The Master and Margarita

Allusions and references to other works

The novel is influenced by the Faust legend, particularly the first part of the Goethe interpretation, The Devil's Pact, which goes back to the 4th century; Christopher Marlowe's Dr Faustus (where in the last act the hero cannot burn his manuscript or receive forgiveness from a loving God); and the libretto of the opera whose music was composed by Charles Gounod. Also of influence is Louis Hector Berlioz who wrote the opera La damnation de Faust. In this opera there are four characters: Faust (tenor), the devil Méphistophélès (baritone), Marguerite (mezzo-soprano) and Brander (bass). And also the Symphonie Fantastique where the hero dreams of his own decapitation and attending a witches' sabbath. In addition, allusions are made to the work of Igor Stravinsky numerous times: prominent character and clinic head Doctor Stravinsky shares the composer's name, and references to specific compositions are made in the novel.[27]

Satirical poetics of Nikolai Gogol and Mikhail Saltykov-Shchedrin are seen as an influence, as is the case in other Bulgakov novels. Bulgakov perceived and embodied the principles of Gogol's and Saltykov-Shchedrin's world perception through the comic mixing of absurd, ghostly and real. Technical progress and the rapid development of mechanized production in the 20th century, combined with the satirical motive of primitivism, characteristic of Russian literature, left an imprint on the nature of Bulgakov's grotesque.

The dialogue between Pontius Pilate and Yeshua Ha-Notsri is strongly influenced by Fyodor Dostoyevsky's parable "The Grand Inquisitor" from The Brothers Karamazov.[28] The "luckless visitors chapter" refers to Tolstoy's Anna Karenina: "everything became jumbled in the Oblonsky household". The theme of the Devil exposing society as an apartment block, as it could be seen if the entire façade would be removed, has some precedents in El diablo cojuelo (1641, The Lame Devil or The Crippled Devil) by the Spaniard Luís Vélez de Guevara. (This was adapted to 18th-century France by Alain-René Lesage's 1707 Le Diable boiteux.)


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