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Пускаю Нерль в карьер и вижу, шагах в пятидесяти от меня она опять начинает, переступая с лапки на лапку, подбираться к бекасу. Хотел поспешить к не..
Ну, знаешь, отец! "Мисс"! Стыдно тебе так обращаться со вдовой. Архидиакон. Стыдно тебе так обращаться с отцом! Твой злополучный брак был чудовищным безрассудством...
Сочтя меня счастливым талисманом, он пригласил меня пообедать. Сочтя, что обед за чужой счет гораздо лучше любого талисмана, я согласился...
Смотрите также:
В. Угрюмова. Фиолетовый рыцарь и другие.
Краткая хроника жизни и творчества М.А.Булгакова
The Master and Margarita Mikhail Bulgakov
Виктор Лосев. Художественная автобиография Михаила Булгакова.
Bulgakov, Mikhail Afanasievich
Дьяволиада в произведениях М.А.Булгакова
М.А.Булгаков и его роман Мастер и Маргарита
Проблема искусства в «Театральном романе» М. А. Булгакова
Вы читаете «The Master and Margarita», страница 2 (прочитано 0%)
Then there were the qualities of the novel itself— its
formal originality, its devastating satire of Soviet life, and of Soviet
literary life in particular, its 'theatrical' rendering of the Great Terror
of the thirties, the audacity of its portrayal of Jesus Christ and Pontius
Pilate, not to mention Satan. But, above all, the novel breathed an air of
freedom, artistic and spiritual, which had become rare indeed, not only in
Soviet Russia. We sense it in the special tone of Bulgakov's writing, a
combination of laughter (satire, caricature, buffoonery) and the most
unguarded vulnerability. Two aphorisms detachable from the novel may suggest
something of the complex nature of this freedom and how it may have struck
the novel's first readers. One is the much-quoted 'Manuscripts don't burn',
which seems to express an absolute trust in the triumph of poetry,
imagination, the free word, over terror and oppression, and could thus
become a watchword of the intelligentsia. The publication of The Master and
Margarita was taken as a proof of the assertion. In fact, during a moment of
fear early in his work on the novel, Bulgakov did burn what he had written.
And yet, as we see, it refused to stay burned. This moment of fear, however,
brings me to the second aphorism - 'Cowardice is the most terrible of vices'
- which is repeated with slight variations several times in the novel. More
penetrating than the defiant 'Manuscripts don't burn', this word touched the
inner experience of generations of Russians. To portray that experience with
such candour required another sort of freedom and a love for something more
than 'culture'. Gratitude for such perfect expression of this other, deeper
freedom must surely have been part of the enthusiastic response of readers
to the novel's first appearance.
And then there was the sheer unlikeliness of its publication. By 1966
the 'thaw' that had followed Stalin's death was over and a new freeze was
coming. The hopes awakened by the publication of One Day in the Life of Ivan
Denisovich, the first public acknowledgement of the existence of the Gulag,
had been disappointed. In 1964 came the notorious trial of the poet Joseph
Brodsky, and a year later the trial of the writers Andrei Sinyavsky and Yuli
Daniel, both sentenced to terms in that same Gulag. Solzhenitsyn saw a new
Stalinization approaching, made worse by the terrible sense of repetition,
stagnation and helplessness. Such was the monotonously grim atmosphere of
the Brezhnev era. And in the midst of it there suddenly burst The Master and
Margarita, not only an anomaly but an impossibility, a sort of cosmic error,
evidence of some hidden but fatal crack in the system of Soviet power.
People kept asking, how could they have let it happen?
Bulgakov began work on the first version of the novel early in 1929, or
possibly at the end of 1928.
Тем временем:
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