Political criticism turning into an exaltation of non-conformity.
Bulgakov’s Master and Margarita. A satirical and fantastical novel addressing themes such as political repression and creative freedom.
As disorienting at first glance as it is intensely captivating in its satirical designs
A classic that every reader has undoubtedly boasted of having read at least once in their life, but that few have bothered to truly get to know, especially due to its disorienting form. It is a novel composed of multiple novels, strongly influenced by the author’s biographical experience, which over the years has shaped and captivated thousands of readers worldwide.
Given the numerous connections between the author’s biography and the novel in question, it is impossible not to digress briefly and discuss some themes related to the history of Mikhail Bulgakov.
Who was Mikhail Bulgakov?
Mikhail Bulgakov was a Russian writer and playwright, born on May 15, 1891, in Kiev, which was then part of the Russian Empire. He passed away on March 10, 1940, in Moscow, Soviet Union. He was the first of seven children, born into a family of ecclesiastics — his father being a theologian — and this is a crucial detail because religion plays a fundamental role in his body of work, as we will see.
Bulgakov studied medicine in Kiev, a choice not unfamiliar to his family, as two of his maternal uncles were doctors and greatly assisted him throughout his career. He later worked as a doctor, but his true passion was writing.
Bulgakov was not an easy-going personality. His first wife, Tatiana, criticized him extensively in her diaries, especially for his ease in spending the little money he managed to earn, so financial assistance from the family became necessary. Upon returning from the front — where he had volunteered as a medical assistant while still a student — he became addicted to morphine. The motivation for this addiction is unclear, as there is no record of him being injured during the war; most likely, he spent the entire period in a clinic.
Shortly after the war, the Russian Revolution erupted, and during these years and the subsequent period, his life was marked by difficulties and restrictions due to censorship and political oppression. His works were often banned or left unpublished.
His most famous work: The Master and Margarita
The Master and Margarita was written between 1928 and 1940 but was published posthumously due to the difficulties the author faced with Soviet authorities. This novel has become a classic of world literature for its philosophical depth, intelligent satire, and narrative complexity. Bulgakov’s life was marked by tensions with the Soviet regime, but his contribution to Russian and world literature is widely recognized today.
First and foremost, it should be noted that this is a love story written by an author aiming to convey what it means to write a book under a regime fearful of what can be written and how the greatness of a writer always triumphs over power. It is set in Moscow during a period when there is a desire to live normally but is rich in suspicious enrichments and a bustling life that unfolds under a dark cloud of mysterious disappearances of various individuals. A central theme is the figure of the devil, a subject Bulgakov has always addressed in his writings.
The structure.
The Master and Margarita is a novel with a distinctive structure, initially appearing utterly chaotic. It is not surprising that at first glance, especially for those unfamiliar with the author’s writing style, this book may seem senseless and highly confusing. Certainly, some scenes should be taken for what they are: simple interludes devoid of any apparent connection to the overall plot, serving the sole purpose of satirizing certain figures or themes that are particularly significant to the author.
To bring clarity, it is essential to define these internal structures within the narrative to dissect them more peacefully. The novel opens with the figure of the devil, who throughout the story engages in various mischievous acts — so to speak — from the very early chapters. For instance, in the third chapter, he is the cause of Berlioz’s death — a character introduced on the first page but not one of the main protagonists.
The second chapter already introduces a kind of digression, a parenthesis discussing the difficulties faced by Pontius Pilate in judging an unknown person accused of subversion. This interlude recurs several times in the narration and is the story told by the Master — one of the protagonists of The Master and Margarita — within his novel.
Lastly, throughout the second part of the novel, Bulgakov unfolds a poignant love story involving the true protagonists: the Master and Margarita. A web of characters emerges, many of whom are secondary or mere brief appearances, such as Berlioz and Bezdomny, representing literati and serving the purpose of introducing the devil’s character. Simultaneously, they provide the initial theme that Bulgakov explores — Russian atheism.
At this juncture, it is fitting to delve into a discussion about the main characters.
The figure of the devil
And so, who are you? I am a part of that force that eternally wills Evil and eternally accomplishes Good.
From the very first page of the first chapter, the mysterious figure of the devil appears alongside two literati and continues to be present until the end of the story. This figure is named Woland and claims to be a magician summoned to Moscow for a performance — significantly, as Bulgakov’s works, especially this one, extensively criticize the shady world of the theater.
Woland appears and is surprised when the two literati assert they are atheists and intend to write a work stating that Jesus does not exist. Naturally, this provokes the devil’s laughter. However, Woland is also connected to Pilate’s story because being the devil, he has always existed, has always lived, and is thus part of the events involving Jesus. Regarding the connection with the Master and Margarita, Woland is equally linked because he, along with his strange companions, including Ella and the Talking Cat, becomes their benefactor.
In this novel, he is, in a sense, the bearer of the value of truth, even as he inflicts harm on some characters, punishing the sins of a society full of gray and hypocritical figures. Woland can expose the true side of this sin-ridden society by enticing them with offers they cannot refuse. While Woland desires evil, in the end, he works for the good, becoming a patron for the most genuine and good-hearted characters in the novel — specifically, the Master and Margarita — granting them survival, albeit in a wholly peculiar and imaginative conception.
Evil does not exist without good, and viceversa.
The entire figure of Woland is encapsulated in this meaning, namely that evil must necessarily exist, but Bulgakov does not necessarily view it as tragic. Instead, often, his actions are seen by the reader as comedic. Woland clashes with conformity, conspiring against the need to be logical and framed. It is not just a critique of Russian political society but also a philosophical matter. When the devil departs, everything returns to how it was, revealing the hypocrisy of society once again permeating every character.
The apartment 50bis at number 350 on Sadovaya Street.
This apartment that Woland takes possession of does not exist in reality, yet it is one of the protagonists of the novel. Some important information about this reference should be noted. Firstly, the term ‘bis’ in Ukrainian means ‘devil,’ and then Bulgakov, during his time in Moscow, lived in apartment 50 — apartments in Russia are numbered — at 10 Sadovaya Street.
In the ’60s, ’80s, and ’90s, the entrance hall of the actual building where the author lived was adorned with graffiti referencing The Master and Margarita. Today, it has all been cleaned, and only written documents in the museum that have emerged remain to document this.
The Master.
An intellectual persecuted by the authorities, whose novel is censored by the government due to critical reviews that undermined his reputation and obstacles faced because it was considered a historical text, dealing with Pontius Pilate. The consequence of this ridicule, spurred by Russian intellectual criticism, leads the Master to burn his work and end up in a mental institution, losing his great love, Margarita, in the process.
Margarita.
She is a young woman trapped in a loveless marriage who falls in love with the Master after a chance encounter. With him, she finally experiences the true love she has always dreamed of.
This character did not exist in the early versions of the text, attesting to the lengthy gestation of the work. Bulgakov revised and modified it until his deathbed — sources claim that on his deathbed, he dictated additions and corrections to his wife, which later shaped the text we have today.
Political Critique.
Both the Master’s novel and the overarching story, Bulgakov’s ‘actual’ novel, address the theme of power and offer criticism. The Master is ridiculed by a Russian intellectual class that is entirely atheist, deeming the act of discussing religion as intellectually inferior. Simultaneously, Pilate’s story is also a critique of power, as this governor is compelled by the people to condemn Jesus, even against his convictions.
Bulgakov’s message is one of power undermining everyone; each individual falls victim to their power, whether they are the powerful who become executioners like Pilate or ordinary citizens, in a sense, like the Master.
Love and Chaos.
Bulgakov, through a language rich in evocative imagery and with an immersive use of satire, weaves a fabric of strong and total criticism towards the power’s ability to desecrate a society that is inept and incapable of living outside the temptations to which it falls victim. Thus, it commits continual sins. In contrast, he identifies two values that serve as a counterbalance.
Love is that authentic force that saves everything, particularly the love experienced between the Master and Margarita. It is the only point truly filled with positivity, genuinely beautiful, and for which life is worth living.
Chaos, on the other hand, is more of a neutral force that allows for the stirring of situations, enabling the devil to perform actions that unveil the true nature of Russian society captured in this snapshot.
Who are the villains of the novel?
Unlike what one might normally expect, in this book, it is not the figure of the devil that represents evil, but rather the officials of power.
“The manuscripts do not burn” → Voland himself asserts that people should be free to express their opinions without censorship and without fearing repercussions from those in power. However, in reality, books do burn, and this is the strongest criticism Bulgakov inserts in these pages, directly linked to the Russian power of his time — the inability of an author to publish the work of their intellect without facing censorship and repercussions.
