Philosophical ideas in Mikhail Bulgakov’s novel "The Master and Margarita" Automatic translate

The novel "The Master and Margarita" is the most significant work of Mikhail Afanasyevich Bulgakov, representing a complex philosophical text with deep ideological layers. The work was created by the author over the course of twelve years (from 1928 to 1940) and combined various philosophical concepts, religious motives and ethical issues.

The Encyclopedia Britannica recognizes the novel as a masterpiece of the 20th century, describing it as "a witty and frivolous, and at the same time, a penetrating philosophical text that touches on the deep and eternal problems of good and evil." In this philosophical novel, Bulgakov reflects on the nature of man, justice, power, freedom, creativity and love, creating three worlds in parallel: Moscow, Jerusalem and the other world.

The philosophical basis of the novel

Mikhail Bulgakov based his work on the philosophical teachings of Pavel Aleksandrovich Florensky, the philosopher Vladimir Sergeyevich Solovyov, and also on the work of Ernest Renan "The Life of Jesus" (1863). The writer was born into the family of a professor at the Kyiv Theological Academy and was familiar with the religious and philosophical concepts of that time. The influence of the ideas of V.S. Solovyov is especially noticeable, who claimed that "the trinity of being comes from the Trinity, which gives man the opportunity to communicate with God."

P. Florensky claimed: “There are three truths.” In accordance with this principle, Bulgakov creates three main worlds in the novel: the other world (represented by Woland and his retinue), the ancient world (Yershalaim during the time of Pontius Pilate), and the Moscow world contemporary to the author. However, researchers note that Bulgakov also has a fourth world, which reflects the other three parodically, although it is internally connected to them.

According to Florensky, the first world is the supra-mundane part of the sky, where the laws of imaginary space operate, which under certain conditions can exist in reality. This is the abode of God. But Bulgakov transforms this world - for him, the forces of darkness live here, shown grotesquely and in a degraded manner. Florensky’s Trinity has a religious character, while Bulgakov gives it a different meaning.

The second world is the ancient world, the world of Pontius Pilate and Yeshua Ha-Nozri. Woland allows Margarita to enter this world, but does not let the Master in until a certain moment. The third world is Moscow, depicted with sharp satire and grotesque.

According to Florensky’s philosophy, "personality is created by God, it has creative free will." In Bulgakov’s novel, such a creative personality is the Master. Florensky states: "A person receives as he gives himself." This principle is embodied by the Master and Margarita, who acquire spiritually by giving - this is especially evident in the image of Margarita, whose selfless love becomes the driving force of the novel.

Multi-level structure of the novel

The Master and Margarita intertwines three independent stories: the adventures of Woland and his retinue in Moscow in the 1930s, the story of the Master and Margarita, and a “novel within a novel” — a biblical story begun by Woland and continued in excerpts from the Master’s novel. This complex composition allows the author to create a three-dimensional picture of existence, where various layers of time and space interact with each other.

The novel is called philosophical, and sometimes a parable novel. It opens with a dispute about the existence of God between Berlioz, Bezdomny and Woland on Patriarch’s Ponds. At the end of the Great Ball, Woland, addressing Berlioz’s head, utters the fundamental phrase: "to each will be given according to his faith", which becomes one of the key philosophical theses of the work.

It is noteworthy that the Devil in the novel is an active character (Woland), while God is not presented as a character. God in The Master and Margarita exists as an ethical category, as a "measure of humanity and morality in everyone." This approach allows the author to explore religious and ethical issues from a philosophical point of view, without being tied to the dogmas of traditional religion.

Researchers note that Bulgakov "supersedes two cities one on top of the other, thereby turning Moscow into a second Yershalaim." This makes obvious the "process of mythologization of reality." According to the author’s concept, "linear historical time is doomed to eternal repetition, and history becomes metahistory." This approach to the historical process brings Bulgakov’s philosophy closer to the ideas of "eternal return" and cyclical time.

Philosophy of good and evil

One of the central philosophical problems of the novel is the nature of good and evil, their interaction and boundaries. Bulgakov offers a complex system of ideas that goes beyond traditional religious interpretations.

In the novel, "good is all the best that is in people and life: love, honesty, sincerity, mercy, morality." The idea of ​​good is embodied by Yeshua Ha-Notsri, the main character of the Master’s novel. He is merciful and honest, claiming that "it is easy and pleasant to tell the truth." Yeshua is convinced of the original goodness of every person: "there are no evil people in the world, there are only unhappy people." He preaches forgiveness and believes that "man will pass into the kingdom of truth and justice, where no power will be needed at all."

Woland and his retinue represent a more complex view of the nature of evil. They are not the embodiment of absolute evil in the traditional sense. As noted in the source, "according to the third interpretation, the main idea of ​​the novel is the inevitable retribution for what has been done. Supporters of this point of view cite as arguments the fact that the novel describes in detail the adventures of Woland’s retinue, as a result of which dishonest people were punished for their sins and atrocities, and at Woland’s trial, everyone is given according to their faith."

Bulgakov refutes the idea that good and evil are always in direct opposition. Instead, he shows their complex interaction, where forces traditionally considered “dark” can create justice, and “light” ones can show weakness and cowardice. This approach echoes the epigraph to the novel from Goethe’s Faust: “I am part of that force that eternally desires evil and eternally does good.”

One of the most profound philosophical ideas of the novel is that "evil is inseparable from the existence of the world and the good in it. The light principle, personified by Yeshua, and the dark principle, personified by Woland, live inside each person. Yeshua could not determine that Judas was a traitor, because he was inclined to see only the good in people, for the same reason he could not protect himself."

The source notes that "Bulgakov completely rejects the idea of ​​the interconnectedness of good and evil. "Each department must do its own thing," says Woland." The author also "clearly distinguishes between earthly evil and metaphysical evil. The first is personified in the novel by a luxurious gallery of scoundrels, scoundrels and simply petty rascals, the second - by Woland and his retinue."

Thus, Bulgakov creates an original philosophy of evil, different from traditional religious and ethical systems. He shows that evil can be an instrument of justice, and good can be blind and defenseless in the face of human meanness.

Philosophical Dialogue between Yeshua and Pilate

One of the key philosophical episodes of the novel is the dialogue between Yeshua Ha-Nozri and Pontius Pilate. This conversation touches on fundamental questions about the nature of truth, authority, and moral choice.

The procurator asks the "eternal" philosophical question: "What is truth?" In response, Ha-Nozri sets forth his philosophical system, based on the idea that man is initially good. The logical continuation of the teaching about the "good man" is a discussion of the nature of power: "…all power is violence against people, and the time will come when there will be no power of Caesars, nor any other power. Man will pass into the kingdom of truth and justice, where no power will be needed at all."

Pontius Pilate, as a man living in the real world, does not agree with such philosophy and clearly proves to Yeshua that he is mistaken. He points to the Roman legionary Mark the Ratslayer, who, having no personal enmity towards the philosopher, is ready to beat him to death with a whip on command. In addition, during the interrogation it turns out that the "good man" Judas of Kiriath betrayed Ha-Notsri for thirty tetradrachms.

This dialogue illustrates the clash between idealism and pragmatism, faith in man and cynicism based on life experience. Yeshua believes in the basic goodness of people and the possibility of a society without violence, while Pilate sees human nature more realistically, understanding the inevitability of evil and the need for power to maintain order.

According to researchers, "the core of the moral and philosophical conflict of the novel is depicted in the dialogues between Yeshua and Pilate. The conflict of interests of the wandering philosopher Yeshua and the procurator of Judea" becomes an expression of the eternal confrontation between the ideal and reality, conscience and pragmatism, freedom of spirit and submission to authority.

In the philosophical dialogue between Woland, Berlioz and Bezdomny, which took place on Patriarch’s Ponds, Bulgakov "resolves" historiosophical and theological questions, which are subsequently reflected in the artistic construction of the novel. In this dialogue "the idea of ​​the objective line of Western European rationalism, stretching from Aristotle to Immanuel Kant and further to atheistic Marxism, is set forth."

Thanks to Woland’s conversation with Berlioz, it becomes clear that the Master’s novel "ideologically sends us to the very beginning of the nineteenth century. It was then, after the appearance of I. Kant’s Critique of Pure Reason, that the process of rationalistic demythologization of Christian sacred texts began." Bulgakov thus conducts a philosophical dialogue not only with modernity, but also with the history of philosophical thought.

Philosophy of freedom in the novel

The theme of freedom occupies a leading position in the novel. According to Bulgakov, "freedom is the highest human value, a great reward for the difficulties and hardships that this or that character has endured in life."

The problem of freedom is revealed through the fates of various characters. Pontius Pilate was "doomed by long moonlit nights to insomnia and anxiety because he subjected the prisoner Yeshua to terrible inhuman torture. Pontius could not find the strength to admit that Ga-Nozri was right "early in the morning of the fourteenth day of the spring month of Nisan…". Every night he waited for the prisoner to be brought to him, and together they would walk along the moonlit road." At the end of the novel, Pilate receives the long-awaited freedom from the Master - liberation from the pangs of conscience and the opportunity to realize his dream.

Another aspect of freedom is connected with Koroviev-Fagot, who on the night of farewell turns into a "dark purple knight with the gloomiest and never smiling face." According to Woland, "this hero once made a mistake and made an unsuccessful joke, making a pun about light and darkness. Now he is free and can go where he is needed, where he is awaited."

The novel also features "the theme of freedom from the fear of death, which is reflected in the storyline associated with one of the main characters, the Master. He receives freedom of his own path from Woland. It was granted to him for the hardships and deprivations associated with writing his work."

Bulgakov’s philosophy of freedom is closely connected with the idea of ​​responsibility and choice. The characters in the novel receive freedom not as a given, but as a result of spiritual work or as a reward for suffering. This echoes existentialist ideas about freedom as a burden of choice and responsibility.

The problem of power and cowardice

The theme of power and the related problem of cowardice occupy an important place in the philosophical structure of the novel. Bulgakov examines power from different angles: as a political institution, as a social phenomenon, and as a moral category.

The embodiment of the problem of power is the image of Pontius Pilate. He "lives by his own laws: he knows that the world is divided into those who rule and those who obey them, that the formula "a slave obeys his master" is unshakable. And suddenly a man appears who thinks differently." Pilate encounters the philosophy of Yeshua, which undermines the very foundation of his worldview.

The procurator understood perfectly well that Yeshua had done nothing for which he should be executed. But "for an acquittal, the procurator’s opinion alone was not enough. He personified power, the opinion of many, and in order to be found innocent, Yeshua had to accept the laws of the crowd." Pilate finds himself a hostage to the system of power of which he is a part.

Bulgakov puts forward the idea that "everyone gets what they deserve, what you believed in is what you get." In this regard, he also touches on the problem of human cowardice, considering it "the greatest sin in life." This is shown through the image of Pontius Pilate, who "did not listen to his "inner" voice, the voice of conscience, but followed the crowd."

Bulgakov’s philosophical position is that power not based on morality inevitably leads to cowardice and betrayal. Pilate, faced with a choice between his career and his conscience, chooses the former, condemning himself to eternal torment. This choice becomes archetypal for many characters in the novel, especially in the Moscow chapters, where people also make moral choices under the pressure of social circumstances.

Philosophy of sacrifice and love

The philosophy of sacrifice plays an important role in the novel, especially clearly manifested in the image of Margarita. Her unconditional love for the Master makes her sacrifice everything: social status, safety, even her soul, when she agrees to become the queen of Satan’s ball for the sake of saving her beloved.

The novel shows the influence of the philosophical ideas of V. Solovyov, set out in his treatise "The Meaning of Love". According to the source, some ideas of this treatise were reflected in the novel "The Master and Margarita". For Solovyov, love was not just a feeling, but a metaphysical force capable of transforming the world and man. In the context of the novel, Margarita’s love for the Master acquires a similar metaphysical dimension, becoming a force that conquers death and time.

Florensky stated: "A man receives in proportion to the amount he gives of himself." The Master and Margarita embody this principle, especially Margarita, who "gives in her love." Her self-sacrifice does not go unrequited - at the end of the novel, she finds eternity with her beloved.

The philosophy of sacrifice in the novel is closely connected with the theme of redemption. The sacrifices that the heroes make cleanse them of their sins and allow them to achieve a higher form of existence. Thus, Pontius Pilate, tormented by centuries of repentance, atones for his guilt before Yeshua; the Master comes to harmony through suffering; Margarita finds true love through self-denial.

Philosophical understanding of creativity

The theme of creativity and its role in human life occupies a special place in the philosophical structure of the novel. Bulgakov depicts the Master as a true creator, creating a work that becomes more than just literature - it acquires a metaphysical dimension, influencing reality and the destinies of people.

According to the philosophy of P. Florensky, "personality is created by God, it has creative free will." In Bulgakov’s novel, "the only creative personality is the Master." Through his image, the author explores the nature of creative gift and the artist’s responsibility to the truth.

Creativity in the novel is presented as a way of knowing the highest truth. In his novel about Yeshua and Pilate, the Master comes closer to understanding the essence of existence, history and human nature. At the same time, Bulgakov shows that true creativity is always associated with suffering and sacrifice. The Master pays for his gift with mental anguish, persecution and alienation from society.

The opposite of true creativity in the novel is the literary environment of MASSOLIT - a world of conformism, opportunism and spiritual emptiness. Through the opposition of the Master and the members of the writers’ organization, Bulgakov explores the problem of freedom of creativity and its dependence on external circumstances.

In philosophical terms, Bulgakov’s creativity acquires an ontological status - it becomes a way of creating a new reality, overcoming time and death. "Manuscripts do not burn" - this famous phrase of Woland expresses the idea of ​​the immortality of true art, its ability to exist beyond physical limitations.

The religious and philosophical aspect of the novel

The religious and philosophical aspect occupies a central place in the ideological structure of The Master and Margarita. Bulgakov creates a complex system of religious symbols and allusions, rethinking traditional religious plots and dogmas in the light of modern philosophical ideas.

Researchers note that "in the Jerusalem scenes of the novel "The Master and Margarita" Bulgakov gave an original artistic version of the origin of Christ. Yeshua Ha-Nozri is a character in the novel who goes back to Jesus Christ of the Gospel." At the same time, Bulgakov departs from the canonical image of Christ, creating an image of a man, albeit extraordinary, but not a deity.

The novel develops a dispute about the nature of Christ and the historicity of his existence. "During the years of writing the novel (the 1920s and 1930s), the so-called mythological theory of the origin of Christ was officially adopted in the USSR, declaring Jesus Christ only a myth generated by the consciousness of Christ’s followers, and not a person who actually existed. The chairman of MASSOLIT, Mikhail Aleksandrovich Berlioz, acts as an adherent of this theory in the novel." Woland, in a dispute with him, insists on the historicity of Yeshua, with Satan acting as a witness and eyewitness to the events described.

In religious and philosophical terms, the interpretation of the image of Woland is interesting. He is not the traditional embodiment of absolute evil, like Satan in the Christian tradition. Instead, he acts as a force that maintains the balance between good and evil, punishing vice and rewarding virtue. “Bulgakov thus wanted to give an answer to the atheistic propaganda that was firmly established at that time in Soviet Russia,” showing that the denial of higher powers does not make the world more rational or fair.

In the novel, "God is not a character, but exists as an ethical category, as a measure of humanity and morality in everyone." This approach allows Bulgakov to explore religious issues with philosophical depth, without being limited to the framework of a specific religious tradition.

One of the key religious and philosophical theses of the novel is "to each will be given according to his faith." This phrase of Woland expresses the idea that a person’s faith determines not only his fate after death, but also his perception of reality during life. The characters of the novel receive exactly what they believe in: the atheist Berlioz meets death, leaving no hope for immortality; the Master and Margarita, believing in love, find eternity together; Pilate, tormented by his conscience, receives the forgiveness he dreamed of.

The philosophical problem of truth

The problem of truth is one of the central philosophical themes of the novel, revealed at different levels of the narrative. The key moment is Pilate’s question "What is truth?", asked by Yeshua. This question refers to the Gospel, where Pilate asks it of Christ, but in Bulgakov’s novel it acquires a new meaning.

Yeshua in his answer connects truth with the inner freedom of man and the denial of violence. For him, truth is not an abstract philosophical category, but a living moral law based on love for man. He believes that humanity will pass "into the kingdom of truth and justice, where no power will be needed at all."

In contrast to this idealistic understanding of truth, the novel presents a more complex picture. Woland demonstrates that humanity is incapable of living by higher moral laws, that people are weak, selfish, and subject to vices. The Moscow chapters of the novel show how easily people abandon the truth for the sake of comfort and profit.

Bulgakov develops the idea that absolute truth is inaccessible to human knowledge in its current state. The various characters in the novel possess only partial knowledge, limited by their own experience and worldview. Even Woland, who possesses supernatural knowledge, operates within certain limitations.

The Master’s novel plays a special role in the philosophical understanding of truth. His work about Yeshua and Pilate becomes an attempt to approach historical and moral truth through artistic creativity. At the same time, Bulgakov shows that literature can be closer to the truth than official historiography or ideology.

The philosophical problem of truth in the novel is closely connected with the theme of faith. Bulgakov shows that faith can be a path to understanding the truth, inaccessible to rational knowledge. In this context, the scene when Woland shows Berlioz and Ivan Bezdomny Yeshua as a historical figure, refuting the materialistic theories that deny his existence, is significant.

Philosophy of Time and Eternity

The problem of time and its relationship with eternity is a significant philosophical aspect of the novel. Bulgakov creates a complex temporal structure, where the past, present and future exist in complex interaction, and the boundary between time and eternity becomes permeable.

The novel’s peculiarity is in the parallel development of two time layers: events in ancient Yershalaim and in the author’s contemporary Moscow. At the same time, "Bulgakov superimposes two cities one on top of the other, thereby turning Moscow into a second Yershalaim." Thus, "linear historical time is doomed to eternal repetition, and history becomes metahistory."

Time in the novel has a cyclical nature, events repeat themselves on a new level, forming a spiral of history. This is manifested in the parallelism of the fates of Yeshua and the Master, Pilate and the critics persecuting the Master, Judas and Aloisy Mogarych. Thanks to this structure, Bulgakov shows that history does not simply develop linearly, but reproduces the same archetypal situations in different historical conditions.

Eternity in the novel is presented as a special dimension of existence, existing outside of time. It is there that the Master and Margarita end up in the finale, finding "peace." This is not a traditional Christian paradise, but a special state of timeless existence, where the heroes are freed from the suffering of earthly life.

Bulgakov’s philosophical approach to the problem of time echoes N. Berdyaev’s concepts of objectified (historical) and existential (internal) time. The characters of the novel live simultaneously in both times: they are included in the historical events of their era, but at the same time their internal, existential time can expand or contract depending on their spiritual state.

A special case of experiencing time is the fate of Pontius Pilate, who, for his cowardice, is doomed to sit for two thousand years on a rocky mountain in the company of his faithful dog. For him, time turns into an endless torment of a frozen moment, from which there is no escape until the Master liberates him with the words: “Free! Free!”

Philosophy of betrayal and forgiveness

The themes of betrayal and forgiveness occupy an important place in the philosophical structure of the novel, revealing themselves through the fates of various characters. Bulgakov explores the nature of betrayal, its motives and consequences for both the traitor and the betrayed.

Judas of Kiriath is not presented in the novel as a disciple of Yeshua, but as a man specially sent by the authorities to track down and betray the wandering philosopher. His betrayal is motivated not so much by self-interest (although he receives thirty tetradrachms for this), but by hatred for Yeshua’s teaching. Unlike the Gospel version, Judas in the novel does not repent and dies at the hands of the assassins who thus "cover up the tracks" of the conspiracy against Yeshua.

In the Moscow part of the novel, the theme of betrayal is revealed through the Master’s relations with critics and the literary community, as well as through the betrayal of his neighbor Aloisy Mogarych, who writes a denunciation of the Master in order to take possession of his home. This act is parallel to Judas’s betrayal, although it occurs in different historical circumstances.

Bulgakov’s philosophical understanding of betrayal is connected with the problem of free will. Betrayal becomes an act of free choice that a person makes in favor of evil, giving preference to material gain, security or comfort to the detriment of moral principles.

The theme of forgiveness also receives deep philosophical understanding. Yeshua forgives his tormentors, Margarita forgives Frida, and the Master grants forgiveness to Pontius Pilate at the end of the novel. This forgiveness has a transformative power - it frees both the forgiven and the forgiver from the burden of the past.

Bulgakov shows forgiveness not as a simple forgetting of grievances, but as an active moral act that requires spiritual effort and overcoming one’s own egoism. In this context, forgiveness becomes the highest manifestation of human freedom - freedom from hatred and revenge.

The concept of justice and retribution

The problem of justice and retribution occupies a central place in the philosophical construction of the novel. Bulgakov explores various aspects of justice: social, moral and metaphysical, showing their complex interaction.

Woland and his retinue act as forces restoring justice in a world where official institutions are unable to ensure it. They punish hypocrites, bribe-takers, informers and other bearers of social evil. The punishment always corresponds to the offense: Berlioz, who denied the existence of higher powers, dies from an accident organized by these powers; Baron Meigel, a professional informer, dies from a bullet fired into his heart; Varenukha, who spread lies, turns into a vampire.

The novel puts forward the idea that "the main idea is inevitable retribution for what has been done. Supporters of this point of view cite as arguments the fact that the novel describes in detail the adventures of Woland’s retinue, as a result of which dishonest people were punished for their sins and atrocities, and at Woland’s trial, everyone is given according to their faith."

Bulgakov’s concept of justice goes beyond simple retribution for good and evil. It includes the restoration of the broken world order, the return of the lost balance. Thus, Margarita gets the opportunity to be with the Master; Pontius Pilate, after two thousand years of torment, receives forgiveness; the Master’s novel, destroyed in the physical world, turns out to be preserved in eternity.

Bulgakov’s philosophical approach to the problem of justice combines elements of various ethical traditions. On the one hand, it contains elements of Kantian deontology with its emphasis on the internal moral law; on the other hand, there are elements of utilitarianism, which evaluates actions by their consequences; finally, there are features of virtue ethics with its attention to human character.

Bulgakov shows that absolute justice can be achieved only in the metaphysical dimension, where the essence of man is fully revealed and receives an appropriate assessment. In earthly life, justice always remains relative and incomplete due to the limitations of human knowledge and the imperfection of social institutions.

Philosophy of Human Nature

The problem of human nature is one of the central philosophical questions of the novel. Bulgakov explores the essence of man, his capacity for good and evil, his weaknesses and possibilities for spiritual growth.

The novel presents two opposing conceptions of human nature. Yeshua believes that "there are no evil people in the world, only unhappy people," and that every person is good by nature. This position is close to the Rousseauist idea of ​​the natural goodness of man, corrupted only by social conditions.

The opposite view is presented by Woland, who through his "experiments" in Moscow demonstrates that people are easily tempted, display greed, envy, and cowardice. He shows that human nature is imperfect and subject to vices.

Bulgakov avoids a clear interpretation of human nature, showing it as a complex combination of contradictory principles. The novel has characters who embody almost absolute good (Yeshua) or evil (Judas), but most of the heroes are between these poles, capable of both noble and base deeds.

Bulgakov’s philosophical view of human nature can be described as dialectical: he recognizes the presence in man of the potential for good and evil, for rise and fall. At the same time, the author emphasizes the importance of free choice - the characters of the novel themselves determine their fate through the actions they perform in critical situations.

The novel pays special attention to the problem of the "little man" - an ordinary representative of society, immersed in everyday life and daily concerns. Through Moscow scenes, Bulgakov shows how social conditions shape a person, giving rise to fear, conformism, and spiritual emptiness. In this context, the appearance of Woland and his retinue becomes a kind of test for the residents of Moscow, a check of their moral fortitude and human dignity.

The philosophical concept of peace

The final phrase of the novel, “He did not deserve the light, he deserved peace,” reveals another important philosophical aspect of the work — the concept of peace as a special state of being, distinct from both heaven and hell in the traditional sense.

The peace that the Master and Margarita are granted is not a reward in the traditional religious sense. It is not the heavenly bliss granted to the righteous, nor is it the hellish torment of sinners. It is a special state of timeless existence, where the soul finds peace and liberation from the suffering of earthly life.

Bulgakov’s philosophical concept of peace echoes Buddhist nirvana - a state of liberation from suffering and the cycle of reincarnation. The peace of the Master and Margarita is the end of the struggle, passions, and worries that filled their earthly life. This is not death in the physical sense, but a transition to another level of existence.

It is important to note that peace in Bulgakov is not a passive state, but an active creative existence. At the end of the novel, the Master gets the opportunity to live in a secluded house with Margarita, where a "Venetian window and climbing grapes", candles and manuscripts await him. This is a space of creative freedom, where the Master can continue his work without interference from the outside world.

The philosophical depth of the concept of peace lies in the fact that it is a synthesis of opposites: it is both the end and the beginning; both death and new life; both limitation (withdrawal from the world) and unlimited freedom of spirit. Thus, peace becomes a dialectical resolution of the contradictions of earthly existence.

The novel "The Master and Margarita" is a complex philosophical system, where various concepts and ideas form a holistic picture of the world. Bulgakov rethinks traditional religious and philosophical ideas, creating an original artistic philosophy that does not lose its relevance and depth over time.

The central philosophical issues of the novel – the nature of good and evil, freedom and responsibility, creativity and its role in human life, justice and retribution – are revealed through a complex system of characters, plot lines and symbols. Bulgakov does not give ready-made answers to the “eternal questions”, but creates an artistic space for the reader to comprehend them.

The philosophical content of The Master and Margarita goes beyond a specific historical era and national culture, acquiring universal significance. The novel touches upon fundamental aspects of human existence that retain their significance regardless of social and historical conditions.

The three-dimensional structure of the novel, which unites the Moscow, Jerusalem and otherworldly worlds, allows the author to explore various aspects of existence - from everyday social reality to the metaphysical foundations of the universe. At the same time, all three worlds are connected by a system of parallels, mirror reflections and semantic correspondences, forming a single philosophical picture of the world.

Bulgakov creates a complex ethical system in the novel, where traditional ideas about good and evil, sin and virtue are rethought in the light of human experience. He shows that morality cannot be reduced to simply following rules or dogmas, but requires constant spiritual effort, compassion and personal responsibility from a person.

"The Master and Margarita" is not only a work of fiction, but also a philosophical text that continues to generate new interpretations and readings. Its philosophical depth makes the novel an "eternal companion" of humanity in its search for truth, freedom and the meaning of existence.