(Chapter 23, Part 2)

A significant place in Bulgakov’s novel “The Master and Margarita” is occupied by the motif of testing, through which various heroes find themselves either rewarded or punished.
You can earn a reward only by remaining yourself, maintaining the purity of your soul. Satan's Great Ball is the climax of the novel - the highest point of Margarita's test, the test of Love. This is her last chance to save the Master.

Chapter 23 consists of the following episodes: 1) Margarita’s preparation for the role of queen; 2) Meeting guests; 3) Frida; 4) Ball; 5) The appearance of Woland. 6) End of the ball.

Bulgakov:“Every year the sir gives one ball. It is called the spring full moon ball, or the ball of a hundred kings... So, sir: sir is single... - a hostess is needed... A tradition has been established that the hostess must certainly bear the name of Margarita. We found one hundred and twenty-one Margaritas in Moscow - not a single one fits.”

Margarita’s preparation for the role of the Queen at Woland’s ball begins in chapter 20 of “Cream Azazello”, in which she herself must make a voluntary choice, after which she became “invisible and FREE”! In Chapter 21, “Flight,” Margarita undergoes the ritual of Initiation into a Witch.

On the way to the lake, where the ceremony is to take place, Margarita trashes the apartment of the critic Latunsky, who actually destroyed the Master’s novel. But when she sees a frightened four-year-old boy in one of the rooms and stops the destruction. Violent hatred disappears, giving way to mercy and reason. Margarita's state of mind is normalizing. She flies away from Moscow. The Sabbath takes place on the river bank, and the main role is played by the goat-footed man, who brings Margarita a glass of champagne. The flight of Margarita and the Sabbath are a kind of prelude to scenes associated with the great ball and Satan. Finding herself surrounded by green forests, dewy meadows, and ponds, Margarita finds peace of mind.

The rite of passage for Margarita as Prom Queen is performed through irrigation and bathing in blood. Spilled blood is a symbol of sacrifice, as well as a symbol of life.

Margarita’s task at the ball is to bestow attention and love on everyone (the ability to forgive). All of Woland's guests - resurrected dead sinners - are historically real persons. Guests at the ball emerge from a fireplace resembling a “cold mouth.” An association arises with ashes, decay, and the extinguished fire of life. The guests whom Margarita meets are represented by Behemoth not only by name, but also by their actions; he describes in detail why certain people were punished.

During the arrival of the guests, the guests of the Satanic ball alternately cover Margarita’s knee with kisses, each of them takes away part of Margarita’s vitality. But only one of the guests, Frida (her name means “freedom”) evokes Margarita’s sympathy. Frida is a child killer, but she is the only one of all the sinner guests who repented of her crime. At Satan's ball, Frida prays for only one thing: that they stop serving her this hated scarf. Margarita will then ask for her, not for herself, not for the Master. But Woland can fulfill only one of her requests. “Woland, turning to Margarita, asked: “Apparently, you are a man of exceptional kindness?” A highly moral person? “No,” Margarita answered forcefully, “I know that you can only talk to you frankly, and I’ll tell you frankly: I’m a frivolous person.” 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 won't have peace all my life. It's nothing you can do! It just so happened. “Ah,” said Woland, “that’s understandable.” Woland grants Frida's pardon to Margarita herself, and at the same time fulfills a pre-agreed wish (removing the master from the clinic).

Woland appears at his ball only at the very end. “Woland made his last great appearance at the ball in exactly the same form as he was in the bedroom. Still the same dirty, patched shirt...” After some time, a metamorphosis occurred. Woland found himself in a black robe with a steel sword on his hip. He comes, bringing with him not only death and blood, but the triumph of retribution. The most significant episode in the chapter is Woland's conversation with Berlioz. So Bulgakov continues the previously started conversation about the Devil and God. It is in this chapter that the author puts an end to it - everyone will receive according to their faith. This is an immutable law of life, it cannot be crossed. Punishment and reward come according to a person’s faith. It is noteworthy that in the work Woland almost literally repeats the words of Christ quoted by Matthew: “According to your faith, be it done to you.” The devil quotes Jesus... This already suggests that in Bulgakov’s novel they constitute the harmony of the universe in which there is a place for darkness and light.

Margarita has not lost her purity. She came to the ball and performed the duties of a hostess for the sake of her love. She sacrifices herself for her lover, which means she deserves a reward. This reward is given to her by Woland in chapter 24: “Never ask for anything, and especially from those who are stronger than you. They will offer and give everything themselves!”

The episode touches on the most important idea for Bulgakov - the idea of ​​​​the highest retribution. According to the author, in the end, everyone will be rewarded according to their faith and deserts. Margarita loves the Master - and this is her faith. She is eventually reunited with her lover. The master, broken by trials, dreams of finding peace - and he gets it. Berlioz fades into oblivion - after all, he denied the existence of God and the afterlife. And another important idea is expressed in this episode. It is that retribution does not happen just because a person asks for something. Against. Asking to make a wish come true is not enough. You must want it with all your being, you must be ready to sacrifice everything for it - even your life.

The three “Ms” are Margarita, the master and Woland (W is an inverted M). Reversing a symbol is its negation. MIRROR REFLECTION OF TOP AND BOTTOM (which symbolically shows the connectedness of the worlds of Top - Good and Bottom - Evil).

QUESTIONS AND ASSIGNMENTS:

1. What is the name of Satan's ball?
2. Why was Margarita chosen to play the role of ball hostess?
3. What are Margarita's responsibilities at the ball?
4. Why, of all the guests - poisoners, villains - is forgiveness granted only to Frida?
5. Why does Woland punish Berlioz?
6. What is Bulgakov's idea of ​​retribution?
7. Do you share this idea of ​​the author?

But for some reason the novel Margarita Myths of the 21st century saves

Margarita, where is your Master,
Where is your Master, Margarita?
I. Tsarev.

What hand put me on the blacklist?
What conductor pulled me out of the sung choir?
Goodbye...
O. Chertov

The lines of suddenly emerging verses are cut short,
On the full moon the world is distorted strangely and silently,

The one who is thrown from heaven finds no peace,
And the starless distance so desperately disturbs the soul.
In this slavery of passions and stubborn cats and dogs
We are left alone and no one can save us

From sudden poems and novels burning to the ground,
From deaf Masters, they don’t need shelter or a home.
Lines are broken, patterns in the glass fog
I see clearly again, and I don’t dare live differently.

Being behind your husband is funny, but being above your husband is an absurd whim.
I don’t want either one or the other, oh, stubborn Master.
But Azazello will come, he will find us lost,
And the telegram flies into the void from you and me.

And through the cemetery of dreams naked I will walk again,
And in the Moscow apartment I learn all the secrets of the Universe.
The lines are cut off, the demons are prophesying trouble for us.
Lonely souls meet their empyreans.

Being after your husband is funny, but being over your husband is a ridiculous whim,
But for some reason Margarita saves the novel for the hundredth time,
So that new stories remain powerless for us,
Where everything disappears, but where nothing is forgotten...

And Margot goes into the infinity of deadly sins,
And the tired professor looks confused at the sky...
The lines of suddenly emerging verses are cut short,
On a full moon, the world distorts strangely and silently.

The main myth of the 20th century is the myth of familylessness and homelessness... Being married for the heroine of the 20th century is a strange joke, she does not understand, does not know why it is necessary, how it can be. Since childhood, she was not taught to be married to a husband, and she does not strive for this. How can you desire something you don’t have the slightest idea about?

But did all this emptiness and sadness begin with Margarita?

And if we re-read the novels of Dostoevsky, Tolstoy, where each family is unhappy in its own way and nothing remains of the Rostov family for a long time, and there are, at best, the Bolkonsky families and, at worst, the Kuragin, Bezukhov families, then we get completely lost in this strange world... It’s not that every family is unhappy in its own way, there’s simply no family there, just its appearance, its ugliness is such that it becomes scary.

And now the pinnacle of familylessness has become the novel of the century, a kind of demon for our family, for its values. Margarita runs from her prosperous husband to the basement to the Master, and the only thing that connects them is a burnt romance, which in some incredible way needs to be saved... And the so-called love jumped out like a killer (it will soon become a killer for both) .

Whether our classics wanted it or not, they persistently pushed us into this abyss... The last more or less definite idea of ​​the family was shown to us by A.S. Pushkin, although any normal person will think about whether it is worth getting married if he has to go through everything, what Natalya Nikolaevna, fiercely condemned by many, humbly endured. But this is still a real family, probably the last in the foreseeable past.

Although it turned out that all these were just flowers.

Lermontov, Gogol, Turgenev, who generally lived without a family as such and without heirs, the nightmare of Dostoevsky’s family life, all the quirks of L. Tolstoy’s family, the strange relationships in the families of the creators of the Silver Age naturally flowed into the novel of the century. Literature is only a mirror that reflects what exists in reality, albeit sometimes strangely distorting, but it cannot reflect what does not exist at all.

Margarita did not arise by chance and not out of nowhere, she emerged from a whole century of familylessness of creators and could have rushed to save any of them, and not even the Master himself, because in this situation it is unrealistically difficult to save him, but at least his strange creation, which he gave everything he had...

And from this perspective of viewing the image, it became a monument to all those Muses, wives, girlfriends whom fate brought together with our geniuses.

I remember the saddest story of the relationship between F.I. Tyutchev and E. Denisyeva, who nevertheless chose the role of the poet’s common-law wife, and her sad ending. From there Margarita came into our world. It is also characteristic that she saves a novel not about love and a happy family life (this would leave some hope), but a novel about Pontius Pilate, about power and passion for power. And Judas, who in Bulgakov’s novel runs to a corrupt woman on a date and at that moment is killed by killers (if translated into modern language) - representatives of that government - this is also very characteristic of the age and the death of nepotism, this is what remains for a person in this world, where the most important thing is not and can no longer be.

The poet’s ironic remark “It might be better to buy a dog” (when the woman left) is translated into reality by Pontius Pilate; all he has left is the dog. In the entire novel there is not even a hint of family; there is practically no Mary Magdalene next to the crucified Yeshua. There is only a beauty, because of whom Judas dies, but she is not even a corrupt woman in essence, but an employee of those who have power in their hands... It is the power that the whole world submits to, and this is very scary.

Almost no one notices, but we came to this, willingly or unwillingly, from the Lermontov era until 1917, when the revolution drove the last nail into the coffin of family life, and it was no coincidence that estates, as a stronghold of clan and family, were destroyed, and communal apartments were created , where neighbors have become much closer relatives. In that era, this seemed relevant, and the ultimate goal was invisible - the destruction of the clan and tribe completely and irrevocably.

Margarita and the Master are what remains of the state when a woman is behind her husband, and a man is the Head of the family, its patriarch, its core, its foundation. This is what we got.

We are all, to some extent, Margaritas who live according to the principle of the Slavic fairy tale “Go there, I don’t know where, bring that, I don’t know what.” They run somewhere, find something, save something, but it turns out that it is not at all the same, and has no value, and it would probably be better if they did not run and save.

How to break out of this vicious circle, how to return to eternal values, and is it possible to return to them after everything that has happened and what has not happened?

It’s hard to say what to do, but just like in Slavic myths, where only fragments and echoes remain, in myths about the family, about its necessity, we remember some puzzle pieces that we can’t put together into a single picture.
Something is remembered, something arises in memory.

And then young girls marry old men for obvious reasons, and the old men are sure that they are still strong and irresistible, and they need exclusively young girls in order to supposedly make themselves younger. And then terrible tragedies begin, because the expectations of both are not met. Like a king who steps into a bath of boiling milk, they never come out alive, and how could it be otherwise? Instead of youth - premature death, the laws of nature cannot be deceived. But they never read our fairy tales, and there is a lesson there not only for good fellows.

Only in our country no one needs women who are a little over 30, because not a single man (on average) can pull her off, they have outdone them in everything, and this is again the story of the Master and Margarita. The one with whom she wants to stay is hiding in a mental hospital, just so as not to show the amazing woman all his inconsistency, weakness, worthlessness, love for him is a killer, jumping out from around the corner... He would rather be funny and absurd with a young girl who It’s just the right level of development for him, but the fact that it’s a disaster in bed, no one sees this, well, except for the girl herself...

Oligarchs can buy something for themselves (and what is another name for such unions) oligarchs, but we all know how this marriage (you can’t think of another word) ends when they find out for themselves that it turns out that they love not him, only his money. And then there is only one thing left to do - take the child away and blackmail his ex-beloved wife with it...

Young men marry pensioners, it’s also clear why, and then the nice lady finds out that it turns out that he has already transferred an apartment in the center of Moscow to himself, and she is surprised: “How can it be, why is he such a bad boy.”
And if there is no financial or housing issue, they argue that it is easier and simpler to live alone. And this is so because these so-called wealthy and successful people do not suspect anything else. No one has ever told them about family values, and like Margarita, at best they get bored there...

And it’s not their fault, it started a long time ago in our unfortunate country.
For the first time, the Finns, and our Raimo Summanen in particular, told me about family values ​​convincingly, vividly and imaginatively, so that I personally believed that this is important for them - a wife, children, dogs, their home, their world. When they speak, their eyes light up, they really love, value and appreciate all this.

Isn’t that why some of our girls (old-fashioned) are in a hurry to marry foreigners, because there they hope to find something that they couldn’t find at home during the day, and they do find it if they themselves know how to appreciate it... And here the Margaritas remain. Princess Mary, Helen Kuragin and all the countless heroines of Dostoevsky, who do not understand what is worse, to be married to the Marmeladovs or not to be at all, but to follow Raskolnikov to hard labor, like poor Sonya, these are two evils, it is not clear, however, which one more.

And again I remember the unfortunate Margarita - the last straw that overflowed the thicket of our familylessness and the meaninglessness of family.

I want to get out of this swamp, but it’s unlikely that I will succeed in this life.
And if you consider that in Europe everything has been turned upside down, and the minority has become the majority, and a family is two men or two aunts who get married, then in my opinion everything is hopeless, simply disastrous, you definitely won’t come out of a coma never.. But is this really all that is left for us?

And it remains for poor Margarita, at the cost of unrealistic efforts, to save not the Master, who does not need any salvation and runs away from her without looking back, finding peace in a psychiatric hospital, but only a novel (manuscript) about power and passion, a novel about Pontius Pilate. A novel in which there is not a word about love and family, as if it no longer existed in those days.

And the question arises: was it necessary to save this novel at the cost of life, were these exploits and sacrifices not in vain...

But what's done is done, and we ended up where we ended up. Who is to blame for what happened to us all, literature, which reflects reality, or reality, which became the reason for the creation of texts.

By the way, the question is not so simple and unambiguous, if we remember that Turgenev’s girls appeared after Turgenev’s works about them, then the influence turns out to be mutual, the second reality can suddenly become the first, because when we peer into the abyss for a long time, we suddenly discover that She peers at us too.

Are there any other examples in the literature of the 20th century, did anyone realize that family is the most important thing in life? Is it really possible that not a single such creator was found, and with the estates burned and allowed, everything disappeared, became dust and ashes?

But almost no one notices or notes that in the second brilliant novel of the 20th century, I’m talking about “The Quiet Don”, in the finale, having gone through all the nightmares of the civil war - this end of the world for the family, when brother went against brother, and everything was destroyed, the author had an epiphany. The story ends when Melekhov returns to his home (there is no longer Aksinya or Natalya), but he remains with his son in his arms, and understands that this is the greatest value in life, everything else is secondary.. A man with a child in his arms - is this all that's left?

But our harsh fairy tales, alas, do not end with weddings, real weddings, and not deals, naked calculations; isn’t this where all our troubles lie?

M. Zadornov about the same thing:

You can’t help but think about the end of the world when looking at the Eurovision winner. Truly European Union! You know, I am for there to be more gays in Europe! They must degenerate. Only the worthy in Europe should continue their lineage. Maybe this abnormality - man with man, woman with woman - nature prevents world war, which could occur from overpopulation and capitalism at the same time.

Regardless of me, many people had the expression “Conchita to all Europe!” in their heads.

Reviews

At the heart of any work of art, and a novel in particular, there is always some kind of conflict. That's why there are no works about a happy family. How fairy tales usually end: “They got married and lived happily ever after.”
Journalists should talk about happy families, they should be shown on TV.
So Grigory Melekhov had to go through everything that he went through and what we followed with interest in order to come to an understanding of true values. But there wouldn’t be this thorny path and there wouldn’t be a novel and those heroes that we love.

I don’t quite agree that Margarita saved the novel, she saved the Master. A woman in love will consider any creation of her loved one, into which he has invested his soul, time, and health, to be a genius, and sincerely so.

And more about Europe. Well, what kind of stereotypes are these!! These gays were given to everyone! There are no more of them there than we have, and given the difference in territory, even much less.

People there value family values, but you yourself write about the Finns.

Good day, Natalia!!!
Everything is true about the conflict, but unfortunately, for about 100 years now all family values ​​have been reduced to zero, naive attempts to teach something at school are more funny than serious, they have ended in nothing... The number of teachers is too large singles and single mothers, who I can’t even tell, let alone show by example, what a happy family they are, why we should strive for it.
Bulgakov guessed this trend when everything was just beginning, alas, he turned out to be right, journalists have almost no one to write about...
As for Europe, this is England, France, Germany, partly Italy, I just didn’t specify. The countries of northern Europe are different in many ways, it’s as if everything was better preserved there in the cold, maybe the traditions were stronger, because even from a tourist’s point of view, they are very different from the rest of Europe. And all that remains is to envy the fact that everything is stored there.
Love

I agree with this, there is no need to save anyone, it only gets worse, but you come to this only in the second half of your life. Although I hope the younger generation will understand earlier.
Love

It so fortunately happened that over the past two years I have been to Europe several times - to Germany, Italy, France. We were not in capitals, but in small towns. In Germany, in the Alps, we lived in a family guest house. There, not only was the great love of the wife and husband felt for each other, not young people anymore, but this love was enough for us, strangers, from another country. This year we lived in France in Perigord, also in family guest houses - these people are touching in their care for the family, the family nest. We drove through many cities and kilometers and saw cleanliness, order, love for our native land, careful attitude towards monuments and memorable dates. We were in France on May 1 and 9. These holidays are celebrated there. How nice it was to see the few veterans who took to the streets on May 8 in all their regalia (I immediately remembered our Ukrainian brothers in contrast). In general, we didn’t see gays, nor did we see any propaganda for open relationships)). There are many black migrants in big cities - they saw this! That’s why it’s offensive to read when Europe is associated for some reason with gays.
Why are we better then the Ukrainians who vehemently hate, it is not known why everything connected with Russia.

The daily audience of the Proza.ru portal is about 100 thousand visitors, who in total view more than half a million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.

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 the novel “The Master and Margarita”. Tragic love of heroes.

Purpose of the lesson: At different times people thought about creativity, about the purpose of a writer and a poet. The gift of talent is given to a select few. How to use this gift, how not to ruin it, what is the purpose of the writer - this is another set of questions in the novel that 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?

Having witnessed the death of Berlioz, he 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 shaven, 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 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 ruining his life an unworthy thing.” “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 - attacked the Master and responded with devastating articles in the newspapers. The critic Latunsky was especially furious. In one of the articles, “the author suggested hitting, and hitting hard, 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 watch 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 to me, poison…”

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 unselfish and courageous as Matthew Levi, who tried to save Yeshua. People have done everything to separate their lovers, and evil spirits will help Margarita return the Master. 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, gained 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 - a division commander. 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

1. Andreevskaya M. About “The Master and Margarita”. Lit. review, 1991. No. 5.

2. Belozerskaya - Bulgakova L. Memoirs. M. Hood. literature, 1989. P.

3. Bulgakov M. The Master and Margarita. M. Young Guard. 19s.

4. Galinskaya I. Mysteries of famous books. M. Nauka, 1986. P.

5. Goethe I - V. Faust. Reader on foreign literature. M. Education, 1969. P. 261

6. Gudkova V. Mikhail Bulgakov: expanding the circle. Friendship of Peoples, 1991. No. 5. WITH.

7. Gospel of Matthew. “Collection on the night of Nisan 14” Ekaterinburg Middle-Urals. book publishing house 1991 S.

8. Zolotonosov M. Satan in unbearable brilliance. Lit. review.1991. No. 5.

9. Karsalova E. Conscience, truth, humanity. Bulgakov's novel “The Master and Margarita” in the graduating class. Literature at school. 1994. No. 1. C

10. Kryvelev I. What history knows about Jesus Christ. M. Sov. Russia. 1969.

11. Sokolov B. Mikhail Bulgakov. Series “Literature” M. Knowledge. 1991. P. 41

12. France A. Procurator of Judea. Collection “On the night of the 14th of Nisan” Ekaterinburg. Middle-Ural book ed. 1991. S.

13. Chudakova M. Mikhail Bulgakov. The era and fate of the artist. . Favorites by Sh. S.

14. Internet sites: .

“Who told you that there is no true, faithful, eternal love in the world?...”

Who told you that there is no true, faithful, eternal love in the world?
May the liar's vile tongue be cut out!
Follow me and only me, and I will show you such love!

“What is love?” I sometimes think, left completely alone. Is it really just a physical connection between two people of opposite sexes? No! This is wrong. Love is a word and feeling of the highest order. Not many are destined to find and feel that eternal and only love that M. A. Bulgakov sang in his famous novel “The Master and Margarita.” So let’s open the book and follow the heroes into this world of human feelings...
“She carried yellow flowers! Not a good color. She turned from Tverskaya into an alley and then turned around... And I was struck not so much by her beauty as by her extraordinary, unprecedented loneliness in her eyes!” - says the one whom she not so long ago called a master. Who is he? He is the one who renounced those around him and wrote “in the basement of a small house in the garden” an eternal novel about Pontius Pilate, which forced him to pay a huge price for his own suffering and is now in a psychiatric clinic, did not receive the approval of society and was expelled from it, but ardently her beloved...
And who is she? She is Margarita, a young married woman who lives in abundance and knows no need. “In a word... Was she happy? Not one minute! Since she got married at nineteen and entered the mansion, she has not known happiness. What did this woman need, in whose eyes some kind of incomprehensible light always burned?... She needed him, the master, and not a Gothic mansion or money...”
She loved him and he fell in love with her at first sight. But she is married, she cannot ruin her husband’s life: “I have never seen anything bad from him...” But they meet - they feel good together. But suddenly a stone falls on their fragile well-being. But what is love without suffering?! True love must go through everything, remaining unchanged and eternal! This is how it should be, and this is how it fell on two who have comprehended perfect love. But one day, unable to cope with the disease, he disappeared. And what, what was left for her except “an old brown leather album, in which there was a photographic card of the master, a savings bank book of ten thousand in his name, dried rose petals spread out between sheets of tissue paper and part of a notebook the size of a whole sheet, written on typewriter and with a burnt bottom edge”? But this is exactly what was left to her, along with the ardent and selfless love of which her loving and suffering soul was capable. But this soul was capable of anything to save her love. For his sake, she surrenders herself into the hands of the unknown: she makes a deal with Satan, having heard only a word about him. “I know what I'm getting into. But I go to any lengths because of him, because I have no more hope for anything in the world... I’m dying because of love,” she exclaims. And in these words one can feel love, and suffering, and the desire to return everything to its place at any cost - to return the master. After all, besides him, there is nothing else in her life: no happiness, no peace and no joy as the day approaches. No... This is what pushes her to succumb to
a tempting, but incomprehensible offer from a strange little red-haired man with a fang in his mouth and a thorn in his eye, in a word, Azazello... She is no longer afraid of anything - she goes forward, because he is waiting for her there, for whom she suffered, for whom she has been waiting for many months and who, no matter what, he waits and dreams of seeing. Yes, it is he who once entered her life and has already changed its usual course forever. He is a master, for his sake she breaks off all the threads connecting her with that past life, for his sake she rushes towards the unknown... And all for the sake of that love that we call real, true and eternal. Everything is just for her sake. It’s strange, because Margarita, it would seem, needs nothing more in this life: there is a husband who adores her, there is money and there is a rich mansion, the whole floor of which she and her husband occupy. “What else is needed for happiness?” - a question arises among readers. “No, happiness is not in this artificial curtain that hides real life!” - Bulgakov seems to answer. The curtain fell, revealing reality - and then he appeared... And she rushes into this distance, at the end of which she sees the light, at the end of which he is waiting for her. One moment turns her into a witch, eager to break with her old life. “Now joy boiled up all over her, in every particle of her body, which she felt like bubbles pricking her whole body. Margarita felt free, free from everything. In addition, she understood with all clarity... that she was leaving the mansion and her old life forever.” Yes, she became a witch who threw herself into the arms of Satan, spent the ball at his place naked, but did not experience embarrassment, for
ex about the past. But the ball was over - this is what she had been waiting for for so long, what she had suffered and dreamed about for many months. He (Woland) generously rewarded her for her suffering, healed the deepest wound of her soul, returned it... “From the windowsill, a greenish scarf of night light lay on the floor, and in it appeared a man calling himself a master. He was in his hospital attire - a robe, shoes and a black cap, which he did not part with. His unshaven face twitched with a grimace, he glanced madly and timidly at the candlelight, and the moonlight seethed around him.” This is what both have been waiting for so long. But what to do? How to continue to live? But even here their fate is decided - they find eternal peace: “You will fall asleep, putting on your greasy cap, you will fall asleep with a smile on your lips. Sleep will strengthen you, you will reason wisely. And you won’t be able to drive me away. I will take care of your sleep..."
The earthly suffering of the master and his girlfriend ends - they go to a place where there is an air of uncertainty and peace unseen on earth. They go into ETERNITY together, taking with them only love...

chapter seven

The great secret of Margarita's love (why do the most beautiful people love?)

The great paradox of the “master - Margarita” pair: if the master had not been the author of the novel specifically about Pontius Pilate, he would not have existed for Margarita.

Why, one might ask, did Margarita “grab” into the master’s novel? Not in the master himself, as it might seem from thinking about the commercial name of Bulgakov’s masterpiece, namely, in the Roman of the master?

The idea is unusual, but easily proven.

The master, at the level of intuition, was not mistaken about this: he was jealous of Margarita for his novel!

He confesses this at night in the house of frank conversations to Ivanushka Bezdomny. Or rather, he “confesses,” since the master, who is trying to hide from Margarita, sees in Bezdomny an opportunity to fulfill the bright layer of his dreams.

Therefore, a more accurate name for Bulgakov’s masterpiece (from a commercial point of view, completely impossible): “The secret meaning of the master’s novel and the eternal Margarita.”

Why is Bulgakov’s creative subconscious, presenting us intimate Margarita (women love to play roles, so the actions of any of them rather characterize her game, but rarely her soul; which allows you to get to the ins and outs of the truth detail still needs to be identified), noted the following most important features of it, of which there are only two:

Margarita is a witch. Moreover, the queen is at the Great Sabbath, a planetary Sabbath, convened only once a year;

Margarita is a descendant of one of the French queens (Koroviev calls her directly: Queen Margot).

- ...And then you yourself are of royal blood.

Why royal blood? - Margarita whispered in fear, clinging to Koroviev.

“Ah, queen,” Koroviev chattered playfully, “issues of blood are the most difficult issues in the world!” And if you were to ask some great-grandmothers, and especially those of them who enjoyed the reputation of being humble, the most amazing secrets would be revealed, dear Margarita Nikolaevna. I will not be at all wrong if, in talking about this, I mention a fancifully shuffled deck of cards. There are things in which neither class barriers nor even borders between states are completely invalid. Let me give you a hint: one of the French queens who lived in the sixteenth century would probably have been very amazed if someone had told her that after many years I would lead her lovely great-great-great-great-granddaughter arm in arm in Moscow through the ballrooms...

M. Bulgakov. Master and Margarita. Chapter 22 ("By Candlelight")

But who is this “witch”?

This concept has several meanings.

A witch, so to speak, legal - This is the woman whom, during the Inquisition, judges and executioners had the legal right to burn. (Often they “brought under the article” about witches and innocents - with exaggerations and false testimony. Here - about “real” ones!) A witch falling under these laws was part of a strict witch hierarchy, accordingly, she shared the witch faith-ideology, participated in certain ritual actions and Naturally, at every moment of her existence she lived a secret life - so as not to be burned by the hierarchy competing in power. In practice, they only destroyed Not sophisticated in lies, pretense, cunning, that is, the witch hierarchy was freed from random elements by the wrong hands; those who were deceitful to the core, of course, survived, gave birth and occupied key positions in power that were not sufficiently protected by caste.

The lowest link in the witch hierarchy was the “coven” - an association of thirteen “like-minded women” led by one spirit, who at night made “prayers to the deity” naked and with a dildo. Twelve of the thirteen were ordinary witches, and the thirteenth was a Grandmaster. She also had an assistant - the Maid of the Sabbat (Maiden Marien). All witches obeyed the Grandmaster unquestioningly (the same principle as in the Orthodox eldership).

The witches, as canonical psychoanalysts believe, solved predominantly sexual problems - this conclusion is made on the basis that after contacts at the Sabbath with a dildo followed by “self-expression” in an ecstatic “dance”, the witches returned to the family shelter as if calmed down, as if relaxed and before time balanced. But the dildo was needed to administer hallucinogens; it is more convenient than a broom handle, which was used by the ignorant in the Middle Ages, and it does not cause abrasions. (This method of administering hallucinogens is ancient, pre-Christian; then these prayer books with dildos reminiscent of today’s candles were called maenads.)

Where does it even come from - imbalance? Not at all from the absence of a man as such - many witches were married women. There is no need to resort to the authority of Plato (or to considerations from “CATHARSIS-1”) to say: such a woman does not have a spouse - present, more than sincere, the only one of the planet's population who can be called half …

Half -gift, a phenomenon for, to put it in the evangelical language, intangible for those who become rich. Those who become gods are those self-satisfied elements of the crowd who, in everything that happens in their dull life, see - contrary to reality - nothing more nor less than God's grace sent down to them, which they graciously accept. “CATHARSIS-1” contains a mathematical calculation, from which it follows that even twenty populations of our planet are not enough to statistically there were biorhythmic halves; the miracle is that they exist simultaneously. Finding your halves among the entire population of the planet, as only those with critical thinking can guess, requires completely different approaches than those used by the crowd. In “CATHARSIS-1,” which was entirely devoted to this issue, it was still impossible to say that finding one’s talent certainly precedes a meeting with half, but it seemed to me that enough had already been said. But, despite the considerable thickness of the volume, letters came to me like: “I had many women and all of them were my soul mates...” “Cool sectarians,” regardless of denomination, acted less original: the main thing, they said, was spiritual unity , God blessed us, we believe in it, therefore, any of those with whom we cohabit are half... Self-cutting of oneself from the truth and all the benefits associated with it by those already in marriage can still be, if not justified, then at least understood, but It’s much more scary to watch those who have not yet been ringed: for many (even those who have read “CATHARISS-1”), anyone they are currently following is half - they feel it. Any! Each subsequent one is announced again half, and all the previous ones are an error.

What can you do... A wave of such self-esteem could have been predicted even before the completion of the work. So I wrote, of course, not for the rich, knowing full well that they had blocked out any understanding of the magnificent space of life.

But the absence halves - a consequence, not a cause. A consequence of the “junkie” state.

Witches loved this state to increase hypnosis and used narcotic substances.

So, legal witch - This is one of the women who in spirit belongs to the all-planetary flock, in a weekly Sabbath surrendering to the Grandmaster (ideologue, teacher, elder, commissar, pastor, mentor, sensei, guru, Gruppenführer, etc.) soul and body.

In other words, it provides the great master with:

In the body, that very sensitive organ is covered with epithelium, which especially actively absorbs hallucinogens from the dildo (for Bulgakov, who is prone to compromise, reality is “cultivated”: Margarita and her servant rub the ointment sent by Woland not into the epithelium of the vagina, but into the skin of the face and body);

Your logical thinking for destruction (drugs, false philosophy);

Imaginative thinking for encoding and multiplying “signs of power” (ecstatic dance).

Weekly the gathering of thirteen (on Fridays - Venus day) was called small sabbath.

And on the full moon monthly Big Sabbath witches “flocked” from all over the area; they were led by the “district steward”, or “Devil”.

But there was also a planetary head of the cult - the Queen of the Sabbat, or Queen of Elphame, the whore of whores. She gave orders Great Sabbath, which was arranged once a year.

An important detail for deciphering the secrets of “The Master and Margarita”: witches sometimes put cloaks - dark blue or black - directly on their naked bodies. Margarita also really liked this form of clothing.

Margarita had a black cloak draped over her naked body, and the master was in his hospital underwear. -………

...I'm a witch and I'm very happy with it!

In real life, "legal witches" are just the tip of the iceberg psychological witches. A much larger number of women in the Middle Ages tried to escape from solving the main problem of life either through wine, or adultery, or the appearance of religious dedication, or family hysterics, or in search of luxury; There are many ways, and the most unexpected combinations of them are also possible, such as the well-known orgies in monasteries.

But if “legal witches” are the tip of the iceberg of “psychological witches,” then this great iceberg itself drifts in the whole ocean of “spiritual witches.” The transition from one form to another is determined only by external conditions: cooling, chipping of the top, drift to southern latitudes, turning over of an iceberg, etc.

It is clear that Bulgakov’s Margarita did not become a witch at the moment when she, naked, was rubbed with blood in the mysterious apartment of the late Berlioz before the great ball at Woland’s, and not even when, by marriage with her soul mate, she received all the means, servants, a high position in society - everything except fate, talent, halves And purpose, and even before, when I allowed myself not be born again not so much herself as her ancestors. Moreover, as Bulgakov reveals to us the hidden Margarita, they went so far that thrones became their usual habitat.

The French queen Margarita of Valois, like all “patricians,” was, despite the claims of commercial publications, not original, but quite typical: in order to stop her well-known kind of promiscuity, the princess was semi-forcedly married to Henry of Navarre, who later became Henry IV, the nominal founder of the new royal dynasty - the Bourbons. Having gotten married, Margot, of course, did not free herself from her doom to a dissolute life - and, in general, surprising no one. But it struck observers who were far from understanding the essence of power by the fact that, despite the frequent change of lovers and erotic separation from her husband, she supported him in power in every possible way . If Margot, a representative of the Valois dynasty, had not actively supported her husband, the new Bourbon dynasty would not have strengthened on the French throne. In other words, the husband received power from the hands of the woman. Even more precisely: the tangible bearer of psychoenergetic power over a large territory of Europe in that era was also a woman.

The names of dynasties and the genotype of male kings change, but in essence nothing changes.

By the way, the blood of Margaret of Valois left the French throne so that, having dissolved among the people, she could rise to the throne again - as a democrat. For a woman of power form the state structure is not important, what is important is itself governing body.

Did Queen Margot attend sabbaths more revealing than court balls? If the beautiful Margarita is a witch in spirit and the queen of the Great Sabbath, and in blood (subconscious, ancestral memory) a descendant of the ruler of the country, then could the late French queen also be a legal witch?

This is not reported in encyclopedias, which is not surprising: the purpose of encyclopedias is to serve the principle of power.

Be that as it may, despite the changing forms, the essence of women - bearers of power is unchanged: undoubtedly, the great-great-grandmother of Queen Margot also tended to be among the first ladies at gatherings of any kind. What was her social position called? Queen? Empress? Pharaoh? Or... - prefectess?

So, the first significant conclusion for finding out the true name of Bulgakov’s masterpiece: Margarita is a continuation of her ancestors and exists insofar as she has such ancestors, she is the heir to their pain, which compels her to take non-random actions. This is precisely what Bulgakov emphasizes, pointing to Margarita’s kinship as the source of special events around her. She - eternal Margot-Margarita.

Not all witches, as has already been said, indulge in adultery. This is a poor form - as they say, for the people. There are more subtle forms. With the help of which goals are more accurately achieved. Margarita is ready to do a lot just to be with the master’s romance. And with a master, it is simply necessary to act out love - after all, he can, if anything, restore the romance. She and the master are extremely ruthless: after communicating with her, he falls ill and, saving his life (albeit largely unconsciously), escapes to an insane asylum - there are guards and locked doors. But the intervention of Woland (Satan!) helps Margarita regain some semblance of peace of mind.

And here we can finally approach Margarita’s main secret - the core of her “love”.

It's strange, this novel within a novel.

Regarding the master’s words “I guessed right!” You guessed right!” do not be deceived - they are a continuation of the assessment of the circumstances of the Murder of Christ Woland alone(Ivan Bezdomny, not yet reborn and still a favorite of the editors-in-chief of central publications and the crowd, says “guessed” not from himself, but refers directly to Woland). But He, whose name Bulgakov reverently does not mention, on the contrary, having read the master’s novel, says (see chapter “The fate of the Master and Margarita is determined”) what the person wrote such a novel about the circumstances of the murder of Christ is incompatible with the Light.

What did the master “guess”? Is it really historically accurate? Or spiritual-psychological, as it may seem from the words of the perverted gentlemen of Bulgakov scholars (“inners”)?

Or maybe he just guessed the seductive deception that Woland, the Great Grandmaster, had prepared for Margarita?

What does Margarita the Witch like in the master’s novel so much that she recites one phrase after another from it?

Maybe she liked the Lord of Truth, some of whose features in Yeshua Ha-Nozri, although very, very vaguely, can be discerned? In the end, many people in the Soviet Union, at the end of socialism, read and re-read “The Master...” with one sole purpose - to learn at least something about Christ!.. (The author of these lines was one of them - the Gospel was difficult to get at that time .)

But the late atheistic Empire with the then ban on theology (but not on Truth!) is a specific period; in the time of Margarita, that is, in the twenties, the text of the Gospel in Moscow was still easily accessible.

But it was not the Truth that was important to Margarita - no, and no again! The Gospel is written a hundred times more in detail and more accurately than the master’s, but Margarita was not reading the Gospel.

What exactly was so important to her?

Pontius Pilate personally?

But it’s also better to get acquainted with it from the original source.

So what?

Master's style? Come on, come on, Bulgakov’s “reverse” style is nothing new. Hundreds and hundreds of authors cope with this style quite well, but the eternal Margarita is read precisely a novel about the circumstances of the murder of Christ .

Here it is, the right word: this is Bulgakov's novel about Pontius Pilate , and the master has a novel about the circumstances of the murder of Christ!

It is for these reasons distorted by Woland, But for some reason(is it a coincidence?) circumstances pleasant for Margot the witch - shifting the blame to the innocent! - and there is nothing that Margarita would go to in order to get the opportunity to forget herself again and again with a novel in her hands! Unknown ointment - let it be! Blood from the skull is unpleasant, but it will also drink!

Hello Woland! - Margarita exclaimed, raising her glass.

M. Bulgakov. Master and Margarita. Chapter 30 (“It’s time! It’s time!”)

What has such power over the great-great-granddaughter of queens? A lie as such? Yes, of course, lies are the essential basis of any work that can gain the favor of a witch. But lies (about human relationships, about our past and future) in book publishing are not new - look at any bookstore, the counters there are crowded with all this, what can I say, this is what booksellers live for.

The fact that Yeshua Ha-Nozri, although reflective and seemingly a healer, is not God, but a man - this heresy is not new.

It is also not new to portray the apostles as stupid fanatics driven by dogma (remember the masterful half-moron Levi Matthew with a goat parchment), who cannot in any way be the authors of not only the most profound Gospels, but even simply translators of the Proto-Gospel.

Consequently, the Queen was attracted not only by lies as such, but by something more specific in the novel about the circumstances of the murder of Christ. What’s new in the master’s novel is only the fact that, contrary to the gospel narrative, Pilate has no wife at all!

Here it is, the solution! This detail is extremely important - because in this case, the responsibility for the execution of Truth is removed from her shoulders! From the shoulders of her, her descendants and the descendants of their descendants.

Their life ceases to be a vulgar, mediocre wait for the moment of death, after which an inevitable meeting with the Truth - the Risen and All-Conquering.

Forget yourself! Yes, a ball, yes, a bloody shower, yes, the worship of Koroviev (he is a speculator, that’s why his surname means “mother of God”; more on this in the chapter "Her Chief of Security"), but all this for her, the eternal Margarita, is nothing compared to the novel!

The cat gave the top copy to Woland with a bow. Margarita trembled and screamed, worried again from tears:

Here it is, the manuscript! Here she is!

Omnipotent! Omnipotent!

Woland picked up the copy handed to him, turned it, put it aside and silently, without a smile, stared at the master. But he, for some unknown reason, fell into melancholy and anxiety, rose from his chair, wrung his hands and, turning to the distant moon, shuddering, began to mutter:

And at night under the moon I have no peace, why did they disturb me? Oh gods, gods...

M. Bulgakov. Master and Margarita. Chapter 24 ("Extracting the Master")

The true author of the novel is Woland, therefore it is in his power to restore mine novel from the ashes. The master is only most accurate repeater Woland's will, subject to him insofar as he did not find the strength to resist the influence of such women as Margot-Margarita. While the master is dependent on the eternal Margarita, he doomed to be a man without a name and an author such novel about Christ!

It was no coincidence that Woland appeared in Moscow: the master was eager to escape from the power of Margarita, as if from a mass grave - he not only hid in an insane asylum with permanently locked locks, without giving his name or address, he even burned the novel - however, Woland helped Margarita, not at all as a person or a loving woman, the main thing for him was precisely the spread his understanding of the events around Golgotha, the main thing is the images such Christ and such Pilate.