THE MASTER AND MARGARITA
‘... who are you, then?’
‘I am part of that power which eternally wills evil and eternally works good.’
MIKHAIL BULGAKOV was born in Kiev in May 1891. He studied and briefly practised medicine and, after indigent wanderings through revolutionary Russia and the Caucasus, he settled in Moscow in 1921. His sympathetic portrayal of White characters in his stories, in the plays The Days of the Turbins (The White Guard), which enjoyed great success at the Moscow Art Theatre in 1926, and Flight (1927), and his satirical treatment of the officials of the New Economic Plan, led to growing criticism, which became violent after the play The Purple Island. His later works treat the subject of the artist and the tyrant under the guise of historical characters, with plays such as Molière, staged in 1936, Don Quixote, staged in 1940, and Pushkin, staged in 1943. He also wrote a brilliant biography, highly original in form, of his literary hero, Molière, but The Master and Margarita, a fantasy novel about the devil and his henchmen set in modern Moscow, is generally considered his masterpiece. Fame, at home and abroad, was not to come until a quarter of a century after his death at Moscow in 1940.
RICHARD PEVEAR and LARISSA VOLOKHONSKY have produced acclaimed translations of works by Mikhail Bulgakov, Fyodor Dostoyevsky, Nikolai Gogol, Anton Chekhov, and Leo Tolstoy. They have twice won the PEN/Book-of-the-Month Club Translation Prize for Dostoevsky’s The Brothers Karamazov and for Tolstoy’s Anna Karenina. Their translations of Tolstoy’s What Is Art? and Anna Karenina are published in Penguin Classics. Pevear, a native of Boston, and Volokhonsky, of St. Petersburg, and married to each other and live in Paris.
First published as Master i Margarita in serial form in Moskva, 1966-7
Text copyright © Mikhail Bulgakov, 1966, 1967
Translation copyright © Richard Pevear and Larissa Volokhonsky, 1997
BOOK ONE
CHAPTER 1
Never Talk with Strangers
At the hour of the hot spring sunset two citizens appeared at the Patriarch’s Ponds.[2] One of them, approximately forty years old, dressed in a grey summer suit, was short, dark-haired, plump, bald, and carried his respectable fedora hat in his hand. His neatly shaven face was adorned with black horn-rimmed glasses of a supernatural size. The other, a broad-shouldered young man with tousled reddish hair, his checkered cap cocked back on his head, was wearing a cowboy shirt, wrinkled white trousers and black sneakers.
The first was none other than Mikhail Alexandrovich Berlioz,[3] editor of a fat literary journal and chairman of the board of one of the major Moscow literary associations, called Massolit[4] for short, and his young companion was the poet Ivan Nikolaevich Ponyrev, who wrote under the pseudonym of Homeless.[5]
Once in the shade of the barely greening lindens, the writers dashed first thing to a brightly painted stand with the sign: ‘Beer and Soft Drinks.’
Ah, yes, note must be made of the first oddity of this dreadful May evening. There was not a single person to be seen, not only by the stand, but also along the whole walk parallel to Malaya Bronnaya Street. At that hour when it seemed no longer possible to breathe, when the sun, having scorched Moscow, was collapsing in a dry haze somewhere beyond Sadovoye Ring, no one came under the lindens, no one sat on a bench, the walk was empty.
‘Give us seltzer,’ Berlioz asked.
‘There is no seltzer,’ the woman in the stand said, and for some reason became offended.
‘Is there beer?’ Homeless inquired in a rasping voice.
‘Beer’ll be delivered towards evening,’ the woman replied.
‘Then what is there?’ asked Berlioz.
‘Apricot soda, only warm,’ said the woman.
‘Well, let’s have it, let’s have it! ...’
The soda produced an abundance of yellow foam, and the air began to smell of a barber-shop. Having finished drinking, the writers immediately started to hiccup, paid, and sat down on a bench face to the pond and back to Bronnaya.
Here the second oddity occurred, touching Berlioz alone. He suddenly stopped hiccuping, his heart gave a thump and dropped away somewhere for an instant, then came back, but with a blunt needle lodged in it. Besides that, Berlioz was gripped by fear, groundless, yet so strong that he wanted to flee the Ponds at once without looking back.
Berlioz looked around in anguish, not understanding what had frightened him. He paled, wiped his forehead with a handkerchief, thought: ‘What’s the matter with me? This has never happened before. My heart’s acting up ... I’m overworked ... Maybe it’s time to send it all to the devil and go to Kislovodsk ...’[6]
And here the sweltering air thickened before him, and a transparent citizen of the strangest appearance wove himself out of it. A peaked jockey’s cap on his little head, a short checkered jacket also made of air ... A citizen seven feet tall, but narrow in the shoulders, unbelievably thin, and, kindly note, with a jeering physiognomy.
The life of Berlioz had taken such a course that he was unaccustomed to extraordinary phenomena. Turning paler still, he goggled his eyes and thought in consternation: ‘This can’t be!...’
But, alas, it was, and the long, see-through citizen was swaying before him to the left and to the right without touching the ground.
Here terror took such possession of Berlioz that he shut his eyes. When he opened them again, he saw that it was all over, the phantasm had dissolved, the checkered one had vanished, and with that the blunt needle had popped out of his heart.
‘Pah, the devil!’ exclaimed the editor. ‘You know, Ivan, I nearly had heatstroke just now! There was even something like a hallucination ...’ He attempted to smile, but alarm still jumped in his eyes and his hands trembled. However, he gradually calmed down, fanned himself with his handkerchief and, having said rather cheerfully: ‘Well, and so ...’ went on with the conversation interrupted by their soda-drinking.
This conversation, as was learned afterwards, was about Jesus Christ. The thing was that the editor had commissioned from the poet a long anti-religious poem for the next issue of his journal. Ivan Nikolaevich had written this poem, and in a very short time, but unfortunately the editor was not at all satisfied with it. Homeless had portrayed the main character of his poem — that is, Jesus — in very dark colours, but nevertheless the whole poem, in the editor’s opinion, had to be written over again. And so the editor was now giving the poet something of a lecture on Jesus, with the aim of underscoring the poet’s essential error.
It is hard to say what precisely had let Ivan Nikolaevich down — the descriptive powers of his talent or a total unfamiliarity with the question he was writing about — but his Jesus came out, well, completely alive, the once-existing Jesus, though, true, a Jesus furnished with all negative features.
Now, Berlioz wanted to prove to the poet that the main thing was not how Jesus was, good or bad, but that this same Jesus, as a person, simply never existed in the world, and all the stories about him were mere fiction, the most ordinary mythology.
It must be noted that the editor was a well-read man and in his conversation very skilfully pointed to ancient historians — for instance, the famous Philo of Alexandria[7] and the brilliantly educated Flavius Josephus[8] — who never said a word about the existence of Jesus. Displaying a solid erudition, Mikhail Alexandrovich also informed the poet, among other things, that the passage in the fifteenth book of Tacitus’s famous Annals,[9] the forty-fourth chapter, where mention is made of the execution of Jesus, was nothing but a later spurious interpolation.
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The epigraph comes from the scene entitled ‘Faust’s Study’ in the first part of the drama
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