MBOU "Pogromskaya secondary school named after A.D. Bondarenko" Volokonovsky district, Belgorod region

Literature lesson notes in 11th grade

“The role of biblical chapters in M. Bulgakov’s novel “The Master and Margarita”

prepared

teacher of Russian language and literature

Morozova Alla Stanislavovna

With. Pogromets

2012

Target: show how to independently in a certain sense the work dedicated to the history of Yershalaim is closely intertwined with chapters telling about modernity.

Tasks:

1. identify the main philosophical and ethical problems of the novel;
2. compare the Yershalaim chapters with the biblical source;
3. show how the theme of conscience develops on the pages of the chapters about Pontius Pilate.

Lesson type: lesson in applying knowledge

Technologies used:elements of problem-based, differentiated learning, the method of compiling a syncwine based on the methodology of developing critical thinking, project-research technology.

Forms of organization educational activities: individual work, frontal work, group work.

During the classes:

I. Organizing time.

II. Approximately - motivational stage

1. Poetic five minutes

Teacher's word. Literature places at the center of the World the concepts of good and evil, conscience, nobility, pride and humility, sin and repentance and others, that is, those concepts that, in fact, make a person a person. In other words, values ​​determine our behavior. This will be discussed in our lesson today.

The teacher reads a poem by B. Okudzhava, students write down key words in their notebooks:

Conscience, Nobility and Dignity -

This is our holy army.

Give him your hand

There is no fear for him even in the fire.

His face is high and amazing.

Dedicate your short life to him.

Maybe you won't be a winner

But you will die as a person.

(Conscience, nobility, dignity, the holy army, his face, his age, man)

All these words are characteristic internal state a person trying to understand himself, his inner world, peace of your soul. I wonder what the world of soul is like for the heroes of the biblical chapters of the novel “The Master and Margarita”?

1. Warm-up:

1. Name the years when the novel “The Master and Margarita” was created.

1928 - 1940

2. In which magazine did the novel first appear in an abridged form?

"Moscow"

3. How do you determine the composition of the novel?

A novel within a novel

4. What is the uniqueness of the novel’s composition?

Parallel development three plot lines

5. What is the genre of the novel?

Multi-genre novel

6. Name the main themes of the novel.

Biblical legend, the story of two lovers, Moscow satirical and everyday scenes

7. Complete the sentence: “I was working through the Bible chapters and thinking...”

III. Operational and execution stage:

1. Reading the epigraph: “All progress is reactionary if man collapses.” Modern poet
2. The semantic center of the lesson (on the board)

Cowardice is undoubtedly one of the most terrible vices. Yeshua

No, philosopher, I object to you: this is the most terrible vice. Pilate

Cowardice - an extreme expression of internal subordination, lack of freedom of spirit, main reason meanness on earth. V. Lakshin

Conscience - a person’s internal compass, his moral judgment of himself. V. Lakshin

1. Let’s formulate the main problematic question of the lesson

1. Let us formulate the main task of the study

How is a work, independent in a certain sense, dedicated to the history of Yershalaim, most closely intertwined with chapters telling about modernity?

1. Comparison of the Yershalaim chapters of the novel with the biblical source(student’s response to homework question).

Those who do not know the Bible may think that the Yershalaim chapters are a paraphrase of the gospel story of the trial of the Roman governor in Judea, Pontius Pilate, over Jesus Christ and the subsequent execution of Jesus, which occurred almost two thousand years ago. But a simple comparison of the Gospel basis with Bulgakov’s text reveals many significant differences.

1. Age (Jesus 33 – Yeshua 27).

2. Origin (Yeshua’s mother is a woman of dubious behavior, his father is a Syrian, he does not remember his parents, that is, Yeshua is a poor wandering philosopher of low origin).

3. Absence of disciples (not 12 apostles, but only Matthew Levi).

4. Lack of popularity among the people (No one in the city knew Yeshua when he entered Yershalaim).

5. The nature of the sermon has been changed, only one moral position has been left: “All people are good.”

6. Judas did not hang himself, but was killed on the orders of Pontius Pilate, who at least wanted to calm his conscience.

Conclusion. A comparison of Bulgakov's plot with the gospel basis proves the writer's rethinking of biblical texts and polemics with them. Another significant difference attracts attention: if the plot of the Gospels is determined by the events of the life of Jesus, then in Bulgakov main personality, holding the Yershalaim chapters together, becomes the procurator. Vidimi in the concept of Bulgakov's novel special meaning has the image of Pontius Pilate, the horseman of the Golden Spear.

1. Study

The class has permanent groups. Each group was given a series of questions to which they had to answer based on biblical chapters from the novel.

Group I

Questions for analysis.

How does his portrait reveal the character of Pilate? How does Pilate behave towards Yeshua at the beginning of their meeting and why? Why does Pilate ask a question about the truth? What truth does Yeshua reveal to Pilate? What is Yeshua's core belief? What does Pilate think about Yeshua’s guilt after his confession? When and why does the procurator's attitude towards the wandering philosopher change? What path is Procurator Yeshua trying to suggest? Why does Yeshua refuse a compromise that is beneficial to him?

Student performance Group I

Creating the image of the procurator of Judea, Bulgakov portrays a strong man, endowed with enormous power, but not without human weaknesses. Acting strictly according to the law, Pilate punishes Yeshua, who preaches the uselessness of state power. However, tormented by internal contradictions, Pilate feels the impact of Yeshua’s moral preaching and is ready to believe him. Understanding the innocence of Yeshua, he is subordinate to Caesar, whose power, like any other, is denied by Yeshua. The hero is faced with a choice: to save an innocent wandering philosopher and lose power, and possibly his life, or to maintain his position by executing an innocent man and acting against his conscience. In essence, it is a choice between physical and spiritual death. Unable to make a choice, he pushes Yeshua to compromise. But compromise is impossible for Yeshua. Truth turns out to be more valuable to him than life.

Yeshua is presented in the novel as the bearer of the idea of ​​“good will”, the philosophical justification of which belongs to Immanuel Kant. According to the German philosopher, “motive or sufficient reason human actions in addition to particular and concrete ideas acting on the ability to want through feelings of pleasant and unpleasant, there may also be a universal rational idea of ​​good, acting on the conscious will in the form of unconditional duty. Simply put, a person can do good in addition to and despite selfish considerations, for the sake of the very idea of ​​​​good, out of sheer respect for duty or moral law. By the way, it is Kant’s proof of the existence of God (moral, the so-called “sixth”) that Woland mentions in a conversation with Berlioz in the first chapter.

For Bulgakov, it is man who is the bearer of “good will”; it is he who is capable of persistently and unselfishly serving the good and achieving the moral absolute.

II group

Questions for analysis.

What is Pilate doing to prevent Yeshua’s execution from taking place? How does he behave when it is no longer possible to prevent the execution? How does the theme of immortality enter into the narrative? What makes Pilate go against his conscience? Why is cowardice called the most terrible vice in the novel? How does the hero perceive his immortality? How does the theme of immortality sound in other chapters of the novel: the immortality of Dostoevsky (chapter 28), the immortality of Pushkin and Dantes (chapter 6)?

Student performance Group II

An awakened conscience forces Pilate to try to save Yeshua by using the tradition of pardon on Easter. Then, when it is no longer possible to prevent the execution, he seeks to end the suffering of Yeshua and authorizes the murder of Judas, who betrayed him. However, all these attempts do not allow Pilate to atone for his guilt, to clear his conscience. Cowardice, the extreme manifestation of human lack of freedom, does not allow a strong and powerful person to make the right moral choice, forces him to retreat from the truth that has been revealed to him. Pilate's punishment is his immortality (note that of all the procurators of Judea, the memory of mankind has indeed preserved his name first of all). The hero hates his immortality, because it is the immortality of a traitor. Immortality in the novel appears both as a blessing (Yeshua, Pushkin, Dostoevsky) and as a punishment (Pilate, Dantes).

1. Answer to the main problematic question of the lesson(for the whole class)

What makes Pontius Pilate the main character of Bulgakov's interpretation of the biblical story?

Answer. It is with the image of Pilate that a complex of the most important moral and philosophical problems raised in the novel, such as the problem of choice, responsibility for one’s actions, power, faith and unbelief, truth and the meaning of human existence, etc.

III group

Questions for analysis.

How is this problematic projected into the chapters on modernity? Where does the theme of Christ begin? What does Berlioz insist on and why? How does Woland refute Berlioz's position? What symbolic meaning death of Berlioz? How do you understand the meaning of Woland’s words: “Everyone will be given according to his faith” (chapter 23)? How is this idea related to the images of Yeshua and Pilate?

Student performance Group III

By insisting that Jesus Christ did not exist, Berlioz thereby denies his preaching of goodness and mercy, truth and justice, the idea of ​​“good will.” Chairman of MASSOLIT, editor of thick magazines, living in the power of dogmas based on rationality, expediency, devoid of a moral basis, denying faith in the existence of metaphysical principles, he implants these dogmas in human minds, which is especially dangerous for a young fragile consciousness, therefore “ the murder of Berlioz by a Komsomol member acquires a deeply symbolic meaning. Not believing in other existence, he goes into oblivion. “According to one’s faith” is also given to other heroes of the novel. The bearer of the truth, Yeshua, gains immortality, and Pilate, who touched the truth and betrayed it, is doomed to eternal suffering.

IV. Reflective-evaluative stage

1. Lesson summary

Question. How is it that an independent work, in a certain sense, dedicated to the history of Yershalaim, is most closely intertwined with chapters telling about modernity?

The gospel legend contains eternal values, eternal truths, which, being forgotten and destroyed, will certainly affect the moral state of society. It is by these great criteria that moral worth can be tested. any era , and therefore its consistency as a whole, for, as a modern poet said: “All progress is reactionary if man collapses.”Appeal to the epigraph.

1. Homework

2. Answer the questions:

What power does Woland represent in the novel?

What is the function of this character in the novel?

1. Reflection (syncwine)

List of used literature

1. Agenosov V.V. Russian literature of the 20th century. Grade 11. – M.: Bustard, 2000

2. Zolotareva I.V., Egorova N.V. Universal lesson developments in literature: 11th grade, - Moscow “VAKO”, 2009

3. Magazine “Literature in School” No. 1, 1994, pp. 72 - 75

Topic: Biblical chapters and their role in solving the philosophical and aesthetic problems of M. Bulgakov’s novel “The Master and Margarita.”

Goals and objectives of the lesson.

1. Find out for what purpose M. Bulgakov introduces biblical stories and their heroes into his novel? How does he see and portray the main biblical characters of Jesus Christ and Pontius Pilate?

2. Determine what philosophical and moral problems raises and decides the author in the Yershalaim chapters? What does it warn us about, what does it warn us against?

3. Fostering a sense of responsibility for one’s actions, awakening the concepts of goodness, mercy, conscience, etc.

Lesson form  discussion of problems for round table, discussion ( research based on the texts of the Bible and novels).

Decor:

1. Portrait of M. Bulgakov (performed by 11th grade students).

2. Bible, Gospel of Matthew.

3. M. Bulgakov’s novel “The Master and Margarita”.

4. Illustrations for the scenes “Trial”, “Execution” (performed by 11th grade students).

5. Set up a stand with the works of last year’s graduates:

a) abstract “Biblical chapters and their role in solving the philosophical and aesthetic problems of M. Bulgakov’s novel “The Master and Margarita”;

b) the essay “Letter to the Procurator of Judea Pontius Pilate”;

c) a report on the life and work of M. Bulgakov.

Epigraph for the lesson:“Yes, take any five pages from any of his novels, and without any identification you will be convinced that you are dealing with a Writer” (M. Bulgakov.)

Posters for the lesson:

1. “Cowardice is an extreme expression of internal subordination, lack of freedom of spirit, the main cause of social meanness on earth.” (V. Lakshin.)

2. "Conscience   atonement for guilt, the possibility of internal cleansing" (E. V. Korsalova).

Lesson steps(On the desk):

1. Comparison of Bulgakov's plot with the gospel basis. The purpose of conversion and rethinking of the biblical story.

2. Pontius Pilate. Contrasts in the depiction of the main character of the Yershalaim chapters.

3. Yeshua Ha-Nozri. Sermons of a wandering philosopher: nonsense or the pursuit of truth?

4. Philosophical and moral problems raised in the Yershalaim chapters. Central problem.

5. Novel-warning. Creative problem solving.

During the classes.

1. Organizational moment.

2. Introduction to the lesson.

Teacher's word. I would like to start our first lesson on M. Bulgakov’s novel “The Master and Margarita” with lines from an article by Elena Vladimirovna Korsalova - doctor pedagogical sciences, professor of literature - "Conscience, truth, humanity..."

“Finally, this talented Russian novel has come to school, embodying the author’s thoughts about his era and eternity, man and the world, the artist and power, a novel in which satire, subtle psychological analysis and philosophical generalizations..."

As a teacher, I completely agree with Elena Vladimirovna and will gladly repeat her words: “Finally, this talented Russian novel has come to school...” And I’ll add on my own behalf: the novel is complex, requiring deep thought and certain knowledge.

Today we begin to study it.

The topic of the first lesson is:

"Biblical chapters and their role in solving the philosophical and aesthetic problems of M. Bulgakov's novel "The Master and Margarita."

When you read this novel for the first time in the summer, I’m sure you noticed its composition. And this is no coincidence. The composition of the novel is original and multifaceted. Within the framework of one work, two novels interact in a complex manner:

1st - story about life the fate of the Master,

2nd - a novel about Pontius Pilate created by the Master.

It turned out to be a novel within a novel.

The chapters of the insert novel tell about one day of the Roman procurator. They are dispersed in the main narrative about the Moscow life of the main character, the Master, and the people around him. There are only four of them (2, 16, 25 and 26 chapters). They wedge themselves into the mischievous Moscow chapters and differ sharply from them: in the severity of the narrative, the rhythmic beginning, and antiquity (after all, they take us from Moscow in the 30s of the twentieth century to the city of Yershalaim, also in the 30s, but in the first century).

Both lines of a single work modern and mythological explicitly and implicitly echo each other, which helps the writer to show his contemporary reality more broadly and to comprehend it (and this is one of the most important tasks of the writer M. Bulgakov, which he solves in all his works.)

Objectives of our lesson:

Draw parallels and test modern reality with the experience of world culture at the level of eternal values ​​and universal moral principles.

And the foundations of this moral experience are laid in Christianity. Anyone who reads the Bible can learn about them.

Compare Bulgakov's plot with the gospel basis, understand why Bulgakov turns to biblical plots, why he reinterprets and changes them;

Determine what philosophical and moral problems the author raises and solves, what he warns about.

I understand the complexity of the task for the first lesson, but I hope that by working with the texts of the Gospel and the novel at home, answering homework questions, with my help in class, at this round table together we can discuss many important issues and try to draw conclusions .

I ask you to boldly express your opinions, even if they are not entirely correct, controversial, listen carefully to the answers of your comrades, use signal cards (!) so that I can notice your desire to speak out in time. That is, I expect full-fledged work of thought and speech from you and I promise to be a good helper to you.

So let's get startedStage 1lesson. All three groups received the task.

1. Comparison of Bulgakov's plot with the gospel basis. Purpose of appeal and rethinking the biblical story.

introduction: To those who do not know the Bible, it seems that the chapters of Yershalaim a paraphrase of the gospel story of the trial of the Roman governor in Judea, Pontius Pilate, over Jesus Christ and the subsequent execution of Jesus. But a simple comparison of the Gospel basis with Bulgakov’s text reveals many significant differences.

1 question: What are these differences?

Let's look at your homework:

Age (Jesus - 33 years old, Yeshua - 27 years old);

Origin (Jesus son of God and the Blessed Virgin Mary, Yeshua's father Syrian, and mother  woman of questionable behavior; he doesn’t remember his parents);

Jesus is god, king; Yeshua - poor wandering philosopher (position in society);

Absence of students;

Lack of popularity among the people;

He did not ride on a donkey, but entered on foot;

Changed the nature of the sermon;

After death, the body is kidnapped and buried by Matthew Levi;

Judas did not hang himself, but was killed by order of Pilate;

The divine origin of the Gospel is disputed;

The lack of predestination of his death on the cross in the name of atonement for the sins of mankind;

There are no words “cross” and “crucified”, but there are rough words “pillar”, “hang”;

main character not Yeshua (whose prototype is Jesus Christ), but Pontius Pilate.

2 Question : Why does M. Bulgakov turn to biblical stories and their heroes in his novel?  on the one hand and on the other  why, for what purpose does he rethink them?

The image of Yeshua Ha-Nozri depicts not the son of God, but the son of man, i.e. a simple man, although endowed with high moral qualities;

M. Bulgakov pays attention not to the idea of ​​divine predestination, the predestination of death in the name of atonement for human sins, but to the earthly idea of ​​power and social injustice;

Making Pontius Pilate the main character, he wants to pay special attention to the problem of a person’s moral responsibility for what is happening around him;

Appeals to biblical stories and characters to emphasize the importance of everything that will be discussed and the problems that will be solved.

Conclusion: Turning to the biblical story emphasizes the importance of what is described in the Yershalaim chapters, and the author’s rethinking of them is due to his desire to bring together universal moral ideals with earthly problems of power and human responsibility for happening.

Stage 2 of the lesson. Group 1 prepared materials for the question.

Pontius Pilate. Contrasts in the depiction of the main character of the Yershalaim chapters.

Teacher: I propose to start working on the image of Pontius Pilate from the text. Let us read the lines telling about the appearance of this significant and complex figure in the palace: “In a white cloak...”

Comments: One cannot help but feel the significance and special emotional content of this phrase even by ear. But then comes a phrase that immediately removes this aura of significance, emphasizing the hero’s earthly weaknesses, somewhat grounding him:

“More than anything in the world... since dawn” (p. 20, 2 paragraphs)

Conclusion: Thus, throughout the entire novel, the image of Pilate will combine the majestic features of a strong and intelligent ruler and signs of human weakness.

Let's turn to the text and find other examples of contrast there the main artistic technique used by the author Bulgakov in his depiction of Pontius Pilate.

Majestic features of a ruler.

Human weaknesses.

In the past, a fearless warrior, the rider of the "golden spear".

2. Externally - the majestic figure of the all-powerful procurator.

3. Instills fear in everyone, calls himself “fierce”

monster."

4. Surrounded by a crowd of servants and guards.

5. Wants to be fair and help Yeshua.

6. Called upon to decide the destinies of people.

7. Sees that Yeshua is not guilty.

8. Delivered a verdict.

1. Hates the smell of rose oil.

2. Inside - Strong headache.

3. He is afraid of Caesar, hides cowardice, and is afraid of denunciations.

4.Lonely, only friend Bang the dog.

5. Lost faith in people, afraid of losing his career.

6. Sends an innocent person to his death.

7. Accuses you of things you don’t believe yourself.

believes.

8. He suffers in dreams and in reality.

Question: Why is there so much contrast in the image of the procurator Pontius Pilate?

Bulgakov wants to show how the good and evil principles fight in a person, how Pilate wants to be fair and commits evil.

Let's leave Pontius Pilate for a while and turn to another hero of the Yershalaim chapters Yeshua Ha-Nozri.

Stage 3 of the lesson.

Yeshua Ha-Nozri. Sermons of a wandering philosopher. Delirium or the pursuit of truth? (group 2).

Teacher: Let’s turn to the text again and see how the second hero of the Yershalaim chapters appears in the palace and in the novel.

"This man..." (p. 22).

"Bound instantly..." (p. 24).

"The arrested man staggered..." (p. 29).

Comments: This description creates an image of a pathetic, physically weak person who finds it difficult to endure bodily torture.

Question: What is this hero like internally? Is he as weak in spirit as in body?

Let's look at the text:

1. What is Ga-Notsri accused of?

2. What does he really preach? What does it claim?

The main accusations are in the words of the procurator: “So you were going to destroy the temple building and called on the people to do this?”

Sermons of Yeshua:

1. “All people are good,” “There is only one God... in Him I believe.”

2. "... the temple of the old faith will collapse and a new temple of truth will be created."

3. "... all power is violence over people and that the day will come when there will be no power, neither Caesars, nor any other power. Man will move into the kingdom of truth and justice, where no power will be needed at all."

Teacher: Let's talk about Yeshua's statements. Let's look at them through the eyes of Pontius Pilate.

1. Which of his statements is perceived by Pontius Pilate as nonsense, as harmless eccentricity?

2. Which of them is considered easily disputable?

3. What makes him tremble or fear? Why?

Pilate considers the first statement nonsense and disputes it in his own way: physically - with the help of the Rat Slaughterer, morally a reminder of the betrayal of Judas;

The second statement makes him mock: “What is truth?” The question should destroy the interlocutor, because... it is not given to man to know either the truth, or even what the truth is. For people this is a complex, abstract concept. How can you answer this question?

What would you answer?

You can expect a stream of abstract, vague words.

BUT: “The truth, first of all, is that you have a headache, and it hurts so much that you are cowardly thinking about death,” Yeshua's answer is simple and clear, the truth comes from a person and is closed on him.

This is a piece of truth that Pontius Pilate cannot dispute.

The 3rd statement caused fear in the procurator, because he is afraid of denunciations, afraid of losing his career, afraid of Caesar's reprisal, afraid of the pillar, i.e. afraid for himself.

Question: Is Yeshua afraid for himself? How is he behaving?

Yeshua is afraid of bodily torture. But he does not deviate from his convictions, does not change his views.

Question: What qualities of the hero are revealed to you in his preaching and behavior?

The main qualities of Yeshua: kindness, compassion, courage.

Teacher: In revealing the image of the second hero of the Yershalaim chapters, the technique of contrast is also used. The physically weak Yeshua Ha-Nozri turns out to be strong in spirit.

Teacher: Let's go back to the interrogation scene and see what does the Jewish philosopher think about the wandering philosopher procurator?

Questions: 1. Did Pontius Pilate understand that Yeshua was not guilty? Is he sure about this?

Yes. “A formula was formed in the bright and light head of the procurator. It was as follows: the hegemon examined the case of the wandering philosopher Yeshua, and did not find any corpus delicti in it.”

2. Does he want to save him from a painful death? To be fair?

Yes. Pontius Pilate gave hints to Yeshua so that he would renounce his words about Caesar, sending a “hinting glance,” etc.

3. What feeling conquers all others in Pontius Pilate? How does this happen?

At first, Pilate wants to be fair and save the philosopher. But the latter’s reasoning about power plunges him into horror. "Dead!" then: “They died!” He makes an attempt to persuade Yeshua to renounce his words, but to no avail.

Fear turns out to be stronger than the desire to be fair. He wins.

4. Find the words of the procurator in which the death sentence sounds.

- “You think, unfortunate... I don’t share” (p. 35)

Teacher: So, internal struggle in Pontius Pilate between good and evil, between the desire to be fair or to impose a death sentence on the innocent is over.

The all-powerful procurator, an intelligent, wise ruler, became afraid, became cowardly, and became cowardly.

He goes through states: from fear - to cowardice - to meanness.

Question: Tell me at what stage of this logical chain you could still understand And justify Pilate? When not?

Fear is a physiological feeling (equal to fright), characteristic of all living beings, it is reflexive, like the instinct of self-preservation.

Those. Pilate could have experienced a feeling of fear, this is normal, not condemnable.

But man is a rational being. He is responsible for his actions. Pilate must not give in to fear, defeat cowardice, and remain completely true to himself and his convictions.

Sentence of death to an innocent person This is already meanness. And meanness it's immoral.

Accent: Cowardice  between fear and meanness. Fear does not always lead to cowardice, but cowardice to meanness is 1 step.

Conclusion: "Cowardice - undoubtedly one of the most terrible vices," Yeshua said so.

“No, philosopher, I object to you: this is the most terrible vice,” the inner voice of Pontius Pilate.

And indeed: “Cowardice is an extreme expression of internal subordination, lack of freedom of spirit, the main cause of social meanness on earth.”

So it was with Pontius Pilate: he committed meanness out of fear, out of cowardice. But that's not all. Pontius Pilate will save both his life and his career. But he will deprive himself of something very important.

What is this?

Pontius Pilate lost his peace. His conscience will torment him.

Did Pilate try to correct what he had done, and how?

Yes. Orders to kill Judas. He will want to benefit Matthew Levi.

Will this calm him down?

No. “For about two thousand years he sits on this platform and sleeps, but when the moon comes, ... he is tormented by insomnia” (p. 461).

“He has no peace under the moon... he claims that he didn’t agree on something then... with the prisoner Ga-Notsri... more than anything in the world he hates his immortality and unheard-of glory.”

“Twelve thousand moons for one moon once upon a time, isn’t that too much?” asked Margarita.

Let's finish our conversation about the heroes of the biblical chapters and turn to their problems.

Stage 4 of the lesson. Group 3 prepared materials for the question.

Philosophical and moral-aesthetic problems,

raised in the Yershalaim chapters.

Teacher: Now I want to turn to group No. 3.

Their homework was a question about the problems of the novel posed by the author in the Yershalaim chapters. Listening to and participating in the statements in today's lesson, I think they were able to complete their homework sketches. And I give the floor to them.

Among all the problems of the novel “The Master and Margarita,” we want to highlight two separate groups, which we could call: “philosophical” and “moral-aesthetic.”

Moreover, we noticed that these groups are different in quantitative terms. Because philosophy science about the most general laws of development of nature, society and thinking, then the philosophical problems, in our opinion, raised in these chapters are also connected with the most general laws.

Therefore, we have identified the following problems of a philosophical nature:

What is good and evil?

What is truth?

What's the point human life?

Man and his faith.

Considering that “...morality this is a rule that determines behavior, spiritual and mental qualities necessary for a person in society, as well as the implementation of these rules, behavior,” we highlight the moral and aesthetic problems of the novel raised in the Yershalaim chapters:

Spiritual freedom and spiritual dependence.

A person's responsibility for his actions.

Man and power.

Social injustice in human life.

Compassion and mercy.

Question: Which of the problems posed by the author is, in your opinion, central?

The problem of a person’s responsibility for his actions, i.e. problem of conscience.

E.V. Korsalova confirms this idea in her article. She also talks about why conscience is given to man: “Conscience a person’s internal compass, his moral judgment of himself, the moral assessment of his actions. Conscience atonement for guilt, the possibility of internal cleansing."

Remember, children, these words.

Question for everyone: Which of these problems can be called contemporary to us, today?

All.

Conclusion. M. Bulgakov raised eternal, undying problems in his novel. His novel is addressed not only to his contemporaries, but also to his descendants.

We will continue to work on these issues in the next lesson.

Stage 5 of the lesson.

Romance warning. Creative problem solving.

"Roman Warning" This is a bitter writer’s prediction of what pictures could become reality if the current life spiral continues to unwind.”

These words from the critic’s article also apply to the novel by M. Bulgakov, who wants to warn us, all living people, against dealings with conscience, against spiritual lack of freedom.

I asked you to approach this issue creatively and solve it in an original way.

What came of it?

Group 1 prepared a drawing illustration for the scene "Court";

Group 2 prepared a drawing illustration for the "Execution" scene;

Group 3 completed last year’s work: 1) abstract “The role of the Yershalaim chapters in solving the moral and philosophical problems of the novel”; 2) the essay “Letter to the Roman procurator Pontius Pilate.”

And the guys also wrote poems, let them complete our lesson.

Summing up the lesson- assessments.

1. I am satisfied (not satisfied)… With what?

2. We coped with the tasks (we failed).

3. Difficulty of the topic and problem.

4. Collaborative work. Ratings for group members.

Homework:

2. For the topic “Satire in the Novel”, select material for the question: “Who does Woland punish and for what?”

3. Evil, greed, indifference, selfishness, heartlessness, lies their examples are in the Moscow chapters.

Poem "Pilate's Dream"

N.P. Borisenko

Pilate again has an endless dream:

The court is administered by the procurator, he is close to the truth.

In the past, the valiant Horseman of the Golden Spear,

How will he glorify his reign today?

Before him is kind and bright, radiant with kindness,

Like virtue itself, together with truth itself.

Good people, this is it his crime,

That he walks around the world, sowing peace and goodness?

What brings healing through the walls of palaces

How does revelation itself see the world without fetters?

The procurator wrinkles his forehead. Be brave, hegemon,

Is the damned fear generated in you?

Innocent, you know, so say it, don’t be silent.

Whose fate are you deciding on this moonlit night?

He remained silent... did not correct... did not save him from the pillar...

And he sent himself, not him, to torment.

And there is no peace for the soul - the punishment is terrible:

To be immortal to the hero and his vice.

Cowardice, meanness out of fear the most terrible vice!

Conscience is your chopping block,

Cross - immortality period!

Behind the lesson line

In preparation for this lesson, the class was divided into three working groups, each of which received a specific task: one big question (see questions 2, 3, 4 in the “Lesson Stages” section) and a general task (see question 1).

A creative solution to the question of a warning novel (see question 5) is designed for the individual abilities of students (in poetry, fine arts and so on.).

2. The assignment for the next lesson on the novel is also advanced in nature. Questions 1 and 2 are given to the whole class, but Question 3 can be assigned to groups or given as an individual task.

Biblical stories in M. Bulgakov’s novel “The Master and Margarita”

Bulgakov's novel is largely based on the comprehension and re-interpretation of evangelical and biblical ideas and plots.

During the period of writing the novel, Bulgakov studied not only the text of the Gospels, but also numerous historical sources about Judea at the beginning of the era, Hebrew, and non-canonical interpretations. The author deliberately deviates from the gospel plot, offering his own vision of biblical motives.

The most controversial image from a biblical point of view is the image of Yeshua. The central motifs of the novel are connected with it: the motif of freedom, suffering and death, execution, forgiveness, mercy. These motifs receive a new, Bulgakovian embodiment in the novel, sometimes very far from the traditional biblical tradition.

Yeshua literally means Savior; Ha-Nozri means “from Nazareth”, Nazareth is a city in Galilee in which Saint Joseph lived and where the Annunciation to the Blessed Virgin Mary about the birth of the Son of God took place. Jesus, Mary and Joseph returned here after their stay in Egypt. Jesus spent his entire childhood and adolescence here. Thus, Bulgakov delves deeply into biblical interpretation.

The first serious difference between the biblical motif of the Savior and Bulgakov’s interpretation is that Yeshua in the novel does not declare his messianic destiny, and does not in any way define his divine essence, while the biblical Jesus says, for example, in a conversation with the Pharisees, that he is not simply the Messiah, and also the Son of God: “I and the Father are one.” But some lines of the novel associated with the image of Yeshua have a direct correlation with the Bible, for example: “...near him a column of dust caught fire.” Perhaps this description is intended to be associated with the thirteenth chapter of the Biblical book called “Exodus,” which tells about the exit of the Jews from Egyptian captivity, when God moved before them in the form of a cloud or a pillar of fire: “The Lord walked before them by day in a pillar of cloud, showing them the way, and by night in a pillar of fire, giving them light, so that they might go both by day and by night. Then this place in the novel serves as the only indication of the divine essence of Yeshua.

There is only one episode in the novel reminiscent of the gospel miracles performed by Jesus. "What is truth?" - Pontius Pilate asks Yeshua. This question, in a slightly different tone, is also found in the Gospel of John: “Pilate said to him: “So, are you a king?” Jesus answered: “You say that I am a king. For this purpose I was born and for this purpose I came into the world, to testify to the truth; everyone who is from the truth listens to my voice." In Bulgakov's novel, Yeshua answers this question: "The truth, first of all, is that you have a headache... But your torment will now end, your headache will pass..." The healing of Pontius Pilate is the only healing and the only miracle performed by Yeshua 5.

Jesus had disciples. Only Matthew Levi followed Yeshua. Some researchers believe that the prototype of Matthew Levi was the biblical Apostle Matthew, who wrote the first Gospel. Before Matthew became a disciple of Jesus, he was a publican, that is, a tax collector, like Matthew Levi. It is known that Jesus, accompanied by his disciples, rode into Jerusalem on a donkey. And when in the novel Pilate asks Yeshua whether it is true that he “entered the city through the Susa Gate riding on a donkey,” he replies that he “doesn’t even have a donkey.” He came to Yershalaim exactly through the Susa Gate, but on foot, accompanied by only Levi Matthew, and no one shouted anything to him, since no one knew him in Yershalaim then.

Yeshua was only slightly acquainted with Judas from Kiriath, who betrayed him, and Judas from Kerioth was a disciple of Jesus. Obviously. That Bulgakov was not so worried about these relationships, he was much more interested in the question of the relationship between Yeshua Ha-Nozri and Pontius Pilate.

During the trial of Jesus, false witnesses confessed before the Sanhedrin: “...we heard him say: “I will destroy this temple made with hands, and in three days I will erect another, not made with hands.” Bulgakov makes an attempt to make his hero a prophet. Yeshua utters the following phrase: “I , hegemon, said that the temple of the old faith would collapse and a new temple of truth would be created..."

A serious difference between Bulgakov's hero and the biblical Jesus Christ is that Jesus does not avoid conflicts. “The essence and tone of his speeches,” says S.S. Averintsev, “are exceptional: the listener must either believe or become an enemy... Hence the inevitability of a tragic end.” And the words and actions of Yeshua Ha-Nozri are completely devoid of aggressiveness. The credo of his life lies in these words: “It is easy and pleasant to speak the truth.” The truth for Yeshua is that all people are good, but there are unhappy ones among them. He preaches Love, and Jesus appears as the Messiah who affirms the Truth.

Consequently, Bulgakov's Yeshua is not a god-man, but a man, at times weak, even pathetic, extremely lonely, but great in his spirit and all-conquering kindness. He does not preach all Christian dogmas, but only ideas of good that are significant for Christianity, but do not constitute the entire Christian teaching. You cannot hear from him about the future Kingdom of God, about the Salvation of sinners, about reward after death for the righteous and sinners. Bulgakovsky is the Savior of the earth, and is looking for good here on the sinful earth. Unlike Gospel Jesus, Yeshua has only one student, Levi Matvey, since Bulgakov believes that one person in a generation who has accepted a certain idea is enough for this idea to live for centuries. Biblical motifs in the image of Yeshua have undergone serious refraction.

The Bible significantly influenced the development of all literature. The Christian faith already received many adherents in the world by the end of the 1st century. Christian communities were founded in many European countries. Later, they were founded in Asia Minor, North Africa, and over time Christ's teaching spread throughout the world. The Bible became the most popular book and significantly influenced the development of world literature. It was translated into many languages, and stories from Holy Scripture became the basis for many works. Of the Old Testament heroes, King Solomon was very popular. His wisdom is glorified in many works, and mythical wealth has become the theme of the works of many artists, including the writer Hagardt, whose works have become especially popular in our time. IN original works Russian authors put the wisdom of the Bible in the foreground. Already the first works testify to the awareness of Russians about the Holy Letter. The chronicler Nestor, who wrote “The Tale of Bygone Years,” along with the holistic picture of historical events included theological treatises, lives of saints, stories, legends, historical retellings, teachings, speeches, which became not only illustrations to the chronicle, but also added greater significance to his work , they said that human history sacred.

The role of biblical chapters in the novel by M.F. Bulgakov Master and Margarita. Mikhail Bulgakov’s novel “The Master and Margarita” is read and loved largely due to its “ancient” part. This contains the original version of the events that the Gospel tells us about.

The main characters of the Yershalaim chapters are the fifth procurator of Judea, the horseman Pontius Pilate and the beggar tramp Yeshua Ha-Nozri, in whom Jesus Christ is guessed. Why does Bulgakov tell us about them? I think to give tall sample, with which one can compare the vulgar Moscow life. And these chapters are written differently than the modern part of the novel.

How solemn and alarming it sounds: “The darkness that came from the Mediterranean Sea covered the city hated by the procurator. The hanging bridges connecting the temple with the terrible Anthony Tower disappeared, an abyss descended from the sky and flooded the winged gods over the hippodrome, the Hasmonean palace with loopholes, bazaars, caravanserais, alleys, ponds...

So, the image of Yeshua Ha-Nozri is in many ways close to that widespread at the turn of the 19th - 20th centuries. interpretation of Jesus Christ primarily as ideal person. M.A. Bulgakov does not oppose his hero to Christ, but, as it were, “concretizes” the gospel legend (as he understands it), helping us to better understand it. His Christ is devoid of an aura of divine greatness, and yet he evokes respect and love - such is...

Another significant difference between the plot of the Gospels and Bulgakov’s novel is that the first is determined by the events of the life of Jesus, while in Bulgakov the main person holding together the Yershalaim chapters is the procurator Pontius Pilate. (A procurator was a Roman official who had the highest administrative and judicial power in a province. Pontius Pilate was appointed procurator of Judea in 29.. He is a complex, dramatic figure. He is smart, not a stranger to thoughts, human feelings, living compassion. While Yeshua preaches that all people are good, the curator is inclined to look condescendingly at this harmless eccentricity. But now the conversation turns to supreme power, and Pilate is pierced by acute fear. He is still trying to bargain with his conscience, trying to persuade Yeshua to compromise, trying to quietly suggest saving answers, but Yeshua cannot deceive.

Overcome by fear, the all-powerful procurator loses the remnants of his proud dignity and exclaims: “Do you believe, unfortunate one, that the Roman procurator will release the man who said what you said? ...Or do you think I'm ready to take your place? I don’t share your thoughts.” Still, as in the Bible, Pilate does not find serious grounds for the execution of Bulgakov’s Jesus, but the top clergy continue to insist on the death sentence. Pilate succumbs to the shameful cowardice of an intelligent and almost omnipotent ruler: out of fear of denunciation, which could ruin his career, Pilate goes against his convictions, against the voice of humanity, against his conscience. He makes his last pitiful attempts to save the unfortunate man, and when this fails, he tries to at least alleviate the reproaches of his conscience. But there is not and cannot be a moral ransom for betrayal. And the basis of betrayal, as is almost always the case, is cowardice.

The Master and Margarita" has absorbed all the best from the rich creative experience of Mikhail Bulgakov. Translated into all the main languages ​​of the world, the novel is the most readable work, written by a Russian author, including all the biblical chapters, as well as all the vices of people.

In M. Bulgakov’s novel “The Master and Margarita” there is reality and fantasy, satire and love lyrics.
Four chapters of a historical and philosophical nature stand out in particular. This “novel within a novel” is a story about Christ and Pontius Pilate.
The chapters about the procurator of Judea and Yeshua Ha-Nozri (Jesus Christ) are written by Bulgakov's main character, the Master. Based on a biblical story, this novel became the fate of its author. The master, by the will of Bulgakov, presented the well-known biblical story of the condemnation and execution of Christ in such a way that it is impossible to doubt its reality. The story turned out to be so earthly, so alive, as if Bulgakov himself was present at all this. Yeshua, as depicted by the Master, is not a mythological character, but a living person, capable of experiencing both indignation and annoyance. He is afraid of pain, afraid of death. But despite his outward ordinariness, Yeshua is an extraordinary person. The supernatural power of Yeshua lies in the meaning of his words, in his conviction of their correctness. But the main quality that distinguishes Yeshua from all other characters in the novel is independence of mind and spirit. They are devoid of conventions and dogmas. They are free. Neither the power of Pontius Pilate nor the threat of death can kill his independence and inner fortitude. Thanks to this independence of mind and spirit, truths hidden from others are revealed to Yeshua. And he brings these truths, which are very dangerous for the authorities, to the people.
To create such a hero, the Master himself must possess at least some of his qualities. The master professes the same truths, preaches goodness and justice, although he himself was not humble, tolerant and pious. But the Master has the same independence, the same inner spiritual freedom as his hero going to Golgotha.
The procurator of Judea listens with horror to discussions about power, including Caesar’s. Yeshua says that the time will come when no power will be needed. Pilate found such words not only scary, but also risky to listen to. Protecting himself from prying ears, the procurator almost shouted: “There was not, is not, and never will be a greater and more beautiful power in the world than the power of Emperor Tiberius!” This phrase was taken by Bulgakov, naturally, not from historical sources. It is from contemporary newspapers. The writer only changed the name. In general, if readers could read the novel at that time, they would probably notice the roll call of the described biblical history with modernity. The decisions of the Sanhedrin and Pontius Pilate resemble the decisions of the Rappovites, the Main Repertoire Committee and others contemporary to Bulgakov official organizations. The similarity is in the brutal, rabid fanaticism, in the fear of dissent.
Bulgakov knew for sure that he would not be able to publish the novel, that sooner or later he would be crucified for this novel. But the writer had a faint hope for the common sense of the “procurator” of his day. It didn't come true.
The hero of the Master's novel, Yeshua Ha-Nozri, is sentenced. His peaceful speeches, rejecting violence, are more dangerous for the authorities than a direct call for rebellion. Yeshua is more dangerous than the murderer whom Pontius Pilate pardoned. And, although Yeshua managed to conquer the procurator with his intelligence and amazing power of speech, Pilate sends him to death, fearing for himself, for his career. As a politician, Pontius Pilate won, but was defeated by great fortitude. And the procurator understood this.
Pontius Pilate reminded Bulgakov of some contemporary politicians and statesmen. But there is a significant difference: the massacre of an innocent cost Pilate severe mental anguish, but modern writers and politicians managed to avoid even reproaches of their own conscience. This is how the biblical story came into contact with real life.