»Schwan Bezdomny / Ponyrev Ivan Nikolaevich, Ivan, Ivanushka - poet, then professor at the Institute of History and Philosophy. In the image of the character, there is an essentially “fabulous” beginning (cf .: Ivanushka the Fool). The pseudonym Bezdomny imitates the real pseudonyms of writers of the 20s: Poor, Stray, Hungry, etc. At the beginning of the novel, I. is a 23-year-old poet who wrote an anti-religious poem about Jesus Christ. At the Patriarch's Ponds, he listens to Berlioz explaining his propaganda miscalculations. Together with Berlioz, I. talks with Woland, listens to the story of Pilate and Yeshua. Then he witnesses the death of Berlioz, after which he makes an unsuccessful attempt to catch up with Woland, who predicted this death. The hero is in a state of passion, commits illogical acts. When I. bathes in the river, his clothes are stolen, and he, dressed only in underpants and a torn shirt, to which a paper icon is pinned, with a lit candle in his hands, is in the writer's restaurant. The hero is mistaken for a madman and, despite resistance, is taken to the Stravinsky psychiatric hospital, where a preliminary diagnosis of schizophrenia is made (also predicted by Woland). I. is not able to state in writing everything that happened to him; at the same time, he feels a desire to know the continuation of the story of Pilate and Yeshua. Late in the evening, his neighbor, the master, makes his way to I. through the balcony. I. gives him a promise never to write poetry again and tells about what happened, and the master tells his story. Falling asleep at dawn, I. in a dream sees the "continuation" of Woland's story - the execution of Yeshua. He is more and more interested in the history of Pilate and less and less in the surrounding reality. To the master, who flew in with Margarita to say goodbye to him, I. says: “I won’t write poems anymore. Now I'm interested in something else." In the finale, I. appears as a professor-historian; he is married, but every year on the night of the spring full moon he feels bouts of “homelessness”: obeying an unconscious desire, he goes to the Patriarch's Ponds, and then finds himself near the house where Margarita once lived. Here I. is watching a man unknown to him - Margarita's neighbor Nikolai Ivanovich, also tormented by memories; the characters appear as a kind of "twins" (cf. the similarity of names: Ivan Nikolaevich - Nikolai Ivanovich). Returning home, I., after an injection of sleeping pills, sees in a dream Pilate and Yeshua, and then the master and Margarita, leaving for the moon.
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Ivan Bezdomny - Bulgakov gives such a creative pseudonym to his hero Ivan Ponyrev. This character is undergoing an evolution that takes place on the pages of the work. At the beginning of the novel, he is a member of MASSOLIT, he is a young poet who writes mediocre poems to order. Homeless, together with Berlioz, meet Woland at the Patriarch's Ponds. This takes place in the first chapter of the novel. Further, Berlioz finds himself under the wheels of a tram and dies. Bezdomny connects the cause of Berlioz's death with a mysterious foreigner and sets off in pursuit of Woland's retinue and himself. His pursuit was unsuccessful. Later we meet the poet in a psychiatric hospital. The homeless is destined for punishment because he did not strive for true creativity, but longed for fame and recognition.
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But everything changes for the hero when he meets the Master in the hospital, who told him his story. The homeless man realizes that he was engaged in pseudo-creativity and promises not to write more poetry. In the hospital, Homeless reconsiders his moral ideals and becomes a completely different person. Later, according to the author, he will become a famous historian.
Updated: 2012-08-28
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What is the role of Ivan Bezdomny in The Master and Margarita? How does this image help to understand other characters?
The writer carries out in the novel an important idea for him that power in its qualities and manifestations corresponds to the needs, capabilities and needs of people. The names and titles of rulers may change, but in order to change the essence of power, a spiritual renewal of a person is required. The naive, weak and invincible itinerant preacher Yeshua called his disciples to this - simple and unsophisticated.
One of these people, Ivan Bezdomny-Ponyrev, goes through the whole work, participates in all the key scenes of the modern part. To him alone among ordinary people who do not have special qualities, the content of the story of Pilate and Yeshua is revealed. The master, before leaving, called him his student, but at the same time demanded that he not write more poetry. This means that apprenticeship was meant not as a continuation of the writer's work, the completion, for example, of the story of Pilate, but something else. Ivan went from a writer to a historian. And the Master was a historian and earned his living in the museum before fate gave him the opportunity to write. The master only dreamed of glory. Ivan, from the fame that he already had (photo on the front page of the central newspaper), went into complete obscurity. The fate of Ivan Nikolaevich Ponyrev is so important and described in such detail, because the last pages of the work are dedicated to him, because he represents ordinary people who are not gifted with any special talents. He is one of those who could be in the crowd trampling on spiritual truths. There were all the prerequisites for this and there were teachers on this path - with the death of Berlioz, their number did not decrease. But Ivan, having gone through the skull of shock and suffering, managed to become different, remaining ordinary, ordinary. He gained spiritual needs, torments, insights. He became a man.
Perhaps the appeal on the last pages of the sunset novel to the image of an ordinary, but spiritually seeking person is Bulgakov's appeal to the reader. In this case, the master's testament should lead to the idea of a difficult but necessary spiritual search as the only possible basis for a truly human existence.
The Master and Margarita is a mysterious and mystical work of Soviet literature. Each hero of the story is described in detail and has outstanding functionality in the plot. The multilayeredness of a literary work allows each time to consider the characters from a new perspective. Ivan Bezdomny is a specific character whose image is analyzed by critics and literary scholars.
A character whose life story is typical of a Soviet writer before the appearance of mystical characters writes a poem dedicated to. The novel begins with a description of a meeting with. The poet becomes a participant in the discussion, and then a witness to the tragic death of Berlioz. The pursuit of and his companions leads Bezdomny to a psychiatric hospital.
According to the assumptions of literary critics, there are several personalities at once who could be called prototypes for Bulgakov's hero.
In the twenties of the twentieth century, the production of "Days of the Turbins" thundered on the stage. Critics of the performance, among whom was the poet and writer Alexander Bezymensky, analyzed the performance, identifying shortcomings. In Bulgakov's novel, in a satirical format, the omission that occurred between Bezymensky and. This scene was the criticism of Sashka Ryukhin by Bezdomny, in which the poet called his opponent a mediocrity.
In a dialogue that took place at the Patriarch's Ponds, Woland predicts madness to Homeless. This motif echoes the plot of Maturin's novel Melmoth the Wanderer, in which the character meets a man whose soul has been sold to the devil. The hero is also predicted to be treated in a hospital for the mentally ill. His name is Stanton. He, along with the rest, is considered the prototype of Homeless.
Literary critics saw the motives of the works in The Master and Margarita. The personality traits of the Student are similar to those of the Homeless, especially when it comes to self-confidence. Just as the Student argues with, so Homeless has the courage to doubt the existence of Woland.
There are alternative versions in the matter of finding Bezdomny's prototypes. The poet is often compared with the writer Ivan Pribludny. He was one of those close to Yesenin and had a reputation as a joker. The popularity of Pribludny was explained not by literary talent, but by friendship with famous personalities. The poet is also compared with Demyan Poor, and some see similarities with. The pseudonym Homeless is sonorous and has a lot of associations. At the same time, it is similar to the names of the alleged prototypes. The real name of the hero is Ponyrev.
Ivan Bezdomny is by no means the main character of the story, but his biography and fate excite the imagination of readers. A member of MASSOLIT once talks at the Patriarch's Ponds with the chairman of this organization, Berlioz, and with the appearance of Woland, he ceases to perceive what is happening correctly. After a crazy chase for Woland, Ivan finds himself in a lunatic asylum, where doctors diagnose the poet with schizophrenia.
The versatility of the hero's personality becomes one of the important leitmotifs of the work. As the action progresses, Ivan transforms, and the reason for this is a change in priorities and worldview. To a large extent, he is influenced by the meeting that took place in the hospital. Having met the master, the poet discusses with him, and the love vicissitudes associated with. An interesting moment for a person writing poetry was the history of the publication of the novel and the misadventures associated with this event.
Ivan Bezdomny represents the elite of the Moscow literary community, a world that is hated by the master and by Bulgakov himself in his person. After meeting the master, life takes on a new meaning for Ivan. It is centered on Pontius Pilate, and not on modern realities. The death of Berlioz and a number of events that accompanied it changed the worldview of the hero. His concepts took on an exact form. An atheist who acquires the power of personality in the finale of the work, Homeless from a reckless heliporter, is transformed into a mature adult man with convictions and priorities.
His age did not match the character (during the filming, the actor turned 33), but his appearance corresponded to the described era. The artist subtly and vividly portrayed the hero, remembered by the audience for his charisma, charm and authentic play.
Poetic activity presupposes literary awareness and a lyrical mentality. Ivan Bezdomny neither externally nor internally evokes such associations.
Unable to appeal to the arguments of opponents in a dispute, Bezdomny brushes aside unnecessary information and does not want to philosophize.
“Take this one, yes, for such evidence for three years in Solovki!” The writer exclaims, not really knowing who Kant is and what his philosophy is.
To the master's question about how he perceives his poems, Homeless unexpectedly answers that they are "monstrous."
“I promise and I swear!” says the poet, deciding never to write poetry again. This gesture is the most honest in his life in relation to literature and to himself.
Ivan Bezdomny (aka Ivan Nikolaevich Ponyrev) is a character in the novel The Master and Margarita, a poet who becomes a professor at the Institute of History and Philosophy in the epilogue. One of the prototypes of I. B. was the poet Alexander Ilyich Bezymensky (), whose pseudonym, which became a surname, was parodied in the pseudonym Homeless. The edition of The Master and Margarita of 1929 mentioned a monument to "the famous poet Alexander Ivanovich Zhitomirsky, who was poisoned in 1933 by sturgeon", and the monument was located opposite the Griboyedov House. Given that Bezymensky was from Zhytomyr, the allusion here was even more transparent than in the final text, where the Komsomol poet remained associated only with the image of I.B.
Becoming a disciple of Yeshua, Levi threw money on the road, and Homeless refused the privilege of being a member of the writers' union. The meaning of the metamorphosis of both is obvious: the truth is not closed to anyone who has the courage to seek it. But just as the Master turned out to be less steadfast than Yeshua, so the Master's disciple Ivan Bezdomny is "weaker" than Levi Matvey and cannot be considered a true successor of his teacher's work (just like Levi Matvey, by the way). Ivan Bezdomny did not write a continuation of the novel about Yeshua, as the Master bequeathed to him. On the contrary, Bezdomny "recovered" from the corruption inflicted on him by criminal hypnotists, and only "on the spring festive full moon" is a part of the Master's truth revealed to him, which he again forgets upon awakening.
One of the researchers P. Palievskiy even considers Ivan Homeless the main character of the novel: he alone remains in this world after all the scandalous events, everything that happened in the novel led him to correction, to purification. This evolution of his is also expressed in the semantics of the name, in the change of name: in the Epilogue of the novel, he is no longer Ivan Bezdomny, but professor-historian Ivan Nikolaevich Ponyrev. The motif of the house occupies a special place in the works of M. Bulgakov, as a symbol of the moral stability of a person, his involvement in the cultural tradition, in the House and the Family (remember the Turbins' house fortress in the "White Guard"). A person deprived of a home, a feeling of home, loses a lot in this world. The change of the character's name in this case testifies to the familiarization with cultural and moral origins.
Bathing Ivan Bezdomny in the Moscow River near the Cathedral of Christ the Savior, where before the destruction of the temple there was a granite descent to the river and a granite font ("Jordan") in memory of the baptism of Jesus Christ, this is, as it were, a sign of a new birth of the character, that is, we can talk about baptism of the Homeless. But it is also obvious that this bathing is a parody (like the anti-ceremonial ball with Satan in the novel), that is, it is at the same time a parody of the baptism arranged for the atheist Ivan Bezdomny by evil spirits.
The consequence of such an ambiguous "baptism" is the ambiguous insight of Ivan Bezdomny - he did not write a continuation of the novel, he forgot everything, and only once a year he feels vague anxiety and anxiety as a reminder of what happened: "Every year the same thing is repeated with Ivan Ponyrev ... Before we have a bad infinity, a movement in a circle. Before us is a bad infinity, a movement in a circle. So, therefore, this ended? This ended, my disciple ... With the departure of the Master, the integrity of his novel is lost; no one can not only continue it, even coherently reproduce ... The master leaves the novel along with his word about the world, but another word that inherits it is not heard in the epilogue.
This idea of namelessness, the desire to become one of many, the glorification of the masses to the detriment of the individual was staged in many works ... The rejection of the experience of previous generations, according to Bulgakov, is unconditionally disastrous, and M. Bulgakov leads to an understanding of this thought in the finale of his novel Ivanushka Bezdomny .
