Book Review on "Literary Elements in the Master and the Margarita"

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[EXCERPT] . . . .

Master and Margarita

In Mikhail Bulgakov's novel the Master and Margarita, the author uses the literary device of presenting a novel within a novel -- a story within a story -- and within that context he presents a creative account of the trial that Jesus of Nazareth went through before Pontius Pilate. There are several strong themes in this novel but among the most potent is the idea that the power of a writer's narrative -- and the effective use of literary tools and strategies -- can make believers out of skeptical readers and can in fact create reality out of fiction (at least a temporary reality). Moreover, world-class narrative can bring the reader to a chair right next to the author, through all the psychological and emotional trauma that is associated with long weeks and months of sitting in front of a typewriter building characters, setting tone, creating conflict, and irony.

Among the impressive aspects of Bulgakov's work is the way the author accomplishes so many things in the writing of this book -- including re-opening the whole question of Christ and his crucifixion -- and yet he leaves questions lingering in the minds of alert readers -- as many novelists do as part and parcel of their desire to stir imaginations and host wonderment -- that can stir new stories unconnected with Bulgakov's stories. Moreover: a) Bulgakov does a more believable, well-organized job of reporting on the trial of Christ than a reader of the New Testament can glean through the narratives of Matthew, Mark, Luke and John; since no one living today was present at that trial Christian believers only have the four Gospels to go by and Bulgakov's rendition is more powerful; and b) given that

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Bulgakov was writing this book in a highly repressive era of the communist Soviet Union, does that explain why, at the end of the book, Ieshua (Christ) asks Woland (representing the devil) to free Pilate? Why wouldn't Ieshua take care of that matter Himself, given that he was apparently powerful enough? This point is relevant because Bulgakov was living under the considerably evil thumb of the Soviets, sometimes in an asylum to boot, and he was most certainly beholding to the tyranny of the state.

Main Body of Paper

In this novel -- that contains a novel within a novel -- the author is proving, whether he actually set out to do so or not, that writing an important fictional work is an extraordinary physical and psychological accomplishment -- and yet endings that solve puzzles are not always forthcoming. He lets readers in on how difficult it is, and builds credibility in the process. In his work he is creating another self within one's self. Tabitha McIntosh-Byrd explains that the Master's completion of the novel is "a sort of extended meditation on the nature of being an author" (McIntosh-Byrd, 2000, p. 1). Indeed, finishing the novel was the "culmination of everything he was working toward" -- which lines up well with the reality of authors and novels. The Master's personality -- his "alternative self" -- is where his dreams reside but like any artist that has become exhausted with the creative process, the Master gives up.

"How will you be able to write now?" The Woland asks. The Master replies, "I have no more dreams and my inspiration is dead… I'm finished" (McIntosh-Byrd). However, he's quite human in this matter and like any frustrated artist the Master throws up his proverbial hands. But later of course he loves his story again. McIntosh-Byrd is absolutely on the mark when she explains more fully what this paper embraced as a thesis in the introduction: The Master goes through a pattern of "creative struggle, rejection, self-doubt and transcendence," which, McIntosh-Byrd asserts is a representation of the "simultaneous exploration and rejection of glorification through pain." And so it makes sense that in the Master's rendition of the crucifixion he presents a more joyful scene rather than one of complete suffering. Negativity and extra hardship (like having to go through Purgatory to earn one's way to heaven) are rejected by the Master in favor of what McIntosh-Byrd explains as "Grace and acceptance" (p. 1)

To reference again the thesis of this paper, that stirring, believably straight forward narrative can make believers out of doubters -- the same as sensationally well-acted film scenes make believers out of movie-goers who came to their seats as doubters -- and can create… READ MORE

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Quoted Instructions for "Literary Elements in the Master and the Margarita" Assignment:

“

The introduction paragraph should contain the following sentences:

1. An intro with the title and author of the book with a brief comment about the purpose

2. Thesis statement (what you believed to be the theme of the story)

3. 2-3 sentences following your thesis to explain or give a brief exapmle of what you are trying to prove in your paper.

Main Body should include 3 paragraphs about the literary elements you wish to discuss

1. All elements must ultimately explain why they are important to the theme

2. A paragraph for each point of the thesis

Discussion of the theme

1. Can be throughout the body or by adding another paragraph

2. Try to add in other items read that creates creditablity.

Conclusion:

1. Restate thesis

2. Show how you*****'ve proven your thesis

3. Summarize your thoughts and make a concluding statement

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[1] ”Literary Elements in the Master and the Margarita”, A1-TermPaper.com, 2011. [Online]. Available: https://www.a1-termpaper.com/topics/essay/master-margarita-mikhail/2232414. [Accessed: 5-Oct-2024].

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1. Literary Elements in the Master and the Margarita. A1-TermPaper.com. https://www.a1-termpaper.com/topics/essay/master-margarita-mikhail/2232414. Published 2011. Accessed October 5, 2024.

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