The fur bristled on the cat’s back, and he gave a rending miaow. The most memorable sequences for most readers will likely involve Woland’s troupe’s antics, including their wild performance at the Variety Theatre, which climaxes in this bit of comic violence before culminating in a rush of greed and gratuitous nudity:Īnd an unheard-of thing occurred. Woland’s retinue, in particular his cat Behemoth (who seems to grace-can that be the right verb?-the covers of most editions of the novel), imbue the novel with a compelling manic energy. Indeed, the realities of life in the Soviet police state (“No papers, no person”) come across as far scarier than the supernatural characters of The Master and Margarita. The paranoid comedy edges quickly into horror though as the reality of living in such confined spaces and under such controlled surveillance bleeds into Bulgakov’s fantasy. Bulgakov elides the secret police from the reader, a brilliant rhetorical move that heightens the book’s paranoia. This aspect of the narrative is full of disappearances characters are taken away forever by the secret police. The Pilate story, which passes through a succession of narrators, finally joins the Moscow story at the end, when the fates of Pilate and the master are simultaneously decided.Īs you might gather from its translator’s descriptions, there’s a lot going on in The Master and Margarita.īulgakov satirizes early Soviet life, particularly focusing on the phonies and fops who populate Moscow’s art scene. The Moscow story includes a whole array of minor characters. The Pilate story is condensed into four chapters and focused on four or five large-scale figures. Its central characters are Woland (Satan) and his retinue, the poet Ivan Homeless, Pontius Pilate, an unnamed writer known as ‘the master’, and Margarita. The novel in its definitive version is composed of two distinct but interwoven parts, one set in contemporary Moscow, the other in ancient Jerusalem (called Yershalaim). Pevear also offers a concise (if mechanical) summary: The qualities of the novel itself - its formal originality, its devastating satire of Soviet life, and of Soviet literary life in particular, its ‘theatrical’ rendering of the Great Terror of the thirties, the audacity of its portrayal of Jesus Christ and Pontius Pilate, not to mention Satan. Removed Tts_version 4.In his introduction to Mikhail Bulgakov’s novel The Master and Margarita, Richard Pevear (who translated the book with Larissa Volokhonsky) notes OL676009W Page_number_confidence 96.24 Pages 534 Pdf_module_version 0.0.17 Ppi 360 Rcs_key 24143 Republisher_date 20210813200449 Republisher_operator Republisher_time 1409 Scandate 20210811203839 Scanner Scanningcenter cebu Source OL28595250M Openlibrary_subject openlibrary_staff_picks Openlibrary_work Urn:lcp:mastermargarita0000bulg_y9o0:lcpdf:0feb0d72-4dfe-4e24-8f5f-20deda38ae9c Foldoutcount 0 Identifier mastermargarita0000bulg_y9o0 Identifier-ark ark:/13960/t0zq66z5f Invoice 1652 Isbn 9780241259320Ġ241259320 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.14 Ocr_parameters -l eng Old_pallet IA-NS-1300191 Openlibrary_edition Access-restricted-item true Addeddate 14:07:01 Associated-names Pevear, Richard, 1943- translator Volokhonsky, Larissa, translator Boxid IA40211805 Camera USB PTP Class Camera Collection_set printdisabled External-identifier
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