Themes and Meanings
Multiple plots yield multiple meanings. Mikhail Bulgakov’s enduring topics, brought to their greatest formulation in this novel, are many. They include the connection between the real artist and transcendental truth (the Master’s novel is known to the transcendental figures); the fate of the artist, who is ordinarily at odds with society (the Master and Bezdomny suffer in society, but “manuscripts don’t burn,” and their work will last, though the artists themselves die); the necessity for perseverance in one’s work (the Master may achieve only rest, not absolution, because he ceases his writing); the failure of the idealistic aims of the revolution (the magic show reveals that the Soviet people are greedy for consumer goods); the importance of loyalty, generosity, love, and compassion in a world of suffering (Margarita’s choices represent ideal love); the imperative for courage in challenging violence (Pilate suffers purgatory for his failure); the abuse of power which is not based on faith (Mark Muribellum, Pilate’s strong man, has become inhuman in his practice of violence); the true creator’s hatred of hypocrisy, fanaticism, self-seeking, and lying (the man who informs on the Master is the nadir of human character); the acceptance of one’s fate and death (the lyrical epilogue on the coming of death communicates tragic acceptance); and humanity’s freedom of will (each of the characters chooses his behavior; responsibility always remains with the individual). Such a list suggests the diversity of theme in this extraordinarily rich novel, but it by no means exhausts the possible meanings. The reader comes away from the novel with an appreciation of the nature of Soviet society’s shortcomings, the value of art, Bulgakov’s definition of morality and faith, an image of the good life, and a complex reaction to evil and suffering.
In the ambiguous figure of Woland, Bulgakov goes beyond the purely social and moral issues to express his painful acceptance of the necessity of evil in the world to generate an appreciation of truth, which alone can lead to justice and faith. The epigraph from Faust invites the reader to see the dark as a part of the light, death and suffering as an inevitable part of life. Since Bulgakov continued to revise the novel until his own long-foreseen death, the coming to terms with death resonates deeply, and the philosophical dimension of the novel emerges. Yet Bulgakov rejected systematic philosophical positions; indeed, the novel is his ultimate rejection of the rationalist, materialist approach to reality that the Bolsheviks brought into Russian life.
Themes
Last Updated August 22, 2024.
Absurdity
The antics of the devil, Woland, and his entourage in Moscow appear to be
executed without any clear purpose. From the outset, when Woland accurately
foretells the improbable circumstances of Berlioz's decapitation, to the finale
where Behemoth engages in a gunfight with the entire police force, their
actions seem driven purely by a desire for mischief. However, over time, a
pattern emerges in their trickery, targeting those who are greedy and seek
unearned rewards. For instance, when a bribe is given to Bosoi, the chairman of
the tenants' association, Woland instructs Korovyov to "fix it so that he
doesn't come here again." Bosoi is subsequently arrested, serving as punishment
for his abuse of power. Similarly, the audience at Woland's black magic show is
thrilled by a shower of money, only to discover the next day that they are left
holding blank pieces of paper. Additionally, the women who believed they were
receiving luxurious new clothes find themselves in the streets in their
underwear. Although these deceptions may seem mean-spirited and pointless, the
victims' preoccupation with material wealth blinds them to the truth.
Guilt and Innocence
Pontius Pilate's story raises profound questions about guilt and innocence. As
the Procurator of Judea and the Roman government's representative in Israel,
Pilate is tasked with judging those arrested by the Israelis. In Yeshua's case,
Pilate feels a deep sense of guilt for sentencing him to death. During his
interview with Yeshua, Pilate's conscience is stirred; he is intrigued by the
notion of acceptance but, due to his position, cannot fully embrace it or
disregard the concept of evil. Pilate's guilt over condemning an innocent man
is exacerbated by reports that Yeshua, at his death, blamed no one for his fate
and "regarded cowardice as one of the worst human sins." To alleviate his
guilt, Pilate orders the execution of Judas, the man who betrayed Yeshua.
Nonetheless, Pilate remains eternally troubled; "there is no peace for him by
moonlight and ... his duty is a hard one."
Good and Evil
Traditionally, the devil is viewed as the personification of evil, with any
perceived benefits from associating with him being deceptive. In The Master
and Margarita, the devil is depicted somewhat differently. While he
exploits the people he encounters, offering them money and goods that later
vanish, he doesn't condemn any souls to hell. Instead, Bulgakov's devil
fulfills a request from Yeshua: he departs the world with the souls of the
Master and Margarita, who are then granted a cottage in the afterlife where
they can be together forever. The true malevolence in this book comes from the
literary establishment, which destroys the Master, indulges in excessive
luxury, and collaborates with the oppressive Soviet regime. In contrast, the
actions of Woland and his associates might be seen in a somewhat positive
light, as they could potentially lead people to self-improvement. Yet, most of
Satan's victims blame their misfortunes on hypnotism, attributing their
troubles to the devil rather than themselves.
Regarding Jesus, the novel presents him as a minor figure caught in a political conflict. Unlike the biblical Jesus, who is a revered prophet with twelve disciples and large crowds gathering to hear him speak, Yeshua has only one follower, Levi Matvei, who is so unstable that even Yeshua feels uneasy around him. Instead of preaching a gospel of love, Yeshua offers a psychological insight: "there are no evil people on earth."
Artists and Society
In the book, the true artists, the Master and Ivan, end up in a mental
institution under Dr. Stravinsky's care, while less talented individuals
indulge in lavish meals and enjoy dance bands at Griboyedov House. The harm
caused by false artists extends beyond mere greed and laziness: when the Master
publishes his novel, established writers ridicule him and his work before the
public even has a chance to read it. This negative reception doesn't affect the
Master financially—he is independently wealthy from winning the lottery—but it
devastates his artistic spirit, driving him to madness. Consequently, he burns
his manuscript and wanders aimlessly in the cold, eventually being admitted to
the asylum. Even in his insanity, the Master is self-aware: he recognizes that
he has lost his identity and doubts he could survive outside the asylum. He has
suffered so much for creating a true work of art that when Woland restores his
burned manuscript, he hesitates to accept it: "I have no more dreams and my
inspiration is dead," he says, admitting he hates the novel because "I have
been through too much for it."
When Ivan first meets the Master, the Master advises him to stop writing poetry. Ivan agrees to this request. As the Master departs, he refers to Ivan as "my protégé." By the story's conclusion, Ivan has become a historian, taking on the same role the Master once held before his novel about Pontius Pilate significantly altered his life.