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И молит, и кричит седок, Но ни угрозами, ни лаской Никто несчастью не помог; Карета тут как т..
Скоропечатня бед, Счастья бесплатный номер. В Гаммельне собственных нищих нет. Был, было, раз - да помер...
Но не уехать. А и на этом месте стояли прежде и перестояли революцию дремучие, непрохожие леса. Потом их вырубили -- торфоразработчики и соседний колхоз. Председатель его,..
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Mikhail Afanasievich Bulgakov (Russian: Михаил Афанасьевич Булгаков, Ukrainian: Михайло Опанасович Булгаков; May 15 [O.S. May 3] 1891, Kiev – March 10, 1940, Moscow) was a Russian-language novelist and playwright of the first half of the 20th century. He is best known for the novel The Master and Margarita, which the New York Times Book Review called one of the greatest novels of the twentieth century.[1]Contents [hide]
Biography
Mikhail Bulgakov was born to Russian parents in Kiev, Ukraine, the oldest son of a professor at a theological seminary. The Bulgakov sons enlisted in the White Army, and in post-Civil War Russia, ended up in Paris, save for Mikhail. Mikhail, who enlisted as a field doctor, ended up in the Caucasus, where he eventually began working as a journalist. Despite his relatively favoured status under the Soviet rule of Joseph Stalin, Bulgakov was prevented from either emigrating or visiting his brothers in the West. Some details of his biography are unclear as Bulgakov was quite secretive about his past life and swore his wives to secrecy about it.
In 1913 Bulgakov married Tatiana Lappa. At the outbreak of the First World War he volunteered with the Red Cross. In 1916, he graduated from the Medical School of Kiev University and then served in the White Army. He briefly served in the Ukrainian Nationalist Army. In 1919 he decided to leave medicine to pursue his love of literature. In 1921, he moved with Tatiana to Moscow where he began his career as a writer. Three years later, divorced from his first wife, he married Lyubov' Belozerskaya. He published a number of works through the early and mid 1920s, but by 1927 his career began to suffer from criticism that he was too anti-Soviet. By 1929 his career was ruined and none of his works were published due to censorship.
In 1931, Bulgakov married for the third time, to Yelena Shilovskaya, who would prove to be inspiration for the character Margarita from his most famous novel, and settled with her at Patriarch's Ponds. During the last decade of his life, Bulgakov continued to work on The Master and Margarita, wrote plays, critical works, stories, and made several translations and dramatisations of novels, but these were unpublished.
Bulgakov never supported the Soviet power, and mocked it in many of his works. Therefore, most of them were consigned to his desk drawer for several decades. In 1930 he wrote a letter to Stalin requesting permission to emigrate if the Soviet Union could not find use for him as a satirist and received a personal phone call from Stalin himself, denying him that. Stalin had enjoyed Bulgakov's work, The Days of the Turbins and found work for him at a small Moscow theatre, and then the Moscow Art Theatre. In his autobiography and in many biographies, it is stated that Bulgakov wrote the letter out of desperation and mental anguish, never actually intending to post it. The refusal of the authorities to let him work in the theatre and his desire to see his family living abroad, whom he had not seen for many years, led him to seek drastic measures. Despite his new work, the projects he worked on at the theatre were unsuccessful and he was stressed and unhappy. He also worked briefly at the Bolshoi Theatre as a librettist, but left after his works were not produced.
Bulgakov died from an inherited kidney disorder in 1940 and was buried in the Novodevichy Cemetery in Moscow.
Early works
Yury Yakovlev and Leonid Kuravlyov in Leonid Gaidai's adaptation of Bulgakov's play Ivan Vasilievich (1973).
During his life, Bulgakov was best known for the plays he contributed to Konstantin Stanislavsky's Moscow Art Theatre. Stalin was known to be fond of the play Days of the Turbins (Дни Турбиных) (1926), which was based on Bulgakov's novel The White Guard. His dramatization of Moliere's life in The Cabal of Hypocrites (Кабала святош) is still run by the Moscow Art Theatre. Even after his plays were banned from the theatres, Bulgakov wrote a grotesquely funny comedy about Ivan the Terrible's visit into 1930s Moscow and a play about the young years of Stalin (1939), which was also prohibited by Stalin himself.
Bulgakov started writing prose in the early 1920s, when he wrote The White Guard (Белая гвардия) (1924, published in 1966) - a novel about a life of a White Army officer's family in Civil war Kiev, and a short story collection entitled Notes of a Young Doctor (Записки юного врача), based on Bulgakov's work as a country doctor in 1916 - 1919. In the mid-1920s, he came to admire the works of H.G. Wells and wrote several stories with sci-fi style elements, notably The Fatal Eggs (Роковые яйца) (1924) and the Heart of a Dog (Собачье сердце) (1925).
The Fatal Eggs, a short story inspired by the works of H.G. Wells, tells of the events of a Professor Persikov, who in experimentation with eggs, discovers a red ray that accelerates growth in living organisms. At the time, an illness passes through the chickens of Moscow, killing most of them and, to remedy the situation, the Soviet government puts the ray into use at a farm. Unfortunately there is a mix up in egg shipments and the Professor ends up with the chicken eggs, while the government-run farm receives a shipment of ostriches, snakes and crocodiles that were meant to go to the Professor. The mistake is not discovered until the eggs produce giant monstrosities that wreak havoc in the suburbs of Moscow and kill most of the workers on the farm. The propaganda machine then turns on Persikov, distorting his nature in the same way his "innocent" tampering created the monsters. This tale of a bungling government earned Bulgakov his label of a counter-revolutionary.
Heart of a Dog features a professor who implants human testicles and pituitary gland into a dog named Sharik. The dog then proceeds to become more and more human as time passes, resulting in all manner of chaos. The tale can be read as a critical satire of the Soviet Union; it contains few bold hints to communist leadership (e.g. the name of donor drunkard of human implants is Chugunkin ("chugun" is a cast iron) which can be seen as parody on the name of Stalin ("stal'" is steel). It was turned into a comic opera called The Murder of Comrade Sharik by William Bergsma in 1973. In 1988 an award-winning movie version Sobachye Serdtse was produced by Lenfilm, starring Yevgeniy Yevstigneyev, Roman Kartsev and Vladimir Tolokonnikov.
The Master and Margarita
The Master and Margarita (Мастер и Маргарита) is a fantasy satirical novel published by his wife twenty-six years after his death, in 1966, that has granted him critical immortality. The book was available underground, as samizdat, for many years in the Soviet Union, before the serialization of a censored version in the journal Moskva. It contributed a number of sayings to the Russian language, for example, "Manuscripts don't burn". A destroyed manuscript of the Master is an important element of the plot, and in fact Bulgakov had to rewrite the novel from memory after he burned the draft manuscript with his own hands.
The novel is a multilayered critique of the Soviet society in general and its literary establishment specifically. It begins with Satan visiting Moscow in the 1920s or 30s, joining a conversation of a critic and a poet, busily debating the existence of Jesus Christ and the Devil.
It then evolves into an all-embracing indictment of the corruption, greed, narrow-mindedness, and widespread paranoia of Stalinist Russia. Banned but widely read, the novel firmly secured Bulgakov's place among the pantheon of great Russian writers.
Bulgakov's flat
Detail, interior Bulgakov's flat 1997. Photo G. McIver
Bulgakov's tomb at Novodevichy Cemetery incorporates a gravestone taken from Gogol's grave during his reburial in 1931.
Bulgakov's old flat, in which parts of The Master and Margarita are set, has since the 1980s become a gathering spot for Bulgakov's fans, as well as Moscow-based Satanist groups, and had various kinds of graffiti scrawled on the walls. The numerous paintings, quips, and drawings were completely whitewashed in 2003. Previously the best drawings were kept as the walls were repainted, so that several layers of different colored paints could be seen around the best drawings. The building's residents, in an attempt to deter loitering, are currently attempting to turn the flat into a museum of Bulgakov's life and works. To date (February, 2005), they have had trouble contacting the flat's anonymous owner.[2]
On December 21, 2006, the museum in Bulgakov's flat was damaged by an anti-satanist protester and disgruntled neighbor, Alexander Morozov.[3]
The museum remains open and contains personal belongings, photos, and several exhibitions related to Bulgakov's life and his different works. There is also a small cafe, and different poetic and literary events are often being held in the flat. As an extra bonus a black cat can sometimes be seen walking around inside the museum. The museum's web site is only available in Russian but the entrance is free and its opening hours are 1 p.m. - 11 p.m. The flat is located close to Mayakovskaya metro station on the Sadovaya street, 10 (go through the arch and then turn to the left).
Bulgakov Museum in Kiev
The Mikhail Bulgakov Museum (Bulgakov House) in Kiev, (in his family home, which was the model for the house of the Turbin family in The White Guard) has been converted to a literary museum with some rooms devoted to the writer, as well as some to his works.
Famous quotes
The following quotes from The Master and Margarita have become catch phrases in Russia:
"Manuscripts don't burn" ("Рукописи не горят")
"There's only one degree of freshness--the first, and it's the last" ("Свежесть бывает только одна – первая, она же и последняя")
"Not causing trouble, not touching anything, fixing the primus" ("Не шалю, никого не трогаю, починяю примус")
Тем временем:
... Идешь иногда в лесу на лыжах, смотришь – показалась головка и спряталась: это рябчик. Даже и не два, а три спасения рябчику под снегом: и тепло, и пища, и спрятаться можно от ястреба. Тетерев под снегом не бегает, ему бы только спрятаться от непогоды. Ходов больших, как у рябчика под снегом, у тетеревов не бывает, но устройство квартиры тоже аккуратное назади отхожее место, впереди дырочка над головой для воздуха. Серая куропатка у нас не любит зарываться в снегу и летает ночевать в деревню на гумна. Перебудет куропатка в деревне ночь с мужиками и утром летит кормиться на то же самое место. Куропатка, по моим приметам, или дикость свою потеряла, или же от природы неумная. Ястреб замечает ее перелеты, и, бывает, она только вылетать собирается, а ястреб уже дожидается ее на дереве. Тетерев, я считаю, много умнее куропатки. Раз было со мной в лесу: иду я на лыжах, день красный, хороший мороз. Открывается передо мной большая поляна, на поляне высокие березы, и на березах тетерева кормятся почками. Долго я любовался, но вдруг все тетерева бросились вниз и зарылись в снегу под березами. В тот же миг является ястреб, ударился на то место, где зарылись тетерева, и заходил. Ну, вот, прямо же над самыми тетеревами ходит, а догадаться не может копнуть ногой и схватить. Мне это было очень любопытно, думаю: «Ежели он ходит, значит – их чувствует под собой, и ум у ястреба велик, а такого нет, чтобы догадаться и копнуть лапой на какой нибудь вершок два в снегу, значит, это ему не дано». Ходит и ходит. Захотелось мне помочь тетеревам, и стал я скрадывать ястреба. Снег мягкий, лыжа не шумит, но только начал я объезжать кустами поляну, вдруг провалился в можжуху по самое ухо. Вылезал я из провалища, конечно, уж не без шума и думал: «Ястреб это услыхал и улетел». Выбрался, и о ястребе уж и не думаю, а когда поляну объехал и выглянул из под дерева – ястреб прямо передо мной на короткий выстрел ходит у тетеревов над головами. Я выстрелил, он лег. А тетерева до того напуганы ястребом, что и выстрела не испугались. Подошел я к ним, шарахнул лыжей, и они из под снега один за другим как начнут, как начнут вылетать, кто никогда не видал – обомрет...
