Grace and splendor are inherent in the art of jewelry. Only great craftsmen can give precious metals and stones the beauty of a completed masterpiece. After all, for example, gold in its original form looks rather unsightly. Just a piece of yellow metal. And when it falls into the hands of a master, it takes on graceful forms and becomes a truly unique creation of the creation of human hands and imagination.
One of the outstanding masters of jewelry art was Carl Faberge... His works are still the main value for the owners of his masterpieces.
The price of jewelry made by Faberge himself reaches enormous heights. And it is not only gold and precious stones that determine the value of a work of art. The craftsmanship and technique of the renowned jeweler is an example for professionals in their craft in the golden art world.
Life is just beginning
The full name of the world famous jeweler was Peter Karl Gustavovich Faberge... Oddly enough, but he was born in Russia. The family of the jeweler appeared in 1846 son, who later became a famous master in the field of creating unique jewelry. Even then, Karl's father had a store in which there was a brisk trade in gizmos made of precious metals. Therefore, the family was sufficiently wealthy.
In 1860, the Faberge family moved to Dresden... Here Karl received his initial education.
Generally Carl Faberge graduated from several educational institutions. His father taught him the basics of jewelry. In addition, Karl trained with many professional jewelers of the time. For example, in Paris, the future master studied under Schloss, who knew how to create unique jewelry.
Karl was a very enthusiastic person in his younger years. He was interested in collecting paintings, prints, medals.
In 1870 Carl Faberge replaced his father and became the head of the family jewelry company. He had to work hard so that, in the end, his products received an appropriate assessment. Only in 1882 he received a gold medal for his works of jewelery art.
Activity Result Faberge was predetermined. After all, Karl did not treat his work as a simple production of jewelry. The whole process of working with precious metals was worn creative character... Each new product became a new stage in the understanding of jewelry art. After all, even gizmos made of less expensive materials from Faberge cost a lot of money.
Faberge's creativity received recognition
The glory of the great master of jewelry has reached its heyday in 1885... He becomes the court supplier of the Supreme Court and at the same time Faberge gets the right to depict the state emblem on a trade sign.
And in 1900 he became a master among the masters of jewelry art, which happened at the World Exhibition in the capital of France. The Order of the Legion of Honor, which is the highest award in the French state, was received by Charles in the same year.
Got recognition Faberge and in Russia. And here he was awarded various orders for his services in the art of jewelry. Charles supplied his products even to representatives of the royal family and was popular with all the wealthy aristocrats living at that time.
However, quite often it was possible to notice how the spirit of rivalry between him and such famous jewelers at that time as Julius Buti, Friedrich Kechli, Eduard Bohlin and others could be seen. But the work of Faberge was of a completely different nature than the work of other masters. Therefore, his share of orders from the Imperial Palace was constantly growing.
Karl gained access to the gold fund of the royal family. He could freely study the technique of making jewelry that came from ancient times. This acquaintance had a very positive effect on the future work of the great master.
Faberge works have become a value in any wealthy family. They were recognized, which naturally increased the status of one or another jewelry owner. But sometimes works Faberge were not of any practical significance. They were expensive trinkets. You can call them that.
Of course, his firm did not consist only of him. Karl maintained a whole team of gifted employees who helped him to carry out his plans. Each item was piece and made to order for more than one month.
Celebration 300th anniversary of the imperial family of the Romanovs entailed a lot of orders, as a result of which a lot of fine jewelry was created. All works Faberge contained the emblem of the royal house. These were pins, brooches, badges, as well as the world-famous Easter egg, specially made for such an occasion.
Faberge jewelry conquers with its diversity
Carl Faberge engaged in not only the creation of beautiful and magnificent jewelry. His firm produced cigarette cases, snuff boxes, photo frames, clocks, writing instruments and much more. However, the most popular items of a skilled jeweler were Easter eggs... Their original design is striking to this day.
The first such egg was ordered back in 1885 by Alexander III. Success was not long in coming. And now Faberge began to receive regular orders for the production of the next jewelry masterpiece. Total 54 artworks this kind was created by the great master especially for the imperial family. Some Easter eggs were lost, many ended up in the hands of foreign owners.
But in 2004, these unique pieces of jewelry art returned to their homeland thanks to the efforts of a Russian businessman who was able to redeem the eggs for $ 100 million.
Nobody needs jewelry
While Tsarist Russia existed, jewelry art lived and flourished. The last Tsar of the Russian Empire NikolayII used the services of the great Carla Faberge... Repeatedly on his trips to Europe, he was accompanied by precious masterpieces of the famous jeweler. Many fine gizmos were donated to them by representatives of the nobility and persons of royal families, which brought additional fame to the famous master of jewelry.
but 1917 year destroyed almost all jewelry art in Russia. The state has become the full-fledged owner of all jewelry. The development of jewelers' creativity stopped. For many decades, jewelry making has been in a frozen state.
Carl Faberge died in 1920... And with him the skill of creating jewelry masterpieces practically died. And only in the 50s of the twentieth century, the art of jewelry began to revive. They remembered that once upon a time lived and worked a great master Carl Faberge.
However, his work began to be admired much later. The Soviet foundations did not allow people to pay tribute to the work of the great master. Abroad has long been jewelry from Carla Faberge became a great value of all times and peoples. Now in Russia, it is well understood that thanks to the revolutionary coup, the Russian people not only lost their jewelry art, but also lost value in the idea of jewelry Faberge.
Homeland of Carl Faberge- this is Petersburg. It was here that a school appeared, which began to revive the traditions associated with the work of the great master. The local students have already achieved many successes. Desire to return the era Faberge clear. Indeed, for the aesthetic development of a personality, the Beautiful and the Beautiful must always surround a Human.
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The history of the Master in the novel by M.A. Bulgakov's "The Master and Margarita"
Prepared by: Daria Krivitskaya,
student of group 281
Minsk, 2015
The novel "The Master and Margarita" is the pinnacle of Bulgakov's work. In the novel, the author touches on many different problems. One of which is the literary tragedy of a man who lived in the 30s. For a real writer, the most terrible thing is not to be able to write about what you think about, to freely express your thoughts. This problem also affected one of the main characters of the novel - the Master.
The master differs sharply from other writers in Moscow. All ranks of MASSOLIT, one of the largest Moscow literary associations, write to order. The main thing for them is material wealth. Ivan Homeless confesses to the Master that his poems are terrible. In order to write something good, you need to put your soul into the work. And the topics Ivan writes about do not interest him at all. The master writes a novel about Pontius Pilate, while one of the characteristic features of the 30s is the denial of the existence of God.
The master wants to get recognition, to become famous, to arrange his life. But money is not the main thing for the Master. The author of the novel about Pontius Pilate calls himself the Master. His beloved also calls him. The name of the Master is not given in the novel, since this person appears in the work as a talented writer, author of a genius creation.
The master lives in a small basement of the house, but this does not oppress him at all. Here he can calmly do what he loves. Margarita helps him in everything. The novel about Pontius Pilate is the work of the Master's life. He put his whole soul into writing this novel.
The tragedy of the Master is that he tried to find recognition in the society of hypocrites and cowards. They refuse to publish the novel. But it was clear from the manuscript that his novel had been read and re-read. Such a work could not go unnoticed. There was an immediate reaction in the literary milieu. Articles that criticized the novel were showered. Fear and despair settled in the soul of the Master. He decided that romance was the cause of all his misfortunes, and so he burned it. Soon after the publication of Latunsky's article, the Master ends up in a psychiatric hospital. Woland returns the novel to the Master and takes it and Margarita with him, since they have no place among greedy, cowardly, insignificant people.
The fate of the Master, his tragedy echoes the fate of Bulgakov. Bulgakov, like his hero, writes a novel, where he raises questions of Christianity, and also burns the first draft of his novel. The novel The Master i-Margarita remained unrecognized by critics. Only many years later he became famous, was recognized as a genius creation of Bulgakov. The famous phrase of Woland was confirmed: "Manuscripts do not burn!" The masterpiece did not disappear without a trace, but received worldwide recognition.
The tragic fate of the Master is typical for many writers who lived in the 30s. Literary censorship did not allow works that differed from the general flow of what needed to be written. The masterpieces could not find recognition. Writers who risked freely expressing their thoughts ended up in psychiatric hospitals, died in poverty, without achieving fame. In his novel, Bulgakov reflected the real situation of the writers at this difficult time.
One of the main characters of Bulgakov's novel "The Master and Margarita" is the Master. The life of this person, like his character, is complex and unusual. Each epoch in history gives humanity new talented people, whose activities reflect, to one degree or another, the reality surrounding them. Such a person is also the Master, who creates his great novel in conditions where they cannot and do not want to appreciate it according to its merits, just as they cannot appreciate the novel of Bulgakov himself. In The Master and Margarita, reality and fantasy are inseparable from each other and create an extraordinary picture of Russia in the twenties of our century. bulgakov master pilate tragedy
The atmosphere in which the Master creates his novel does not in itself dispose to the unusual theme to which he devotes it. But the writer, independently of her, writes about what excites and interests him, inspires to creativity. His desire was to create a work that would be admired. He wanted well-deserved fame, recognition. He was not interested in the money he could get for a book if it was popular. He wrote, sincerely believing in what he creates, not setting himself the goal of obtaining material benefits. The only person who admired him was Margarita. When they read the chapters of the novel together, unaware of the disappointment that lay ahead, they were excited and truly happy.
There were several reasons why the novel was not properly appreciated. First, it is the envy that appeared among mediocre critics and writers. They realized that their work was insignificant in comparison with the Master's novel. They did not need a competitor to show what true art is. Secondly, this is a taboo theme of the novel. She could influence the views in society, change the attitude towards religion. The slightest hint of something new, something beyond the scope of censorship, must be destroyed.
The sudden collapse of all hopes, of course, could not but affect the state of mind of the Master. He was shocked by the unexpected disdain and even contempt with which they reacted to the main work of the writer's entire life. It was a tragedy for a man who realized that his goal and dream were unrealizable. But Bulgakov cites a simple truth, which is that true art cannot be destroyed. Even after years, but it will still find its place in history, its connoisseurs. Time erases only mediocre and empty things that do not deserve attention.
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The idea of a "novel about the devil" originated in Bulgakov as early as 1928. The manuscript of the first edition, apparently with part of the drafts and preparatory materials, was destroyed by him in March 1930. He reported this in a letter to the government dated March 28, 1930 ( "And I personally, with my own hands, threw into the stove a draft of a novel about the devil") and in a letter to V.V. Veresaev dated August 2, 1933 ("A demon has possessed me. , I began to smear page after page of my novel destroyed three years ago. Why? I know ").
The text of the first edition, as can be inferred from the surviving drafts, was significantly different from the published final edition of the novel. Almost the leading role was played by the satirical beginning with elements of humor. As he worked on the novel, its philosophical sound intensified: like the outstanding realists of the 19th century, the writer tried to solve the "damned" questions about life and death, good and evil, about man, his conscience and moral values, without which he cannot exist.
The novel "The Master and Margarita" consists, as it were, of two novels (novel in novel- the technique used by Bulgakov in his other works). One novel is from ancient life (a novel-myth), which is written by the Master, then Woland tells; another - about modern life and about the fate of the Master himself, written in the spirit of fantastic realism. At first glance, there are two narratives completely unrelated to each other: neither in content, nor even in execution. You might think that they were written by completely different people. Bright colors, fantastic images, bizarre style in modern paintings and a very precise, strict, even somewhat solemn tone in the novel about Pontius Pilate, which is maintained in all biblical chapters. But, as one of the most interesting researchers of the novel L. Rzhevsky notes, "two plans of Bulgakov's novel - modern, Moscow, and ancient Yershalaim - are compositionally linked by means of cohesion, repetition and parallels."
Yershalaim scenes are projected onto Moscow ones. One cannot but agree with B.V.Sokolov and a number of other researchers who assert that the characters of ancient history and the 20th century form parallel structures: Yeshua - the Master, Levi Matvey - Ivan Homeless, Kaifa - Berlioz, Judas - Baron Meigel. In both plans, the action takes place before Easter. Many episodes and descriptions are also parallel: the Yershalaim crowd is very reminiscent of the audience of a variety show; the place of execution and the mountain where the Sabbath takes place have the same name. The descriptions of the weather in Yershalaim and Moscow are close to each other: the scorching heat of the sun is replaced by a thunderstorm. The latter motives are very close to the apocalyptic scenes of the "White Guard". There is also an absolute coincidence here: as in the "White Guard", the last murder - the murder of Yeshua - led to the "sun burst". In fact, humanity in the novel experiences the Hour of Judgment twice: during Yeshua and in the 20th century.
Bulgakov did not accidentally turn to the genre philosophical novel-myth. On the one hand, the philosophical novel is closely related to modernity; on the other hand, an appeal to myth, which carries the broadest generalization, moving away from everyday life, allows you to translate the narrative into the sacred world, to combine historical time with the cosmic, everyday life - with symbolism. Two plans of the novel allowed the writer to give two finals: real and symbolic. There was no place for the Master and Margarita in the real earthly world. Some heroes find genuine moral values (Ivan Homeless finds a home and becomes a professor of history), others take a step towards the norms of human behavior (Varenukha became kind, took up the Sempliarov business, Likhodeev became healthier), and still others (including the informer and the traitor Aloisy) lead the same life. The stay of Woland and his retinue only slightly changes the course of everyday life.
Another thing is in the mythologized, conditional plot of Satan's visit to Moscow. Like Yershalaim, the Moscow broken sun is extinguished in the glass and at the same time the curtain of the future is slightly opened: "everything will be right," "it will be as it should be." A foreshadowing of this is perceived the flame that engulfed not only the "bad apartment", the basement on the Arbat, but also the "Griboyedov". Symbolically, Woland's half-joking, half-serious conversation with Koroviev, who allegedly helped the firefighters:
"- Oh, if so, then, of course, we will have to build a new building.
- “It will be built, Messire,” Koroviev responded, “I dare to assure you of this.
- “Well, well, all that remains is to wish it to be better than before,” remarked Woland.
- "It will be so, Messire," said Koroviev. "
These words echo what Yeshua said to Pilate: "The temple of the old faith will collapse and a new temple of truth will be created." The struggle between light and darkness, black clouds and fire ends in Bulgakov in the distant future with the victory of Light. Despite all the shortcomings of mankind, the suffering of its best people, the overwhelming burden that they carry, the writer remains faithful to the great secret of life - the predetermination of a successful outcome, which gives the novel an optimistic sound. The writer connects the possibility of such a victory with the extent to which people will follow the highest destiny. So the roll call of the two plot plans allows the philosophical idea of the unity of people and morality in all historical eras. It is no coincidence that Woland answers to the main question of interest to him "have the townspeople [that is, people] changed internally":
"... People are like people. Well, they are frivolous ... well, well ... and mercy sometimes knocks on their hearts ... ordinary people ... In general, they remind the former ... the housing issue only spoiled them." ...
“The housing problem,” as Bulgakov understands it, thinking about the origins of the tragic destinies of our time, is a lost House and a lost God. In the novel, all the characters of the Moscow scenes suffer from this "question" explicitly or implicitly: the Master, and Margarita, and Berlioz, and Poplavsky, and Latunsky, and Aloisy Mogarych, etc. One of the characters is generally called Homeless, and Woland himself lives on someone else's "living space". It is in this vein that one should understand Woland's discussion with Moscow writers. To the question of Satan, "if there is no God, then the question arises, who controls human life and all the order on earth in general?" Ivan Nepomniachtchi immediately gives the answer: "The man himself controls!"
This answer, on the one hand, in the same chapter receives a weighty refutation: Berlioz, presumptuously making plans for the near future, is under a tram. On the other hand, the Yershalaim chapters, like the entire storyline of Margarita, prove that a person not only within certain limits can, but must control his own destiny, however, being guided by the highest moral criteria common to all times and peoples. Despite the fact that Yeshua Ha-Notsri is a "vagabond" and "alone in the world," he retains the ability to believe in people, the conviction that a time will come when the state will not put pressure on a person and everyone will live according to the laws of morality, Kantian categorical imperative. Ns accidentally the name of the German philosopher is mentioned in the same first chapter of the novel, where there is a dispute about whether there is a God, the concept of which is equivalent to Bulgakov's concept of higher morality. Through all the scenes of the novel, the writer proves that if God is the support of man, then man is the support of God. The "secret" of a person's spiritual survival in the situation of the collapse of the former House of Bulgakov sees the need for a new feat, similar to what Yeshua Ha-Nozri accomplished two thousand years ago.
The antagonists of the Yershalaim part of the novel are Yeshua and Pontius Pilate. Bulgakov's Yeshua is, of course, not biblical, at least not canonical Jesus Christ, which is constantly emphasized in the text of the novel. There is no hint here that he is a son of God. In Bulgakov's version, Yeshua is an ordinary man of about twenty-seven who does not remember his parents; by blood, he "seems to be a Syrian", originally from the city of Gamal, he has only one student, Matthew Levi, which causes a far from unambiguous assessment of the author. It is not the Gospel story about the crucifixion and resurrection of Jesus that is important to the author, but the trial of Yeshua by Pilate and its consequences. Yeshua appears before Pilate to approve the Sanhedrin's death sentence, which consists of two charges. One of them allegedly consists of Yeshua's appeal to the people with an appeal to destroy the temple. After the prisoner explains what he said, the procurator will reject this accusation. But the second charge is more serious, since it concerns the Roman emperor: Yeshua is violating the "Law on insult to majesty ...". The accused admits that he expressed his views on the state power. The author highlights the scene in which Pilate gives Yeshua the opportunity to extricate himself, to escape, to avoid execution, if only he lies and refutes his words about Caesar:
“Listen, Ha-Nozri,” the procurator began, looking at Yeshua in a strange way: the procurator’s face was menacing, but his eyes were alarmed, “have you ever said anything about the great Caesar? Answer! Did you? .. Or .. ... did not ... say? - Pilate extended the word "not" a little more than it should be on the court, and sent Yeshua in his glance some thought that he would like to instill in the prisoner. "
Despite the obviousness of the most dire consequences, Yeshua did not take advantage of the opportunity given to him by Pilate: "It is easy and pleasant to speak the truth," he declares.
"Among other things, I said<...>that all power is violence against people, and that the time will come when there will be no power of the Caesars or any other power. A person will pass into the kingdom of truth and justice, where no power will be needed at all. "
Pilate is shocked and frightened - now, if Yeshua is pardoned, he himself is in danger:
"Do you think, unfortunate, that the Roman procurator will release the man who said what you said? Oh gods, gods! Or do you think that I am ready to take your place?"
As L. Rzhevsky notes, "the theme of Pilate's crime" is one of the "structural themes of the novel," and it is no coincidence that the Master's novel is called "the novel about Pilate." In Bulgakov's work, Pilate was not punished for sanctioning the execution of Yeshua. If he did the same, being in harmony with himself and his concept of duty, honor, conscience, there would be no guilt behind him. His fault is that he didn't the fact that, while remaining yourself, should have done. The writer psychologically accurately conveys the state of Pilate, who understands that he is committing an unrighteous act:
"Hateful city," the procurator suddenly muttered for some reason and shrugged his shoulders, as if he were cold, and rubbed his hands, as if washing them ... "
The famous gesture, thanks to which the name of Pilate became a household name, as the very expression "wash your hands" became common, here means something opposite to what it means in the Gospel. There, with this symbolic gesture, Pilate demonstrates his innocence to what is happening. For Bulgakov, this gesture is a sign of the strongest emotional excitement. The procurator knows in advance that he will not act as his own soul or conscience tells him to, but as the one who owns his whole being tells him to. fear, for which it is subject to the judgment of the higher powers. Pontius Pilate is punished with a terrible sleeplessness lasting twelve thousand moons. In the last chapter of "The Master and Margarita", which is called "Forgiveness and Eternal Refuge", there is a kind of combination of two novels - the novel of the Master and the novel of Bulgakov. The master meets his hero and receives an offer from Woland to end his novel with one phrase:
“The master seemed to have been waiting for this already, while he stood motionless and looked at the seated procurator. He folded his hands like a megaphone and shouted so that the echo jumped over the deserted and treeless mountains:
- Free! Free! He's waiting for you!"
Pontius Pilate receives forgiveness, the path to which lies through suffering, through the awareness of his guilt and responsibility, and not only for his actions and actions, but also for thoughts and ideas.
“Two thousand years ago, in ancient Yershalaim, this sin was committed, inspired by the king of darkness, in the eternal and inscrutable struggle of darkness with light,” writes L. Rzhevsky. “Two thousand years later, this sin was repeated in another, already modern, huge city And he brought with him a terrible mastery of evil among people: the destruction of conscience, violence, blood and lies. "
This is how two planes, two streams of narration closed. The writer associates a further solution to this problem with the Yeshua - Master pair. The similarity of the portraits, the unwillingness to dissemble, make it possible to establish the commonality of these characters. The more striking is the difference. Yeshua was not broken. The fate of the Master is more tragic: after being released from the hospital, he no longer wants anything. At the request of Yeshua, Woland provides lovers peace.
The question of why the Master was not taken into the world, combined with the sadly uttered phrase of Levi Matthew: "He did not deserve the light, he deserved peace" - causes controversy among literary scholars. The most common opinion is that “the Master was not awarded the light precisely because he was not active enough, which, unlike his mythological counterpart, allowed himself to be broken, and burned the novel”; "did not fulfill his duty: the novel remained unfinished." GA Leskis expresses a similar point of view in his comments to The Master and Margarita:
"The fundamental difference between the protagonist of the second novel is that the Master turns out to be untenable as a tragic hero: he lacked the spiritual strength that Yeshua discovers on the cross as convincingly as during interrogation by Pilate ... None of the people dares to reproach the tormented one man for such a surrender, he deserved peace. "
Of interest is the point of view expressed in the works of the American scientist B.V. Pokrovsky. In his opinion, the novel "The Master and Margarita" shows the development of rational philosophy that led to communism. The novel of the Master himself takes us not two millennia into the past, but to the beginning of the 19th century, to that point of historical development, when, after the "Critique of Pure Reason" by Immanuel Kant, the process of demythologization of the sacred texts of Christianity began. As Pokrovsky believes, the Master is among these demythologizers (he frees the Gospel from the supernatural, removes the main issue for Christianity about the Resurrection of Christ), and therefore is deprived of light. According to the scientist, the Master was given a chance to atone for his sin (I mean the episode when Ivan Homeless at the Stravinsky clinic tells the Master about his meeting with Woland), but he did not realize it: he took the testimony of the devil as the truth (“Oh, how I guessed! guessed it! "). That is why he "did not deserve the light."
Developing a similar point of view, it can be assumed that Bulgakov in this respect gave the Master autobiographical features. It is no accident that in our time some Orthodox critics accused the writer himself of distorting (desacralizing) the Holy Tradition. One must think that the author of The Master and Margarita, himself dreaming of free creativity, follows Pushkin's tradition: an artist needs a Home, inner peace; in his actions he should be guided exclusively by his inner conviction ("There is no happiness in the world, but there is peace and will"). What the Master received corresponds to the best of Pushkin's and Bulgakov's ideal of the creator, especially since the last lines of the novel do not deny the possibility for the Master to meet Yeshua in the distant future.
On the other hand, it is difficult to agree with B.V. Pokrovsky when he writes: "Paradoxical as this statement is, but historically the Master is the predecessor of the educated theorist Berlioz and the ignorant practitioner Ivan Bezdomny, Ivan before his rebirth." To see in the figure of the Master "the nightmare of the mind absolutizing itself", to compare him with Professor Persikov and even with Preobrazhensky is clearly incorrect. Although Bulgakov's ideas and theories are often the cause of misfortune ("Fatal Eggs" and "Heart of a Dog"), in the last novel of the writer the Master embodies not rationalism and pragmatism (Berlioz is the exponent of these functions), but, in the words of V. S. Solovyov, "a universal reasonable idea of good, acting on a conscious will in the form of an unconditional duty or a categorical imperative (in Kant's terminology). Simply put, a person can do good in addition to and in spite of selfish considerations, for the sake of the very idea of good, out of respect for duty or moral law. "
The embodiment of this way of life in the novel is Margarita - the only character who has no couples in the biblical plot of the book. Thus, Bulgakov emphasizes the uniqueness of Margarita and the feeling that possesses her, reaching the point of complete self-sacrifice. (In the name of the Master's salvation, Margarita concludes an agreement with the devil, that is, destroys her immortal soul.) Love is combined in her with hatred and at the same time with mercy. Having destroyed the apartment of Latunsky, whom she hates, she calms the tear-stained child, and a little later refuses Azazello's offer to kill the critic. The scene after the ball is extremely important, when Margarita, instead of asking for the Master's salvation, intercedes for the unfortunate Frida. Finally, the image of Margarita is associated with Bulgakov's favorite theme of the House, of love for the family hearth. The Master's room in the cutter's house with a table lamp, books and a stove, which is unchanged for the artistic world of Bulgakov, becomes even more comfortable after the appearance here of Margarita, the Master's muse.
One of the most interesting characters in the novel is Woland. Just as Yeshua is not Jesus Christ, so Woland does not embody the canonical devil. Already in the drafts of 1929 there was a phrase about Woland's love for Yeshua. For Bulgakov, Satan is not an immoral evil force, but an effective principle, so tragically absent in Yeshua and the Master. There is an inextricable connection between them, as between light and shadow, about which, by the way, Woland sarcastically says to Matthew Levi:
"What would the earth look like if the shadows disappeared from it ... Do you want to peel off the entire globe, taking all the trees and all living things from it because of your fantasy of enjoying the naked light?"
This is also evidenced by the epigraph of the novel, taken from Goethe's Faust: "I am a part of the power that always wants evil and always does good."
Bulgakov's Satan, notes V. Ya. Lakshin, is a "pensive humanist", he and his retinue for the main characters are not demons of evil, but rather guardian angels: "Woland's gang protects decency, purity of morals." Moreover, the researchers unanimously noted that neither Woland himself nor his retinue bring any harm to Moscow life, except for the murder of Baron Meigel, the "earpiece and spy." Their function is to manifest evil.
Of course, the biblical chapters of the novel contain the philosophical quintessence of Bulgakov's thought, but this in no way diminishes the content of the chapters about modernity: one does not exist without the other. Post-revolutionary Moscow, shown through the eyes of Woland and his retinue (Koroviev, Begemota, Azazello), is a satirical-humorous, with elements of fantasy, an unusually vivid picture with tricks and disguises, sharp remarks along the way and comic scenes. During his three days in Moscow, Woland explores the habits, behavior and life of people of different social groups and strata. Before the readers of the novel, there is a gallery of heroes similar to Gogol's, only smaller, albeit from the capital. It is interesting that each of them in the novel is given an impartial characterization. So, the director of the Variety Theater, Styopa Likhodeev, "gets drunk, gets in touch with women, using his position, does not do a damn thing, and he cannot do anything ..." scammer, etc.
Not every work can not only become a classic, but also be remembered for a long time by people who have become familiar with it. The novel "The Master and Margarita" deserves special mention, in which the image of the Master is especially interesting. The author of the work is Mikhail Bulgakov. Of course, there are many original characters in the novel, for example, the cat Behemoth or Woland. However, the theme of love in The Master and Margarita is a special story. Therefore, it is worth talking about the main characters separately. The characterization of the Master deserves to be described in detail.
Entering history
The characterization of the Master originates from the chapter in which he appeared before the reader for the first time. It happened under the resounding title "The Appearance of the Hero". Thus, Bulgakov emphasized the importance of this character.
Who is the Master? First of all, it is the one who creates something. He was named so by Margarita, his beloved and madly adoring woman. Therefore, it becomes clear Margarita's attitude to the work of her Master.
The hero is not very active. He does not appear often in the novel, although he is the main character. However, he gets lost among the noisy and detailed characters. At least next to the active Margarita. He is lost. The master resigned himself to his fate. Having won a large sum, he is able to write an epoch-making work. But he is not ready to promote it, give it to people. The master simply could not bear the pressure and broke down. However, thanks to Woland and his retinue, he and his beloved were able to find peace. But that was exactly what the Master was looking for. In search of peace, he came to a psychiatric hospital, trying to get rid of persecution and evil people, but most importantly - trying to find himself.
A hero without a name
An interesting fact is that the Master does not have his own name. Of course, he has it, but the reader remains in the dark. Moreover, the Master's quotes indicate that he renounced his original name twice. One happened when Margarita gave him her nickname. And the other is in a mental hospital. Then he simply began to respond to the serial number. Just like that, without a name, he tried to hide from the others.
Why did this happen? What is the personality of The Master and Margarita? The image of the Master speaks volumes. This is also the suffering of a person who is on the way to his work, which lives its own life. And the love that left him, unable to fully understand. Here is the persecution he suffered during his life.
Who is a Master? This is the creator of something. Moreover, such a name can only be obtained by a professional. The hero of the book did not consider himself so, but the eyes of his beloved saw him precisely as a Master, talented, but incomprehensible. However, they wrote a great work.
Where is the love?
The theme of love in The Master and Margarita is separated from the rest of the plot. But she's pretty weird. You can call her sick and tired. Who is Margarita? This is a woman who wants to find simple happiness, who refuses everything that surrounds her. And for whom? For the sake of your Master. She is ready for a lot for him. For most readers, a memorable scene has remained when Margarita is present at Woland's ball. A witch, a real witch! But for whom is a timid and calm woman, in principle, ready for such changes? Only for the sake of a loved one.
But what about the duet, in which the Master and Margarita? The image of the Master remains slightly hazy. He responds to a woman's love somehow timidly and uncertainly. He is ready to accept her feelings, but he is consumed by something else. His creation, which simply occupied his mind, his thoughts. But he doesn't push his Margarita away. Although sometimes he realizes that he can destroy her. Moreover, in return he cannot give her anything.
But maybe it was the Master who became the salvation for this woman? Bulgakov late introduces Margarita's line into the narrative. This was probably done on purpose. The heroine immediately finds herself in the center of the plot, and harmoniously combining everything that has already been described in the novel.
Great work
Of course, the novel "The Master and Margarita", in which the image of the Master at first glance is not central, cannot be imagined without a great work. It brings up topics that are difficult to accept. We are talking about Pontius Pilate and Yeshua. This is a kind of dialogues between people and the messenger of God. There are so many semantic clues embedded in them that it is impossible to immediately understand how they are intertwined.
What's the main thing? The pain of the judge when he realizes who he met? People's rejection of a miracle? The cruelty of friends and the loyalty of enemies? You can look for an answer to these questions for a long time, in the end everyone will find their own basic idea contained in this novel.
What is the essence of the work in the novel?
How was the Master able to create this piece? It was after this that he was left alone, abandoned by everyone, but only in order to stay with Margarita forever. He simply followed the lead of existence, of fate. He became a conductor through which the novel was published, opened to people. That is why he became a Master, the one who created something big, not always understandable to those around him. He was under pressure that he was not prepared for.
"The Master and Margarita" and other works
The novel "The Master and Margarita", the image of the Master in it are references to many works. So, the number of the Master in a psychiatric hospital is a reference to Zamyatin's novel "We". In addition, the heroes of both works are somewhat similar in their fate.
There is also an opinion that, creating the novel "The Master and Margarita", the author wrote the personality of the Master from himself. Bulgakov was called the prototype of their character. He also burned the first draft of the novel when he realized it was too out of the ordinary. His work ultimately became a symbol of writers who were forced to follow the lead of society, abandoning their ideas.
Parallels are also drawn with the work "Notes of a Dead Man". In this novel, the hero is also the author of an unexpected work, which became both happiness and grief. However, unlike the Master, he was able to publish it and even bring it to the theater stage. He turned out to be stronger morally.
The novel The Master and Margarita, written by Bulgakov, is an extraordinary and capacious work. It hooks readers, introduces them to the world of deception, where a smiling neighbor can turn out to be a thief and a swindler, and the devil and his retinue arrange the fate of lovers.
See the answers by clicking "Answers to the test". Write down the question and answer number so that you can later test your knowledge and compare with the correct answers.
The tests based on the novel by MA Bulgakov "The Master and Margarita" were compiled by the teacher of the Russian language and literature Yuri Nikolaevich Steklov.
1. Who of the heroes of the novel owns the words that have become a catch phrase: "This cannot be! .."?
2. Berlioz Mikhail Alexandrovich had
1) viola,
2) high tenor,
3) low bass,
4) contralto,
5) lyric soprano.
3. Which of the heroes of the novel has “the right eye is black, the left for some reason is green”?
4. Poet Ivan Ponyrev wants to send Kant
1) to the Kolyma,
2) to Norilsk,
3) to Kamchatka,
4) in Solovki
5) to Magadan.
5. What kind of cigarettes did the foreigner treat Ivan Nikolaevich Ponyrev?
1) "Belomorkanal",
2) "Prima",
3) "Our brand",
4) "People's power",
5) Kazbek.
6. “He was in an expensive gray suit, foreign, in the color of the suit, shoes. He famously twisted his gray beret over his ear, under his arm he carried a cane with a black knob in the shape of a poodle's head. In appearance - more than forty years. The mouth is kind of crooked. Shaved smoothly. Brunet. The eyebrows are black, but one is higher than the other. " Who is this?
3) Berlioz,
4) Koroviev,
5) Woland.
7. “Dressed in a gray summer pair, short, fat, bald, carrying his decent hat with a pie in his hand, and on his well-shaven face were placed supernatural-sized glasses in a black horn-rimmed frame”. it
3) Varenukha,
4) Berlioz,
8. “One spring, at the hour of an unprecedented hot sunset, in Moscow, ..., two citizens appeared”.
1) at Chistye Prudy,
2) on the Arbat,
3) at the Patriarch's Ponds,
4) on Malaya Bronnaya,
5) on Sadovaya.
9. "In the hour of an unprecedented hot sunset" wore gloves
1) Mikhail Alexandrovich Berlioz,
2) poet Ivan Homeless,
3) citizen in plaid,
4) a foreigner,
5) Josephus Flavius.
10. Berlioz (1), Homeless (2), foreigner (3) were
A) in a beret, b) in a checkered cap, c) in a hat
1) 1a, 2b, 3c,
2) 1b, 2a, 3c,
3) 1c, 2b, 3a,
4) 1a, 2c, 3b,
5) 1b, 2c, 3a,
6) 1c, 2a, 3b.
A) weird subject, German, French, not English,
B) unknown, foreigner, foreign tourist, foreign eccentric, foreign guest, foreigner, stranger,
C) an Englishman, a Pole, a spy, a Russian emigrant, a foreign goose.
1) 1a, 2b, 3c,
2) 1c, 2b, 3a,
3) 1b, 2c, 3a,
4) 1b, 2a, 3c,
5) 1a, 2c, 3b,
6) 1c, 2a, 3b.
How does this attitude towards a foreigner characterize each of them?
12. In what order were Homeless, Berlioz and the foreigner sitting next to each other on the bench?
1) in the middle of Berlioz, to his left is a foreigner, to his right is Homeless,
2) in the middle of Berlioz, to his left is Homeless, to his right is a foreigner,
3) in the middle is a foreigner, to his left is Homeless, to his right is Berlioz,
4) in the middle is a foreigner, to his left is Berlioz, to his right is Homeless,
5) Homeless in the middle, a foreigner to his left, Berlioz to his right,
6) Homeless in the middle, Berlioz to his left, a foreigner to his right.
Prove the non-randomness of such seating.
13. What languages did the Roman procurator of Judea Pontius Pilate speak? 
1) Syrian,
2) Aramaic,
3) Persian,
4) Greek,
5) German,
6) Latin.
14. “This man was dressed in an old and torn blue tunic. His head was covered with a white bandage with a strap around his forehead. " it
3) at Berlioz,
4) at Pontius Pilate,
5) at Yeshua Ha-Notsri,
6) at Koroviev.
23. Poet Ivan Homeless stole from someone else's apartment
1) a light bulb,
2) a bicycle,
3) hat and trousers,
4) a candle
5) kerosene stove,
6) an icon.
24. Woland's checkered assistant was called
1) Bassoon,
2) Koroviev,
3) Fagot-Koroviev,
4) Hippo,
5) Azazello,
6) Abadonna.
25. "Have these townspeople changed internally?" - asks
1) Pontius Pilate,
2) Yeshua Ha-Nozri,
3) Joseph Kaifa,
4) Woland,
6) Roman.
26. "... appropriated one of these candles, as well as a paper icon"
1) Varenukha,
2) Likhodeev,
3) master,
4) Ivan Ponyrev,
5) Annushka,
6) Margarita.
27. What does citizen Parchevsky have to do with citizen Zelkova?
1) Must pay alimony,
2) must register it for himself,
3) promised to give her a car,
4) adopted her children.
28. "The rain of money, getting thicker and thicker, reached the seats, and the audience began to catch the pieces of paper." These were
1) brands,
2) dollars,
3) ducats,
4) sterling,
5) lyres.
29. The big black cat from Woland's retinue was called
1) Bassoon,
2) Azazello,
3) Quantum,
4) Panther,
5) Hippo.
30. The chairman of the acoustic commission of Moscow theaters was
1) Georges Bengalsky,
2) Mikhail Alexandrovich Berlioz,
3) Jerome Poprikhin,
4) Mstislav Lavrovich,
5) Ivan Savelyevich Varenukha,
6) Arkady Apollonovich Sempleyarov.
31. "Shaved, dark-haired, with a sharp nose, anxious eyes and a lock of hair hanging over his forehead, a man of about thirty-eight." it
1) Yeshua Ha-Nozri,
2) Roman,
3) Georges Bengalsky,
4) master,
5) the writer Zheldybin,
6) Ivan Homeless.
32. The master "stole a month ago ..."
1) a bunch of keys,
2) an archive book,
3) an ampoule with poison,
4) an icon with a candle,
5) an ancient manuscript,
6) ten thousand rubles.
33. What was embroidered on the master's black cap?
1) crescent,
2) № 119,
3) his initials,
4) red cross,
5) flower,
6) the letter "M".
34. Who was the master by education?
1) a journalist,
2) an insurance agent,
3) a historian,
4) a doctor,
5) an engineer,
6) an artist.
35. What languages did the master know?
1) Russian, Tatar, Chinese, English;
2) Russian, English, German, Spanish, Japanese;
3) Russian, English, French, German;
4) Russian, English, French, German, Latin, Greek.
36. The master won one hundred thousand rubles,
1) when playing cards,
2) with a lottery ticket,
3) when playing chess,
4) when you bought the bond.
37. The master worked
1) at the Institute of Culture,
2) in the archive,
3) in the editorial office of the journal,
4) in the museum.
38. The foreman "hired from a developer in an alley near the Arbat two rooms from the front." The first room was, according to the master, huge. How many square meters was its area?
1) fourteen square meters,
2) eighteen square meters,
3) twenty four square meters,
4) twenty six square meters,
5) twenty eight square meters,
6) thirty six square meters.
39. What was the marital status of the master before meeting Margarita?
1) was single,
2) recently buried his wife who died of tuberculosis,
3) his wife left him and went with her six-year-old daughter to her parents in Saratov, 4) divorced his wife-actress,
5) was married to Varenka,
6) was going to marry the beautiful Anna Richardovna, but did not marry.
40. What flowers did the master like?
1) asters,
2) black tulips,
3) carnations,
4) roses,
5) field daisies,
6) hyacinths.
41. Who called Margarita's beloved master?
1) the master himself,
3) Ivan Ponyrev,
4) Margarita Nikolaevna,
5) Woland.
3) after the restoration of the burned manuscript, it was published in Paris, 4) no one dared to publish, but one editor published a large excerpt from the novel.
43. Many heroes of the novel use the expression “the devil only knows” in their speech. It flies out of the mouth
1) Berlioz,
2) Ivan Homeless,
3) Pontius Pilate,
4) Yeshua Ha-Nozri,
5) masters,
6) Woland.
44. “It cost me, - says the sick master, - before going to bed to extinguish the lamp in a small room, it seemed to me that through the window, although the window was closed, climbs in ...”
1) some kind of snake,
2) some kind of huge spider,
3) some kind of octopus,
4) death with a scythe,
5) a burglar with a crooked knife,
6) the critic Latunsky kicking forward.
45. Who was placed in room 120 of the psychiatric hospital?
1) Georges Bengalsky,
2) Varenukha,
3) the poet Ivan Bezdomny,
4) Barefoot,
46. How did the master end up in the mental hospital?
1) He was arrested and taken away in a special vehicle.
2) Without his consent, he was transferred there from the city hospital.
H) Aloisy Mogarych brought him there by fraudulent means.
4) I went there myself.
5) Margarita Nikolaevna persuaded to be treated there.
47. “A completely naked girl appeared - a redhead, with glowing phosphoric eyes. The girl came close to ... and put her palms on his shoulders.
“Let me kiss you,” the girl said tenderly, and there were shining eyes near his very eyes.
Whom did the naked girl kiss?
1) Barefoot,
2) Roman,
3) Korovieva,
4) Poplavsky,
5) Varenukha.
48. "Gray-haired as snow, without a single black hair, an old man who was recently ..., ran to the door, opened it and rushed to run along the dark corridor."
1) Roman,
2) Varenukha,
3) Barefoot,
4) Homeless,
5) Swallow.
49. Rimsky Grigory Danilovich, findirector of the Variety, fearing evil spirits, left Moscow for
1) Kiev,
2) Leningrad,
3) Yaroslavl,
4) Yalta,
5) Smolensk.
50. Who was placed in room 119 of the psychiatric clinic?
1) Varenukha,
2) Ponyreva,
3) Bengali,
4) Barefoot,
5) the master.
51. “I took it, but took it with our Soviets. Prescribed for money, I do not argue, it happened. Let's face it, all thieves are in the house management. But I didn’t take currency! ”-
is recognized
1) Ivan Savelievich,
2) Grigory Danilovich,
3) Mikhail Alexandrovich,
4) Nikanor Ivanovich,
5) Savva Potapovich.
52. In which room of the psychiatric clinic was the master?
1) In room number 116,
2) in room No. 117,
3) in room No. 118,
4) in room number 119,
5) in room no. 120.
53. “You are the god of evil. You are not an almighty god. You are a black god. I curse you, god of robbers, their patron and soul! " - exclaims
1) Margarita Nikolaevna,
2) Levi Matvey,
3) master,
4) Ivan Ponyrev
5) Dismas.
54. “A hoarse, meaningless song was heard from the nearest pillar. The man who was hanged on it ... by the end of the third hour of the execution went mad with flies and the sun. "
1) Gestas,
3) Yeshua Ha-Nozri,
4) Dismas,
5) Barrabban.
55. What kind of death did Yeshua Ha-Nozri die?
1) on the gallows,
2) on the cross from the heat,
3) pierced by an arrow of a legionnaire on the cross,
4) on the cross from the knife of Matthew Levi,
5) on the cross from the blow of the executioner with a spear in the heart.
56. “Under this wall, a queue of many thousands, a kilometer long, was molded in two rows.”
What is this queue?
1) queue for tickets for the first session of black magic,
2) the queue for beer on Sadovaya,
3) queue at the cashier for currency exchange,
4) queue for tickets for the second session at the Variety
5) the queue in Red Square at the mausoleum.
57. “Among the employees of the Variety there was immediately a whisper that it was none other than the famous Tuzbuben.”
Tuzbuben is
1) a well-known gambling cheat in Moscow,
2) famous German psychiatrist,
3) the famous hypnotist from San Francisco,
4) police bloodhound dog,
5) the chief physician of a psychiatric clinic.
58. “At a huge writing table with a massive inkwell sat an empty suit, and with a dry pen not dipped in ink, ran over the paper, but there was neither a neck nor a head above the collar, as well as no hands protruding from the cuffs”.
Who owned the recorder suit?
1) Koroviev,
2) the accountant of the Variety, Vasily Stepanovich Lastochkin,
3) artist Kurolesov Savva Potapovich,
4) Sergei Gerardovich Dunchil, a currency dealer,
5) the chairman of the Entertainment Commission, Prokhor Petrovich.
59. In what institution did all of its employees sing a song against their will?
1) At the branch of the Entertainment Commission,
2) in the Entertainment Commission,
60. Why was the accountant of the Variety Vasily Stepanovich Lastochkin arrested?
1) for bribes,
2) for waste,
3) for theft on an especially large scale,
4) for foreign money that he tried to deposit at the cashier,
5) for keeping currency at home.
61. To whom was the following telegram addressed?
I just got stabbed to death by a tram on the Patriarch's. Funeral Friday, three o'clock in the afternoon. Come. Berlioz.
1) to the beautiful Anna Richardovna,
2) economist-planner Maximilian Andreevich Poplavsky,
3) kind-hearted Praskovya Fyodorovna,
4) Claudia Ilinichna Porokhovnikova,
6) the theater artist Militsa Andreevna Pokobatko.
62. “Then the red-haired robber grabbed a chicken by the leg and with all this chicken, flat, firmly and terribly hit it on the neck ... that the body of the chicken bounced off, and the leg remained in his hands ...”.
Instead of ellipses, enter the desired words in sequence:
1) Likhodeeva, Korovieva;
2) Roman, Behemoth;
3) Bengalsky, Bassoon;
4) Varenukhi, Abadonna;
5) Poplavsky, Azazello.
63. Woland or his assistants accurately described all the circumstances of the future death
1) Likhodeev and Berlioz,
3) Berlioz and Rimsky,
4) Berlioz and Poplavsky,
5) Berlioz and Varenukha.
64. Who owns the phrase "sturgeon of the second freshness", which has become a winged one?
1) Woland,
2) Koroviev,
3) Sokov,
4) Varenukha,
5) Hippo.
65. “He took off his straw hat and, jumping up with fear, screamed softly. In his hands was a velvet beret with a battered cock feather. ... crossed himself. At the same instant, the beret meowed, turned into a black kitten and, jumping back on his head ..., with all his claws dug into his bald spot. "
Instead of ellipses, enter the desired words accordingly:
2) Accountant, Vasily Stepanovich;
3) Chairman, Prokhor Petrovich;
4) Economist, Maximilian Andreevich;
5) Findirector, Grigory Danilovich.
66. To which doctor did the barman of the Variety Andrei Fokich Sokov turn for help?
1) To one of the best specialists - Professor Bernadsky,
3) to Professor Persikov,
4) to Professor Kuzmin,
5) to Professor Stravinsky,
6) to Professor Bure.
67. How old was Margarita Nikolaevna when she met the master?
1) twenty five,
2) twenty seven,
3) thirty,
4) thirty three,
5) thirty five.
68. "Since ... Margarita Nikolaevna got married and got into the mansion, she did not know happiness."
1) sixteen years old,
2) seventeen years old,
3) eighteen years old,
4) nineteen years old,
5) twenty years old.
69. What flowers did Margarita Nikolaevna carry at the first meeting with the master?
1) roses,
2) asters,
3) tulips,
4) mimosa,
5) carnations,
6) hyacinths.
1) Annushka who spilled oil;
1) the spring full moon ball, or the ball of a hundred kings;
2) Easter ball, or the ball of thirteen kings;
3) the full moon ball, or the witches' sabbath;
4) the witches' sabbath, or the thirteenth king's ball;
5) the great ball of Satan, or the coven of witches.
82. What requirements should the future hostess of Satan's great ball meet first of all?
1) must be beautiful and not be afraid of evil spirits,
2) must be ready for anything in order to fulfill their dreams,
3) must certainly bear the name of Margarita and be a local native,
4) must be very beautiful and only brunette,
5) must be very beautiful and not more than thirty years old.
83. How many women could qualify for the role of the hostess of the ball before the choice fell on Margarita?
1) thirteen,
2) twenty eight,
3) thirty three,
4) sixty six,
5) one hundred twenty one,
6) six hundred sixty six.
84. Who was Margarita Nikolaevna's great-great-great-grandmother?
1) the Oryol serf peasant,
2) a Tula landowner,
3) the Moscow boyaryn,
4) the French queen,
5) a Tatar princess.
85. Where did the first meeting between Margarita and Azazello take place?
1) at the Patriarch's Ponds,
2) at Chistye Prudy,
3) in the buffet Variety,
4) in the Alexander Garden,
5) in Woland's room.
86. "And what the hell do you need a tie for if you're not wearing pants?"
Who owns this catchphrase?
1) Koroviev,
2) Ponyrev,
3) Margarita,
4) Hippopotamus,
5) Woland.
87. "Everyone adorns himself with what he can." This phrase also became a catch phrase. Who pronounces it?
1) Gella,
2) Natasha,
3) Margarita,
4) Hippo,
5) master.
88. "He stopped and began to turn his globe in front of him, made so skillfully that the blue oceans on it moved, and the cap on the pole lay like a real one, icy and snowy."
Whose is this globe?
1) Pontius Pilate,
2) the high priest,
3) Woland,
4) Azazello,
5) Abadonna.
89. What game did Woland and Behemoth play when Margarita first met the prince of darkness?
1) in cards,
2) checkers,
3) billiards,
4) chess,
5) in the knuckles.
90. "Margarita was extremely interested and amazed that the chess pieces were ...".
1) alive,
2) transparent,
3) from flowers,
4) from pearls,
5) perfume bottles.
91. At the "great ball" of Satan, "an orchestra of about one and a half hundred played a polonaise."
- Who is the conductor? - flying away, asked Margarita.
“…,” The cat shouted.
1) Amadeus Mozart,
2) Pyotr Tchaikovsky,
3) Ludwig Beethoven,
4) Johann Strauss,
5) Mikhail Glinka.
92. “Finally we flew to the platform, where, as Margarita understood, Koroviev met her in the darkness with a lamp. Now, on this site, the eyes were blinded by the light pouring from the crystal ... ".
1) chandeliers,
2) bunches of grapes,
3) lanterns,
4) apples and pears,
5) bananas and coconuts.
93. Margarita receives guests at Satan's ball. The first were a certain Jacques with his wife. Jacques "became famous for the fact that ...".
1) invented the elixir of youth,
2) seduced the French queen,
3) poisoned the royal mistress,
4) robbed the royal treasury,
5) strangled his own wife at a party.
94. "... served in a cafe, the owner once called her into the pantry, and nine months later she gave birth to a boy, took him to the forest and put a handkerchief in his mouth, and then buried the boy in the ground."
1) Gella,
2) Frida,
3) Adelfina,
4) Grunya,
5) Anna,
6) Militsa.
95. To which of the guests did the hostess of the ball pay more attention?
1) conductor Johann Strauss,
2) Count Robert,
3) Fride,
4) to the Emperor Rudolph,
5) Malyute Skuratov,
6) Mrs. Tofane.
96. To whom did Woland address at the end of the ball with a rather lengthy speech and drank his blood?
1) to Viet Nam,
2) to Monsieur Jacques,
3) to Berlioz,
4) to Nikolai Ivanovich,
97. Where was the stolen head of Berlioz found?
1) in the cemetery,
3) at the Museum of Anthropology,
4) at the ball of Satan,
5) on the banks of the Moskva River.
98. “Never ask for anything, especially from those who are stronger than you. They themselves will offer and they themselves will give everything! " - so asserts
1) Margarita,
2) master,
4) Woland,
5) Yeshua Ha-Nozri.
99. "What do you want for the fact that today you were my mistress?" - Woland turns to Queen Margot.
What did she ask for?
1) return the master to her,
2) stop serving Frida a handkerchief,
4) take revenge on everyone who hounded the master,
5) return the burned master's manuscript.
100. Leaving Woland's residence after the ball, Margarita lost his gift -
1) jewelry box,
2) garnet bracelet,
3) a gold horseshoe, studded with diamonds,
4) the restored manuscript of the master's novel,
5) a gold box with a magic ointment.
101. Where did Satan's “great ball” take place?
1) in apartment No. 50 of building No. 302-bis on Sadovaya Street in Moscow,
2) in a dewy meadow under the moonlight,
3) on the hills among the huge pines,
4) in the apartment of Latunsky No. 84,
5) in the "Colosseum",
6) in the restaurant of the House of Griboyedov.
102. What nickname did “the same Annushka, that on Wednesday spilled, on Mount Berlioz, sunflower oil at the turntable” bore?
1) Kikimora,
2) Witch,
3) Shkelet,
4) Ulcer,
5) Cholera,
6) Plague.
103. "I hereby certify that the bearer of this Nikolai Ivanovich spent the aforementioned night at a ball with Satan, being attracted there as ..."
1) dear guest,
2) an assistant to the hostess of the ball,
3) entertainer,
4) a living statue,
5) means of transportation.
104. "You, old witch, if you ever pick up someone else's thing, hand it over to the police, but don't hide it in your bosom!"
1) Hippo,
2) Bassoon,
3) Azazello,
4) Koroviev,
5) Woland,
6) Abadonna.
105. “… I lit the headlights and rolled out through the gate past a dead man in the alley. And the lights of the big black car disappeared among other lights on the sleepless and noisy Sadovaya. "
1) Raven,
2) Rook,
3) Rooster,
4) Hog,
5) Boar,
6) Cat.
106. “This was the same man who, before the verdict, whispered with the procurator in the darkened room of the palace and who, during the execution, sat on a three-legged stool, playing with a twig”.
What was his name? What was his position?
1) the head of the secret service under the procurator of Judea Afranius,
2) the Jewish high priest Joseph Kaifa,
3) centurion Mark Ratslayer,
4) tax collector Levi Matvey.
107. "I received information today that ... they will be stabbed to death tonight."
1) Bar-Rabban,
2) Judas of Kiriath,
3) Yeshua Ha-Nozri,
4) Gestas.
108. What was the name of Pontius Pilate's dog?
1) Danba,
2) Ganda,
3) Banga,
4) Ganba,
5) Wang.
109. "Her face, the most beautiful face he has ever seen in his life, became even more beautiful."
This face
1) Margaritas,
2) Gells,
3) Natasha,
4) Bottoms,
5) Enants.
110. "To make sure that ... - a writer, take any five pages from any of his novels, and without any certification, make sure that you are dealing with a writer," - asserts ....
Write the words you want instead of dots.
1) Bulgakov, master;
2) master, Bulgakov;
3) Leo Tolstoy, Behemoth;
5) Dostoevsky, Koroviev.
111. "What would good do if there were no evil, and what would the earth look like if the shadows disappeared from it?" - says with a grin
1) Ivan Ponyrev to the master,
2) master Ivan Bezdomny,
4) Woland to Levi Matvey,
5) Pontius Pilate Yeshua Ha-Nozri.
112. Who calls Woland "the spirit of evil and the lord of the shadows"?
1) Margarita,
3) Levi Matvey,
4) Koroviev,
5) master.
113. Who read the master's novel?
1) Margarita,
2) critic Latunsky,
3) Ivan Ponyrev,
4) Pontius Pilate,
5) Yeshua Ha-Nozri,
6) Berlioz.
114. "He did not deserve light, he deserved peace" - says so about the master
1) Yeshua Ha-Nozri,
2) Woland,
3) Levi Matvey,
4) Margarita,
115. Azazello came to the basement apartment of the master and Margarita on the Arbat, “willingly sat down at the table, having previously placed some kind of bundle in dark brocade in the corner by the stove”.
What was in the package?
1) a bottle of wine,
2) a gift from Woland,
3) fried chicken
4) a chest with jewelry,
5) the master's novel in the form of a book.
116. “Together with the hot horse, she threw ten fathoms to the side. An oak tree was uprooted next to her, and the ground was covered with cracks up to the river. A huge layer of the bank, together with a pier and a restaurant, landed in the river. The water in it boiled, surged up, and a whole river tram with completely unharmed passengers splashed onto the opposite bank, green and low-lying. "
It happened because next to
1) a fuel tank exploded,
2) thunder struck hard,
3) the Behemoth Primus exploded,
4) Koroviev whistled,
5) Yeshua Ga-Nozri threw a sacred fire into the river.
117. "One of the most important human vices" Yeshua Ga-Notsri considered
1) betrayal,
2) cowardice,
3) cruelty,
4) cowardice,
5) indifference.
118. "The only thing that the brave dog" of Pontius Pilate was afraid of was
1) thunderstorm,
2) earthquake,
3) sea tide,
4) ship rolling,
5) burning torch.
119. “The one who loves, - says Woland, - should share ...”.
1) the fate of a beloved woman,
2) the fate of the beloved,
3) the fate of a loved one,
4) the fate of the one he worships,
5) the fate of the one he loves.
120. Who has become Ivan Nikolaevich Ponyrev in his "thirty-odd"?
2) the chairman of the Moscow Writers' Union,
3) an employee of the Institute of History and Philosophy, professor,
5) an unknown writer.
Answers to the test:
01=4) 5) 21=1) 41=4) 61=2) 81=1) 101=1)
02=2) 22=3)6) 42=4) 62=5) 82=3) 102=6)
03=5) 23=4)6) 43=2)5)6) 63=2) 83=5) 103=5)
04=4) 24=1)2)3) 44=3) 64=3) 84=4) 104=3)
05=3) 25=4) 45=1) 65=1) 85=4) 105=2)
06=5) 26=4) 46=4) 66=4) 86=5) 106=1)
07=4) 27=1) 47=5) 67=3) 87=4) 107=2)
08=3) 28=3) 48=1) 68=4) 88=3) 108=3)
09=4) 29=5) 49=2) 69=4) 89=4) 109=4)
10=3) 30=6) 50=4) 70=3) 90=1) 110=5)
11=4) 31=4) 51=4) 71=5) 91=4) 111=4)
12=4) 32=1) 52=3) 72=1) 92=2) 112=3)
13=2) 4) 6) 33=6) 53=2) 73=4) 93=3) 113=1)4)5)
14=3) 34=3) 54=1) 74=5) 94=2) 114=3)
15=5) 35=4) 55=5) 75=2) 95=3) 115=1)2)
16=4) 5) 7) 36=4) 56=4) 76=4) 96=5) 116=4)
17=2) 6) 37=4) 57=4) 77=5) 97=4) 117=2)
18=5) 38=1) 58=5) 78=4) 98=4) 118=1)
19=1) 39=5) 59=1) 79=4) 99=2) 119=5)
20=3) 40=4) 60=4) 80=4) 100=3) 120=3)
