Parallels between Roman times and Soviet Russia
In The Master and Margarita, Bulgakov subtly yet clearly draws parallels between the social and political climates of ancient Rome and Soviet Russia. The experiences of Yeshua-Ha-Nozri (Bulgakov's representation of Jesus) under Pontius Pilate parallel the Master's experiences with his literary critics, which in turn reflect Bulgakov's own challenges with the Moscow literary community. Both societies are rife with betrayal and informants. On the other hand, themes of moral responsibility and love as a redemptive power capable of overcoming depravity and evil are central, particularly illustrated by Margarita. Every character and event in Bulgakov's novel is interconnected, highlighting that no action, whether considered "good" or "evil," exists in moral isolation.
Satirical critique of Soviet society
Bulgakov frequently provides incisive satirical critiques of everyday life in Moscow, touching on problems like housing shortages, the fear of police repression, bureaucratic inefficiency, and the ongoing greed and scheming in the "new" Soviet society. These critiques predominantly appear in episodes involving Woland and his entourage, and to a lesser degree, in scenes with the Master and Margarita. At the same time, Bulgakov delves into broader universal themes found in his previous works, such as the nature of history, moral dilemmas, divine justice, and the essence of courage and cowardice, which are crucial throughout the novel.
Literature and novel-writing
Literature and novel-writing are pivotal themes in The Master and Margarita. In a moment of deep despair, the Master—a character who authors the four Pontius Pilate chapters woven throughout The Master and Margarita—destroys his manuscript and admits himself to an asylum. (Interestingly, Bulgakov himself had once burned an early draft of his own novel.) Eventually, the Master learns that his manuscript survived when Woland reveals that "manuscripts can't burn." This scene is among the novel's most famous, and the idea of whether manuscripts can be obliterated or lost under a totalitarian regime (or any regime, for that matter) has emerged as a recurring theme in Russian literature. As a result, the question "Can manuscripts burn?" has achieved an almost proverbial status in Russian literary criticism.
Absurdity
The antics of the devil, Woland, and his entourage in Moscow initially seem to lack any discernible purpose. From the beginning, when Woland accurately predicts the unlikely circumstances of Berlioz's decapitation, to the climax where Behemoth engages in a shootout with the entire police force, their actions appear to be driven solely by a love for chaos. However, over time, a pattern becomes apparent in their mischief, as they target individuals who are greedy and seek easy gains. For example, when Bosoi, the chairman of the tenants' association, accepts a bribe, Woland instructs Korovyov to "make sure he doesn't come here again." Bosoi is then arrested, serving as a consequence for his misuse of power.
Similarly, the audience at Woland's black magic show is delighted by a shower of money, only to realize the following day that they are left with worthless pieces of paper. Additionally, women who believed they were receiving lavish new clothes find themselves stranded in the streets wearing only their underwear. Although these tricks may seem cruel and pointless, the victims' obsession with material wealth blinds them to reality.
Guilt and Innocence
The narrative of Pontius Pilate delves into deep questions about guilt and innocence. As the Procurator of Judea and a representative of the Roman government in Israel, Pilate is responsible for judging those detained by the Israelis. In the case of Yeshua, Pilate experiences profound remorse for sentencing him to death. During his conversation with Yeshua, Pilate's conscience is awakened; he becomes intrigued by the idea of acceptance but, due to his official role, cannot fully embrace it or ignore the concept of evil....
(This entire section contains 155 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
Pilate's guilt for condemning an innocent person is intensified by reports that Yeshua, at the time of his death, blamed no one for his fate and "regarded cowardice as one of the worst human sins." To ease his guilt, Pilate orders the execution of Judas, the man who betrayed Yeshua. Despite this, Pilate remains perpetually troubled; "there is no peace for him by moonlight and ... his duty is a hard one."
Good and Evil
Traditionally, the devil is seen as the embodiment of evil, with any perceived advantages of aligning with him being misleading. In The Master and Margarita, however, the devil is portrayed somewhat differently. Although he manipulates those he encounters by giving them money and goods that later disappear, he does not damn any souls to hell. Instead, Bulgakov's devil fulfills a request from Yeshua by leaving the world with the souls of the Master and Margarita, who are then given a cottage in the afterlife where they can remain together for eternity. The true villainy in this book stems from the literary establishment, which ruins the Master, indulges in lavish excess, and collaborates with the oppressive Soviet regime. In contrast, the actions of Woland and his associates might be perceived more positively, as they could potentially lead individuals toward self-betterment. Nevertheless, most of Satan's victims attribute their misfortune to hypnotism, blaming the devil for their troubles instead of themselves.
As for Jesus, the novel depicts him as a minor character caught in a political struggle. Unlike the biblical Jesus, who is a revered prophet with twelve disciples and large crowds eager to hear him speak, Yeshua has only one follower, Levi Matvei, who is so unstable that even Yeshua feels uncomfortable around him. Rather than preaching a message 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, find themselves in a mental institution under the care of Dr. Stravinsky, while individuals with less talent indulge in extravagant meals and revel in dance bands at Griboyedov House. The damage inflicted by these false artists goes beyond mere greed and laziness: when the Master releases his novel, established writers mock both him and his work before the public even gets a chance to read it. This negative reception doesn't impact the Master financially—he is independently wealthy due to a lottery win—but it shatters his artistic spirit, driving him to madness.
As a result, he burns his manuscript and wanders aimlessly in the cold, eventually ending up in the asylum. Even in his insanity, the Master remains self-aware: he understands that he has lost his identity and doubts he could survive outside the institution. He has endured so much for creating a genuine 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 admits, expressing his hatred for the novel because "I have been through too much for it."
When Ivan first encounters the Master, the Master advises him to stop writing poetry, and Ivan agrees to this suggestion. As the Master leaves, he refers to Ivan as "my protégé." By the story's end, Ivan has become a historian, assuming the same role the Master once held before his novel about Pontius Pilate dramatically changed his life.
Connection between the real artist and transcendental truth
Mikhail Bulgakov’s novel, "The Master and Margarita," serves as a rich tapestry interwoven with multiple plotlines and themes, offering a profound exploration of human interests and societal dynamics. At the heart of this multifaceted narrative lies the intricate relationship between the true artist and the pursuit of transcendental truth. This connection is poignantly illustrated through the Master’s novel, which, while recognized by otherworldly figures, remains a testament to the enduring spirit of creativity confronting an often hostile society.
The novel delves deeply into the fate of artists who find themselves in discord with societal norms. Characters like the Master and Bezdomny endure considerable suffering, serving as representations of artists whose work transcends their mortal struggles. This echoes Bulgakov’s assertion that "manuscripts don’t burn," affirming the permanence of art despite the ephemeral nature of its creators. However, the Master’s personal journey also underscores the necessity of perseverance; his ultimate failure to continue writing leaves him with only the peace of rest, not the redemption he might have sought through his art.
Within this complex narrative, Bulgakov critiques the unfulfilled promises of revolutionary ideals. The infamous magic show in Moscow reveals a society driven by greed and consumerism, exposing the cracks in the Soviet ethos of equality and material austerity. Yet, amid this societal critique, the novel also celebrates the virtues of loyalty, generosity, love, and compassion. Margarita's steadfast love and sacrifice embody an ideal form of love, offering a glimmer of hope and humanity in a world fraught with suffering.
Bulgakov further examines the necessity of courage in confronting violence. Pontius Pilate's eternal suffering acts as a cautionary tale about the repercussions of failing to challenge wrongdoing. Characters like Mark Muribellum exemplify the dehumanizing effects of power when detached from faith, while those who betray the Master epitomize the depths of human depravity, illustrating a profound disdain for hypocrisy, fanaticism, and deceit.
The narrative closes with a poignant reflection on acceptance and mortality. The lyrical epilogue explores the inevitability of death, encouraging a tragic yet serene acceptance of fate. Yet, through it all, Bulgakov affirms the enduring theme of free will, emphasizing that each character's choices are their own, underscoring the perpetual responsibility each individual bears for their actions.
Through "The Master and Margarita," Bulgakov offers a penetrating critique of Soviet society, a meditation on the value of art, and a nuanced definition of morality and faith. The novel paints a vivid picture of the ideal life while providing a complex, often unsettling response to the presence of evil and suffering in the human condition. This confluence of themes not only enriches the narrative but also leaves readers pondering the profound truths embedded within its pages.
Acceptance of the necessity of evil
In the enigmatic character of Woland, Mikhail Bulgakov delves deeper than mere social or moral questions, illustrating a poignant acceptance of evil’s necessity as a means to foster an appreciation for truth. This truth, he suggests, is essential for cultivating justice and faith. Through the novel’s epigraph from Faust, readers are encouraged to perceive darkness as an integral aspect of light, and to regard death and suffering as unavoidable facets of existence. Bulgakov's persistent revisions of the novel until his own impending death underscore a profound reconciliation with mortality. This lends the work a significant philosophical depth.
Despite this, Bulgakov was not an adherent to systematic philosophical doctrines. In fact, the novel represents his definitive repudiation of the rationalist and materialist worldview imposed by the Bolsheviks on Russian society. Through Woland and the thematic exploration of good and evil, Bulgakov critiques the oversimplification of reality by the ruling ideology, championing a more nuanced understanding of human existence where the coexistence of light and dark is both necessary and inevitable.
