yuèdòubù 'ěr jiā kē fū Mikhail Bulgakovzài小说之家dezuòpǐn!!! | |||||
mǐ · bù 'ěr jiā kē fū - gè rén zī liào
quán míng： mǐ hā yī 'ěr · ā fǎ nà xī yé wéi qí · bù 'ěr jiā kē fū
chū shēng： 1891 nián 5 yuè 15 rì（ rú lüè lì 5 yuè 3 rì）
qù shì： 1940 nián 3 yuè 10 rì
guó jí： é luó sī
zhí yè： xiǎo shuō jiā、 jù zuò jiā
mǐ · bù 'ěr jiā kē fū - gè rén jiǎn lì
mǐ hā yī 'ěr · ā fǎ nà xī yé wéi qí · bù 'ěr jiā kē fū chū shēng yú wū kè lán jī fǔ shì de yī gè 'é luó sī jiā tíng。 tā shì jiā zhōng de zhǎngzǐ， fù qīn shì shén xué jiào shòu。
1913 nián， bù 'ěr jiā kē fū hé TatianaLappa jié hūn。 dì yī cì shì jiè dà zhàn bào fā hòu， tā bào míng cān jiā liǎo hóng shí zì huì。 1916 nián， tā cóng jī fǔ dà xué yī liáo xì bì yè hòu， cān jiā liǎo bái jūn。 tā hái céng bèi duǎn zàn zhēng rù wū kè lán mín zú jūn。 1919 nián， tā jué dìng qì yī cóng wén， chéng wéi yī gè jì zhě。 tā de xiōng dì men yědōu cān jiā liǎo bái jūn， zài nèi zhàn jié shù hòu， chú liǎo mǐ hā yī 'ěr yǐ wài， dū liú luò dào bā lí。 bù 'ěr jiā kē fū cóng wèi bèi yǔn xǔ qù xī fāng tàn wàng tā men。
1921 nián， bù 'ěr jiā kē fū yǔ dì yī gè qī zǐ lí hūn， yǔ Lyubov'Belozerskaya jié hūn。 zài 20 nián dài zǎo、 zhōng qī， tā fā biǎo liǎo yī xì liè zuò pǐn， dàn cóng 1927 nián kāi shǐ， tā bèi pī píng wéi zuò pǐn yán zhòng fǎn duì sū wéi 'āi。 dào 1929 nián， tā de rèn hé zuò pǐn dōuwú fǎ tōng guò shěn chá。
1931 nián， bù 'ěr jiā kē fū yǔ ElenaShilovskaya jié hūn。 Elena jí shì《 dà shī yǔ mǎ gé lì tè》 zhōng mǎ gé lì tè de yuán xíng， běn xìng Sergeevna， Shilovsky shì tā qián fū de xìng。 tā hé qián fū lí hūn hòu， dì 'èr tiān jiù hé bù 'ěr jiā kē fū jié hūn。 zài bù 'ěr jiā kē fū shēng mìng de zuì hòu shí nián lǐ， tā jì xù xiě zuò《 dà shī yǔ mǎ gé lì tè》 hé qí tā xì jù、 píng lùn、 xiǎo shuō、 fān yì， dàn wú yī dé dào fā biǎo。
bù 'ěr jiā kē fū hé sū wéi 'āi zhèng quán zhī jiān de guān xì yī zhí hěn jǐn zhāng。 1930 nián， tā gěi sī dà lín xiě liǎo fēng xìn， qǐng qiú shuō： rú guǒ sū lián bù néng shǐ yòng tā de fěng cì wén xué cái néng， qǐng ràng tā yí mín guó wài。 sī dà lín běn rén gěi tā huí liǎo diàn huà， jù jué liǎo tā。 dàn yóu yú sī dà lín bǐ jiào xīn shǎng tā de xì jù《 tú 'ěr bīn yī jiā de rì zǐ》（ gēn jù《 bái jūn》 gǎi biān）， biàn gěi tā zài mò sī kē yī jiā xiǎo jù yuàn zhǎo dào liǎo gōng zuò， hòu lái yòu diào dào mò sī kē yì shù dà jù yuàn。 rán 'ér tā zài jù yuàn de gōng zuò bìng bù chéng gōng。 tā hái céng duǎn zàn dì zài Bolshoi gē jù yuàn dāng cí zuò zhě， dàn hěn kuài lí kāi liǎo。
1940 nián， bù 'ěr jiā kē fū yīn jiā zú yí chuán de shèn bìng 'ér qù shì。
mǐ · bù 'ěr jiā kē fū - xiě zuò shēng yá
1916 nián jī fǔ dà xué yī liáo xì bì yè hòu bèi pài wǎng nóng cūn yī yuàn， hòu zhuǎn zhì xiàn chéng， zài wéi yà jì mǎ shì yíng jiē liǎo shí yuè gé mìng。
1918 nián huí jī fǔ kāi yè xíng yī， jīng lì liǎo duō cì zhèng quán gēngdié， hòu bèi dèng ní jīn fènzǐ guǒ xié dào běi gāo jiā suǒ。
mǐ · bù 'ěr jiā kē fū
1920 nián qì yī cóng wén， kāi shǐ xiě zuò shēng yá。 1921 nián niǎn zhuǎn lái dào mò sī kē。
1920 nián kāi shǐ zài《 qì dí bào》 gōng zuò， fā biǎo yī xì liè duǎn piān、 tè xiě、 xiǎo pǐn wén， jiē lù bìng fěng cì bù liáng shè huì xiàn xiàng， yǐ yōu mò hé xīn là de wén fēng zhù chēng。 1924 ～ 1928 nián qī jiān fā biǎo zhōng piān xiǎo shuō《 bù xiáng de jī dàn》（ 1925）、《 mó zhàng》（ 1925）， jù běn《 zhuó yī jīn de zhù zhái》（ 1926）、《 zǐ hóng sè de dǎo yǔ》（ 1928）。
1925 nián fā biǎo cháng piān xiǎo shuō《 bái wèi jūn》， miáo xiě 1918 nián jī fǔ de yī bù fēn fǎn duì bù 'ěr shí wéi kè de bái wèi jūn jūn guān de sī xiǎng xíng dòng。 1926 nián xiǎo shuō gǎi biān wéi jù běn《 tǔ 'ěr bīn yī jiā de mìng yùn》， shàng yǎn huò dé chéng gōng， dàn yě yǐn qǐ zhēng lùn。
1927 nián tā de zuò pǐn shí jì shàng yǐ bèi jìn zhǐ fā biǎo。
1930 nián， zài sī dà lín de qīn zì gān yù xià tā bèi mò sī kē yì shù jù yuàn lù yòng wéi zhù lǐ dǎo yǎn， yè yú jiān chí wén xué chuàng zuò， bìng zhòng xīn kāi shǐ xiě tā yī shēng zuì zhòng yào de cháng piān xiǎo shuō《 dà shī hé mǎ gé lì tè》（ 1966） zhí dào shì shì。 qí tā zhù zuò yòu jù běn《 mò lǐ 'āi》（ 1936）、 zhuànjì tǐ xiǎo shuō《 mò lǐ 'āi》（ 1962） děng。
mǐ · bù 'ěr jiā kē fū - zǎo qī zuò pǐn
bù 'ěr jiā kē fū cóng 20 nián dài zǎo qī kāi shǐ xiě zuò。 1924 nián tā wán chéng liǎo《 bái jūn》（ 1966 nián chū bǎn）， yǐ biān nián shǐ de xíng shì jiǎng shù liǎo yī gè bái jūn jūn guān de jiā tíng， zhè gè jiā tíng de chéng yuán mendōu jiā rù liǎo bái jūn， dàn tā men zuì hòu bù shì sǐ qù， jiù shì gǎi biàn chū zhōng。 gēn jù zhè bù xiǎo shuō gǎi biān de huà jù《 tú 'ěr bīn yī jiā de rì zǐ》 dé dào liǎo sī dà lín de zàn shǎng， chēng gāi jù“ xiǎn shì liǎo bù 'ěr shí wéi kè wú jiān bù cuī de lì liàng。” tóng qī tā hái gēn jù zì jǐ zài 1916 nián dào 1919 nián jiān dāng zhàn dì yī shēng de jīng yàn， xiě liǎo yī gè duǎn piān xiǎo shuō jí《 yī gè nián qīng yī shēng de bǐ jì (Запискиюноговрача)》。
20 nián dài zhōng qī， tā kāi shǐ xǐ huān hè bó tè · qiáo zhì · wēi 'ěr sī de zuò pǐn， bìng xiě liǎo yī xiē dài yòu kē huàn fēng gé de xiǎo shuō。《 huài dàn》 jiǎng yī wèi pèi xī kē fū jiào shòu， fā xiàn liǎo yī zhǒng hóng sè shè xiàn， kě yǐ jiā kuài shēng wù shēngzhǎng。 dāng shí， mò sī kē zhèng liú xíng jī wēn， jī chéng pī sǐ qù， sū lián dāng jú biàn zài yī jiā guó yíng nóng chǎng shì yòng zhè zhǒng shè xiàn。 dàn jī dàn zài yùn shū guò chéng zhōng yǔ pèi xī kē fū jiào shòu de shí yàn yòng dàn xiāng hùn， jiēguǒ yùn dào nóng chǎng de shì tuó niǎo dàn、 shé dàn hé 'ě yú dàn， zài shè xiàn zhào shè hòu， fū chū lái yī duī guài wù， dà nào mò sī kē。 wèile píng xī shì duān， zhèng fǔ kāi dòng xuān chuán jī qì， zhǐ zé pèi xī kē fū jiào shòu gù yì gǎo chū lái zhè xiē guài wù。 zhè piān xiǎo shuō shǐ zhèng fǔ bǎ bù 'ěr jiā kē fū dǎ rù“ fǎn gé mìng” de lìng cè。
《 gǒu xīn》 jiǎng shù liǎo yī gè yī shēng bǎ rén de dà nǎo xì bāo hé zhù yào qì guān yí zhí dào yī tiáo jiào Sharik de gǒu shēn shàng。 zhè tiáo gǒu kāi shǐ biàn dé xiàng rén yī yàng， huì shuō huà bìng jù yòu rén de tè diǎn， dàn xìng gé què shí fēn kuáng bào kěwù。 zuì hòu yī shēng zhǐ hǎo yòu gěi tā dòng liǎo yī cì shǒu shù， shǐ tā biàn huí chéng gǒu。 zhè piān xiǎo shuō bèi rèn wéi shì duì sū lián de fěng cì。 1973 nián， WilliamBergsma bǎ tā gǎi biān chéng yī gè xǐ jù“ Sharik tóng zhì móu shā 'àn”， bìng zài 1988 nián bèi pāi chéng diàn yǐng。
qí tā zuò pǐn hái yòu 1926 nián de《 zhuó yī jīn de zhù zhái》（ jù běn） hé 1928 nián de《 zǐ hóng sè de dǎo yǔ》。
mǐ · bù 'ěr jiā kē fū - dài biǎo zuò pǐn
《 dà shī yǔ mǎ gé lì tè（ МастериМаргарита）》 shì 'èr shí shì jì zuì hǎo de 'é yǔ xiǎo shuō， ér qiě shì mó huàn xiàn shí zhù yì de kāi shān zhī zuò。 bù 'ěr jiā kē fū cóng 1928 nián kāi shǐ xiě zhè bù xiǎo shuō， dàn zài 1930 nián sān yuè， dāng tā dé zhī zì jǐ de zuò pǐn Кабаласвятош bèi jìn shí， jiāng《 dà shī yǔ mǎ gé lì tè》 de shǒu gǎo xiāo huǐ（ jù bù 'ěr jiā kē fū běn rén huí yì， shì zài huǒ lú zhōng shāo huǐ）。 1931 nián， tā yòu chóngxīn kāi shǐ xiě《 dà shī yǔ mǎ gé lì
《 dà shī yǔ mǎ gé lì tè》
tè》， zhì 1936 nián jī běn xiě wán。 sān gǎo wán chéng yú 1937 nián。 zài tā de qī zǐ de bāng zhù xià， tā jì xù xiū gǎi zuò pǐn， zhí dào sǐ qián sì zhōu。 tā de qī zǐ zài 1940 dào 1941 nián jiān wán chéng liǎo xiū gǎi。 1966 nián， běn shū de jié bǎn（ 12 ％ bèi shān qù， gèng duō de dì fāng bèi gǎi dòng） cái dì yī cì chū bǎn。 bèi shān gǎi de zhāng jié yǐ shǒu chāo běn de xíng shì zài dì xià liú chuán。 1967 nián， fǎ lán kè fú de yī wèi chū bǎn rén zài cǐ jī chǔ shàng chū bǎn liǎo jiào wán quán de bǎn běn。 zài sū lián， dì yī gè wán quán bǎn běn chū bǎn yú 1973 nián。
zhè bù xiǎo shuō zhōng wén yòu yì zuò《 sǎ dàn qǐ wǔ》， gù shì yòu sān tiáo zhù xiàn： shǒu xiān shì yǐ wài guó mó shù shī wò lán dé shēn fèn chū xiàn de sǎ dàn， dài zhe tā de suí cóng（ qí zhōng zuì yǐn rén zhù mùdì shì yī zhǐ huì zhí lì xíng zǒu shuō rén huà、 bào lì qīng xiàng yán zhòng de dà hēi māo）， lái dào mò sī kē， jiā rù liǎo yī gè nián qīng shī rén“ wú jiā hàn” hé yī gè mò sī kē wén lián guān yuán de tán huà， yù yán liǎo guān yuán de sǐ wáng， suí hòu jiāng mò sī kē wén yì juàn jiǎo dé tiān fān dì fù。“ wú jiā hàn” bèi sòng rù liǎo jīng shén bìng yuàn， zài nà lǐ tā yù dào liǎo dà shī。 dà shī yóu yú xiě yī piān guān yú bǐ lā duō hé yé sū de lì shǐ xiǎo shuō shí chǎn shēng liǎo jīng shén yì cháng， fén huǐ liǎo shǒu gǎo， lí qì liǎo 'ài rén， zuì hòu bèi guān jìn jīng shén bìng yuàn。
dì 'èr tiáo xiàn jiǎng dà shī de 'ài rén， mǎ gé lì tè， bèi sǎ dàn xuǎn zhōng zuò wéi dāng wǎn mó guǐ wǔ huì de nǚ zhù rén， wèicǐ tā dé dào liǎo chāo zì rán de néng lì， luǒ tǐ fēi xíng zài 'é luó sī shàng kōng。 zài fēi xíng zhōng， tā sì yì dǎo huǐ liǎo yī gè pī píng guò dà shī de wén yì píng lùn zhě de jiā。 zuì hòu sǎ dàn dāyìng shí xiàn mǎ gé lì tè de rèn hé yuàn wàng， mǎ gé lì tè yào qiú jiāng dà shī jiě jiù chū lái， bìng cóng cǐ hé tā shēng huó zài pín qióng hé 'ài qíng zhōng。 sǎ dàn zhuǎn 'ér jué dìng jiāng dà shī hé mǎ gé lì tè dū dài zǒu， dāng cì rì tài yáng shēng qǐ， mò sī kē xiàn méi zài yī piàn huǒ yàn zhōng， tā men fēi xiáng lí kāi。
dì sān tiáo xiàn jiǎng yé sū shòu nán dāng tiān， tā hé bǐ lā duō zhī jiān de duì huà， yǐ jí duì dāng shí zhēn xiāng de tàn qiú hé miáo shù。 zhè tiáo xiàn kāi shǐ yú kāi piān shí sǎ dàn yǔ wén lián guān yuán de duì huà， shí yǐn shí xiàn yú dà shī de shǒu gǎo， bìng yòu dà duàn zhí jiē miáo xiě hé fù zá de duì zhé xué、 shén xué、 rén xìng de tǎo lùn。
Mikhail Bulgakov was born on May 15, 1891 in Kiev (now the capital of Ukraine), in the Russian Empire. He was the eldest son of Afanasiy Bulgakov, an assistant professor at the Kiev Theological Academy. He was the grandson of priests on both sides of the family. From 1901 to 1904 Bulgakov attended the First Kiev Gymnasium, where he developed an interest in Russian and European literature, theatre and opera.
Bulgakov in 1909.
In 1913 Bulgakov married Tatiana Lappa. At the outbreak of the First World War he volunteered with the Red Cross as a medical doctor and was sent directly to the frontline, where he was badly injured at least twice. In 1916, he graduated from the Medical Department of Kiev University and then served in the White Army alongside his brothers. He also briefly served in the Ukrainian People's Army.
After the Civil War and rise of the Soviets, much of his family emigrated to Paris (in exile). Mikhail and brothers ended up in the Caucasus. He first began to work as a journalist there, but when they were invited to return as doctors by the French and German governments, Bulgakov was refused permission to leave Russia because of typhus. This was when he last saw his family.
Bulgakov suffered from his long-acting war wounds, which had a bad effect on his health. To suppress chronic pain, especially in the abdomen, he injected himself with morphine. Throughout the following year his addiction grew stronger. In one year (in 1918) he finished injecting himself with morphine and never used it in the future. His book, entitled Morphine and released in 1926, provided an account of the writer's state during these years.
Though his first fiction efforts were made in Kiev, he only decided to leave medicine to pursue his love of literature in 1919. His first book was an almanac of feuilletons called Future Perspectives, written and published the same year. In 1921, Bulgakov moved to Moscow where he began his career as a writer. They settled near Patriarch's Ponds, close to Mayakovskaya metro station on the Sadovaya street, 10. Four years later (in 1925), 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 government censorship prevented publication of any of his work and staging of any of his plays.
Bulgakov in the 1910s - his university years.
In 1932, Bulgakov married for the third time, to Yelena Shilovskaya, who would prove to be inspiration for the character Margarita in his most famous novel. 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, librettos. Many of them were not published, other ones were "torn to pieces" by critics.
Bulgakov wrote the play "Batum" glorifying Stalin's early revolutionary activity, but the play was banned by Stalin. However, Stalin had enjoyed another Bulgakov's play, The Days of the Turbins (1926) and found work for him at a small Moscow theatre, and then the Moscow Art Theatre. Much of his work (ridiculing the Soviet system) stayed in his desk drawer for several decades. In 1930 he wrote a letter to the Soviet government, requesting permission to emigrate if the Soviet Union could not find use for him as a writer. In Bulgakov's autobiography, he claimed that he wrote to Stalin out of desperation and mental anguish, never intending to post the letter. He received a phone call directly from Joseph Stalin asking the writer whether he really desired to leave the Soviet Union. Bulgakov replied that a Russian writer cannot live outside of his homeland.
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 often prohibited and he was stressed and unhappy. He also worked briefly at the Bolshoi Theatre as a librettist but left when his works were not produced.
Bulgakov died from nephrosclerosis (an inherited kidney disorder) on March 10, 1940. He was buried in the Novodevichy Cemetery in Moscow. His father had died of the same disease, and from his youth Bulgakov guessed his future mortal diagnosis.
[edit]Early works
See also Category: Works by Mikhail Bulgakov During his life, Bulgakov was best known for the plays he contributed to Konstantin Stanislavsky's and Nemirovich-Danchenko'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 Molière's life in The Cabal of Hypocrites (Кабала святош)(1936) is still performed by the Moscow Art Theatre. Even after his plays were banned from the theatres, Bulgakov wrote a comedy about Ivan the Terrible's visit into 1930s Moscow and the play "Batum" about the early years of Stalin (1939), which was prohibited by Stalin himself.
Bulgakov in 1926.
Bulgakov began writing prose with The White Guard (Белая гвардия) (1924, partly published in 1925, first full edition 1927–1929, Paris) – a novel about a life of a White Army officer's family in Civil war Kiev. In the mid-1920s, he came to admire the works of H. G. Wells and wrote several stories with elements of science fiction, notably The Fatal Eggs (Роковые яйца) (1924) and Heart of a Dog (Собачье сердце) (1925). He intended to compile his stories of the mid-twenties (published mostly in medical journals) that were based on his work as a country doctor in 1916–1918 into a collection titled Notes of a Young Doctor (Записки юного врача), but he died before he could publish it.
Bulgakov in the early 1930s.
The Fatal Eggs 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 chicken eggs, while the government-run farm receives the shipment of ostrich, snake and crocodile eggs 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 (means "Little Balloon" or "Little Ball" - popular Russian nickname for a male dog). 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 the drunkard donor of the human organ implants is Chugunkin ("chugun" is 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.
[edit]The Master and Margarita
A sculpture of the cat Behemoth from The Master and Margarita.
Main article: The Master and Margarita
The Master and Margarita (Мастер и Маргарита), which Bulgakov began writing in 1928 and which was finally published by his widow in 1966, twenty-six years after his death, led to an international appreciation of his work. 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" and "second-grade freshness". 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 of this novel.
The novel is a critique of Soviet society and its literary establishment. The work is appreciated for its philosophical undertones and for its high artistic level thanks to its picturesque descriptions (especially of old Jerusalem), lyrical fragments and style. It is a frame narrative involving two characteristically related time periods and/or plot lines: a retelling of the gospels and a description of contemporary Moscow.
The novel begins with Satan visiting Moscow in the 1930s, joining a conversation between a critic and a poet 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 Soviet Russia. Published more than 25 years after Bulgakov's death, and more than ten years after Stalin's, the novel firmly secured Bulgakov's place among the pantheon of great Russian writers.
There is a story-within-the-story dealing with the interrogation of Jesus Christ by Pontius Pilate and the Crucifixion.
[edit]Bulgakov Museum in Moscow
Detail, Bulgakov Museum in Moscow
Main article: Bulgakov museum in Moscow
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[citation needed], 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. Although quite old,the building stayed viable for a while. 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.
On December 21, 2006, the museum in Bulgakov's flat was damaged by an anti-satanist protester and disgruntled neighbor, Alexander Morozov.
The Bulgakov museum in Moscow remains open and contains personal belongings, photos, and exhibitions related to Bulgakov's life and his different works. There is a fantastic museum and different poetic and literary events are often being held in the flat. The museum's web site is only available in Russian but the entrance fee is only about $1 (the museum was free till January 2009) and its opening hours are 1 p.m. - 7 p.m. The flat is located close to Mayakovskaya metro station on the Sadovaya street, 10.
[edit]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.
[edit]Legacy
A minor planet 3469 Bulgakov discovered by Soviet astronomer Lyudmila Georgievna Karachkina in 1982 is named after him.
The award-winning British writer Salman Rushdie stated that The Master and Margarita was an inspiration for his own novel The Satanic Verses.
[edit]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, which makes it also the last" ("Свежесть бывает только одна – первая, она же и последняя")
"Not causing trouble, not bothering anyone, fixing the primus" ("Не шалю, никого не трогаю, починяю примус") - (a "primus" is a brand, and by extension type, of portable stove)
"No ID, no person" ("Нет документа - нет и человека")
"Never ask for anything" ("Никогда и ничего не просите")
"To speak the truth is easy and pleasant" ("Правду говорить легко и приятно")
"Only the housing problem has corrupted them" ("Kвартирный вопрос только испортил их")
The following quotes from Heart of a Dog have become catch phrases in Russia:
"Never read Soviet newspapers before dinner" ("Не читайте до обеда советских газет")
"Take everything and divide it up" ("Взять все, да и поделить")
[edit]In popular culture
The Master and Margarita novel is said to have been read by Mick Jagger and influenced his writing of the song "Sympathy for the Devil".
The Master and Margarita inspired a song called "Love and Destroy" by Franz Ferdinand. The song is based on the scene in which Margarita flies over Moscow.
A slightly altered version of the beginning of Chapter 23 in The Master and Margarita is used as the backtrack for the song Disorder by the dubstep artist Scuba.
The Master and Margarita is the title of a song by Canadian band The Tea Party.
[edit]Bibliography
Main article: Bibliography of Mikhail Bulgakov
See also Category: Works by Mikhail Bulgakov
In chronological order by year of first translation:
[edit]Novels and short stories
The White Guard (1918, translation 2008)
Great Soviet short stories, 1962
The Master and Margarita, 1967
Black Snow: A Theatrical Novel, 1967
Heart of a Dog, 1968
A Country Doctor's Notebook, 1975
Diaboliad and Other Stories, 1990
The Terrible news: Russian stories from the years following the Revolution, 1990
Notes on the Cuff & Other Stories, translated by Alison Rice, Ann Arbor: Ardis, 1991.
The Fatal Eggs and Other Soviet Satire, 1918-1963, 1993.
A Dead Man's Memoir (A Theatrical Novel), 2007
[edit]Theater
The Early Plays of Mikhail Bulgakov, 1990
Peace plays: two, 1990
Zoya's apartment: A tragic farce in three acts, 1991
Six plays, 1991
[edit]Biography
Life of Mr. de Molière, 1962