and stabilization. Brezhnev, who had risen through the Communist Party ranks, was not interested in altering the social system but focused on making it function more efficiently within the framework set by the Politburo.

In 1967, when The Master and Margarita was finally published, youth rebellion was sweeping the United States, and a similar spirit of defiance was evident in other countries worldwide. One of the most significant instances of governmental unrest occurred in Czechoslovakia. During the "Prague Spring" of 1968, protesters nearly toppled the country's Communist government. Because Czechoslovakia was an ally of the Soviet Union, Brezhnev sent Soviet troops across the border to quash the protests and maintain Communist control. This event was a pivotal moment in Soviet history, demonstrating to the world the lengths to which the Soviet Union would go to defend Communism.

The publication of Bulgakov's book after nearly thirty years should not be seen as a sign that the government was easing its stance on artistic works deemed critical of the political system. Writers were frequently arrested for disseminating "anti-Soviet propaganda" if their work highlighted any flaws in the system. Those convicted faced sentences in forced labor camps or were confined to mental institutions under diagnoses like "paranoid schizophrenia."

A writer could escape severe punishment only by smuggling their works out of the country to reach an international audience, as the government was concerned with its global reputation. This was the case for Aleksandr Solzhenitsyn, who won the Nobel Prize for Literature in 1970 and was expelled from the country in 1974.

In "The Master and Margarita," Mikhail Bulgakov crafts a vivid depiction of Moscow, intertwining its bustling streets with the spiritual quests of his characters. This setting is not merely a backdrop but an active player reflecting the socio-political tensions of the time. Through its various locales, Bulgakov critiques the moral and spiritual decay induced by Soviet rule while weaving a narrative that transcends time and space.

Moscow: The Epicenter of Spiritual Conflict

Moscow, during the formative years of the Soviet Union, serves as the novel's main stage, where the spiritual and material worlds collide. This collision begins at Patriarch’s Pond, a site imbued with religious significance as it bears the name of the Russian Orthodox Church's Patriarch. Here, the reader is immediately drawn into a city marred by contradictions—Moscow is depicted through both recognizable landmarks and fictional alterations that emphasize its transformation under communist rule. The Devil's arrival in this city unveils the widespread moral compromise among its citizens, who are driven to hypocrisy, bribery, and denunciation by the oppressive political regime.

Griboyedov House: Literary Ambitions and Bureaucratic Inequities

Griboyedov House is home to MASSOLIT, a fictional literary organization mirroring real Soviet institutions like Herzen House. This setting serves as a microcosm of the bureaucratic and self-serving nature of Soviet society. Members of MASSOLIT indulge in privileges such as summerhouses and exclusive dining, symbolizing the disparity between the officials and the common populace. Bulgakov uses this setting to highlight the corrupting influence of power and the loss of genuine artistic and moral pursuits in the face of material gain.

Dramlit House: Destruction and Revenge

Dramlit House, with its opulent black marble and gold-lettered facade, stands in stark contrast to the devastation that unfolds within. Here, Margarita exacts her revenge on the critic responsible for the Master's downfall. This critic's destruction is emblematic of the broader assault on artistic freedom and individuality in Soviet Russia, where creativity is stifled by authoritarian control.

Variety Theater: The Devil's Stage

The Variety Theater on Sadovaya Street becomes the Devil's stage for a spectacle that tests the spiritual integrity of Moscow's inhabitants. Through a magical performance, the Devil exposes the audience's human frailties, highlighting how a pervasive housing shortage has bred cynicism and desperation. Despite their shortcomings, the Muscovites exhibit a capacity for compassion, suggesting a glimmer of hope amid the pervasive materialism.

The Devil’s Headquarters: A Nexus of Temptation

Apartment 50 at 302A Sadovaya Street serves as the Devil’s headquarters, a place where Moscow’s inhabitants are tempted and tested. This site, central to Bulgakov’s satire, is both a reflection of the Soviet housing crisis and a stage for mysterious disappearances and secret arrests, mirroring Stalin’s reign of terror. The transformation of this modest apartment into the venue for the Devil’s extravagant annual ball represents a shift from mundane reality to cosmic fantasy, illustrating the thin veil between the ordinary and the extraordinary.

Bulgakov's personal experience with a similar Moscow apartment block lends authenticity to this portrayal, reinforcing the intersection of the real and the surreal. The Devil’s panoramic view from another building, identified as the eighteenth-century Pashkov House, encompasses the sprawling cityscape, painting a picture of luxurious palaces juxtaposed with destitute slums.

Stravinsky’s Insane Asylum: A Refuge of Madness

Located on the outskirts of Moscow by the river, Stravinsky’s insane asylum offers asylum to those deemed mad for their belief in the supernatural. It is within these walls that the Master finds sanctuary after succumbing to the pressures of his environment. The asylum represents both a retreat from societal norms and a critique of the rigid, oppressive structures that label genuine spiritual experiences as insanity.

Pushkin Statue: A Monument to Artistic Defiance

In the heart of Moscow, the statue of Alexander Pushkin stands as a tribute to artistic excellence and defiance against censorship. Pushkin Square becomes a symbolic gathering place for those who, like the novelist himself, seek to transcend the limitations imposed by a repressive state through the immortality of their work.

Torgsin Store: The Illusion of Abundance

The Torgsin store in Smolensk Market epitomizes the illusion of prosperity under communism. Although packed with luxury goods, these items are accessible only to the wealthy or foreign currency holders, highlighting the economic disparities fostered by the Soviet regime. Like Griboyedov’s House, it underscores the betrayal of socialist ideals and the pervasive inequality.

The Master's Apartment: A Sanctuary of Love and Creation

Situated near Moscow’s historic Arbat, the humble two-room basement apartment of the Master symbolizes refuge and simplicity. Its idyllic garden, filled with lilacs, limes, and maples, stands in stark contrast to the surrounding societal chaos. Here, the Master and Margarita find solace in love, creativity, and nature, presenting an alternative to the materialistic world above.

Sparrow Hills: A Gateway to Eternity

As the novel progresses, Sparrow Hills becomes a significant site where the Devil’s journey reaches its transcendental peak. Overlooking Moscow, this vantage point offers a view of the city bathed in the fragmented rays of a setting sun, suggesting divine reflection. The ensuing rainbow symbolizes a bridge between the earthly and the metaphysical, underscoring the novel’s spiritual themes.

Jerusalem: A Parallel to Oppression

Although primarily set in Moscow, the novel’s interwoven narrative also brings to life ancient Jerusalem, referred to as Yershalaim. This depiction is grounded in realism, with detailed references to local geography and culture, illuminating the universal nature of oppressive regimes. Parallels between Jerusalem's and Moscow’s tyrannies highlight the timeless struggle against authoritarianism and the suppression of spiritual freedom.

Mikhail Bulgakov's The Master and Margarita is a rich tapestry of influences, weaving together biblical themes, the Faust legend, and elements from Nikolai Gogol’s works. The novel's structure and style are a testament to Bulgakov's ability to blend fantastical elements with the real, creating a unique narrative that pushes the boundaries of traditional storytelling. Through its complex narrative and symbolic depth, Bulgakov explores the tension between reality and fantasy, morality and immorality, and the eternal human struggle for truth and redemption.

Influences and Inspirations

Bulgakov's novel draws heavily from three primary sources: the Bible, the Faust legend, and the works of Nikolai Gogol. The biblical influence is evident in the Master's novel, which reimagines the Gospels through the character of Yeshua-Ha-Nozri. Unlike the traditional portrayal of Jesus, Yeshua is presented as a more human, fallible character, reflecting a distinctly Russian interpretation that emphasizes Christ's suffering humanity. This perspective aligns with themes found in Fyodor Dostoevsky’s works, which often explore the same dichotomy.

The Faustian elements, though less overt, are woven into the fabric of the narrative through characters like Margarita and Woland. Margarita mirrors Goethe’s Margaret, Faust's love interest, while Woland echoes Mephistopheles, drawing inspiration from a childhood memory of Charles Gounod’s operatic version of the Faust legend. Bulgakov uses these sources not as strict templates but as creative springboards, often diverging significantly from the originals to craft his own narrative path.

Gogol’s influence is evident in the novel’s phantasmagorical and grotesque elements. Stories like "The Overcoat" and "The Nose" exemplify Gogol's mastery of the absurd, a style Bulgakov reinterprets in his own work. Additionally, lesser-known works such as A. V. Chayanov’s novella, Venediktov, introduce themes of satanic intervention in Moscow, a plot device mirrored in Bulgakov's narrative.

Complex Structure

The Master and Margarita employs a sophisticated story-in-story structure, intertwining narratives from different epochs. The chapters about Pontius Pilate are seamlessly integrated into the main storyline, unfolding in a cohesive sequence over four days. These Pilate chapters break traditional narrative boundaries, emerging from the imaginations of various characters. Chapter two is a tale told by Woland, chapter sixteen unfolds in Margarita’s dream, and chapters twenty-five and twenty-six are excerpts from the Master’s novel. Despite their varied origins, Bulgakov unifies them with a consistent narrative voice, highlighting the characters' shared thoughts and experiences.

Mennipean Satire

Bulgakov’s novel fits within the tradition of Mennipean Satire, a form known for its blend of prose and verse to parody societal pretensions. This tradition, originating with the philosopher Menippus, mocks the follies of the elite and intellectual posturing. Bulgakov's work stands alongside other notable Mennipean Satires like Alexander Pope’s Dunciad and Aldous Huxley’s Brave New World. During the Soviet era, Aleksandr Solzhenitsyn also adopted this form to critique the system.

Symbolism and Themes

Symbolism permeates The Master and Margarita, linking diverse plotlines and enriching the narrative. The sun and the moon play pivotal roles, serving as observers of the unfolding drama. Sunset heralds the introduction of the devil, while Pontius Pilate’s torment by the sun contrasts with the moonlight-induced madness experienced by the Master and Ivan. These celestial bodies symbolize the tension between logic and the subconscious.

Thunderstorms punctuate critical moments, such as Yeshua’s crucifixion and the novel’s climax in Moscow, representing a cultural and emotional catharsis. Other symbols, like foreign currency and the blood-red wine, critique Soviet ideologies and individual moral struggles. The empty suit and the ceaseless song signify the absurdity of bureaucratic machinery.

A Flight of Fancy

The Master and Margarita thrives on its blend of the fantastic and the real, predating the anti-realism movement of Latin American literature. Its narrative spans nearly 2,000 years, with Pontius Pilate’s story in ancient Jerusalem and the Master’s tale in twentieth-century Moscow. Woland’s storyline transcends these temporal and spatial boundaries, unifying the disparate elements into a timeless dimension in the novel’s conclusion.

The final meeting of the Master with Pilate, facilitated by Woland, blurs the line between fiction and reality, showcasing Bulgakov’s innovative narrative style. This intricate melding of history and fantasy marks The Master and Margarita as a landmark of twentieth-century literature, celebrated for its imaginative breadth and narrative complexity.

1968: As the Vietnam War unfolded on television screens, Americans grew increasingly distrustful of their government. Horrific events, such as the massacre of hundreds of Vietnamese men, women, and children in the village of My Lai, caused Americans to feel as alienated from their government as the citizens of Moscow felt in The Master and Margarita.

Today: Americans remain wary of the government's honesty and competence, resulting in widespread skepticism toward any military intervention.

1968: Alexander Dubcek, the newly appointed secretary of the Communist Party of Czechoslovakia, refused to attend conferences in Warsaw and Moscow. To maintain control over the satellite Communist states, the Soviet Union deployed 200,000 troops into Czechoslovakia.

Today: Czechoslovakia no longer exists. Following the dissolution of the Soviet Union, it split into two separate republics: The Czech Republic, with Prague as its capital, and Slovakia, with Bratislava as its capital.

1968: Race riots erupted in many major U.S. cities after the assassination of Martin Luther King Jr. in Memphis. Nationwide, a total of 21,270 arrests were made, and 46 people lost their lives during the riots.

Today: Many social scientists regard the persistent racial divisions as America's most significant social failure.

Many of the stylistic elements found in The Master and Margarita—such as grotesque imagery, dark satire, and the fantastic—can also be seen in other works by Bulgakov. Chief among these are Black Snow: A Theatrical Novel (1967), The Heart of a Dog (1968), The Fatal Eggs, and "Diaboliad" (1925). A recurring theme in all of these works is the presentation of the fantastic as a completely natural phenomenon. The devil is depicted as a very real entity, and his powers have tangible effects on the characters' lives in each story.

Themes and early character prototypes from The Master and Margarita appear throughout Bulgakov's body of work. These include poets who seem unworthy of their talent, women willing to make extreme sacrifices for their loved ones, and heroes who fail to understand their own times. Themes of cowardice and weak-heartedness are also present. All these elements can be found in Bulgakov's first novel, The White Guard (1924-1929). Bulgakov's conflicts with the literary establishment, similar to those faced by the Master, are detailed extensively in Black Snow: A Theatrical Novel. Additionally, references to specific locations in Moscow in "Diaboliad" elevate the city to the status of a genuine literary character, much like in The Master and Margarita. The absurdities of the housing shortage in Moscow, as depicted in The Master and Margarita, were foreshadowed in his early short story "A Treatise on Housing." The theme of state terror is a crucial part of The Heart of a Dog. Bulgakov's favorite character, the devil, appears in almost all of his prose works in various forms.

• The Master and Margarita film adaptation, directed by A. Petrovic in 1973, Yugoslav production.
• Pilate and Others film adaptation, directed by Andrzej Wajda in 1974, Polish production.
• Stage adaptation of the Pontius Pilate chapters in Leningrad, early 1970s, by an amateur group.
• Moscow stage production of The Master and Margarita, directed by Yuri Liubimov at the Taganka Theater in 1977; this was the first professional and full staging in Moscow.
• Opera adaptation titled Volandt prepared in England, shortly after the first Moscow production.
• American stage performance of The Master and Margarita in New York in 1978, directed by Andrei Serban.
• 1988 video adaptation of The Master and Margarita, directed by Alexandra Petrovich, released by SBS.
• Video Incident in Judea, directed by Paul Bryers, released by SBS in 1992, based on material from The Master and Margarita.
• Polish video version Mistrz i Malgorzata, directed and written by Maciej Wojtyszko, released on four video cassettes by Contal International in 1990, with English subtitles.
• Audio cassette adaptation of The Master and Margarita by IU Liubimov, released by Theater Works in 1991.
• Audio compact disc Master and Margarita: Eight Scenes from the Ballet, released by Russian Discs in 1995.

Sources

Mikhail Bulgakov, The Master and Margarita, translated by Diana Burgin and Katherine Tiernan O'Connor, Vintage Books, 1995.

Donald Fanger, "Rehabilitation Experimentalist," in The Nation, January 22, 1968, pp. 117-18.

Edythe C. Haber, "The Mythic Structure of Bulgakov's 'The Master'," in The Russian Review, October 1975, pp. 382-409.

Pierre S. Hart, "The Master and Margarita as Creative Process," in Modern Fiction Studies, Summer 1973, pp. 169-78.

Vladimir Lakshin, "Mikhail Bulgakov's The Master and Margarita," in Twentieth-Century Russian Literary Criticism, Yale University Press, 1975, pp. 247-83.

D.G.B. Piper, "An Approach to Bulgakov's The Master and Margarita," in Forum for Modern Language Studies, Volume VII, No. 2, April 1971, pp. 134-37.

Gleb Struve, Soviet Russian Literature, The University of Oklahoma Press, 1935.

Gleb Struve, "The Re-Emergence of Mikhail Bulgakov," in The Russian Review, July 1968, pp. 338-43.

For Further Study

J.A.E. Curtis, Manuscripts Don't Burn: Mikhail Bulgakov, a Life in Letters and Diaries, Overlook Press, 1992.
A renowned Bulgakov scholar narrates the author's life through his letters and diaries, filling in gaps where necessary but primarily presenting previously lost personal documents.

Arnold McMillian, "The Devil of a Similarity: The Satanic Verses and Master i Margarita," in Bulgakov: The Novelist-Playwright, edited by Leslie Milne, Harwood Academic Publishers, 1995, pp. 232-41.
Compares The Satanic Verses with The Master and Margarita.

Nadine Natov, Mikhail Bulgakov, Twayne Publishers, 1985.
Explores the life of Mikhail Bulgakov.

Ellendea Proffer, Bulgakov, Ardis Press, 1984.
A thorough study of Bulgakov's life and works.

Joel C. Relihan, Ancient Menippean Satire, Johns Hopkins University Press, 1993.
Examines the history of Menippean satire.

Kalpana Sahni, A Mind in Ferment: Mikhail Bulgakov's Prose, Humanities Press, Inc., 1986.
Analyzes Bulgakov's writings, including The Master and Margarita.