Bulgakov began writing his main book, the novel The Master and Margarita, which was first called both The Hoof of an Engineer, and The Black Magician, in 1928-29. He dictated the last insertion into the work of his wife in 1940, in February, three weeks before his death. In this article, we will examine Bulgakov’s latest novel and analyze it.
"Master and Margarita" - the result of Bulgakov’s work
A kind of synthesis, the result of all the previous experience of the writer and playwright, was this novel. It reflected the Moscow life, which arose in the essays from the work "The Eve"; satirical mysticism and fiction, tested by Bulgakov in the tales of the 1920s; motives of troubled conscience and chivalrous honor - in the novel "The White Guard"; as well as the dramatic theme of the evil fate of one persecuted artist, which was unfolded in Theatrical Novel and Moliere. Description Yershalaim prepared a picture of the life of the eastern city, which is mentioned in "Run". And the transference of the narrative in time during the period of early Christianity reminded of the plays "Ivan Vasilyevich" and "Bliss", in which a journey through the ages was also made.
Layered works
First of all, it is worth noting that this work is multi-layered, as our analysis shows. "Master and Margarita" has several plans, including temporary ones. The author, on the one hand, describes the reality of the 1930s, contemporary to him, but on the other, Mikhail Afanasevich goes to a different era: ancient Judea, the first two centuries of Christianity, the reign of Pontius Pilate. By comparing these two times, the establishment of indirect and direct analogies between them, the space of the novel is built, its ideological content is enriched with this. In the work, in addition, an adventurous and fantastic layer is brightly written out. First of all, scenes in which Koroviev, Hippopotamus and other representatives of the "gang" of the black magician take part belong to him.
Reflection of the features of the era
The persecution, repression, fear, which literally permeated the atmosphere of 30 years, were most clearly reflected in the fate of the Master. Let us prove this by the example of one episode, having analyzed it. “The Master and Margarita” contains an interesting scene - a description of the main character’s return home after he became a victim of a denunciation by Aloisiy Mogarych. Three months absent from his home, he comes to the windows of the basement, in which he plays a gramophone. The master returned in the same coat, only with ragged buttons (they were cut off at the time of arrest) with a reluctance to live and write.
The atmosphere of the 1930s is also reminded of the circumstances of the murder by mercenaries of Aphranius of Judah, the death of Maygel, whom Azazello killed at a ball by Satan. These deaths once again demonstrate the law, which was repeatedly confirmed already in the days of Yezhov and Yagoda: evil will destroy its servants.
The role of mysticism in Bulgakov’s work
Bulgakov called himself a mystical writer, but in the novel mysticism is not at all an apologia for everything mysterious, which can be proved by analysis. “The Master and Margarita” is a work in which Woland’s retinue performs miracles with only one purpose: the satire enters into the novel through them. Woland makes fun with his henchmen over human vices, punishes voluptuousness, lies, greed of all these Likhodeyevs, Sempleyarovyh, Varenukh. The representatives of evil at Bulgakov act in accordance with the Goethean maxim that they are a force that does good, wanting evil.
An analysis of the work “The Master and Margarita” shows that one of the main targets of Woland and his retinue is self-righteousness of reason, first of all, atheistic, which sweeps away along with faith in God the whole area of the mysterious and mysterious. Describing all the “hoaxes”, “jokes” and “adventures” of Behemoth, Koroviev and Azazello, the writer laughs at people's confidence that all forms of existing life can be planned and calculated, and it’s not difficult to arrange the happiness and prosperity of people - just want to .
Criticism of rationalism by Bulgakov
Bulgakov, while remaining a supporter of the Great Evolution, shows doubt that unidirectional and uniform progress can be ensured by a "cavalry attack." His mysticism is directed primarily against rationalism. Analysis of the work "The Master and Margarita" on this side can be carried out as follows. Bulgakov ridicules, developing the theme already outlined in various 1920 narratives, the complacency of reason, which is convinced that he will create, freeing himself from superstitions, an accurate blueprint for the future, the arrangement of relations between people and harmony in the soul of a person. Here can serve as a typical example of the image of Berlioz. He, having ceased to believe in God, does not even believe that chance can interfere with him, at the most unexpected moment, substituting the bandwagon. But this is exactly what happens in the end. Thus, the analysis of the novel "The Master and Margarita" proves that the author opposes rationalism.
Mystery of the historical process
But the mysticism of life for the writer is only a reflection of what can be considered the mysticism of the historical process (the unpredictability of the course of history and the results obtained, their unexpectedness). The most important events in history, according to Bulgakov, imperceptibly ripen. They are carried out outside the will of people, although many are convinced that they can arbitrarily dispose of everything. The unfortunate Berlioz as a result, who knew exactly what he would do at the MASSOLIT meeting in the evening, was killed in a few minutes under the wheels of the tram.
Pontius Pilate - "a victim of history"
Pontius Pilate, like Berlioz, becomes another "victim of history." Analysis of the novel "Master and Margarita" reveals the following features of this personality. The hero makes an impression on people and on himself as a powerful person. However, Yeshua's insight affects the procurator no less than the unusual speeches of Ivan Bezdomny, Berlioz and Woland. The complacency of Pontius Pilate, his right to control, at his own discretion, the lives of others are thereby called into question. The procurator decides the fate of Yeshua. But, despite this, the latter is free, and Pilate is an unhappy hostage of his own conscience. This two-thousand-year captivity is a punishment for imaginary and temporary power.
Love of the Master and Margarita
The novel "Master and Margarita" is dedicated to the fate of one master - a creative person who is opposed to the whole world around him. His story is inextricably linked with the story of Margarita. The author in the second part of his novel promises to show readers "eternal", "true", "true" love. That is how the feelings of the main characters were in the work. We will analyze them. "The Master and Margarita" (a summary of the work you hopefully remember) is a novel in which love is one of the main themes.
"True Love" by Bulgakov
What does “true love” mean from the point of view of Mikhail Afanasevich? An analysis of the chapters (“The Master and Margarita”) shows that the meeting of the heroes was random, but this cannot be said about the feeling that bound them to the end of the days. The master and Margarita recognize each other by their gaze, which reflected "deep loneliness." This means that, even without knowing each other, the heroes felt a huge need for love, which Bulgakov notes in his novel. The Master and Margarita, the analysis of which we are conducting, is a work that demonstrates that an accomplished miracle (a meeting of lovers) is also the will of chance, a mysterious fatum, strongly denied by the proponents of rationalism.
The master says that this feeling immediately struck both of them. True love invades life imperiously and transforms it. The meeting of the Master and Margarita, the analysis of which we are conducting, turned everything mundane and everyday into significant and bright. When the main character appeared in the Master’s basement, as if all the details of his meager life began to glow from within. And this can be easily noticed when conducting an analysis. The love of Margarita and the Master was so vivid that when the heroine left, everything faded for the writer in love.
First of all, real feelings must be selfless. Before meeting with the Master, Margarita had everything that a woman needed to be happy: a kind, handsome, husband who adored her husband, money, a luxurious mansion. However, she was not happy with her life. Bulgakov writes that Margarita needed a Master, and not a separate garden, a Gothic mansion and money. When the heroine did not have love, she even wanted to commit suicide. At the same time, she could not harm her husband and acted honestly, having decided to leave a farewell note in which she explained everything.
Therefore, true love cannot do harm to anyone. She will not build her happiness at the expense of the misfortune of others. This feeling is also selfless. The heroine of Bulgakova is able to accept the aspirations and interests of her lover as her own. She helps the Master in everything, lives by his cares. The hero writes a novel, which becomes the content of the girl’s entire life. She rewrites ready-made chapters completely, tries to make the Master happy and calm. And in this he sees the meaning of his own life.
"True love"
What does true love mean? Her definition can be found in the second part of the work, when the heroine is left alone, while not having any news of her lover. She waits, finding no place for herself. Margarita, however, does not lose hope of meeting him again, she is true to her feeling. It is completely indifferent to her in what light this meeting will take place.
"Eternal love"
Love becomes “eternal” when Margarita passes the test of meeting with mysterious otherworldly forces, as the analysis of the episode shows (“The Master and Margarita”). The girl in the scene where her meeting with otherworldly forces is described is fighting for her lover. Attending the full moon ball, the heroine returns the Master with the help of Woland. She is not afraid of death next to her lover and remains with him beyond the death line. Margarita says she will take care of his dream.
However, no matter how full the girl is overwhelmed with anxiety for the Master and love for him, when the time comes to ask, she does this not for herself, but for Frida. She decides this not only because of Woland, who advises those in power not to demand anything. The love of the Master in heroine is organically connected with the love of people. Own suffering causes a desire to rid others of it.
Love and creativity
Also, true love is associated with creativity. With the fate of the Master’s novel, the fate of Margarita is intertwined. As love grows stronger, a romance is created. The work is therefore the fruit of love. The novel is equally dear to both the Master and Margarita. And if its creator refuses to fight, the heroine arranges defeat in Latunsky’s apartment. However, she rejects the proposal to destroy him, coming from Woland. According to Bulgakov, the first step of truth is justice, but the highest is mercy.
Creativity and love exist among people who do not know either one or the other. Because of this, they are simply doomed to tragedy. The master and Margarita at the end of the novel leave this society, where there is no place for high spiritual impulses. They are given death as rest and peace, as freedom from torment, grief and earthly tribulations. It can also be perceived as a reward. This reflects the pain of life, time, the writer himself.
Peace for Mikhail Afanasevich is the absence of remorse. The destiny of Pontius Pilate will never be known to the main characters who have lived a decent, albeit difficult life.
Having survived decades of unjust oblivion, the novel "The Master and Margarita" by M. Bulgakov is addressed to us today, in our time. The main essence that is upheld in the work is "true, true and eternal love."