True art master and margarita. True and False Creativity

The novel "The Master and Margarita" is the pinnacle of Bulgakov's work. In the novel, the author touches on many different issues. One of which is the literary tragedy of a man who lived in the 1930s. For a real writer, the worst thing is not being 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 Bezdomny admits 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 on which Ivan writes 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 be recognized, 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. That's what his lover calls him. The name of the Master is not given in the novel, since this person appears in the work as a talented writer, the author of a brilliant creation.

The master lives in a small basement of the house, but this does not oppress him at all. Here he can safely 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 lies in the fact that he tried to find recognition in a society of hypocrites and cowards. The novel is refused to be published. 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 environment. Articles criticizing the novel rained down. Fear and despair settled in the Master's soul. He decided that the novel was the cause of all his misfortunes, and therefore burned it. Shortly after the publication of Latunsky's article, the Master finds himself in a psychiatric hospital. Woland returns the novel to the Master and takes him and Margarita with him, as 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 and Margarita" remained unrecognized by critics. Only many years later he became famous, was recognized as a brilliant creation of Bulgakov. Woland's famous phrase 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 characteristic of many writers who lived in the 1930s. Literary censorship did not let in works that differed from the general flow of what needed to be written about. Masterpieces could not find recognition. Writers who dared to express their thoughts freely ended up in psychiatric hospitals, died in poverty, never achieving fame. In his novel, Bulgakov reflected the real situation of writers in this difficult time.

One of the main characters of Bulgakov's novel "The Master and Margarita" is the Master. The life of this man, like his character, is complex and unusual. Each era in history gives mankind 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 evaluate him according to his merits, just as they cannot evaluate 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.

The atmosphere in which the Master creates his novel is not in itself conducive to the unusual theme to which he devotes it. But the writer, regardless of her, writes about what excites and interests him, inspires him 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 that can be received for a book if it is popular. He wrote, sincerely believing in what he creates, not aiming to obtain material benefits. The only person who admired him was Margarita. When they read the chapters of the novel together, still unaware of the disappointment that lay ahead of them, they were excited and truly happy.

There were several reasons why the novel was not properly rated. First, it is the envy that appeared among mediocre critics and writers. They realized that their work was nothing compared to the Master's novel. They did not need a competitor who would show that there is true art. Secondly, this is the theme of the novel, which is taboo. It could influence the views in society, change the attitude towards religion. The slightest hint of something new, something beyond the limits of censorship, must be destroyed.

The sudden collapse of all hopes, of course, could not but affect the mental state of the Master. He was shocked by the unexpected disregard and even contempt with which they treated the main work of the writer's life. It was a tragedy for a man who realized that his goal and dream were unrealizable. But Bulgakov brings 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, not worthy of attention.

Love and creativity - that's what can resist the existing evil. The concepts of kindness, forgiveness, understanding, responsibility, truth, and harmony are also associated with love and creativity. That is why these themes are so vividly reflected in the novel by M.A. Bulgakov "The Master and Margarita", because they are close to him. And the favorite topic of poets is prophecy. M.A. Bulgakov correctly judged that "manuscripts do not burn," and correctly prophesied the future for himself and his books.

Download:

Preview:

The theme of creativity and love in the novel by M.A. Bulgakov "The Master and Margarita"

Lesson Objectives : 1. Show the skill of M.A. Bulgakov in depicting the world of human feelings; the role of detail in the novel.

2. Understand the moral lessons of Bulgakov, the main values ​​that the writer speaks about.

3. Check knowledge of the content of the novel.

Methodological techniques: work with text, work with demonstration material, lecture with elements of conversation.

Equipment : screen, projector for presentation, video equipment, TV for watching episodes from the film by V.V. Bortko "Master and Margarita".

During the classes :

(The topic of the lesson is written on the board: “The theme of creativity and love in the novel by M.A. Bulgakov“ The Master and Margarita ”, sarcasm is a caustic, caustic mockery with a frankly accusatory, satirical meaning).

1. Introduction to the topic of the lesson. Teacher's word.

Today we will analyze a topic that was very important for many famous poets and prose writers. The theme of the poet and poetry is reflected in the work of A.S. Pushkin, M.Yu. Lermontov, F.I. Tyutcheva, V.V. Mayakovsky, S.A. Yesenin and many other famous poets and prose writers. In the prose of M.A. Bulgakov, we will touch on the theme of creativity, which in the novel "The Master and Margarita" will be combined with the theme of love. Let's turn to the text of the novel.

1. Work with the text of the novel.

In Bulgakov's novel, we find a very detailed description of the "holy of holies" of all Moscow writers of that time - MASSOLIT. Find it in chapter 5.

(- An old two-story cream-colored house was located on the boulevard ring in the depths of a stunted garden, separated from the sidewalk of the ring by a carved cast iron grate. A small area in front of the house was asphalted, and in winter a snowdrift with a shovel rose on it, and in summer it turned into a magnificent branch of the summer restaurant under a canvas awning.)

What are the benefits of membership in MASSOLIT?

(with a membership card they let you go to a restaurant, you can queue up for an apartment or get a ticket to a resort).

With his characteristic sarcasm, Bulgakov writes in chapter 5 of the novel: “Any visitor, if, of course, he was not completely stupid, having got into Griboyedov, immediately realized how well the members of MASSOLIT live, and black envy immediately began to torment him. And immediately he turned bitter reproaches to heaven for not having awarded him literary talent at birth, without which, naturally, there was nothing to dream of owning a MASSOLIT membership card, brown, smelling of expensive leather, with a wide gold border, known to all Moscow with a ticket.

Which of the writers, members of MASSOLIT, do you remember? (Ivan Homeless)

Who can be called the real creator in the novel? (Masters)

Is he a member of MASSOLIT? (No)

It turns out, You don't have to have a membership card to be a writer. With this certificate, they are allowed into a restaurant, but not into History.Let's remember an episode from chapter 28 when Koroviev and Behemoth came to Griboyedov's restaurant.

(- Your certificates? - She looked with surprise at Koroviev's pince-nez, as well as at Behemoth's stove, and at Behemoth's torn elbow.

I offer you a thousand apologies, what credentials? Koroviev asked, surprised.

Are you writers? – in turn, asked the citizen.

Of course, - Koroviev replied with dignity.

Your credentials? repeated the citizen.

- ...So. To make sure that Dostoevsky is a writer, is it really necessary to ask him for his certificate? Yes, take any five pages from any of his novels, and without any certificate you will be convinced that you are dealing with a writer. Yes, I suppose he didn’t even have any certificate! ..

You are not Dostoevsky, - said the citizen, confused by Koroviev.

Well, how do you know, how do you know, - he answered.

Dostoevsky is dead, - said the citizen, but somehow not very confidently.

I protest! Behemoth exclaimed hotly. Dostoevsky is immortal!

Your certificates, citizens, - said the citizen.

Excuse me, after all, this is ridiculous, - Koroviev did not give up, - a writer is not at all determined by a certificate, but by what he writes!)

Turns out, A writer is not at all determined by his identity, but by what he writes. But not everyone is able to soberly assess what he does.For example, the poet Ryukhin, who accompanied Ivan Bezdomny to a psychiatric clinic, was very offended by the words of his fellow writer about him: “Sasha is mediocrity”, “Look at his lean physiognomy and compare it with those sonorous verses that he composes by the first number! "Rise up!" yes "unwind!" Find in chapter 6 an excerpt where Ryukhin begins to comprehend his work. Read out.

(From the words "The poet no longer looked around ..." to the words "... and ensured immortality ...")

Now let's take a look at the episode chapter 13 , where Ivan Bezdomny analyzes his work.

(Watching the episode "Ivan Bezdomny's Acquaintance with the Master from the film by V.V. Bortko" The Master and Margarita ").

Of all the members of MASSOLIT, Ivan Bezdomny is the only one who agrees that he is "an ignorant man" and promises to "not write anymore" poetry. He parted with his profession, as if imposed by someone, with a sense of liberation, relief. The double of this hero M.A. Bulgakov makes the Masters. Through the double the hero gets to know himself, and the reader gets to know the hero. But also the double of Ivan Bezdomny is the poet Ryukhin, who has some negative qualities, which Bezdomny would later refuse.

1. Lecture with elements of conversation. Viewing a presentation

The master tells Ivan his story. This is the story of the novel about Pilate and the story of love. This is how the theme of love and the theme of creativity are combined in the novel.

(slide show).

The time cycle in the hero's story begins with winter, when the Master settled alone in the basement and began to "compose a novel about Pontius Pilate." Then spring comes, "the lilac bushes dressed in green." “And then, in the spring, something much more delightful happened than getting a hundred thousand,” the Master met Margarita. This is where the theme of love begins. As is often the case with Bulgakov, the characters act on the waters under the influence of a sudden flash, insight: “Love jumped out in front of us, like a murderer jumping out of the ground in an alley, and hit us both at once. This is how lightning strikes, this is how a Finnish knife strikes! Master says. The "golden age" of love lasted for the heroes, while "there were thunderstorms in May and ... the trees in the garden threw off their broken branches, white tassels after the rain," while the "stuffy summer" was going on. The Master's novel "was completed in August", and with the onset of autumn in nature, "autumn" came in the relations of the characters. “In mid-October” the Master fell ill: it seemed to him that “autumn darkness would squeeze out the windows, pour into the room” and he would “choke in it.” The hero burned the manuscript of the novel and was arrested on the same evening on the denunciation of Aloisy Mogarych. The Master returns to his cellar, where other people already live, in winter, when “the snowdrifts hid the lilac bushes” and the hero lost his beloved. A new meeting takes place only in May, after the ball of the spring full moon. A certain cycle passes, spring again gives hope to lovers for happiness.

1. Demonstration material.

Pay attention to how the theme of creativity and the theme of love are combined with the theme of sacrifice: the Master suffers because of his "brainchild", his novel, and Margarita, in the name of saving the Master, makes a deal with the devil and thereby destroys her immortal soul.

(Watching an episode of the film "Return of the Master after the ball of Satan").

1. Lecture summarizing the topic.

Bulgakov consciously, sometimes defiantly emphasizes the autobiographical nature of the image of the Master. The situation of persecution, complete renunciation of literary and social life, lack of means of subsistence, constant expectation of arrest, denunciation articles, devotion and selflessness of the beloved woman - Bulgakov himself and his hero experienced all this. The fate of Master-Bulgakov is natural. In the country of "victorious socialism" there is no place for freedom of creativity, there is only a planned "social order". The master has no place in this world - neither as a writer, nor as a thinker, nor as a person. He stops fighting, burns his romance, shows cowardice and thereby loses his place in the Light, like his beloved Margarita, who also does not deserve a place in the Light, because she connected her life with evil spirits. But they both suffered a lot, Margarita's desperate struggle for her love, for the salvation of the Master is bearing fruit: both of them are allowed by the Higher powers to settle in Peace, which they wanted and, ultimately, received.

The image of the Master allows Bulgakov to pose the problem of the responsibility of the creator for his talent. The master is endowed with the ability to “guess” the truth (his novel is not invented, but guessed: “Oh, how I guessed! Oh, how I guessed everything!”), to see through the thickness of centuries the image of true humanity. His gift can save people from unconsciousness, from their forgotten ability to do good.

Bulgakov's favorite image of the house, the family hearth, is associated with the image of Margarita. By her actions, she, as it were, revives various human values ​​​​in the novel: individual freedom, mercy, honesty, truth, faith, love, which is so lacking in Moscow society. In the name of love, Margarita performs a feat, overcoming fear and weakness, overcoming circumstances, demanding nothing for herself. Everyone knows that Elena Sergeevna Belozerskaya, the third wife of M.A., became the prototype of Margarita. Bulgakov. It was she who helped him endure the period of his dying illness, when he was practically blind, read to him, helped to edit the text. Elena Sergeevna knew her role as a guardian angel firmly, she never doubted, in a difficult hour she did not betray her fatigue in any way. “When we began to live together with Mikhail Afanasyevich,” Elena Sergeevna recalled, “he once told me:“ The whole world was against me - and I am alone. Now we are together, and I'm not afraid of anything.

This means that love, just like creativity, is the second way to superreality, it leads to the comprehension of the “third dimension”. Love and creativity - that's what can resist the existing evil. The concepts of kindness, forgiveness, understanding, responsibility, truth, and harmony are also associated with love and creativity. That is why these themes are so vividly reflected in Bulgakov's novel, because they are close to him. And the favorite topic of poets is prophecy. M.A. Bulgakov correctly judged that "manuscripts do not burn," and correctly prophesied the future for himself and his books.

1. Homework.
2. Evaluation of responses.

In Bulgakov's novel "The Master and Margarita" there are many cross-themes. One of them is the theme of the devil, and this is where the novel actually begins.
More from the epigraph:

“... so who are you, finally?
I am part of that force
what you always want
evil and eternally does good.
Goethe. Faust

The hidden intrigue of the novel is determined, which lures us into the world of three dimensions: past, present and otherworldly... This storyline crosses the fate of many heroes of the novel. Consider the literary elite of Moscow. It is from this elite that the main characters stand out: the Master and his future student Ivan Bezdomny. The fate of the Master largely repeats the fate of Bulgakov himself. Although he began writing his novel in 1928, the main creative period began after his marriage to Elena Sergeevna Shilovskaya. In Elena, you can immediately notice Margarita - the main character of the novel, who, like a muse, appeared to the Master and contributed to the writing of the novel. Everything, just like Bulgakov's, the "main book" of the Master was born - a work in which he was able to put his soul and heart. This main book for Bulgakov was his novel "The Master and Margarita", which he wrote for 12 years! From 1928 to 1940. Moreover, the life of this General Ledger was not as smooth as it seems. The conditions in which it was created were by no means prosperous, but, in the words of many, it became important that the artist's mission is not at all to fight for fate and well-being, but in creativity! This means that Bulgakov did absolutely the right thing when he created, correcting and rewriting the novel in order to achieve the highest result and serve his own principle:
"Finish before dying..."

That is, Bulgakov did not fight for his novel, but simply nobly created and brought it to life ....

But let us return from Bulgakov to his novel and consider the literary society of Moscow described by Bulgakov. For the first time with numerous representatives of this society in the “Griboyedov House”, where a meeting of their dominant staff was held, solving issues that in no way related to creativity or art. Their activity in this governing body was to beg for a summer cottage for recreation, a ticket to Yalta, and as Woland later put it: "...they were spoiled by the housing problem ...". When a ball begins in this "lair" of writers, then more and more it resembles a "hell", in which everything boils and boils with empty and meaningless speeches. Bulgakov never shows us this society in work or creativity, they can only fight for a place or money. And for all these sins, and most importantly for unbelief, Berlioz, who was at the head of this society, is paying the price, his head was cut off by a tram! You may think that this is cruel, but no .... Such sins could be punished even more terribly, because these writers not only did nothing, they also hindered real creators of art and led young literary figures astray from the true path. We see that this is a really terrible and rotten society, which was supposed to be the “light at the end of the tunnel” for the unenlightened segments of the population, but it simply did nothing and lined its pockets.

But against this background, another positive character stands out, who could not join MASSOLIT, he became the Master. We learn about his whole life from his own stories and, as has already been written, we compare him with Bulgakov, but here the writer really turned out to be on top. We cannot simply, having believed the critical works, rank the Master among the creators and stop there, we must look deeper and then, as we can see, we can find many more similarities, in addition to fate and life. Such similarities will be: the similarity of names - they begin with the letter "M", they were both rejected by society, but still there is still a characteristic feature - this is opposition to Woland. This can be seen when we write Woland in English, that is, "Woland". It is this first letter “double ve” that is considered an inverted letter M = W, that is, the reverse side of the coin!

Comparing Mikhail Bulgakov and the Master, one can also consider such a fact as the successors of their deeds and their students. From Bulgakov's novel, we learn that the Master, in the end, had a student: Ivan Bezdomny or later an employee of the Institute of Philosophy, Professor Ivan Nikolaevich Ponyrev. He was brought up by the Master into a real person who found a place for himself in society, in a psychiatric hospital, where they ended up together only for the reason that everyone who has no place in a society of lies and deceit is there. Ivan Nikolaevich took over from the Master those basic principles of life that he so lacked and that fake writers could not give him! But let's turn to Mikhail Bulgakov himself, did he have a student? Based on my meager information from his biography, I can only say that he was not recognized by his society and therefore he could not meet such a person who would become the heir to his literary activity. That is, Bulgakov also embodied in his hero those features that he would like to have himself, but could not have himself.

But we must not forget that the true activity of the creator requires sacrifice and cannot pass without leaving a trace. The main ideas of Bulgakov, as a classic, were embodied in the novel The Master and Margarita, but even in the early Notes on the Cuffs, which Bulgakov wrote in 1921, there are sprouts of the idea: “... suddenly, with extraordinary wonderful clarity, I realized that I was right who said: what is written cannot be destroyed! Tear, burn... Hide from people. But from myself - never! ... ", which then embodied in the thought "manuscripts do not burn!". This suggests that the creators of real treasures of art never forget their works, as they say: "they remember them by heart." Just as Mayakovsky remembered his works, as the Master kept the entire novel in his memory, so Bulgakov wrote his main book and remembered it to the smallest detail. This is how the real work of writers is shown to us, and therefore the fifth procurator of Judea, the rider Pontus Pilate, will never disappear from memory.

Preview:

To use the preview of presentations, create a Google account (account) and sign in: https://accounts.google.com

Slides captions:

The theme of creativity in the novel by M. Bulgakov "The Master and Margarita" Purpose: to reveal the problem "Why do "manuscripts do not burn"?" Tasks: analysis of episodes from the film; development of the ability to analyze, generalize, draw conclusions; education of moral qualities of students. N. Rusheva. Master and Margarita

Problem: "Why don't manuscripts burn?" Pages of the manuscript of the novel The Master and Margarita. 1930

Why did the Master give up the name?

Why did the Master give up the name? loss of balance in life; self-denial; disbelief in the justice of real life.

How was the novel created?

How was the novel created? talent; inspiration; Love.

Why did the Master burn the manuscript?

Why did the Master burn the manuscript? rejection of the real world; mental suicide; fear of life.

Why "manuscripts don't burn"?

Why "manuscripts don't burn"? A manuscript is a soul captured in lines. Talent, like life, is given by God, so you need to believe in it. Our soul is immortal.

Preview:

The theme of creativity in M. Bulgakov's novel "The Master and Margarita"

Purpose: to solve the problem “Why do “manuscripts do not burn”?”

Tasks:

• analysis of episodes from the film;
• development of the ability to analyze, generalize, draw conclusions;
• education of moral qualities of students.

• Bulgakov presented in the novel the tragedy of the fate of an artist who knows the true, lofty, eternal principles of being and who cannot be in harmony with his time. Perhaps this belonging to the high world, the sharpness of reactions and the conflict with real life prompt Woland to say about the "thrice romantic master."

• In the lesson, we will watch fragments of the movie "The Master and Margarita" directed by Vladimir Bortko, who became the first Russian director to film the novel to the end. The famous director shoots exactly according to the book - from the first to the last line.
• On the basis of the fragments we have seen, we will solve the problem “Why do “manuscripts do not burn”?”.

"Why don't manuscripts burn?"

• The master appears in the novel when a third of it has already been read. The Master's name has not yet been spoken. It was erased by his rejection of himself and disbelief in the justice of life.
• Let's look at 1 fragment and answer the question.

Why did the Master give up the name?

• loss of balance in life;
• self-denial;
• disbelief in the justice of real life.

• For the master, destroyed by the violence that has become the law of his contemporary life, the hospital is preferable to the chaos of real life.
• Although the Master declined the name, notice how proud his answer sounds. He is a master of his craft, he was given talent by God, he is the chosen one of fate, he is a prophet.
• The master is free from the vanity of the Moscow world, and as soon as fate gives him the opportunity, he breaks all ties with him in order to devote himself to creativity. And, as if by magic, love comes, Margarita appears. Margarita's entry into the Master's world transforms his life.
• Fragment 2 (Master and Margarita in the basement).

What helped the Master write the novel?

• talent;
• inspiration;
• Love

• Then the worst begins. The novel has been written. And the Master recalls with horror the literary world into which he had to enter with the written novel. This world seems crazy to the Master and haunts him with accusations that can cost life and take away its meaning. He burned his manuscript and renounced his name and Marguerite's love.
• Watch episode 3

Why did the Master burn the manuscript?

• rejection of the real world;
• mental suicide;
• fear of life.

• But the soul imprinted in the manuscript does not want to perish.
• The last fragment is the scene after Satan's ball. Otherworldly forces intervene to help the Master. Woland fulfills Margarita's wish - he returns her Master.

Let's take a look at episode 4.

Why "manuscripts don't burn"?

• A manuscript is a soul captured in lines.
• Talent, like life, is given by God, so you need to believe in it.
• Our soul is immortal.

So it is possible to carry out a problematic analysis of works based on ICT and video libraries.

The theme of creativity and the fate of the artist interested Mikhail Bulgakov all his life. But the pearl of all the writer's work was his last work - the novel "The Master and Margarita".

The word "master" is not accidentally handed down by M.A. Bulgakov as the title of his famous novel The Master and Margarita. The master is indeed one of the central figures in Bulgakov's work. The master is a historian who has become a writer. The master is a talented person, but extremely impractical, naive, timid in everyday affairs. Some critics consider his image to be autobiographical, reflecting the real experiences and life conflicts of Bulgakov himself. Others are looking for a prototype of the master in the literary environment of Bulgakov. But it is obvious to everyone that Bulgakov painted a typical tragic fate of an honest writer in a totalitarian society.

The life of the Master, a historian by education, was colorless. However, he had a dream - to write a novel about Pontius Pilate, to embody his own vision of a story that took place two thousand years ago in an ancient Jewish city. Soon the opportunity presented itself to fulfill this dream - he won one hundred thousand rubles. The master devoted himself to work. Together with creativity, true love comes to him - he meets Margarita. It was Margarita who called him the Master, hurried him, promised him glory.

The novel has been completed. But tests begin: the novel was not accepted for publication, only a part of it was printed, criticism responded to the publication with devastating articles. The master is arrested, ends up in a psychiatric hospital.

Against the background of other MASSOLIT writers, the Master stands out precisely for his authenticity. M. Bulgakov shows that these so-called creative people do not have creative interests at all. They only dream of dachas, sabbaticals, tasty and cheap food. The reader has the opportunity to observe how only one evening passes in MASSOLIT. The themes of works are imposed on writers, as well as performance.

Quite different with the work of the Master. He freely chooses the theme of his novel, but this freedom is not so simple. Let us note that the text of the Master's novel in Bulgakov's novel exists, as it were, apart from the Master. At first, we learn this text from Woland's story, then from Homeless's dream, and only at the end, when we know that the novel was burned, from the manuscript restored by Woland. This situation is symbolic: "manuscripts do not burn", because genuine artistic creativity exists not only on paper and not even only in the mind of the artist. It exists objectively, as a reality equal in rights to life, and the writer does not so much create it as guesses.

There is hardly a reader who will take the liberty of claiming that he has found the keys to all the riddles lurking in the novel. But much in the novel will be revealed if we at least briefly trace the ten-year history of its creation, while not forgetting that almost all of Bulgakov's works were born from his own

Experiences, conflicts, upheavals. On the example of the fate of the master M. a. Bulgakov in the novel places the most important thoughts for him, judgments and reflections about the place of the artist, the creative person in society, in the world, about his relationship with the authorities and his conscience. M.A. Bulgakov comes to the conclusion that the artist should not lie to himself or to other people. An artist who lies, who is at odds with his conscience, loses all right to create.

Having made the master his double, giving him some twists and turns of his fate and his love, M.A. Bulgakov kept for himself the deeds for which the master no longer had the strength, and could not be due to his character. And the master receives eternal rest along with Margarita and the manuscript of the novel that he burned, which has risen from the ashes. And I repeat with confidence the words of the omniscient Woland: "manuscripts do not burn ..."