30 years in the other world, every day the maid put a handkerchief on her, with which she strangled the baby. Therefore, for her guilt, Fridasuffered enough andpaid in full. She deserved peace precisely becauseshe has a conscience. Conscience is a person’s moral judgment of himself, it is the atonement of guilt.In this scene it is realizedone of the main ideas of the novel: suffering purifies a person, and anyone in whom repentance has awakened deserves forgiveness.
Who forgives Frida? Is Satan a symbol of evil or God a symbol of good? A person forgives a person. Woland has another function - punishment.
SLIDE 22. Conclusions on the novel.
In the scene of the destruction of Berlioz (p. 290), Bulgakov puts into Woland’s mouth a phrase that almost literally repeats the words of Christ quoted by the Evangelist Matthew: “According to your faith, be it done to you.” The devil quotes Jesus... This already suggests that in Bulgakov’s novel they are not antagonists, they constitute the harmony of the universe in which there is a place for darkness and light.Name this phrase.
- “Everyone will be given according to his faith.”This phrase can be called the author’s moral and philosophical credo. How do you understand it?
SLIDE 23. Man is responsible for all the good and evil that is committed on earth, for his own choice of life paths, leading either to truth and light, or to slavery, betrayal and crime.When making your own choices, keep this in mind.
After Yeshua's execution and before Woland's departure,"the last thunderstorm""will complete everything that needs to be completed". Ch. 29 p. 385. What does it symbolize? The approach of the Last Judgment.According to Bulgakov, if the crime is real and not imaginary, then fair retribution follows.
SLIDE 24. Read Woland's dialogue with Koroviev and Behemoth at the end of chapter 29. What is its meaning? P. 385 Griboyedov’s house burned to the ground.
Ah, if so, then, of course, we will have to build a new building.
It will be built, sir,” Koroviev responded, “I dare to assure you of this.”
Well, all that remains is to wish it to be better than before,” Woland noted.
“So it will be, sir,” said Koroviev.
What words of Yeshua correspond to Woland’s words? pp. 27, 34. “The temple of the old faith will collapse and a new temple of truth will be created.”“Among other things, I said... that all power is violence against people and that the time will come when there will be no power either of the Caesars or of any other power. Man will move into the kingdom of truth and justice, where no power will be needed at all.”
SLIDE 25. P. 402 chapter 32. Woland says:“Everything will be right. The world is built on this.”
- How to understand this phrase of Woland?Reality still exists for the sake of good. The world's evil and suffering are something temporary, and the “kingdom of truth and justice” that Yeshua spoke of will prevail.
SL. 25-2 So, it is Woland who brings about the triumph of justice in the novel.
Why is the novel named not in honor of Woland, but in honor of the Master and Margarita? Woland is a force of evil, he punishes for sins. But the world must be ruled by good. And the Master’s job as a writer is precisely to constantly remind people of love, truth, beauty, that living according to spiritual laws is the meaning and purpose of human life.
SL. 25-3 Who does merciful actsand forgives Frida and Pilate? Only human. Mercy will force Margarita to suppress her burning desire to return the Master and ask for mercy for Frida. The Master forgives Pilate.
SL. 25-4. Who deserves forgiveness?One who experiences remorse and pangs of conscience.
SLIDE 26. Why does the novel as a whole end with a scene connected with a hero who is not so important, at first glance, as Ivan Bezdomny? Like Yeshua, the Master still had a student who left poetry and became an employee of the Institute of History and Philosophy.
What is the meaning of replacing the name of Ivan Bezdomny with the name of Ivan Nikolaevich Ponyrev? Homeless is a pseudonym that speaks of the restlessness of the soul, the lack of one’s own outlook on life. A real surname indicates that a person has become himself, he has comprehended the truth. It is no coincidence that in his dreams he sees the continuation of the Master’s novel.
SLIDE 27. Homework:1. How do M.A. relate in the novel? Bulgakov's mercy, forgiveness and justice? 2. The problem of human freedom and responsibility in the novel
Preview:
SUBJECT: A satirical depiction of Moscow in the 30s in the novel by M.A. Bulgakov.
Target: give an idea of how Moscow of the 30s is shown in the novel; reveal the writer’s techniques for creating comical situations; determine the main purpose of using satirical techniques in the novel.
During the classes.
SLIDE 1. Announcing the topic, setting the lesson goal.
What is the purpose of satirical works? (Expose the vices of society.)
What is the purpose of the lesson? Find out what vices of society M. Bulgakov exposes with the help of satire.
SLIDE 2. What satirical techniques does M.A. Bulgakov use in the novel?(cartoon, grotesque, sarcasm, mysticism.)
Remember what kind of writer Bulgakov called himself? I'm a mystery writer.
What mystical forces does Bulgakov portray in the novel?Satan and his retinue.
SLIDE 3. Comment on the epigraph. What is the main function of Satan and his retinue? It turns out that Woland is the eternal evil that is necessary for the establishment and existence of good and eternal justice on earth.
Conclude why the author needed to combine satire, exposing the vices of modern life, with fantasy and even mysticism?Woland and his assistants, so cute and not at all like a fiend of hell, appear in the novel as judges who bring justice and give everyone what they deserve.
So, the law of justice is the main idea of Bulgakov’s book.According to Bulgakov, evil must be punished by the forces of evil.
SLIDE 4 . Moscow proudly declares itself a “new city”; the whole world watches with bated breath as a new state, based on the principles of justice, is being built in the USSR. The press reports the formation of a new type of person who believes in the ideals of socialism and is critical of bourgeois values.
SLIDE 5. What signs of the 1930s did you find in Chapter 1? (Chapter 1. “Never talk to strangers.” P. 14 “Yes, we are atheists.” P. 16 Solovki, as a real threat of punishment (“Take this Kant and to Solovki”), p. 20 spy mania (“ He is not a foreign tourist, but a spy")
What information about Ivan Bezdomny was asked from Ryukhin in the hospital (Chapter 6.)? With. 76 Compulsory trade union membership.
What role does landscape play in the novel? It's hot, stuffy.
What was the reason for the conversation between the two writers? (The atheist wrote about Christ as a real person).
SLIDE 6. What answers do the heroes give to Woland’s question (p. 16): “if there is no God, then, the question arises, who controls human life and the entire order on earth?” "The man himself controls."
Is a person’s life really woven from chance, or can he vouch for tomorrow, his future, and be responsible for others? Further development of the plot will reveal the relativity of human knowledge, man's dependence on a thousand accidents. An example of this is the absurd death of Berlioz under the wheels of a tram.
SLIDE 7. Read in chap. 23 “The Great Ball at Satan’s”, for which Berlioz was punished.pp. 289-290. Berlioz is sure that at the end of his life a person turns into ash and goes into oblivion. He receives “according to his faith” - non-existence.
SLIDE 8. Chapter 7 “Bad apartment.” Why did apartment number 50 have such a reputation? P. 82. People disappeared from it without a trace - this is how Bulgakov talks about arrests.
What did Styopa Likhodeev remember when he saw the seal on the door of Berlioz’s room? P. 89 (About a stupid and worthless article and a dubious conversation, which Berlioz, who was arrested, as he thought, could report to the NKVD.)
Tell us why and how Styopa Likhodeev was punished in the novel (chapter 7, p. 91)A slacker, a womanizer and a drunkard. For “official inconsistency” he was teleported to Yalta by Woland’s henchmen.
SLIDE 9. Ch. 9 “Koroviev’s things.” p. 108 – Why and how was the chairman of the housing association Nikanor Ivanovich Bosoy punished by Koroviev? For bribery, greed, the day before he committed theft of funds from the cash register of a housing association.
What phenomenon of Moscow life does Koroviev’s call indicate? Denunciations and informing.
Ch. 15 “The Dream of Nikanor Ivanovich.” P. 170. What phenomena of social life are parodied in this dream? It talks about such phenomena as meanness, opportunism, informing, suspicion, arrests.
Why does Nikanor Ivanovich, categorically denying foreign currency, easily admit to bribery?
SLIDE 10. Ch. 10 s. 120-122. Tell us why and how Varenukha was punished in the novel (chapter 24, p. 310)Administrator of the Variety Theater. He fell into the clutches of Woland’s gang when he was carrying to the NKVD a printout of correspondence with Likhodeev, who had ended up in Yalta. As punishment for “lies and rudeness on the phone,” he was turned by Gella into a vampire guide. After the ball he was turned back into a human and released. Upon completion of all the events described in the novel, Varenukha became a more good-natured, polite and honest person.
Interesting fact: Varenukha’s punishment was a “private initiative” of Azazello and Behemoth.
SDIDE 11. Why and how was CFO Rimsky punished? Ch. 14 p. 164
SLIDE 12 . Ch. 17. - story with the suit p. 202
-What classic tradition is Bulgakov continuing here? Irony gives way to grotesquery when Bulgakov describes an official going “to hell” in the literal sense of the word; all that remains of a living person is a jacket signing papers. The author shows the meaninglessness of the official’s activities, the inhumanity and soullessness of the bureaucratic system. Continuing the traditions of Gogol and Saltykov-Shchedrin, he replaces a useless person with a thing. The paradox and horror of what is happening is enhanced by the fact that “having returned to his place, in his striped suit, Prokhor Petrovich completely approved of all the resolutions that the suit had imposed during his short absence.”
SLIDE 13. What phenomena of life does Bulgakov sarcastically ridicule when telling the story with everyone singing in the city entertainment branch? P. 205 Fraud, sycophancy, universal membership in circles, blind adherence to slogans and calls.
SLIDE 14 . Ch. 18. p. 215 Who were the “unlucky visitors” to apartment No. 50?Maximilian Andreevich Poplavsky, Berlioz’s Kiev uncle, who did not need additional space, is in a hurry to move into a “bad apartment.”
Tell us why and how the barman Sokov was punished in the novel. pp. 216, 219, 222, 226
SLIDE 15. Ch. 28 pp. 368 Which store did Koroviev and Behemoth visit? Shops for foreigners, where they could purchase any goods for foreign currency. For Muscovites, there was no such abundance in regular stores.
SLIDE 16. Analysis of the scene in a variety show (chapter 12).
Why did Woland come to Moscow? P. 130 The Great Satan comes to earth once a century to see how people live.The evil spirit comes into play, conducts one experiment after another, organizes mass hypnosis, a purely scientific experiment. And people show their true colors. The revelation session was a success.
What does the card trick reveal? Vices such as non-payment of alimony, addiction to cards - p. 132.
How does Satan tempt Muscovites? With money. The miracles demonstrated by Woland's retinue are the satisfaction of people's hidden desires. Decency disappears from people, and eternal human vices appear: greed, cruelty, greed, deceit, hypocrisy...
SL. 16-1. What happens to the entertainer at a variety theater? Why? P. 134 - lies from the stage.
SLIDE 17 . What else does Woland tempt Muscovites with? P. 136 Opens a French fashion salon with beautiful clothes. Moscow women, it turns out, are not averse to wearing beautiful clothes, rather than the same uniform.
What happened next to these women's new outfits?
What exposure did Arkady Sempliarov receive? P. 140 Debauchery, shamelessness.
SLIDE 18. Bulgakov instructs Woland to pronounce the “sentence” (p. 135). Which? (“Well... they are people like people. They love money, but this has always been... Humanity loves money, no matter what it is made of, leather or paper, bronze or gold. Well, frivolous... well well... and mercy sometimes knocks on their hearts... ordinary people...” This bitter smile of the hero reflects the author’s assessment of the official lies of that time.
What is the meaning of this Woland expression, which has become an aphorism? How, for example, did the residents of the house on Sadovaya react to the news of Berlioz’s death? The “housing problem” has overcome everyone - the true nature of Muscovites is vicious: for the possession of a separate apartment they are ready to commit meanness (write a denunciation, like Aloisy Mogarych, who coveted the Master’s basement, slander his neighbor).
How in the epilogue does Bulgakov laugh at Muscovites and at those who guard power? P. 409 After the “evil spirit” left Moscow, complete confusion reigned in the minds and in the depths of Russia some old woman had to rescue her innocent, slandered cat from the police.
SLIDE 19. Conclusion.
In bright, colorful episodes, M.A. Bulgakov talks about the life of Muscovites in the 30s, which was characterized by such phenomena as the “housing question”, spy mania, total document checks, secret surveillance of citizens, shops for the “rich”, buffets with stale food, etc. Muscovites love money, are frivolous, greedy, mired in petty worries, and take bribes.
The main signs of the moral life of Muscovites in the 30s were atheism, reaching the point of absurdity, denunciation, suspicion, blind adherence to slogans and calls. This society is based on material, class, and political interests. The most important core - conscience - has been lost, therefore “all progress is inhuman if man himself collapses.”
Homework.Answer the questions
Preview:
Subject: The fate of the artist and the theme of art in the novel by M.A. Bulgakov "The Master and Margarita".
The purpose of the lesson : create an idea of one of the main characters of the work through problematic analysis of the text; find out how the author depicts the world of art.
DURING THE CLASSES
SLIDE 1. Introductory speech.
Bulgakov's novel is autobiographical. What does it mean?The fate of Bulgakov is reflected in the fate of the Master, and the fate of the Master is reflected in the fate of his hero Yeshua.
Remember and tell me what was the fate of the Master - Bulgakov in the country of “victorious socialism”? A climate of persecution, complete renunciation from literature and public life, constant anticipation of arrest, denunciation articles, devotion and dedication of the woman he loves.
What is the purpose of the lesson? Find out how Bulgakov portrays the world of art in the novel and the Master, whose fate reflected his own fate.
SLIDE 2. Literary world – 5 chapters.
How is the literary world described in Chapter 5? He speaks with irony about the name of the house - “Griboyedov”.
What is hidden under the acronym MASSOLIT? Moscow ACC otation LIT erators. Bulgakov meant a real writers' organization, RAPP. The Griboyedov House is actually the Herzen House, where the board of the RAPP was located.
The Griboedov house is characterized by such a phenomenon as queues (“not excessive, about one and a half hundred people” - p. 61). What are writers standing in these lines for? Members of MASSOLIT enjoyed many privileges: statedachas (“there are only twenty-two dachas, and there are three thousand of us in MASSOLIT”), sabbatical leaves (up to two weeks for a short story, up to one year for a novel), solving the “housing problem” (free apartment).
SLIDE 3. Using an episode of a meeting between two friends: the red-lipped giant Ambrose, the owner of the coveted Massolit ticket, and the skinny Foka, who looked at him with envy, tell me why Foka dreamed so much of becoming a member of MASSOLIT? P. 62Behind the words “an ordinary desire to live like a human being” lies the opportunity to eat deliciously and cheaply in a restaurant, entry to which is closed to mere mortals.
SLIDE 4. What are they like, members of MASSOLIT? pp. 63-64. The novelist Beskudnikov, the poet Dvubratsky, Zagrivov, Glukharev, Bogokhulsky, Sladky and, finally, the “merchant orphan Nastasya Lukinishna Nepremenova”, who took the pseudonym “Navigator Georges”! etc.
- What are 12 representatives of new art talking about? P. 64 They are not engaged in the search for truth, they do not strive for improvement, because the main thing for them is a prestigious dacha, vacation at a resort, gourmet food.
SLIDE 5 . What satirical technique does Bulgakov use to depict them? (Irony, speaking names,the names of sections and departments of the literary organization emphasize the narrowness of their horizons, the poverty of their inner world, and pseudo-creativity.)
So, The writing world is gossip, empty talk, squabbling over dachas and apartments, and not a word about literature.
SLIDE 6. What does the Griboedov House restaurant resemble at midnight? (Where do they sing “Hallelujah”?) p. 66 - “inverted” description of the liturgy (the main Christian church service) - black mass. The reader, following the author, is ready to exclaim: “In a word, hell... Oh gods, my gods, poison to me, poison to me...” The writers turn out to be the apostles of Satan, and the restaurant of Griboyedov’s house turns into Hell.
SLIDE 7. In the novel there is a phrase spoken about the talent of F.M. Dostoevsky: “Just take any five pages from any of his novels, and without any identification you will be convinced that you are dealing with a writer” (episode chapter 28, p. 375). Using the example of Ryukhin and Bezdomny, tell me, do they realize that their creativity is mediocre? (Ryukhin - Ch. 6, p. 74, 80. Homeless – Ch. 13. With. 143) The homeless man begins to realize that he is writing bad poetry when an otherworldly force invades his life and when he meets the Master. In the end, he parts with his profession. Ryukhin, realizing the insignificance of his talent, is not able to change; he envies Pushkin (p. 81) and admits “that nothing can be corrected in his life, but can only be forgotten.”
SLIDE 8. Why is Berlioz punished so terribly in the novel? It is he who is at the head of MASSOLIT, he weans young writers to think independently and freely. Finally, he serves the authorities, which means he is consciously committed to a criminal idea. And if Homeless can be forgiven for something because of his youth and ignorance, then Berlioz is experienced and educated, and the more terrible he turns out to be for truly talented people. Such Berliozs wrote denunciations, and it was because of them that the Masters ended up in Gulag camps, in subsequent decades in psychiatric hospitals, later they were forcibly deported from the country and always - moral humiliation, deprivation of the opportunity to speak with the reader. It is believed that the prototype Berlioz is the chairman of RAPP Leopold Averbakh, a famous critic. M. A. Berlioz bears the surname of the German composer Hector Berlioz (1803-1869), author of the “Fantastastic Symphony”. The hero of this musical work is executed, and after death he is present at the Sabbath of evil spirits. M.A. Berlioz repeats the path of the musical hero.
SLIDE 9. When and where does the master appear in the novel? Chapter 13 “The appearance of a hero.” In a psychiatric hospital, which in the novel is called a “house of sorrow.”
- What is its description? P. 141
Why does he, still quite young, not consider it necessary to leave his current shelter? P. 142 He has the keys to the balcony doors, but he cannot “escape” from here, because he “has nowhere to escape.”
- Why does the hero of the novel sternly answer “I am a Master” to Bezdomny’s question “Are you a writer?” (p. 147)? The title of writer in the 30s lost its significance and was discredited.The words “master” and “writer” in the novel are essentially antonyms. He knows his own worth and is fully aware that he has the right to be called a master, that is, a person especially knowledgeable or skilled in his work.
What was the significance of this meeting for both of them? P. 144 “The guest did not think of Ivan as crazy, he showed the greatest interest in what was being told...” The master will find in his story confirmation of his guesses, and for Ivan this meeting will become the starting point of a new life.
SLIDE 10 . What did the master tell Ivan Bezdomny about his past? With. 147 A historian by training, he worked in one of the Moscow museums and was engaged in translations until he won one hundred thousand rubles. And here it turned out that he had a dream - to write a novel about Pontius Pilate. He devoted himself entirely to work.
And it was at this time that he met a woman. Read the episode of their meeting. P. 149. “She was carrying disgusting, disturbing yellow flowers in her hands... And I was struck not so much by her beauty as by the extraordinary, unprecedented loneliness in her eyes!”
What does Margarita say about the reasons for this loneliness? Ch. 19 p. 240 Margarita will later say to Azazello: “My tragedy is that I live with someone I don’t love, but I consider it unworthy to ruin his life.”
Two loneliness met and love broke out between the heroes. How does the author describe this feeling? p. 150. “Love jumped out in front of us, like a killer jumps out of the ground in an alley, and struck us both at once!”
What is Margarita's role in the creation of the Master's novel? P. 152. It was Margarita who began to encourage him in his work, to call him Master, it was she who promised him glory.
So, the novel is written. What is the fate of this novel? P. 152 “And I went out into life, holding it in my hands, and then my life ended.”
What idiotic question from the editor did the Master think struck him? Ch. 13, p. 153 “Who gave the idea to write a novel on such a strange topic.”
What followed next? p. 154 The novel was not accepted for publication; critics attacked the Master with devastating articles. The critic Latunsky was especially furious. And Mstislav Lavrovich in one of the articles “suggested to hit, and hit hard, pilatchina and to that godman who decided to smuggle (that damned word again!) it into print.”
What are the three stages the Master goes through after his affair fails? pp. 154-155 “Joyless autumn days have come - the monstrous failure with this novel seemed to take out part of my soul.” “The second stage was the surprise stage.” The third stage is fear. “So, for example, I began to be afraid of the dark. In a word, the stage of mental illness has arrived.”
How did the Master eventually explain to himself the attacks on himself and his novel? p.155. The master is aware that “the authors of the articles do not say what they want to say, and that this is precisely what causes their rage.”
SLIDE 11 . Why did this environment reject the Master’s novel? Let’s return to the word “Pilatchina”, which was formed by analogy with the words “Oblomovism”, “Khlestakovism”, “Repetilovism”, that is, access to a social phenomenon was made. So what is Pilatchina? This is committing acts that are contrary to a person’s conscience. The ruler cannot doubt the truth of what he has done; he cannot be tormented by pangs of conscience. How then can ordinary people live? In Pontius Pilate, literary officials saw themselves, that is, those who depended on someone who two thousand years ago could bear the name of Emperor Tiberias, but now has a different sounding name (Stalin, Yagoda).
How did the Master decide the fate of his novel? He burns the novel.
How will Margarita behave in this situation? She will do everything for the Master to get better and restore the romance. Margarita decides to have an honest conversation with her unloved husband and leaves her lover, who is plunging into the madness of fear, only for the night.
P. 158 “A quarter of an hour after she left me, there was a knock on my window.” Why will the Master begin to tell the Homeless Man about everything that happened next? - This will be the story of his arrest, although the word “arrest” is not uttered.
SLIDE 12. What detail suggests that the Master’s arrest actually took place and lasted from “half of October” to “half of January”? With. 159 “...at night, in the same coat, but with torn buttons, I huddled from the cold in my courtyard... The cold and fear, which became my constant companion, drove me into a frenzy.” The buttons were cut off at Lubyanka. Usually they didn’t return from there. But the Master was probably considered crazy.
Who wrote the denunciation of the Master and why? Ch. 24 s. 306 Aloisy Mogarych wanted to get his room.
Why didn’t he give Margarita news about himself from the “house of sorrow”? With. 159-160 He says: “I am incurable.” The Master now considers his only salvation to be a stay in Stravinsky’s clinic, having abandoned Margarita and the novel: “...I cannot remember my novel without trembling.”
How did Woland decide the fate of the Master and his novel? Ch. 24 P. 302 He returned the Master and miraculously revived the burnt novel: “Manuscripts do not burn.” One of the fundamental ideas of Bulgakov's novel isimmortality of art.
What is the Master's condition? P. 303 Woland will say: “Yes... he got a good finish.” P. 310 The master is broken and says that the novel, which until recently was the meaning of his existence, is hateful to him. Woland: “Your novel will bring you more surprises.”
SLIDE 13 . What request does Matvey Levi come to Woland with? Ch. 29 p. 383 “He read the Master’s work,” Matthew Levi spoke, “and asks you to take the Master with you and reward him with peace... He did not deserve light.”
- Why didn’t the Master deserve the light, but his hero, Yeshua, did?
SLIDE 14. There are two points of view: Yeshua, who did not deviate from the truth, deserved “light,” and the Master deserved only “peace,” because at some point the Master retreated, broke, and was unable to fight for his brainchild to the end.
SLIDE 15. The critic and literary critic V. Lakshin has his own opinion on the concept of “peace”: “Due to the inaccessibility of the heavenly “light” to the Master, the decision of his afterlife affairs is entrusted to Woland. But Satan controls hell, and, as you know, there is no peace there. And does anyone who has managed to go through some of its circles here on earth deserve hell? This is how the concept of “peace” arises - a refuge for a tired, immensely tormented soul..."
Slide 16. Lesson summary.
What is the fate of the talented artist in Bulgakov’s novel and why? It is tragic because... the world of art presents a terrible picture of mediocrity, opportunism, the desire to destroy everything living and talented.
Preview:
Subject: Life and work of M.A. Bulgakov.
Goals: show the complexity and tragedy of the life and creative path of M. A. Bulgakov, arouse interest in the personality and work of the writer.
Equipment: presentation
During the classes
I. Teacher's opening speech.Write down the lesson topic and epigraph in your notebook. (slide № 1)
Bulgakov entered Russian and world literature, first of all, as the author of the novel “The Master and Margarita,” which many consider the best novel of the twentieth century. However, the writer died in obscurity, and his books were not published during his lifetime. In the era of blind fanaticism and weak-willed opportunism, Bulgakov retained great spiritual fortitude and with his works warned of the tragedy that would befall the Russian people as a result of spiritual unconsciousness. As an epigraph for the lesson, I took the words of Bulgakov himself from his letter to Stalin:“In the wide field of Russian literature in the USSR, I was the only literary wolf. I was advised to dye the skin. Ridiculous advice. Whether a wolf is dyed or shorn, it still does not look like a poodle.”
Slide 2 . The works created by Bulgakov in the 20-30s of the 20th century found their rebirth only in the 60-80s, for example, the story “Heart of a Dog” was published only in 1987, the novel “The Master and Margarita” - in 1966- 1967 Few people know that everyone’s favorite film “Ivan Vasilyevich Changes His Profession” is based on Mikhail Bulgakov’s play “Ivan Vasilyevich”. Now everything Bulgakov wrote down to the last line has been published. However, not everything has been comprehended and mastered. Modern readers are destined to read his works in their own way and discover new values hidden in their depths.
II. Presentation of the biography of M.A. Bulgakov. The class writes a short lecture note.
SLIDE 3. Student message. On May 15 (3), 1891, in Kyiv, a son, Mikhail, the eldest of the Bulgakovs’ seven children, was born into the family of Afanasy Ivanovich Bulgakov, a teacher at the Theological Academy.
The Bulgakov family, an ordinary provincial intelligent family, will forever remain for Mikhail Afanasyevich a world of warmth, intelligent life with music, reading aloud in the evenings, Christmas trees and home performances. (slideNo. 4) This atmosphere will later be reflected in the novel “The White Guard” and in the play “Days of the Turbins”.
The mother, Varvara Mikhailovna, the “bright queen,” as the writer himself called her in his first novel “The White Guard,” was mostly involved in raising the children. It was from his mother that Mikhail inherited his love of music and books. Bulgakov received an excellent education at home; he knew French, German, English, Greek and Latin.
SLIDE 5. 1901 – 1909 Studying at the 1st Kyiv gymnasium of “special charter”, where the children of the Russian intelligentsia studied and the best teachers in Kyiv were concentrated. Already in the gymnasium, Bulgakov showed his various abilities: he writes poetry, draws caricatures, plays the piano, sings, composes oral stories and tells them beautifully.
The main tragedy of M. Bulgakov's childhood was the untimely death of his father in 1907. The writer's father, (slideNo. 6) Afanasy Ivanovich, was the son of a village priest and owed his career only to his own abilities and hard work. Simultaneously with teaching at the academy, he served in the Kyiv censorship and received the rank of state councilor, thanks to which the Bulgakovs became hereditary nobles.
After graduating from high school in 1909, not without hesitation (the path of an artist or writer beckoned), he became a student at the Faculty of Medicine of the Imperial University of St. Vladimir, where he studied for almost seven years.
In 1913, the future doctor, university student, Mikhail Bulgakov, married Tatyana Nikolaevna Lappa (slideNo. 7), daughter of the manager of the Saratov Treasury Chamber. Both parents were against this relationship. However, the young people decided to get married, and their parents accepted this. Throughout the ten years of their marriage, Tatyana Nikolaevna was Bulgakov’s “guardian angel”. Without a doubt, she saved him from death in the Caucasus during the civil war. She also helped him escape from the grips of drug addiction.
Medical activities.With the outbreak of the First World War, Mikhail Bulgakov worked in a hospital with his wife, then volunteered for the front, working in a front-line hospital, gaining medical experience under the guidance of military surgeons.
In 1916 he graduated from the university, (slideNo. 8) receives a diploma with honors and is sent to the Smolensk province as a zemstvo doctor. The impressions of these years will be reflected in the humorous, sad and bright paintings of “Notes of a Young Doctor”, reminiscent of Chekhov’s prose.
SLIDE 9. The civil war found Bulgakov in Kyiv. At this time he is trying to engage in private practice. Least of all wants to be involved in politics. But it's 1918. Later, Bulgakov would write that he counted fourteen coups in Kyiv at that time, and as a doctor he was constantly mobilized: either by the Petliurists, then by the Red Army, or by Denikin’s men. It was probably not of his own free will that he ended up in Denikin’s army and was sent with a train through Rostov to the North Caucasus. In his mood at that time, as V. Lakshin notes, there was only one louder thing - fatigue from the fratricidal war.
Because of typhus, Bulgakov remains in Vladikavkaz when Denikin’s troops retreat. In order not to die of hunger, he went to collaborate with the Bolsheviks - he worked in the art department, gave educational lectures about Pushkin, Chekhov, and wrote plays for the local theater.
SLIDE 10. In September 1921, Bulgakov came to Moscow “to stay in it forever.” The struggle for survival has begun. To the question: “What was the hardest time for you?” - Tatyana Nikolaevna will answer: “It was worse... in the first year in Moscow. It happened that we didn’t eat anything for three days. There was no bread, no potatoes, and I had nothing left to sell...”
SLIDE 11. Since the spring of 1922, it began to be published regularly in the press and in the mid-20s it became quite popular. By October 1924, “Notes on Cuffs,” “Diaboliada,” and “Fatal Eggs” were already completed. The story “The Diaboliad” with its mystical-fantastic plot shows how well M. A. Bulgakov knew the bureaucratic life of the Soviet country. In the story “Fatal Eggs,” the author talks about the ignorance that penetrates science. He will continue the theme of science in “Heart of a Dog,” where the Bolsheviks’ attempts to create a new man, called upon to become the builder of a communist society, are parodied. In Sharikov, his canine-criminal nature is ineradicable, but he fits perfectly into socialist reality and makes an enviable career: from a creature of uncertain status to the head of a subdepartment for clearing Moscow of stray animals. The writer seemed to predict the bloody purges of the 30s already among the communists themselves, when some Shvonders punished others, less fortunate. The author never saw the story published. The manuscript along with the diaries was seized by OGPU officers during a search on May 7, 1926. Subsequently, the manuscript was returned in exchange for Bulgakov withdrawing his statement of resignation from the All-Russian Writers' Union.
SLIDE 12. In 1925, Bulgakov managed to publish two out of three parts of his novel “The White Guard” in the Moscow magazine “Russia”, where the writer again turns to the dramatic events in Kyiv at the turning point of 1918 and 1919. After the publication of the novel, the Art Theater approached Bulgakov with a request to write a play based on “The White Guard.” This is how “Days of the Turbins” was born, staged in 1926 and making the author’s name famous. It was an amazing production! The only one from the entire pre-war repertoire, it lasted about 1000 performances! In the 30s, during the terrible time of the Yezhovshchina, when people were afraid of their own shadow, actors appeared on stage in the golden shoulder straps of officers of the tsarist army, talked about human honor and even sang “God Save the Tsar...”. It is known with what interest Stalin took this performance: he watched the entire performance at least 15 times, and how many times did he come to the second and third acts!
Why do you think I liked the play about the fate of the Russian intelligentsia, where the Bolsheviks do not appear, so much? Stalin? (Students’ answers ). In a letter to the playwright Bill-Belotserkovsky, the leader wrote: “...If even people like the Turbins are forced to lay down their arms and submit to the will of the people, recognizing their cause as completely lost, then the Bolsheviks are invincible... “The Days of the Turbins” are a demonstration of the all-crushing power of Bolshevism...”
In April 1924, Bulgakov separated from Tatyana Nikolaevna Lappa and married Lyubov Evgenievna Belozerskaya. (slideNo. 13), who came from an old aristocratic family. Marriage to Belozerskaya introduces Bulgakov into the circle of the old Moscow intelligentsia, who stood close to the Art Theater.
SLIDE 14. In 1926, Bulgakov’s play “Zoyka’s Apartment” about adventurers and swindlers of all stripes was staged at the Vakhtangov Theater. Mikhail Afanasyevich also worked on other dramatic works - the plays “Running” and “Crimson Island”. “Running” was never allowed to be staged. But he continues to write plays, maintaining an interest in satirical fiction: “Adam and Eve” (1931), “Ivan Vasilyevich” (1935 - 1936). By this time, all talented, extraordinary writers had already received labels. Bulgakov was called an “internal emigrant”, “an accomplice of enemy ideology.”
This was an unexpected question. Mikhail Afanasyevich replied: “I thought a lot about this, and I realized that a Russian writer cannot exist outside his homeland.” Then he said that he would like to work in an art theater, but he was not accepted there. And Stalin replied: “You submit your application again. I think you will be accepted.” Half an hour later a call came from the Art Theater. Bulgakov was invited to work. He became an assistant director.
Bulgakov creates new plays and dramatizations, many of them were never staged during the author’s lifetime: after the premiere, “The Cabal of the Holy One” (“Molière”) was withdrawn, “Ivan Vasilyevich” was banned on the day of the dress rehearsal, and the same fate befell the play about Pushkin.” Last days".
In 1936, Bulgakov left the Moscow Art Theater and joined the Bolshoi Theater as a librettist.
SLIDE 16 -17. In February 1929, Bulgakov met Elena Sergeevna Shilovskaya. In October 1932, she became the writer’s third wife. “We met very unexpectedly. I've been interested in him for a long time. Since I read “Fatal Eggs” and “The White Guard”. I felt that this was a very special writer. Although our literature of the 20s was very talented... And among everyone there was Bulgakov, and among this large constellation he stood somehow apart in his unusualness, unusualness of the topic, unusualness of the language, look, humor: everything that, in fact, , defines the writer. All this amazed me.
I was the wife of Lieutenant General Shilovsky, a wonderful, noble man. She was, as they say, happy: a husband in a high position, two beautiful sons... In general, everything was fine. But when I met Bulgakov by chance in the same house, I realized that this was my destiny, despite the incredibly difficult tragedy of the breakup. I did all this because without Bulgakov for me there would have been neither the meaning of life nor justification for it...”
Mikhail Afanasyevich said with gratitude to Elena Sergeevna: “The whole world was against me - and I was alone. Now it’s just the two of us, and I’m not afraid of anything.” In life, as in the novel, joy and happiness do not come from wealth...
SLIDE 18. Impressions from working with actors will form the basis of “Theatrical Novel” (1936-38), the book “The Life of Monsieur de Molière” (1933). These works contain the theme of a master whose talent was ahead of his time. This theme will become the main one in “The Master and Margarita” - the last novel by M. A. Bulgakov, which he began writing in 1928 and worked on it for 12 years, that is, until the end of his life, without hoping to publish it. He dictated the last insertions into the novel to his wife in 1940, three weeks before his death.
In September 1938, Bulgakov began writing a play about Stalin and his participation in the revolutionary movement in Georgia. Perhaps this can be explained... Many years of non-publication, 16 dramatic works in the desk drawer, regular refusals of requests to travel abroad... The play called “Batum” was completed on July 24, 1939. The Moscow Art Theater enthusiastically accepted it and was going to stage it for Stalin’s 60th birthday. However, when the play was brought to Stalin, he decided not to draw attention to his past. On the way to Batum, where Bulgakov was traveling in connection with a future production, he was delivered a telegram with the message that the play was prohibited from production. This was the beginning of the end and provoked the rapid development of a hereditary disease - hypertensive nephrosclerosis.
Throughout February 1940, he edited his novel. Elena Sergeevna, the writer’s wife, at his request, read first one page or another, and he made corrections. The words slowly died within him. His entire body was poisoned by the disease. He's blind. He's lost weight.
SLIDE 19. On March 10, 1940, Bulgakov died. Mikhail Afanasyevich Bulgakov was buried at the Novodevichy cemetery. The last thing the fading Master heard was his wife’s oath: “I give you my word of honor that I will give it, you will be published.” Elena Sergeevna will live another 30 years and fulfill her promise. Often, sharing memories of the life lived with Bulgakov, Elena Sergeevna said: “I want to tell you that, despite everything, despite the fact that there were black, absolutely terrible moments, not melancholy, but horror at a failed literary life, but if you tell me that we, I had a tragic life, I will answer you: no! Not for a second. It was the brightest life you could choose for yourself, the happiest. There was no happier woman than I was then.”
Until the early fifties, there was neither a cross nor a stone on Bulgakov’s grave - only a rectangle of grass with forget-me-nots and young trees planted at the four corners of the tombstone. In search of a slab, Elena Sergeevna Bulgakova visited the lapidaries and became friends with them. One day she saw a huge black spongy stone in a deep hole among the fragments of marble and old monuments. “What is this?” - “Yes Golgotha.” - “How’s Golgotha?” They explained that at Gogol’s grave in the Danilovsky Monastery there was a Golgotha with a cross. Then a new monument was erected on the grave, and Golgotha was thrown into a pit as unnecessary. “I’m buying,” Elena Sergeevna said without hesitation. The stone was transported, and it went deep into the ground above Bulgakov’s urn... According to legend, I. Aksakov himself chose it somewhere in Crimea for Gogol’s grave. Bulgakov wrote, remembering Gogol: “Teacher, cover me with your cast-iron overcoat.” The word came true. Gogol gave up his crossstone to Bulgakov.
III. Final words from the teacher.
SLIDE 20. In a letter to the Soviet government in 1930, M. Bulgakov painted his literary and political portrait. He called his first trait
Commitment to the idea of creative freedom, opposition to the duping of the individual, education of slaves, sycophants and panegyrists.
- “But with the first feature in connection with all the others that appear in my satirical stories: black and mystical colors (I am a mystical writer), which depict the countless deformities of our life, the poison with which my language is saturated, deep skepticism regarding the revolutionary process, what is happening in my backward country, and contrasting it with the beloved and Great Evolution, and most importantly - the depiction of the terrible features of my people, those features that long before the revolution caused the deepest suffering of my teacher M. E. Saltykov-Shchedrin.”
“... persistent portrayal of the Russian intelligentsia as the best layer in our country.”
IV. Lesson summary. - What can you say about Bulgakov as a person?
Homework. “The Master and Margarita” chapters 1-4, a message about the creative history of the creation of the novel. Prepare a story about the gospel story of Jesus Christ and his crucifixion (Gospel of Matthew, ch. 27, 28).
Preview:
SUBJECT: The creative history of the novel by M.A. Bulgakov "The Master and Margarita". Genre and composition.
Objectives: to introduce the history of the creation of the novel “The Master and Margarita” in the historical and cultural aspect of the era in which M.A. Bulgakov lived and worked; show the features of the genre and composition.
DURING THE CLASSES
This novel is about many things. It is about God and the devil, about cowardice as the main vice of humanity, it is about the indelible, inescapable sin of betrayal, it is fantastically funny and inexpressibly sad, it is cosmic, but above all it is about true and eternal love... And therefore it is very simple and very mysterious...Ernst Markin (journalist, writer, died 2001)
SLIDE I. Teacher's word . The 30s of the 20th century were an era of global economic transformations in the Soviet country. At the same time, this is a time of brutal political dictatorship, the heyday of the personality cult of J.V. Stalin. Signs of that time were “black funnels”, slogans, songs glorifying Stalin, the Motherland, denunciation, and constant fear. Bulgakov himself had to go through all this. But it was then that M.A. Bulgakov began working on the main work of his life. How did this happen?
SLIDE 2. Message.
Bulgakov first saw E.S. in February 1928. Shilovskaya, and in May Mikhail Afanasyevich began writing his great novel “The Master and Margarita,” a novel that became the fruit of the Master’s love for woman and life. Roman Bulgakov wrote from 1928 to 1940, until his death, made 8(!) editions, and there is a problem as to which edition should be considered final. This is a “sunset” novel, paid for with the life of the author.
At first, the writer decided to create a novel about the devil, rather a satirical novel; in the first two editions there was no Master and Margarita, there was no parallel development of the action of two novels - ancient and modern. And Woland himself acted in the usual guise of a tempter and provocateur.
The writer burned the first edition of the novel in 1930 in despair. After some time, Bulgakov returned to work on the novel. He changed the title of the work many times: “The Black Magician”, “The Great Chancellor”, “Satan”, “The Black Theologian”, “He Appeared”, “The Incident”, “The Consultant’s Hoof”. In November 1937, the latest edition of the novel, called “The Master and Margarita,” was started and reprinted in 1938. If we briefly try to outline the path that M.A. Bulgakov took in his work on the novel, then it can be described as a path from topical satire to philosophy, to universal, “eternal” problems.”
SLIDE 3. Bulgakov last worked on the novel on February 13, 1940 (the writer died on March 10, 1940). E. S. Bulgakova recalled: “When at the end of his illness he had already lost his speech, he could only come out with the ends or beginnings of words. ...I was sitting next to him...he made me understand that he needed something. I offered him medicine, a drink, but I realized... that’s not the point. Then I guessed and asked: “The Master and Margarita?” He, terribly delighted, made a sign with his head that “yes, this is it.” And he squeezed out two words: “So that they know, so that they know.” It was not easy to fulfill this dying wish of the author. In the period from 1946 to 1966, E.S. Bulgakova tried several times to publish the novel, but without success. It was published in the magazine “Moscow” (No. 11 for 1966 and No. 1 for 1967) and even in its abridged form it had a stunning effect on readers and baffled critics, because does not fit into traditional, familiar patterns. It was completely published in 1973. The novel has caused and still causes heated controversy, various interpretations and surprises with its inexhaustibility.
- What was the original plan of the novel “The Master and Margarita”? (A novel about the devil.)
How has the concept of the novel changed over time? (From a satirical concept, the novel turned into a philosophical work, revealing “eternal” problems.)
SLIDE 4. Features of the novel genre. The genre is a combination of fantasy with philosophical and biblical motifs. Satirical-philosophical novel. Some call it a myth novel. Others consider it a double romance.
SLIDE 5. Features of the composition. E then “a novel within a novel.”Within the framework of one work, two novels interact in a complex manner: a narrative about the life of the Master and a novel about Pontius Pilate created by him.
D. Spatial and temporal framework of the novel.Triple structure of the novel.
The action takes place in two time spaces, separated by almost two millennia: in Moscow in the 30s of the 20th century and in Yershalaim in the 30s of the 1st century AD. e. There is also a third world - eternal, otherworldly. Events take place in real and unreal dimensions. The novel features real people and Satan's retinue. From here
Three main plans of the work
Historical Real Fantastic
Yershalaim world Moscow world Other world
Kingdom of Darkness Kingdom of Light
Quiet region
SLIDE 6. D. A system of internal correspondences within the novel.The two storylines of the work - modern and gospel - resonate with each other. How is it shown?
1) Heroes are doubles. Almost all the characters in the Moscow plot have"doubles" in the world of Yershalaim. The fate of Bulgakov is reflected in the fate of the Master, and the fate of the Master is reflected in the fate of his hero Yeshua. Ivan Bezdomny looks like Matthew Levi, Aloysius looks like Judas, Pontius Pilate looks like Woland.
2) Calendar roll calls. (4 days in Moscow in the 30s of the 20th century and 1 day in Yershalaim take place during Holy Week before Easter.)
3) Parallel Moscow-Yershalaim.
SLIDE 7 . The Master's novel is based on a biblical story, chapters from the New Testament. Let's compare the content of the novel with the Bible.
The real historical figure Pontius Pilate is the Roman ruler of Judea, a Roman horseman, procurator (in Ancient Rome the name of a ruler). The reign of Pontius Pilate was marked by violence and executions. Tax and political oppression, the provocative actions of Pontius Pilate, which insulted the religious beliefs and customs of the Jews, caused mass popular uprisings that were mercilessly suppressed.
What do Moscow and Yershalaim have in common in their political structure? (Moscow of the 30s personifies a totalitarian state, when any manifestation of freedom of thought and speech was cruelly punished. Yershalaim is a Roman province. The ancient capital of the Jewish state. Ruled by a governor. In general, also a totalitarian state.)
But Pontius Pilate is not talking to Christ, but to the wandering philosopher Yeshua Ha-Nozri. And the city where the action takes place is Yershalaim. And in the Bible? (Jerusalem) The sound similarity is not difficult to catch, and not only the sound one.
SLIDE 8. Student message.
Yeshua (Greek) – Jesus, Ha-Nozri - in Jewish books - the savior from Nazareth.
Jesus Christ - “he will save” - God the Son, the second person of the Trinity, incarnate among people. Jesus Christ combined in himself the divine and human natures. Jesus Christ had to convey the Word of God to humanity mired in sin. Crucified on the Cross, he was then resurrected and ascended to the kingdom of heaven.
The teachings and earthly life of Jesus Christ are revealed in the four sacred books in Christianity, the Gospels, written by the disciples of Christ.
SLIDE 9. Jesus was born immaculately from the Holy Spirit by the virgin Virgin Mary in the city of Bethlehem, where three wise men came to worship him as the future king of the Jews. After his birth, Jesus was taken by his parents to Egypt. After the death of King Herod, Jesus and his parents returned to Nazareth.
SLIDE 10. At the age of 30, Jesus entered public ministry, beginning with his baptism from John the Baptist. After his baptism, Jesus Christ, led by the Spirit, withdrew into the desert in order to prepare in solitude, prayer and fasting to fulfill the mission with which he came to earth. Then the devil approached him and, with three deceptions, tried to tempt Him to sin, like any other person. Having withstood all the temptations of the devil, Jesus began his preaching and public ministry. SLIDE 11. Having settled in Capernaum, he preached a sermon about repentance in the face of the onset of the Kingdom of God. He gathered around himself a group of 12 closest disciples - the apostles - to spread the Christian church throughout the world. Jesus supported his teaching with various miracles and became famous as a prophet and healer of incurable diseases, and also raised the dead, tamed a storm, turned water into wine, fed 5,000 people with five loaves, and many others. etc.
SLIDE 12. The events of the last days of the earthly life of Jesus Christ, which brought him physical and spiritual suffering, are referred to as the Passion (suffering) of Christ. The Church remembers them during Holy Week before Easter. A special place among the Passion of Christ is occupied by the events that occurred after the Last Supper: arrest, trial, scourging and execution.
SLIDE 13 . The Jewish high priests, having condemned Jesus Christ as a false prophet to death at the Sanhedrin, could not themselves carry out the sentence without the approval of the Roman governor of Judea, Pontius Pilate. At the trial, the procurator asked: “Are you the King of the Jews?” The answer to this question was the words of Christ: “You say that I am a King. For this purpose I was born and for this purpose I came into the world, to testify to the truth.” Pilate, finding no guilt in Jesus, was inclined to let him go: “I find no guilt in this man.” Pontius Pilate's decision caused unrest among the Jewish crowd, directed by the elders and high priests. Trying to prevent unrest, Pontius Pilate sentenced Jesus Christ to crucifixion, in whose death the Sanhedrin, headed by the high priest Caiaphas, was interested. At the same time, Pilate “took water and washed his hands in front of the people,” thus using an ancient Jewish custom that symbolized innocence in shedding blood (hence the expression “washing one’s hands”).
SLIDE 14. Jesus was crucified on Calvary, where he himself carried his cross. Two robbers were crucified with him. And the inscription of His guilt was: King of the Jews.
After Jesus died on the cross, his body was taken with Pilate's permission by Joseph of Arimathea for burial, which he performed with several of Jesus' disciples in a previously unused tomb that had been hewn out of the rock.
According to Christian tradition, after burial, Jesus descended into hell and, having crushed its gates, brought his gospel sermon to the underworld, freed the souls imprisoned there and brought out of hell all the Old Testament righteous, including Adam and Eve.
On Saturday evening, Christ appeared to his disciples and gave the apostles the Great Commission to preach his teaching about salvation throughout all countries and peoples.
SLIDE 15. Analysis of the first 4 chapters of the novel.
Why does Bulgakov take exactly these lines from Goethe's Faust? (This is an indication of the functions of the hero in the novel: being a symbol of Evil, Woland contributes to the triumph of justice. This is how the writer defines the main problem of the novel - the inseparability of good and evil)
Let's fast forward to Moscow in the 1930s.What role does landscape play in the novel? It's hot, stuffy.
What color predominates in landscape sketches? (Sunset and the color yellow. “It’s not a good color,” the Master will say. It brings anxiety and a feeling of mental discord into the context of the novel.
Who experiences these feelings and why? (p. 10 Berlioz)
What technique does Bulgakov resort to when he paints Berlioz and Bezdomny, and for what purpose? (Antitheses to emphasize the social difference between people living at the same time).
What are the differences between Berlioz and Bezdomny? It is not only in appearance, but also in education and thinking. Berlioz is an intelligent man, the chairman of MASSOLIT, he is a dogmatist and fools people like Ivan Bezdomny. Berlioz opposes any dissent and instills hatred.
What was the reason for the conversation between the two writers? (The atheist wrote about Christ as a real person).
Before us is the beginning of the novel and the appearance of one of the main characters. What answers do the heroes give to Woland’s question (p. 16): “if there is no God, then, the question arises, who controls human life and the entire order on earth?” "The man himself controls."
SLIDE 16. Is a person’s life really woven from chance, or can he vouch for tomorrow, his future, and be responsible for others? (No. Further development of the plot will refute this thesis and reveal the relativity of human knowledge, man’s dependence on a thousand accidents. An example of this is the absurd death of Berlioz under the wheels of a tram.)
What realities of the 30s are mentioned in Chapter 1? People live in unbelief. Solovki, denunciation, spy mania.
6. Lesson summary.
Goals: show the humanistic orientation of the novel, identify the idea of writing the work.
Tasks:
- Show the relationship between the three heroes of the novel: Yeshua, Pontius Pilate, Woland.
- Reveal the boundaries of power and activities of these characters.
- Identify the idea of creating these characters.
- Show the relationship between moral criteria (kindness, truth, justice, mercy, humanity) and power, strength.
- Reveal the political, social and moral aspects of people's lives in connection with the characters of the novel
- To lead to an understanding of the main conflict of the novel: personality and power.
- Contribute to the development of a moral personality.
- Trace the writer's affirmation of human values.
Methodological goal.
Show the use of technology for developing critical thinking using differentiated research activities during practical assignments.
Equipment:
- video film “The Master and Margarita”;
- music tracks from the film;
- multimedia slides;
- Handout;
- novel "The Master and Margarita";
- explanatory dictionary, dictionary of figurative expressions.
Preliminary homework:
- watching videos based on the novel “The Master and Margarita” created by the Bibigon program;
- memorize an excerpt from a novel describing one of the characters;
- individual tasks: create a slide – “information about the hero”.
During the classes
1. Organizational stage.
Providing a psychologically comfortable environment for working in the classroom. Music from the movie “The Master and Margarita” is playing.
*on the board is a portrait of M. Bulgakov, on the table is the book “The Master and Margarita.” On the interactive board, slide No. 1 (title of the novel)
2. Setting lesson goals.
To the music, the teacher reads the text by heart:“Wearing a white cloak with a bloody lining and a shuffling cavalry gait, early in the morning of the fourteenth day of the spring month of Nisan, the procurator of Judea, Pontius Pilate, came out into the covered colonnade between the two wings of the palace of Herod the Great.”
(At this time, a portrait of Pilate appears on the interactive whiteboard.)
1 student reads the text by heart:“The person described did not limp on any of his legs, and he was neither small nor huge, but simply tall. As for his teeth, he had platinum crowns on the left side and gold ones on the right. He was wearing an expensive gray suit and foreign-made shoes that matched the color of the suit. He cocked his gray beret jauntily over his ear and carried a cane with a black knob in the shape of a poodle's head under his arm. He looks to be over forty years old. The mouth is somehow crooked. Shaven clean. Brunette. The right eye is black, the left one is green for some reason. The eyebrows are black, but one is higher than the other. In a word - a foreigner."
(During reading, a portrait of Woland appears.)
Student 2 reads the text by heart:“This man was dressed in an old and torn blue chiton. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back. The man had a large bruise under his left eye and an abrasion with dried blood in the corner of his mouth.”
(During reading, a portrait of Yeshua appears on the interactive board.)
Teacher: So, Pontius Pilate, Woland, Yeshua. 3 personalities, 3 arbiters of destinies, 3 people with their own truth, philosophy, life.
(Portraits of three heroes appear on the interactive board.)
Which one is fiction and which one is reality?
(A slide appears - three names connected to each other.)
How are they related?
What are the limits of their power on the pages of the novel?
What's in the center of this triangle?
And why did Bulgakov choose such heroes who do not belong to the time of his life?
These are questions that we have to answer and create a cluster that unites these heroes.
3. Challenge. Actualization of subjective experience. Checking homework.
Teacher: Let's first try to answer the question: Which of them is a historical figure, and which is fiction? And whose fiction is this?
So, Pontius Pilate.
(The student shows slides with historical information about Pilate.)
This means that we can say that Pilate is a historical person.
Let's write it in the HISTORY cluster (under the name Pilate).
The next hero is Yeshua. It must be said that this is what the Israelis called Jesus.
(The student shows slides containing information about Jesus.)
Is the name of Jesus mentioned in historical encyclopedias?
Is Jesus a fictitious person?
Let's write the BIBLE (under the name of Jesus) in the cluster.
Indeed, according to New Testament tradition, Pontius Pilate sent a man to execution. They took advantage of the execution of the wandering philosopher many years later and elevated him to the rank of saint, and his teachings to religion.
Look how interesting it turns out: Pontius Pilate is a real historical figure. He lived and truly ruled Judea. And he even sent a man to execution. Jesus does not exist in historical sources, we learn about him from the Bible. But nevertheless, the whole world knows Jesus and perceives him as a fact, believing that he really lived, while only a few know Pilate.
Where is the border between history and the Bible? (It's difficult to answer this question.)
Who is Woland?
(The student shows slides containing information about the hero.)
So, Woland is a fictional person, a character from myths and literature.
Let's write it in the MYTH, LITERATURE cluster (under the name Woland).
4. Reflection stage.
So what does Bulgakov do when he draws out these central characters of the novel? (He creates a hero who really existed, who probably existed and who, as a person, did not exist at all.)
5. Understanding.
We found out the source of origin of Bulgakov's heroes. Now let's try to figure out how they are interconnected. Let's turn to the novel.
Which character appears first on the pages of the book? (Woland.)
What does Woland say when talking with Bezdomny and Berlioz? (Jesus existed.)
But he begins to talk about Pilate, and Yeshua is brought in later.
Let's watch this episode.
(Film frames from episode 1 of the film “M. and M.” - Yeshua is brought to Pilate.)
What impression does Pilate make? (Relentless, cruel, evil, merciless, formidable ruler, self-confident, calm in appearance; he has no friends, he is sick and lonely.)
And in these moments of loneliness Yeshua is brought to him.
What impression does Jesus make? (Sage, kind, does not accept cruelty, is tolerant of everyone, humane, calm soul.)
What moral aspects did Bulgakov collide in the images of Pontius Pilate and Yeshua? (Good and evil.)
True, but this is only the outer shell of the conflict. Let's try to get to the bottom of this.
What is the essence of Yeshua’s “goodness”? (There are no evil people, all power is violence.)
Find lines that support this.
What did Jesus think should exist in the world? (Goodness and justice.)
Let's write this in the cluster: THE TRUTH OF GOODNESS AND JUSTICE (under the name of Jesus).
6. Reading with notes.
Let's turn to the text (Chapter 2) and complete the task in groups.
1 group. Write down the judgments of Yeshua and Pilate about power and truth and compare them.
2nd group. What are Yeshua and Pilate afraid of?
3rd group. What are the symbols in this episode and what do they say?
Conclusions.
1st group:
Yeshua opposes all oppression of the individual. He is free from prejudices and attitudes, from the framework of the state system.
Group 2:
Pilate is afraid of losing power, and Yeshua is afraid of losing his life.
How did Pontius Pilate achieve power and his position? (Deserved it, including in battles, i.e. by cruelty.)
What is the essence of Yeshua's authority? (Possesses the minds and hearts of people.)
How does Yeshua achieve this? (By the power of persuasion.)
This means that their concept of strength is different. What does strength mean to Pilate? (Physical.)
For Yeshua? (The power of words, emotions, soul, i.e. moral.)
Group 3:
- “Hateful city,” “I rubbed my hands, as if washing them.”
- The episode with the appearance of the swallow.
What phraseological unit is reminiscent of the phrase “rubbed his hands, as if washing them”? (Phraseological unit - “wash your hands.”)
Let's look in the phraseological dictionary for the meaning of this expression. (Wash your hands, wash your hands - distance yourself, evade participation in any matter; relieve yourself of responsibility for something.)
What does this phrase mean in the mouth of Pilate? (He will not fight for the life of Yeshua, because he understands that the power of Tiberius is stronger than him. If Pilate goes against the system of power, then this system will crush him.)
How do we see Pilate in this episode? What will he reproach himself for later? (Cowardice, he could not overcome himself - he became a coward.)
What kind of cowardice is this? (Moral, spiritual.)
Why was the episode with the swallow introduced? (In Christianity, the swallow symbolizes resurrection and represents hope. Each of the heroes hoped: Yeshua - for liberation, Pilate - to persuade Caiaphas to have mercy on Yeshua.)
***As a man, Pontius Pilate sympathizes with Yeshua. He hates Caesar, but is forced to praise him. Sending a wandering philosopher to execution, Pilate suffers terribly and suffers from powerlessness, from the inability to do as he wants. Yes, he does not share the thoughts of the wandering philosopher: can the traitor Judas and the robbers Dismas and Gestas be called “good people”? Never, according to Pilate, “will the kingdom of truth come,” but he sympathizes with the preacher of these utopian ideas. Personally, he is ready to continue the dispute with him, but the position of the procurator obliges him to administer justice.
When Pilate talks with Yeshua, is he disingenuous? (No, he is honest and straightforward.)
That is, Pilate defends his truth - the TRUTH of LAW AND POWER.
Let's write this phrase in a cluster (under the name Pilate).
What about Woland? In which chapters does he act? (Moscow and otherworldly.)
Why is he not in the Yershalaim chapters? (He is the opposite of Yeshua.)
Let's turn to the Moscow chapters. When does the novel take place? (Russia 30s of the 20th century.)
What social, political and moral aspects does Bulgakov describe? (Political – totalitarian regime. Social – everyone is the same, you can’t stand out. Moral – lack of spirituality, lack of faith in God.)
This means that the mythical character Woland appears in Moscow in the 30s of the 20th century to...
And for what purpose does Woland appear? (Expose Moscow society? Help the Master and Margarita? Punish someone?...)
What is Woland doing in Moscow? (Personally, nothing.)
And Woland is a symbol of what? (Evil.)
That is, it turns out that evil comes to Earth to show people that they are wrong, to help someone, i.e. do good? Paradox?
Let's turn to chap. 12, episode “Woland on stage at the Variety Show” and complete the task.
1 group. Analyze the episode and tell me what conclusions Woland comes to? (People haven't changed over the centuries.)
2nd and 3rd group. Compare the words about mercy, goodness and truth and Woland’s actions in the episodes from chapter. 12 and ch. 24.
Conclusion. Woland speaks the truth and does good things.
What did the retinue of the Prince of Darkness want to achieve in the Variety Show? (Expose the evils of society.)
But really, who wanted this? Whose words, actions, views on life are behind Woland? (Bulgakov.)
What did Bulgakov want to achieve by talking about this? (The author wanted to reach human hearts. Woland is just a symbol. Bulgakov wanted to show the true face of the country in the 30s of the 20th century. To reveal human essence and the motives of their actions.)
What will we write to the cluster? (THE TRUTH OF CHARITY, HONESTY under the name Woland.)
Woland came to Earth not to execute and have mercy, but to tell the truth that we must live and value mercy and mutual assistance.
Reflection stage.
*** In fact, Woland is endowed with the author's omniscience. It contains echoes not of Mephistopheles, but echoes of the philosophy of Bulgakov himself. That’s why we find in him so much love for good people and so much hatred for crooks, liars and other “wickedness.” In the image of Woland are embodied humanistic ideals Bulgakov himself.
7. Reflection.
Let's return to the objectives of the lesson.
What unites Pilate, Yeshua, Woland? (Yeshua is goodness and justice, Pilate is the law, Woland is the honesty of life, and together - HUMANISM, THE TRUTH OF LIFE.)
Let's write this down in a cluster (the idea of the work is written in the center of the cluster).
Look in Ozhegov's explanatory dictionary what the word HUMANISM means. (Humanity in social activities and in relation to people.)
This means that Bulgakov asks questions on the pages of the novel: what are kindness and justice? What should power and strength be and within what framework should it operate? To whom should people show mercy and humanity?
Why does Bulgakov ask these questions?
The writer lived in a totalitarian state, where all these virtues were trampled underfoot. And he wanted to reach people's hearts. “The Master and Margarita” is a mythical novel. But this was for the writer the only way to artistically contrast pagan barbarism and Christian humanism.
8. Homework.
We created a cluster aimed at the idea of the novel, we were looking for the relationship between the 3 characters of the novel. But these heroes are connected with other characters in the book by no less significant problems. Which ones? This is what you have to think about at home and create a cluster based on your answers.
Used Books:
- Bulgakov M. A. The Master and Margarita: A Novel. – Nizhny Novgorod: “Russian Merchant”, 1993.
- Petelin V.V. Mikhail Bulgakov. Life. Personality. Creation. – M.: Moscow. worker, 1989.
- Phraseological dictionary of the Russian language.
- Explanatory dictionary of the Russian language.
Teacher MBOU Secondary School No. 6, Pyatigorsk
Literature lesson plan
Subject:
Lesson type:
A study of the first three chapters of the novel in order to identify artistic means, structural and compositional features that help the author consider how space and time are connected in the novel through a parallel image of Moscow in the 20s and Yershalaim in 29.
Goals:
Read the first chapters of the novel
Cultivating students' interest in the novel by M.A. Bulgakov
During the classes:
Determining the topic of the lesson
Excerpt from the novel:
“At the hour of a hot spring sunset, two citizens appeared on the Patriarch’s Ponds. The first of them - approximately forty years old, dressed in a gray summer pair - was short, dark-haired, well-fed, bald, carried his decent hat like a pie in his hand, and his neatly shaven face was adorned with supernaturally sized glasses in black horn-rimmed frames. The second, a broad-shouldered, reddish, curly-haired young man in a checkered cap twisted at the back of his head, was wearing a cowboy shirt, chewed white trousers and black slippers.”
Are you guys familiar with these lines?
(Yes, this is the beginning of the first chapter of M. A. Bulgakov’s novel “The Master and Margarita”).
Today in class we are opening the first pages of the novel “The Master and Margarita”
(the screensaver of A. Bortko’s film appears on the screen, the accompanying music sounds) - this helps to tune in to the work and brings a strong emotional wave to the lesson.
: The topic of the lesson is: – “The first chapters of the novel “The Master and Margarita” are the tuning fork of the entire work of M. A. Bulgakov.” They connect space and time through a parallel image of Moscow in the 20s and Yershalaim in 29, chapters 1,2,3. They will help us to read the entire novel and show how space and time will unite in eternity.
A tuning fork is an instrument used to tune a large orchestra before a performance. So these chapters will help us come to read and understand the entire novel.
Did you feel the time when you read it?
What is time?
(Students' answers)
On the screen
Philosophical Dictionary gives us this definition of time:
“Time is the duration of existence of material formations and the relationship of each of them with the previous and subsequent material formations. Time is irreversible, one-dimensional, unidirectional (from the past through the present to the future).”
Explanatory dictionary of Russian language and S.I. Ozhegova gives us the following interpretation of this concept:
Time is a sequential change of events and states; duration, duration of something;
activity period;
a certain moment;
time of day, year;
in history - the period of existence of someone or something.
The psychological dictionary gives the following definition:
PSYCHOLOGICAL TIME is a reflection in the psyche of a system of temporary relationships between events in the life course.
Are these definitions of time related to each other?
(Yes, connected....)
We will dwell on the concept of psychological time. This is the time of our inner experiences.
Yes, time is the most important factor in the existence of the world and man. We may not feel time when something passionate. You were so captivated while reading the novel Bulgakov. But in general, time is a universal category. In what areas of life, in what sciences does it manifest itself and is it necessary to count it?
(Student answers: biology, psychology, astronomy, physics, chemistry, history, music, mathematics, language, literature)
When you were reading the novel, did you not notice the time and it flew by?
What does time mean in literature?
In every culture there is sacred (sacred) time and earthly (everyday) time. Sacred time is Eternity, in which gods and immortal heroes live. Is it stationary or moving in a circle. It cannot be measured. And earthly time is determined by the movement of the starry sky; it is measured by clocks and bell strikes. It resembles a line going into an endless distance.
Which chapters of Bulgakov’s novel can we attribute to sacred time, and which to earthly time?
Teacher's conclusion: Yes, I agree with you that we can attribute all the Moscow chapters to earthly time, and the Yershalaim chapters to sacred time. Guys, let's try to list the heroes of the Moscow and Yershalaim chapters.
Guys' answers...
I also tried to do this on the slide. But tell me which of the novel’s heroes we cannot attribute to either the Moscow or Yershalaim chapters? And why?
Student answers
Conclusion: Woland is out of time in the novel.
Prove it?
You correctly said that he was present during the interrogation of Yeshua by Pontius Pilate, and he also appears in Moscow at the Patriarchal. This image in Bulgakov is multidimensional. He is both a character and an idea, he is real, the author gives him many realistic details, and he is, of course, a creature of another world, fantastic, otherworldly. The category of space is also subject to it, since it is closely related to the category of time. What is space?
On the screen:
The philosophical dictionary gives us the following definition of space:
“Space-extent of material formations and the relationship of each of them with other material formations; space is three-dimensional. Along with time, it is one of the objective forms of the existence of matter.”
Explanatory dictionary of Russian language S.I. Ozhegova gives us the following interpretation of this concept:
Space is one of the forms of existence of matter, characterized by
length;
extent, place not limited by limits;
the gap between something and something.
Psychological Dictionary
Psychological space is the free space around a person that he needs for mental comfort.
Psychological space is the world of each individual as a dynamic living space, consisting of areas representing all states of affairs, people, goals, objects, desires, behavioral tendencies
What unites these concepts?
Space is as diverse as time. And Woland is diverse, unpredictable, he is outside of time and space. He is above good and evil. He tests people in their depravity, ridiculing and destroying everything that has deviated from goodness, lied, become corrupted, and lost its high ideal. Woland restores the balance between good and evil and thereby serves good.
In what areas of life, in what sciences does space manifest itself?
What does space mean in astronomy?
In astronomy, space is three-dimensional and anisotropic, i.e. in space there is no “up” and “down”. Just like in the novel.
In cultural studies there is the concept of sacred (sacred) and everyday space. Sacred space is the center where the holy place is located (“the navel of the earth,” the temple, the Kremlin).
What does space mean in painting?
In painting, space is perspective, a thick bluish-brown background symbolizing infinity.
What does space mean in geography?
In geography, spaces are territories with certain geographical characteristics, for example, continents and oceans, climate zones, etc.
What does space mean in history?
In history, the spaces of states are separated from each other by borders; wars, coups and other cataclysms occur at certain points in space.
And in the language?
In language there is the concept of linguistic space.
What about mathematics?
And in mathematics, space is represented as a coordinate system.
We see that space and time constantly interact with each other.
Tell me where time can be reversible and space is not three-dimensional.
Of course, only in literature. The brilliant Bulgakov in the novel “The Master and Margarita” works wonders with space and time. The heroes of the novel move completely freely in space and time. Let us take a journey through the pages of the novel. Let's look at the first three chapters.
“I gave the “entrance” to the imaginary Yershalaim and the “exit” from it”
“I will show you Moscow of the 30s, which I know perfectly...”
These words of M.A. Bulgakov connect space and time in the novel: from Moscow in the 30s we move to Yershalaim in 29 and back.
“Never talk to strangers,” the author warns us in the title of chapter 1. (a sheet with the chapter number and its title is posted on the board)
Who are these people?
Berlioz
Ivanushka Homeless
- What strange things arose at this time at the Patriarch’s?
(students read and highlight the main ones: - simultaneous hiccups of writers
Absence of vacationers “under the linden trees” in hot weather
The appearance of the “transparent man in a checkered jacket”
The feeling of unreasonable fear that appeared in Berlioz
- What is the topic of their conversation?
(using the text, students determine the topic of the conversation - Bezdomny’s poem about Jesus Christ)
Sound recording – “...anticipating evening cool, silent drew black birds…"
Repeated “cursing” of writers
It seems that someone is being called, but when they call, then they come.
(a fragment of the film with the first appearance of Woland appears on the TV screen)
-Who is this stranger? Although he did not introduce himself in any way, he showed a business card with the letter “B” only a while later, but the description tells us that this is, well, not exactly a foreigner, a consultant and a magician.
Why did these three Woland, Bezdomny and Berlioz meet in Moscow and at the Patriarch's?
Woland and his retinue arrived in Moscow in the 1920s because... This has long been their city, their department.
The Cathedral of Christ the Savior has already been destroyed, admitting complete unbelief, and the norms of life have become: betrayal, denunciation, licentiousness.
The Patriarch's Ponds is the center of Moscow, which has long enjoyed a bad reputation, and the surface of the pond is the same mirror with which many beliefs are associated.
- When did the meeting take place?(students read this passage from the text)
- Woland’s legal question becomes the core question of the novel, a question to which the novel answers:
“...If there is no God, who controls human life?...) - MAN controls, answers Ivan.
-Trying to confuse and confuse the writers, Woland demonstrates his strength, what kind? It is here, under the linden trees, that we find out what will soon happen to the heroes.
(students read in the text about Woland’s predictions).
Increasingly involved in the conversation of writers, Woland continues to insist: “Jesus existed...”. Hinting that the conversation is not over, he utters the iconic words: “Today there will be an interesting story at the Patriarch’s meeting ...”, and provides evidence:
“Everything is simple, in a white cloak...”
This phrase introduces us to the next chapter of Pontius Pilate.
(students read the text)
Pay attention to the date of the events in Yershalaim.
(14th of the spring month of Nisan)
Bulgakov introduces us to Yershalaim in the year 29, this is indicated by the words of Yeshua to Pilate: “1900 years will pass before it becomes clear how much they lied when recording me...”
Temporal space is lined up in parallel: the devotee Yeshua is sentenced to execution, Pontius Pilate has lost peace forever, the minutes of Berlioz’s life are numbered, and Ivanushka is not far from the “house of sorrow.”
- In lessons devoted to the Yershalaim events, we will return to the interrogation scene, but our task today is to identify the compositional feature and “enter” the novel.
The chapter ends with the words: “It was about 10 o’clock in the morning...”
And chapter 3 of the novel “Seventh Proof” begins with these words. We see a kind of logical bridge that helps us move from one chapter to another.
We see the unity of these chapters (scheme demonstration)
We see the unity of these chapters (scheme demonstration)
Chapter 1 Chapter 2 Chapter 3
“Never talk Pontius Pilate Seventh proof
with unknown people"
(W ere (E R S H A L A I M) P a t r i a r s h i x p u d a h)
1929 29
May 14th of Nisan
…in a white cloak... in a white cloak... it was about... it was about 10
10 o'clock in the morning
- “I gave the “entrance” to the imaginary Yershalaim and the “exit” from it”
M.A. Bulgakov
- Brilliant!!!
- Compositional move “novel within a novel” allows you to conduct 2 storylines, show the mirror image of 2 cities: Moscow and Yershalaim, determine how the categories of time and space relate in the novel.
The compositional feature of the novel helps us see 3 worlds in the novel:
Modern
Biblical
Mystical
The connecting link between chapters 1 and 3, proving compositional unity, is the continuation of Woland’s question: “Isn’t there a devil either?” he literally begs Berlioz to believe in the existence of 2 forces, but he falls under a tram, according to the prediction of the Prince of Darkness.
The chapter has ended, completing the compositional unity of the first 3 chapters of the novel, which are the tuning fork of the entire work, preparing us to read the entire work.
So, summing up the lesson, Let's return to the tasks at hand:
We determined the system of images of the heroes of the first 3 chapters
We established the temporal and geographical space of the novel, its compositional features.
D. task: to draw up a spatial-temporal plan of the novel.
Outline of an open lesson on literature
Subject:
“The first chapters of the novel “The Master and Margarita” are the tuning fork of M.A. Bulgakov’s entire work. How are time and space connected in them?