Features of the composition of the novel “The Master and Margarita”. Storylines and through whom they are presented

No less original is the composition of “The Master and Margarita” - a novel within a novel, or a double novel - about the fate of the Master and Pontius Pilate. On the one hand, these two novels are opposed to each other, while on the other hand they form a kind of organic unity.

The plot combines two layers of time in an original way: biblical and contemporary to Bulgakov - the 1930s. and I century. ad. Some events described in the Yershalaim chapters are repeated exactly 1900 years later in Moscow in a parodic, reduced version.

There are three storylines in the novel: philosophical - Yeshua and Pontius Pilate, love - the Master and Margarita, mystical and satirical - Woland, his retinue and Muscovites. They are presented in a free, bright, sometimes bizarre form of storytelling and are closely interconnected with Woland’s infernal image.

The novel begins with a scene on the Patriarch's Ponds, where Mikhail Alexandrovich Berlioz and Ivan Bezdomny are heatedly arguing with a strange stranger about the existence of God. To Woland’s question “who controls human life and all order on earth in general,” if there is no God, Ivan Bezdomny, as a convinced atheist, answers: “Man himself controls.” But soon the development of the plot refutes this thesis. Bulgakov reveals the relativity of human knowledge and the predetermination of life's path. At the same time, he affirms man's responsibility for his destiny. The eternal questions: “What is truth in this unpredictable world? Are there unchanging, eternal moral values?” are posed by the author in the Yershalaim chapters (there are only 4 (2, 16, 25, 26) out of 32 chapters of the novel), which, undoubtedly, , are the ideological center of the novel.

The course of life in Moscow in the 1930s. closes with the Master's story about Pontius Pilate. Hunted down in modern life, the Master's genius finally finds peace in Eternity.

As a result, the storylines of the two novels are completed, converging at one spatio-temporal point - in Eternity, where the Master and his hero Pontius Pilate meet and find “forgiveness and eternal shelter.” Unexpected turns, situations and characters of the biblical chapters are mirrored in the Moscow chapters, contributing to such a plot conclusion and revealing the philosophical content of Bulgakov's narrative

The genre uniqueness of the novel "The Master and Margarita" - the "last, sunset" work of M. A. Bulgakov still causes controversy among literary scholars. It is defined as a mythical novel, a philosophical novel, a menippea, a mystery novel, etc. “The Master and Margarita” quite organically combines almost all the genres and literary movements existing in the world. According to the English researcher of Bulgakov's creativity J.

Curtis, the form of The Master and Margarita and its content make it a unique masterpiece, parallels with which “are difficult to find in both the Russian and Western European literary traditions.” No less original is the composition of “The Master and Margarita” - a novel within a novel, or a double novel - about the fate of the Master and Pontius Pilate.

On the one hand, these two novels are opposed to each other, while on the other hand they form a kind of organic unity. The plot combines two layers of time in an original way: biblical and contemporary to Bulgakov - the 1930s. and I century. ad. Some events described in the Yershalaim chapters are repeated exactly 1900 years later in Moscow in a parodic, reduced version.

There are three storylines in the novel: philosophical - Yeshua and Pontius Pilate, love - the Master and Margarita, mystical and satirical - Woland, his retinue and Muscovites. They are presented in a free, bright, sometimes bizarre form of storytelling and are closely interconnected with Woland’s infernal image. The novel begins with a scene on the Patriarch's Ponds, where Mikhail Alexandrovich Berlioz and Ivan Bezdomny are heatedly arguing with a strange stranger about the existence of God.

To Woland’s question “who controls human life and all order on earth in general,” if there is no God, Ivan Bezdomny, as a convinced atheist, answers: “Man himself controls.” But soon the development of the plot refutes this thesis. Bulgakov reveals the relativity of human knowledge and the predetermination of life's path. At the same time, he affirms man's responsibility for his destiny. Eternal questions: “What is truth in this unpredictable world?

Are there unchangeable, eternal moral values?" - are posed by the author in the Yershalaim chapters (there are only 4 (2, 16, 25, 26) of the 32 chapters of the novel), which, undoubtedly, are the ideological center of the novel. The course of life in Moscow in the 1930s coincides with the Master's story about Pontius Pilate.

Hunted down in modern life, the Master's genius finally finds peace in Eternity. As a result, the storylines of the two novels are completed, converging at one spatio-temporal point - in Eternity, where the Master and his hero Pontius Pilate meet and find “forgiveness and eternal shelter.” Unexpected turns, situations and characters of the biblical chapters are mirrored in the Moscow chapters, contributing to such a plot conclusion and the disclosure of the philosophical content of Bulgakov's narrative.

Features of the composition, genre originality of the novel

"Master and Margarita"

Lesson type: research lesson

Everything came true... To everyoneThe purpose of the lesson:

will be given according to his faith! 1) understand the writer’s intention,

think about the genre and

compositions of the novel, replacing

to read and comprehend the cross-

points of the lines of the work,

understand the idea of ​​the novel;

2) develop analytical

thinking, work skills

with artistic text,

with ICT, monologue speech;

3) instill interest in creativity

the writer’s thoughts, to understand the moral

natural lessons

During the classes.

I. Teacher's opening speech .

Mikhail Bulgakov’s novel “The Master and Margarita” has many faces, like art itself: it is romance and realism, painting and clairvoyance. In many ways, this is a novel of secrets that are not revealed to everyone. Let's try to lift the veil of secrets and look into the world of Bulgakov's heroes. Let's try to understand what the essence of the multifaceted and multi-level narrative is, why such a novel was written, what lessons we should learn from this work.

The novel, which incorporates the infinity of time and the immensity of space, is still interesting today, because it is about the tragedy of talent and love, about good and evil, about torment of conscience. And this is characteristic of people at all times. Even today, it does not allow our souls to be lazy, it forces us to reflect on the problems of the novel, and, therefore, touch ours.
What forces shape the destinies of people and the historical process itself? What underlies human behavior - a coincidence of circumstances, a series of accidents, predestination or adherence to chosen ideals and ideas? And if a person’s life is truly woven from accidents, then can he vouch for tomorrow, for his future, or be responsible for others? What is the truth in this chaotic world? Are there any immutable categories or is it fluid, changeable, and then we are driven only by the fear of power or death, the thirst for power and wealth? - these are the questions that the author poses in his novel. But aren’t these our questions, the questions of life today?
Bulgakov's novel "The Master and Margarita" is unique. And, like any significant work, it conceals unknown depths.

Let’s fill out the table “I know, I found out, I want to know”

2. Call stage. Teacher's word:

I hand out cards with text.

You will mark with graphic icons + - knew, ? – it’s not clear, - I don’t agree, * - I can add.

INSERT

Bulgakov read the novel “The Master and Margarita” first to his acquaintances, and the novel, which was distinguished by its great political acuteness, made a great impression on the listeners. In the first edition, the novel had variant titles: “The Black Magician”, “The Engineer’s Hoof”, “Juggler with a Hoof”, “Son of Belial”, “Woland’s Tour”. But this version was burned by the writer himself, leaving only the roots of the manuscript. When work resumed, Margarita and her companion, the future Master, appeared in the rough sketches. Because of his work at the Bolshoi Theater, Bulgakov did not have time to correct the written text, and he had the idea of ​​leaving his work at the theater. The novel was recognized as the main work of life, designed to determine the fate of the writer. “Finish it before you die!” - Bulgakov writes in the margins of one of the pages, feeling the approach of a fatal disease - nephrosclerosis.

Already in the early editions of the novel, the action began with a scene on the Patriarch's Ponds, there was a session of black magic, and a scene with fantastic money, and Berlioz's funeral. In preparation for writing the novel, Bulgakov read a lot: the Bible, Russian and foreign classics, “The Life of Jesus” by E. Renan, F. Farrar “The Life of Jesus Christ”, A. Muller “Pontius Pilate, the fifth procurator of Judea and the judge of Jesus of Nazareth”, D. Strauss “The Life of Jesus”, a dictionary of Brockhaus and Efron, works on demonology, studied the works of artists. Researchers have calculated that there are 506 characters in the novel. Bulgakov completed the first version in 1934, and the last in 1938. During the writer's lifetime, the novel was not published, although over the course of 20 years the writer's wife Elena Sergeevna made 6 attempts to break through the censorship. At the end of 1966 The Moscow magazine still publishes the novel, but 12% of the text was removed. The appearance of the novel, which not everyone had read, even in an abridged form, had a stunning effect. They began publishing Bulgakov’s works and studying his work only in the eighties of the 20th century.

The novel enjoys enormous popularity and attention from both readers and literary critics.

Teacher's word:

The novel "The Master and Margarita" has a very complex composition. Literary scholars distinguish three different worlds in it: Yershalaim from the time of Jesus Christ, contemporary to the author - the action takes place in Moscow, the eternal supermundane otherworldly.

Question: Why the action takes place in Bulgakov’s contemporary setting is understandable, but how can we explain the writer’s parallel appeal to the gospel events of two thousand years ago, to the other world?

HISTORY OF THE CREATION OF THE NOVEL.

Bulgakov dated the start of work on “The Master and Margarita” in different manuscripts as either 1928 or 1929. In the first edition, the novel had variant titles “Black Magician”, “Engineer’s Hoof”, “Juggler with a Hoof”, “”, “Tour”. It was a full-blown devilish drama, where the action was concentrated around Woland's Moscow adventures. The first edition of “The Master and Margarita” was destroyed by the author on March 18, 1930 after receiving news of the ban on the play “The Cabal of the Holy One.” Bulgakov reported this in a letter to the government: “And I personally, with my own hands, threw a draft of a novel about the devil into the stove...”

Work on The Master and Margarita resumed in 1931. Rough sketches were made for the novel, and Margarita and her nameless companion, called Faust, already appeared here, and in the final text - the Master, and Woland acquired his wild retinue. The second edition had the subtitle “Fantastic novel” and variant titles “Great Chancellor”, “Satan”, “Here I am”, “Black Magician”, “Consultant’s Hoof”.

In the second half of 1936, Bulgakov wrote new versions of the first five chapters. Thus, work began on the third edition of the novel, which was initially called “The Prince of Darkness,” but already in 1937 the now well-known title “The Master and Margarita” appeared. In May–June 1938, the full text was reprinted for the first time. The epilogue was written by M. Bulgakov on May 14, 1939.

Mikhail Afanasyevich was very strict about what was written. On one of the manuscripts he made a note: “I won’t die until I finish.” Elena Sergeevna Bulgakova recalled: “When at the end of his illness he almost lost his speech, sometimes only the ends of words or the beginnings of words came out. There was a case when I was sitting next to him, as always, on a pillow on the floor, near the head of his bed, he made it clear to me that he needed something, that he wanted something from me. I offered him medicine and drink, but I clearly understood that this was not the point. Then I guessed and asked: “Your things?” He nodded in a way that said “yes” and “no.” I said: “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.”

Bulgakov wrote “The Master and Margarita” for a total of more than 10 years. Simultaneously with writing the novel, work was underway on plays, dramatizations, librettos, but this novel was a book that he was unable to part with, a novel-fate, a novel-testament. The novel incorporates almost all of the works written by Bulgakov:

Moscow life, captured in the essays “On the Eve”,

Satirical fiction and mysticism, tested in stories of the 20s,

The motives of knightly honor and troubled conscience in the novel “The White Guard” are the dramatic theme of the fate of a persecuted artist, developed in “Molière”, a play about Pushkin and “Theatrical Novel”...

In addition, the picture of life in the unfamiliar eastern city depicted in “Run” prepared the description of Yershalaim. And the very method of moving back in time - to the first century of the history of Christianity and forward - to the utopian dream of “peace” was reminiscent of the plot of “Ivan Vasilyevich”.

Mikhail Afanasyevich Bulgakov’s novel “The Master and Margarita” was not completed and was not published during the author’s lifetime. We owe the fact that this greatest literary work has reached the reader to the writer’s wife, Elena Sergeevna Bulgakova, who managed to preserve the manuscript of the novel during the difficult Stalinist times. She became her husband’s guardian angel, never doubted him, and supported his talent with her 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 6 or 7 times without success. But the strength of her loyalty overcame all obstacles. 26 years after Bulgakov’s death in 1966, the novel was published in the Moscow magazine, albeit in an abridged version (a total of 159 deletions of the text were made). In the same year, the novel was published in full in Paris and immediately translated into many European languages. In Bulgakov’s homeland, the full text of “The Master and Margarita” appeared only in 1973.

3.Comprehension

1. Now let's try to determine the genre of the work. I think no one doubts that this is a novel. We’ll just remember once again the definition of this genre using reference books.

Working with reference books. (Presentation)

Creating a cluster (Appendix No. 2)

A novel (from French - roman) is a genre of narrative literature that reveals the history of several, sometimes many, human destinies over a long period of time, sometimes entire generations. A specific feature of the novel in its classical form is the branching of the plot, reflecting the complexity of relationships in society, depicting a person in the system of his social connections, character - in conditioning by the environment. Thus, the novel is a genre that allows you to convey the most profound and complex processes of life.

^ Students provide evidence

Characters in the novel – 150

Plot is a system of events in a work of art that reveals the characters of the characters and the writer’s attitude to the life events depicted.

4 storylines:

Philosophical - Pontius Pilate and Yeshua Ga – Nozri

Love - The Master and Margarita

Mystical – Woland and his retinue

Satirical – Moscow and Muscovites.

^ Teacher's Word

So, I believe that you were able to prove that this is a novel. But novels can be different: historical, adventure, science fiction, etc., it all depends on the theme or ideological and emotional assessment. What definition would you give to Bulgakov's novel? Let's express our opinions and try to justify them.

Student answers.

Love (the story of the relationship between the Master and Margarita)

Mystical (Woland and his retinue, Satan's ball)

Fantastic

Everyday life (paintings of Moscow everyday life)

Philosophical (eternal themes are raised: good and evil, truth and lies, loyalty and betrayal, responsibility for one’s actions, etc.)

Autobiographical (a climate of persecution, lack of livelihood, complete renunciation from literary and social life, constant expectation of arrest, denunciation articles, devotion and dedication of the woman he loves.)

(the guys form a cluster, one of the pair reads out)

2. Now let's turn to the composition of the work. What is composition?

(Appendix No. 4), creating a cluster

^ Working with the reference book

Question: What is unusual about the structure (composition) of the novel “The Master and Margarita”?

Combining stories about these two worlds in one novel. This is a novel within a novel. And one world is reflected in another world, like in a mirror.

At home you should have made a table and filled it out:

"Two worlds. Parallels and Reflections"

Students continue the table, read out possible parallels and explain why they decided that the episodes were parallel.

The table can be designed as an individual map on a computer. Or suggest creating an electronic encyclopedia book, where all stages of the analysis of the novel will be reflected on separate pages.

Composition (from Latin compositio - composition, connection, connection) - construction, arrangement and interconnection of all parts, images, episodes, scenes of a work.

What is the peculiarity of the composition of the novel “The Master and Margarita”? (A novel within a novel: Bulgakov writes a novel about the Master, and the Master writes about Pontius Pilate)

How does the composition of the novel “The Master and Margarita” differ from other novels in the novel? Which chapters tell about Pontius Pilate?

^ Student answers (working with text)

Chapter 2 “Pontius Pilate” (Woland tells Berlioz and Bezdomny). Chapter 16 “Execution” (The homeless man saw in a dream in a madhouse) Chapter 19 - Azazello reads an excerpt from the manuscript. Chapter 25, Chapter 26 "Burial", Chapter 27 - Margarita reads the resurrected manuscripts in the basement.

^ Teacher's Word

The chapters of the insert novel about one day of the Roman procurator do not follow one another, but are dispersed in the main narrative.

To tie everything together, he uses a special compositional technique - “braces”, repeating sentences that end one chapter and begin the next (students give examples from the text).

The novels were written, as it were, by different people, therefore, they are contrasted in the manner of narration.

The story about the events that took place in Yershalaim is coldly objective, tragically tense and impersonal. The author does not declare himself in any way - neither by addressing the reader, nor by expressing his opinion about what is happening.

The novel about the master, Woland, and Muscovites was written completely differently. It is marked by the personalized personality of the author, who addressed his entire narrative to the reader. This author expresses his attitude towards the events and characters: sympathy, joy, grief, indignation.

The plot of the novel written by the Master is one of the deepest traditions of world literature. In this regard, it is enough to recall such works as “Paradise Regained” by J. Milton, “Jesus Christ in Flanders” by O. Balzac, “Christ Visiting the Men” by N. Leskov and others. We have already noted that there are many fantastic scenes in Bulgakov’s novel. Let's think

In what part of the work should miracles occur? Why do you think so? Is this really true in Bulgakov's novel? What events did the author refuse to describe at all?

Where do fantastic events take place? Give examples.

3. Reflection

Teacher

· Did we find the answer to the question posed at the beginning of the lesson?

To summarize everything that was said in today’s lesson, I would like to say once again that Bulgakov’s work is unusual both in genre and in composition. I think you were able to verify this today. But we have just begun studying the novel, and many more amazing discoveries await us ahead.

^ Homework.

In the next lesson we will dwell on the events that took place in Yershalaim. Name the characters that will be featured in the next lesson. (Pontius Pilate, Yeshua Ga - Nozri, Matthew Levi, Judas, Rat Slayer, Caiaphas, Afranius)

2.If desired, prepare a message about one of the characters.

3. Answer the test questions on the content of the named chapters

A writer turning to the genre variety of a novel about a novel faces a difficult compositional task: combining two different stylistic plans. On the one hand, this is a narrative about the history of the novel, about the circumstances surrounding its creation, about the social and cultural environment that gave birth to it. On the other hand, this is actually a novel text, the creation history of which becomes the plot-forming factor of the work. The complexity of this task for Bulgakov was further aggravated by the fact that the Master was writing a novel about events two thousand years ago, addressing not only a fundamentally different social and historical environment, but also events that predetermined the spiritual evolution of humanity for millennia to come. Naturally, there is a huge tradition of narration about them - from the canonical texts of the Gospel to many apocrypha, both ancient and created in the last century. Such apocrypha can, for example, include the story of Leonid Andreev “Judas Iscariot”. Of course, the text created by the Master belongs to this kind of apocrypha.

Consequently, Bulgakov was faced with the task of stylistically distancing the narrative about Moscow of the 30s and Yershalaim at the beginning of our era. The writer solves this problem by introducing the image of the narrator into the Moscow chapters. The Yershalaim chapters were created in a completely different stylistic manner. Jokes and the ironic tone of the narrative that characterizes the Moscow chapters are inappropriate here. This is a kind of new apocrypha, claiming to reproduce the truth, an apocrypha from Woland - it is not without reason that it is he who sanctions the truth of everything depicted.

The idea of ​​the truth of what the Master “guessed” is stated by Woland in his very first conversation with Berlioz. “Your story is extremely interesting, professor,” Berlioz turns to Woland after he and Bezdomny heard from him the first chapter of the novel about Pilate, “although it does not at all coincide with the gospel stories.

“For mercy,” the professor responded with a condescending grin, “anyone, you should know that absolutely nothing of what is written in the Gospels ever actually happened...” Following this, Woland undertakes to confirm the truth of what was written by the Master, for he himself witnessed what was happening two thousand years ago.

So, if the Master’s text claims to be true, then it cannot contain a stylistically expressed image of the narrator, whose consciousness would refract the events described and interpret them in one way or another. The author acts only as a meager witness of what is happening. Therefore, stylistically, the Moscow and Yershalaim chapters are completely different.

The style of the novel about Pilate does not change depending on how they are introduced into Bulgakov’s text and who talks about the events; the image of the narrator is not expressed in any way. Therefore, the writer can resort to various plot motivations for introducing them into the novel composition. This is Woland's story at the Patriarch's Ponds (chapter 2. Pontius Pilate), Ivanushka's dream in a psychiatric hospital (chapter 16. Execution), Margarita's reading of the Master's notebook (chapter 25. How the procurator tried to save Judas from Kiriath; chapter 26. Burial).

But the compositional unity of the novel is formed not only by the plot motivations for including the Yershalaim chapters in the text and their stylistic distance. The two time layers are correlated both at the level of problematics and at the level of composition of the novel “The Master and Margarita”.

The Moscow and Yershalaim chapters are in many ways mirrored. They are united by a character system. In both there are two pairs of ideologists, the conflict between whom determines the novel's problems. These are, on the one hand, Yeshua and Pilate, on the other, Woland and Berlioz. Both have two heroes whose images are typical of the genre of philosophical novel, in which they move from one belief system to another: Matthew Levi (trace the path of this hero from a tax collector to a follower of Yeshua) and Ivan Bezdomny. The images of Yeshua and the Master are clearly correlated: for them, the call of the moral imperative is above any other motives, but both lack activity, an active principle, which leads to everyday and vital helplessness and tragic blindness. That is why both find themselves victims of betrayal. The images of the traitors are also correlated: these are Judas and Aloysius Mogarych. The stories of the relationship between the victim and the traitor are also mirrored in the two time plans of Bulgakov’s novel. This is a story of friendship and insidious selfish betrayal: Judas receives thirty tetradrachms, and Aloysius Mogarych receives the Master’s apartment.

The correlation of the storylines of the two time plans reveals that goodness without activity is powerless and meaningless. That is why Woland appears in the novel, the embodiment of activity and omnipotent action.

The compositional unity of the novel is also created by the fact that Bulgakov, creating an apocrypha from Woland, parodies some Christian motifs and rituals in the Moscow chapters. In a dream, Nikanor Ivanovich Bosoy sees that “some people with golden trumpets in their hands (angels?) are leading him, very solemnly, to large lacquered doors” (the gates of heaven? Or hell?), after which he hears a voice from heaven : “— Welcome, Nikanor Ivanovich! Hand over your currency!”

Ivan Bezdomny's pursuit of Woland's gang, which began at the Patriarch's Ponds and ended with his appearance in a very strange form at MASSOLIT, parodies the baptismal rite: Ivan is then truly reborn, and from that evening the hero's evolution begins. While wandering around Moscow (here the devil drives him, Bulgakov is realizing the saying) Ivan picks up a paper icon and a wedding candle from the apartment where he, for some unknown reason, ended up. After this, after swimming in the Moscow River (having been baptized by water), he discovers that the pleasant bearded man to whom he entrusted his clothes has safely disappeared, leaving in return his striped underpants, a torn sweatshirt, a candle, an icon and a box of matches. In new vestments, in a torn whitish sweatshirt with a paper icon of an unknown saint pinned on his chest, with a lit wedding candle, Ivan Bezdomny appears in the restaurant of the Griboyedov House.

Sections: Literature

Lesson objectives:

• introduce the features of the composition, genre originality and problems of M.A. Bulgakov’s novel “The Master and Margarita”,
• help to understand the diversity, multi-level nature of the narrative (from symbolic to satirical);
• find out the author’s position in relation to the heroes of the work;
• develop public speaking skills;
• cultivate a moral attitude towards others.

Equipment: teacher’s presentation, computer, multimedia projector, screen, textbooks, notebooks, text of M.A. Bulgakov’s novel “The Master and Margarita.”

But what was truly great
Will remain great forever.

N. Tikhonov

Lesson type: review-summarizing

Objectives: to determine the artistic features of the novel, to identify the level of perception of the work.

The main didactic method: lecture with elements of conversation.

Private methods and techniques: the teacher’s word, individual messages from students, working with text, taking a test.

The computer presentation is presented in Appendix 1

The novel by M.A. Bulgakov is a significant monument of Russian fiction of the 20th century, forever included in the world treasury.

The writer worked on his work for more than 10 years without completing it or seeing it published. The history of its creation is a significant, tragic story in itself. He gave everything that he had experienced, that constituted his talent and experience, to the novel “The Master and Margarita,” which became a truly living book. Laughter and sadness, joy and pain are mixed together in him, just like in life.

“The Master and Margarita” is a poem about morality, about man’s responsibility for good and evil, about “true, eternal and true love,” this book sets one to think and reflect on eternal spiritual values.

A. Features of the novel genre (3, 4 slides).

– What genre can a novel be classified into? (everyday /pictures of Moscow life of the 20-30s/, fantastic /elements of fantasy/, philosophical /eternal problems/, autobiographical, love, satirical)

B. Features of the composition (5 slide).

– What are the features of the novel’s composition?

The composition of the novel is multifaceted: it is “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. 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.

M.A. Bulgakov uses a special compositional technique - “scrapes,” repeated sentences that end one chapter and begin the next.

– Give examples from the text.

“- It’s simple: in a white cloak... (chapter 1) – In a white cloak with bloody lining (chapter 2); It was about ten o’clock in the morning (chapter 2) “Yes, it was about ten o’clock in the morning, venerable Ivan Nikolaevich,” said the professor (chapter 3, part I),” etc.

B. Spatial and temporal framework of the novel (6 slide).

– When and where does the novel take place?

The novel takes place in two eras, separated by almost two millennia. Both lines of the work - modern (4 days in Moscow in the 30s of the XX century) and evangelical (1 day in Ancient Rome) - echo each other, connecting at different narrative levels of the text. The ancient past has not gone away forever, but exists in parallel with the present.

In the novel about Pontius Pilate, the timing is precisely calculated. Events begin “in the early morning of the 14th of the spring month of Nisan” and end on Saturday, at dawn on the 15th of Nisan. In Moscow, the action takes place “one day in the spring” over 4 days. And “one moment” about midnight - Woland’s ball.

D. System of images of the novel (7 - 12 slides).

– What determines the system of images in the novel?

The system of images of the novel is determined by the plot lines of the novel. (Students' reports about the characters in the novel).

– What means of artistic expression does Bulgakov use when describing the life of Muscovites?

In the Yershalaim chapters everything is accurate, every word is used in its literal meaning. In the novel about the Master, the speech of the characters is replete with vulgarisms and newspaper cliches. (“The police included two people,” “There was a primus stove in their hands,” and others). Some sayings have become aphorisms.

Bulgakov depicts the life of Muscovites satirically, using such techniques as grotesque and fantasy. (The mysterious movement of Styopa Likhodeev to Yalta, the story of the currency, the costume of the chairman of the commission signing documents and others).

– Why were N. Tikhonov’s words “But what was truly great Will remain great forever” chosen as the epigraph for the lesson?

– What conclusions can be drawn based on the results of the lesson?

Researchers have repeatedly noted that the novel “The Master and Margarita” is a double novel. It consists of the Master's novel about Pontius Pilate and a novel about the fate of the Master himself. These novels, firstly, are opposed, and secondly, they form such an organic unity, which takes “The Master and Margarita” beyond the boundaries of the novel genre itself. This two-pronged work is not dedicated to the fate of an individual, a family, or at least a group of people who are somehow especially connected with each other, but examines the fate of all humanity in its historical development, the fate of the human personality as a component of humanity.

This is a philosophical work: in the depth and severity of the problems affecting the fundamental issues of existence; by the abundance of associative, free connections inside and outside the text; according to the internal polemics of the author’s artistic thinking, building his own concepts based on tradition...

Bulgakov’s novel “The Master and Margarita” is a great book because it expresses great ideas: about the greatness of man and the immorality of power as a manifestation of violence against man; about the beauty of love and people capable of love; about compassion and mercy, courage and loyalty to one’s calling as the highest human qualities, about the inseparability of good and evil, life and death...

Such manuscripts really don’t burn!..

-Read the poem by A.A. Akhmatova “In Memory of M.A. Bulgakov.” What word does A. Akhmatova convey the psychological, mental state of the writer precisely during the period when he was working on the novel “The Master and Margarita”?

Prepare working materials for the class essay “Features of the composition and problems of M.A. Bulgakov’s novel “The Master and Margarita.”