Мастер и Маргарита review Ý 104

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Мастер и Маргарита review Ý 104 ✓ Michaił Bułhakow zaczął pisać Mistrza i Małgorzatę w 1928 roku ukończył w roku 1940 na kilkanaście dni przed śmiercią Książka ukazała się w druku po 40 latach i rzecz niespotykana – natychmiast stała się światowym bestselleremDo dzisiaj i śmiech i łzy towarzysNawet szatan w Mistrzu i Małgorzacie okazuje się w końcu przyzwoitym facetemW Polsce powieść Bułhakowa niezmiennie cieszy się ogromnym powodzeniem W rankingu czytelników i ekspertów Rzeczypospolitej w 1999 roku została uznana za najważniejszą powieść XX wiek. A poet Homeless as he calls himself and a magazine editor his gruff boss Berlioz are having a conversation in a uiet nondescript Moscow park just before the start of the Second World War Drinking just harmless sodas and discussing business ordinary right That's the last time in this novel it is An apparition appears in the sky weird and unbelievable a frightening seven foot transparent man is seen floating above their heads but only Berlioz spots it he's obviously the editor a very sick man Later a foreign debonair stranger joins them on the next bench they start an uncomfortable lively rather dangerous conversation about Jesus in the days of Stalinist Russia if he really existed The newcomer a self described black magic expert tells the others he saw Pontius Pilate and Jesus personally Naturally his startled companions look at him with a little disbelief the two close friends think Professor Woland the name is discovered afterwards must be a spy or crazy either way authorities should be contacted immediately Tragic results follow soon after a wild long thrilling death defying chase through many city streets ensues strangest of all a giant black Tom cat who walks on two legs and tries to get on a streetcar but the heartless conductor says no cats refuses entry But Behemoth the big cat's name does manage to get on the streetcar they're very intelligent resourceful demanding animals What the devil is going on The charismatic professor and his talented entourage give the best magic show on stage ever seen in Moscow by an astounded audience it's so spectacular incomprehensible and not explainable that all the city wants to go also Still ticket lines are numerous blocks in length and growing too bad you missed it Meanwhile a married woman Margarita having an affair with an obscure poor author writing a novel she calls him Master you guessed right the book is about the Roman Governor of Judaea Pontius Pilate Mirroring Bulgakov's life the manuscript is banned Countless funny adventures follow involving soaring humans flying without a vehicle the joys and terrors looking down you can imagine and the destruction of fragile property everywhere men disappear creepy events happening all around the vast city and in the countryside The highlight is Satan's loathsome Ball presided over by the stunned Margarita as the incredibly reluctant ueen attended mostly by the dead eerie bizarre and grotesue to say the least A dream like unworldly vague melancholic atmosphere permeates Flamboyant imaginative fable a real classic

Mikhail Bulgakov ´ 4 review

Michaił Bułhakow zaczął pisać Mistrza i Małgorzatę w 1928 roku ukończył w roku 1940 na kilkanaście dni przed śmiercią Książka ukazała się w druku po 40 latach i rzecz niespotykana – natychmiast stała się światowym bestselleremDo dzisiaj i śmiech i ł. This review is dedicated to Mary the very model of a perfect co moderator and GR friendUnlocking the Meaning of The Master and MargaritaMikhail BulgakovIn the decades following the publication of The Master and Margarita myriad critics have attempted to find a key to unlock the meaning of Bulgakov’s unfinished masterwork Some viewed the novel as a political roman à clef laboriously substituting historical figures from Stalinist Moscow for Bulgakov’s characters Others posited a religious formula to understand the relationships between good and evil in the novelAfter giving myself time to think I believe that any attempts to reduce the novel to a formula reflect some readers’ desire for neat safe boxes to contain the world This approach is at odds with the fear ridden desperate and yet transcendent reality of Bulgakov’s experience in writing revising destroying reconstructing and then revising the novel up to his death in Moscow on March 10 1940 The Master and Margarita shows evidence of Bulgakov’s struggles to complete it especially in part two which illness prevented him from revising I believe that the novel’s profound humanity stems from these imperfections these facets not uite fitting neatly together these jarring movements from scene to scene In the end The Master and Margarita is by virtue of its own existence a testament to the necessity of art in times of repression and to the urgent need for artists to veer from cowardice and hold firmly to their commitment to living a true human life with fantasy and reality combined with history and invention feeding into each other with good and evil providing the shadows and depth that make life meaningful and real The Master and Margarita as Fairy TaleOne approach to The Master and Margarita that appeals to me is understanding it in part as a fairy tale In the novel Bulgakov threads together three different storylines which intertwine especially at the novel’s conclusion the often slapstick depiction of life in Stalinist Moscow seen in part through the antics of the devil Woland and his demonic helpers; the story of Pilate with names and details transformed from the familiar Biblical versions; and the story of the Master and Margarita The action takes place in a compressed time frame so readers looking for character development will be disappointed Instead Bulgakov develops an extended allegory where flight euals freedom where greed and small mindedness are punished and where weary artists are afforded some mercy and peace The Master and Margarita provided Bulgakov with a lifeline to the imagination in the midst of the stultifying culture of Stalinist Russia There are healthy doses of wish fulfillment in the novel especially in those sections in which Woland’s minions Azazello Behemoth and Koroviev wreak retribution for the petty mindedness and greed inherent in this political and social system There also is a desperate attempt to resist the Stalinist bent towards monotony and flatness and instead to weave dizzying strands of magic fantasy and power into life in MoscowBehemothThese attempts to use a story as wish fulfillment criticizing a social order by turning it upside down in fiction and recognizing how to use an audience’s sense of wonder as a fulcrum for change resonate with the historical and cultural functions of fairy tales as described by scholars including Jack Zipes in The Great Fairy Tale Tradition and Marina Warner in From the Beast to the Blonde On Fairy Tales and their Tellers Magic and wonder force the reader to acknowledge other possibilities outside of a reality of political repression poverty and war When fairy tales reveal challenges to misplaced authority whether in the guise of an evil ueen or a greedy government official they may take on one of two roles a subversive threat to authority or a valve to release the pressure of living under severe constraints Perhaps most important fairy tales remind their readers that life is miraculous and that certain freedoms such as the freedom to imagine and dream can be nurtured and honored even under the most restrictive regimes For Bulgakov the blend of the fantastical and the everyday in The Master and Margarita serves as his manifesto Throughout his life he fought to preserve the full human experience not the two dimensional totalitarianism in the Stalinist USSR where human life was flattened of any sense of wonder creativity exuberance Instead he advocated for human life with all its shadows and colors with a foundation in imagination and wonder The freedom he sought was not simply freedom from communal housing or repressive government policies Instead he sought the freedom to imagine to dream to infuse his life with wonder and to share his vision For this reason any attempt to read The Master and Margarita as a simple satire of Stalinist totalitarianism is misguided Instead Bulgakov sought to fly free along with his characters and in doing so to tap into the universal human need for imagination wonder and freedom of the intellect and spirit“For me the inability to write is as good as being buried alive”Bulgakov and his wife Yelena c 1939Although Bulgakov universalized his uest for artistic freedom in The Master and Margarita he drew inspiration and a sense of urgency from his experiences A playwright he faced censorship as his plays were banned and productions cancelled He saw his fellow writers imprisoned for following their calling In response to one of these cases Bulgakov destroyed one version of The Master and Margarita which he later reconstructedIn desperation between 1929 and 1930 Bulgakov wrote three letters to Soviet government officials including Stalin to protest his censorship and beg for a chance to practice his art if not within Russia outside it In the final letter dated March 28 1930 Bulgakov movingly describes his ordeal arguing that his duty as a writer is to defend artistic freedom and pleading that being silenced is tantamount to deathAlthough the letters provided Bulgakov with employment after receiving a favorable response and saved him from arrest or execution he still faced his works’ being banned and suppressed He devoted the last years of his life to revising The Master and Margarita knowing he would not live to see it published and sometimes despairing it would ever be read outside of his family circle His widow Yelena Shilovskaya worked tirelessly after his death for decades preserving his manuscript and finally seeing it published in a censored version in 1966 and 1967 Planes of Reality The Fantastic The Historical and the TotalitarianAzazello Behemoth and KorovievSome criticism of The Master and Margarita comes from the abrupt transitions and changes in mood among the three storylines the actions of Woland and his minions in Moscow; the transformed story of Pontius Pilate with some striking changes to the names of characters and the seuence of events which simultaneously make the narrative seem historical and keep readers off balance; and the story of the Master and Margarita which includes Bulgakov’s central concerns about cowardice artistry duty loyalty and love I believe that Bulgakov purposefully constructed his novel so that the reader would be pulled from dimension to dimension The effect although jarring is one of constant instability and surprise The reader is immersed in a world where a Biblical past seems historically based and less fantastic than 20th century Moscow where characters who are petty and greedy are meted out fantastic public punishments at times literally on a stage and where in the end characters with the most substance and loyalty have their lives transformed through magicBy carefully building this multifaceted world with all the seams showing Bulgakov forces us as readers to consider the intersections among these worlds Bulgakov reveals how we cut ourselves off from the wellsprings of magic and wonder and invites us to join him in mounting a broomstick and riding off into the night sky free from the constraints of our everyday livesThe Necessity of Shadows WolandWolandJust as Bulgakov confounds his readers’ expectations of a unified and seamless world so he also makes us uestion our assumptions about good and evil A key character is Woland the devil at the center of the magical action From his appearance in the first chapter Woland presents an arresting and disconcerting figure Woland immediately inserts himself into a conversation with Berlioz the editor of a literary magazine and chair of MASSOLIT a prestigious literary association and Ivan a poet also known by his pen name Bezdomny engaging in a debate with them about the existence of God Berlioz parrots many of the current arguments against the existence of God but Woland deftly counters his arguments in a manner that veers between the charming and the sinisterThis debate introduces a theme that runs throughout The Master and Margarita a cosmos in which good and evil each have their jurisdiction but work together to ensure that people get the rewards or punishments that they deserve In a famous passage later in the novel Woland provides the following cogent description “You pronounced your words as if you refuse to acknowledge the existence of either shadows or evil But would you kindly ponder this uestion What would your good do if evil didn't exist and what would the earth look like if all the shadows disappeared After all shadows are cast by things and people Here is the shadow of my sword But shadows also come from trees and from living beings Do you want to strip the earth of all trees and living things just because of your fantasy of enjoying naked light You're stupidThroughout The Master and Margarita Woland metes out justice to wrongdoers However he does not simply punish instead he also rewards Margarita for her devotion intelligence loyalty and bravery He rescues the Master from his exile in the asylum and ultimately grants him and Margarita a destiny of peace and rest together In doing so Woland overturns our expectations Bulgakov describes a world where good and evil powers work together to provide some justice and balance in our lives in spite of the thoughtless and cruel ways that humans behave As Woland tells Margarita at one point “Everything will be made right that is what the world is built on” The true evil in The Master and Margarita does not rise from Hell but instead comes from the pettiness and greed of flawed small minded humansThe Master and Margarita Responsibility to ArtThe Master makes his appearance relatively late in the novel in chapter 13 “Enter the Hero” However he is not the traditional hero He is a broken man living in an asylum remembering his love for Margarita while at the same time turning his back on the art that Margarita loved protected and honored his novel about Pontius PilateIn a lengthy conversation with Ivan the Master paints an idyllic portrait of his life with Margarita who creates a cozy sanctuary full of roses and love in which the written word is treasured and respected “Running her slender fingers and pointed nails through her hair she endlessly reread what he had written and then she sewed the very cap he had shown Ivan Sometimes she would suat down next to the lower shelves or stand up on a chair next to the upper ones and dust the hundreds of books She predicted fame urged him on and started calling him Master She waited eagerly for the promised final words about the fifth procurator of Judea recited the parts she especially liked in a loud sing song voice and said that the novel was her life”However this idyll comes to a crashing end when the Master completes the manuscript and looks for a publisher He provides harrowing descriptions of his brutal treatment by the literary world in Moscow as editors publishers and fellow writers publicly criticized him for his novel These descriptions bear the pain of Bulgakov’s personal experience with censorship and rejection culminating in the Master’s paralyzing fear of everything around himFinally in a scene inspired by events in Bulgakov’s life the Master attempts to destroy his manuscript Although Margarita salvages some pages this scene marks the end of her life with the Master who turns his back on Margarita and his art He describes himself as a man without a name or a future marking time in the asylum Bulgakov depicts the Master as a broken man whose loss of spirit and cowardice in the face of adversity led him to lose everything of value in his lifeMargaritaMargarita poses a stark contrast to the Master When we finally meet her in part two she is grieving over losing the Master but she also shows herself to be intelligent energetic and fearless in her determination to find him and rebuild their life together In doing so Margarita is not taking an easy path She is married to a successful husband who adores her The two live in a large apartment with a great deal of privacy a true luxury in Stalinist Moscow She is beautiful but she cannot put behind her deep dissatisfaction with her life apparently perfect on the surface but with no depth She is living a lie Her despair starts to break when she has a dream about the Master which she views as a portent that her torment will soon come to an end After rushing from her home she has a fateful conversation with Azazello whom Woland has tasked with inviting her to officiate as his ueen at his ball Margarita handles the interaction with spirit and courage agreeing to follow Azazello’s mysterious instructions in hopes of learning the Master’s fateMargarita’s Night RideMargarita is transformed and embarks on a night ride flying naked on a broomstick over Moscow After wreaking havoc at the apartment of a publisher who had tormented the Master and comforting a small boy who awakened terrified by the destruction she participates in a moonlight gathering of other magical creatures Afterwards she returns to Moscow in a magical car “After all that evening's marvels and enchantments she had already guessed who they were taking her to visit but that didn't frighten her The hope that there she would succeed in regaining her happiness made her fearless” The night ride is a symbol of Margarita’s freedom and powerHer fearlessness propels Margarita through her meeting with Woland and his minions and a surreal evening as the ueen of Woland’s midnight ball Her devotion is rewarded by Woland in scenes full of magic and moonlight Although the Master crumbles in the face of adversity Margarita becomes the ultimate hero and savior through her courage and commitment to the Master and his artThe MoonThroughout The Master and Margarita Bulgakov uses key symbols to tie together the different chapters and storylines Perhaps the most important symbol is the moon which appears freuently in practically every chapter The moon conveys a kind of otherworldly truth Characters are bathed in moonlight at critical points in the novel especially when making entrances as when the Master first appears in Ivan’s hospital room Moonlight imparts insight and truth even to the most delusional of characters The moon lights the night rides of Woland his companions Margarita and the MasterWoland and company Night RideThe moonlight also features prominently in the Pilate chapters serving as a lynchpin between them and the rest of the novel Pilate looks up at the moon for solace in the face of his agony from his migraines and his cowardice with his faithful dog Banga as his sole companion Bulgakov uses the moon to illuminate Pilate’s torment and his final peace granted to him by the Master his creator Pilate has been sitting here for about two thousand years sleeping but when the moon is full he is tormented as you see by insomnia And it torments not only him but his faithful guardian the dog If it is true that cowardice is the most grave vice then the dog at least is not guilty of it The only thing that brave creature ever feared was thunderstorms But what can be done the one who loves must share the fate of the one he lovesIn response to Woland’s prompting the Master stands and shouts the words that complete his novel and end Pilate’s torture “The path of moonlight long awaited by the procurator led right up to the garden and the dog with the pointed ears was the first to rush out on it The man in the white cloak with the blood red lining got up from his chair and shouted something in a hoarse broken voice It was impossible to make out whether he was laughing or crying or what he was shouting but he could be seen running down the path of moonlight after his faithful guardian”Pilate Banga and the moonBulgakov follows this transformative scene with Woland’s gift of peace to the Master As she did throughout the novel Margarita remains by the Master’s side his loyal companion through eternity Bulgakov cannot give salvation to the Master perhaps because of the enormity of his cowardice against art perhaps because he has been so damaged by a hostile society In these final passages Margarita gives the Master and the reader a soothing picture of a peaceful life perhaps one Bulgakov himself longed for Listen to the silence Margarita was saying to the Master the sand crunching under her bare feet Listen and take pleasure in what you were not given in life—uiet Look there up ahead is your eternal home which you've been given as a reward I can see the Venetian window and the grape vine curling up to the roof There is your home your eternal home I know that in the evenings people you like will come to see you people who interest you and who will not upset you They will play for you sing for you and you will see how the room looks in candlelight You will fall asleep with your grimy eternal cap on your head you will fall asleep with a smile on your lips Sleep will strengthen you you will begin to reason wisely And you will never be able to chase me away I will guard your sleep

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Мастер и МаргаритаZy towarzyszą lekturze Mistrza i Małgorzaty Bułhakow opisał świat współczesny szyderczo i bez litości nie pozostawiając czytelnikom szczególnej nadziei; na pociechę zostawił obietnicę że rękopisy nie płoną że człowiek jest a może raczej bywa – dobry. The Chicago Tribune wrote “The book is by turns hilarious mysterious contemplative and poignant and everywhere full of rich descriptive passages”Hilarious and contemplative my ass CT This book is an interminable slogLook here’s the deal I get that this book satirizes 1930s Stalinist Russia and I get that—for some—this earns The Master and Margarita a place on their “works of historical importance” shelves But for me it earns nothing I mean let’s just call a spade a spade shall we There are articles in the Journal of Biological Chemistry that have successfully held my attention than this Bulgakovian bore Exhibit ATo start the characterization in this book is near zero Although there is a point where some barely discernable personality traits become apparent in one or two of the characters by the time the reader makes it this far the show is nearly over And if by curtain call the reader discovers Woland and his retinue to be even remotely interesting it is not because of careful character construction It’s like the end of a really stuffy dinner party when you begin making your parting rounds The thrill is in the palpability of finally being free of these people Toodle ooAnd what is the author’s intent here to single out the literary bureaucrats and the nouveaux riche If so the demographic is not effectively targeted The Faustian demon who comes to wreak havoc across Moscow does so seemingly at random with little adherence to agenda Bartenders ticket sellers poets little old ladies—they are all ambushed It is clear someone needs to take a lesson from Omar Little who “ain’t never put no gun on no citizen”Whatever I’m tired of even writing about this book Before we part though I’ll leave you with several examples of yet another unworthy aspect of this novel its ridiculous sentences Here are some of my favorites To tell the truth it took Arkady Apollonovich not a second not a minute but a uarter of a minute to get to the phone I ask this uestion in complete earnestness is this supposed to be funny I have absolutely no idea uite naturally there was speculation that he had escaped abroad but he never showed up there either Huh The bartender drew his head into his shoulders so that it would become obvious that he was a poor man Yeah I give I don’t even pretend to understand what this means Anyhoo hey—it’s been a pleasure meeting you all; we should do this again soon Toodle oo