The Master and Margarita Mikhail Bulgakov

Contemporary Russians

The Master

An author who wrote a novel about the meeting of Pontius Pilate and Yeshua Ha-Notsri (Jesus of Nazareth), which was rejected by the Soviet literary bureaucracy, ruining his career. He is "detained for questioning" for three months by the secret police because of a false report by an unscrupulous neighbor. Later, having been driven to the point of insanity by the critics (as the Master describes in Chapter 13), he is committed to a psychiatric clinic, where Bezdomny meets him. Little else is given about this character's past other than his belief that his life began to have meaning when he met Margarita. Underscoring this point, the Master wears a hat with an "M" on it, made for and given to him by Margarita. The Master claims that he renounced his own name, further demonstrating his symbolic identity. The Master is an author surrogate for Bulgakov himself, as he represents Bulgakov's own struggles with censorship, criticism and stifled creativity in the Soviet Union. Further underscoring The Master's role as Bulgakov's shadow, The Master's title allegedly stems from a nickname that the United States Ambassador to the Soviet Union William Bullitt coined for Bulgakov.

Margarita

The Master's lover. Trapped in a passionless marriage, she devotes herself to the Master. She is invited by Azazello to serve as the hostess of Satan's Grand Ball on Walpurgis Night. Margarita agrees as she believes this step may save her love. Her character is believed to have been inspired by Bulgakov's last wife, Elena Bulgakova, whom he called "my Margarita".[16] He may also have been influenced by Faust's Gretchen, whose full name is Margarita, as well as by Queen Marguerite de Valois. The latter is featured as the main character of the opera Les Huguenots by Giacomo Meyerbeer, which Bulgakov particularly enjoyed, and Alexandre Dumas' novel, La Reine Margot. In these accounts, the queen is portrayed as daring and passionate.

Mikhail Alexandrovich Berlioz

The Chairman of the literary bureaucracy MASSOLIT. He bears the last name (Берлиоз) of French composer Hector Berlioz, who wrote the opera The Damnation of Faust. Berlioz is a loyal supporter of the Stalinist regime and the ideology it purports. Following Soviet atheism, he insists to Ivan Nikolayevich Ponyryov that the Gospel Jesus was a mythical figure with no historical basis. Woland intervenes in this conversation, and later predicts that Berlioz will be decapitated by a young Soviet woman, which comes to pass when he slips on oil spilled by "Annushka" and is subsequently run over (and beheaded) by a tram.

Ivan Nikolayevich Ponyryov (Bezdomny)

A young, aspiring poet. His pen name, Bezdomny (Иван Бездомный), means "homeless". Initially a willing tool of the MASSOLIT apparatus, he is transformed by the events of the novel. After witnessing the unfolding of Woland's prediction--Berlioz's death, he embarks on a wild chase around Moscow in search of Woland and his entourage. However, he leads himself to a communal apartment and later to the Moscow River, where he engages in a symbolic self-baptism. Unable to rationalize the events he has witnessed, Ivan’s psychological distress mounts and his behavior becomes increasingly erratic. His seemingly irrational claims about Woland lead him to be taken to Doctor Stravinsky’s psychiatric clinic, where he is diagnosed with schizophrenia and meets the Master. He eventually decides to stop writing poetry and comes to terms with the tragedy. Before settling on Bezdomny, Bulgakov tried many other names in earlier versions of the novel, including Bezrodny ("the lonely"), Besprizorny ("the stray kid"), Bezbrezhny ("the boundless") and many others.[17] Proletarian writers often used similar pseudonyms; a notable example is Maxim Gorky ("the bitter").[17]

Stephan Bogdanovich Likhodeyev

The Director of the Variety Theatre and Berlioz's roommate, often called by the diminutive name Styopa (Stepa). His surname is derived from the Russian word for "malfeasant". For his wicked deeds (denouncing at least five innocent people as spies so that he and Berlioz could grab their multi-bedroom apartment), he is magically teleported to Yalta, thereby freeing up the stolen apartment for Woland and his retinue.

Grigory Danilovich Rimsky

The Treasurer of the Variety Theatre. Rimsky is the only character to escape from an attack by Woland's entourage. Despite trying to find logical explanations for Styopa's disappearance and other odd phenomena, he realizes that Varenukha is lying to him when he outlines a seemingly reasonable explanation for where Styopa had gone, and correctly identifies that Varenukha has no shadow, which is impossible under normal circumstances. On the night of Woland's performance, Rimsky is ambushed by Varenukha (who has been turned into a vampire by Woland's gang) and Hella. He barely escapes the encounter and flees to the train station to get out of the city.

Ivan Savelyevich Varenukha

The administrator of the Variety Theatre, whose surname refers to a traditional Ukrainian spiced vodka resembling mulled wine. He is turned into a creature of darkness when Hella ambushes him in his attempt to report the odd circumstances surrounding Styopa's disappearance to the authorities. He is forgiven by the end of Walpurgis Night, restoring his humanity.

Alexander Riukhin

A poet who brings Ivan to Dr. Stravinsky's psychiatric clinic. He is tormented by Ivan's insults of the integrity of his poetry and acknowledges his poetry is bad because he doesn't believe in anything he writes. As the night ends, he mourns the loss of the night of fun and feasting he could've had at Griboedov's.

Natasha (Natalia Prokofyevna)

Margarita's young maid, later turned into a witch after using Azazello's magic cream on herself.

Nikolai Ivanovich

Margarita's downstairs neighbor, who rubs Azazello's magic cream on himself and turns into a hog. Natasha rides Nikolai (as a hog) to Woland's Ball. He receives a certificate from Woland that confirms his activity of attending the ball and turning into a hog on the night of the ball.

Nikanor Ivanovich Bosoy

The Chairman of the House Committee at 302A Sadovaya Street (the former residence of Berlioz). Unlike regular Moscow citizens, who generally live in communal apartments, Bosoy shares an entire apartment with only his wife. After Bosoy accepts a bribe from Koroviev for allowing Woland to stay in the Berlioz's apartment, Woland swiftly punishes his crookedness. The bribe from Koroviev magically turns into foreign money, and Bosoy is arrested by the secret police. Bosoy's character is loosely based on one of Bulgakov's own landlords, Nikolay Zotkiovitch Raev, who similarly abused his power.[18]

Maximilian Andreevich Poplavsky

An uncle of Mikhail Alexandrovich Berlioz. He is a highly educated man who comes to Moscow from Kyiv in an attempt to claim Berlioz's Moscow apartment. When he arrives, he is mocked by Koroviev for trying to take advantage of Berlioz's death while not feeling any genuine grief for the deceased. Ultimately, he is sent home by Woland's retinue.

Andrei Fokich Sokov

Sokov, the barman at the Variety Theater, is a short, bald, and outwardly-humble character. In an apartment commandeered by Woland and his retinue, Sokov is interrogated and ultimately it is revealed that, behind his humble and well-behaved veil, the barman has amassed an enormous fortune. He is then told by Woland that he will die of liver cancer in nine months time, and finds himself in Professor Kuzmin's office desperately begging to be cured.

Doctor Stravinsky

The head of the clinic in which The Master, "Homeless," and other characters reside, Stravinsky plays an important role in the novel. When Ivan arrives in the clinic after witnessing Berlioz's decapitation, Stravinsky diagnoses him with Schizophrenia and Alcoholism, and insists he remains in the clinic because he believes Ivan's story is a sign of mental illness. Ivan insists upon leaving the clinic, but Stravinsky manipulates Ivan in discussion and convinces Ivan that he must remain there.

George Bengalsky

The master of ceremonies at the Variety Theater. Bengalsky, after commenting on black magic at Woland's performance, is beheaded by Woland's retinue. His head is returned after the audience forgives him. Later, it is implied that he is in Stravinsky's clinic. Bengalsky is meant to represent the Soviet public and their refusal to believe in magic and religion; he makes sure to describe the "rational" explanations behind all of Woland's tricks and becomes irritated when Woland refuses to admit that there are explanations for his magic. Woland becomes angry with Bengalsky because Woland sees him as a symbol of Soviet brainwashing; the citizens only believe what they are told and cannot think for themselves even when the simple truth is right in front of them.

Vassily Stepanovich Lastochkin

The bookkeeper at the Variety Theater. Described by Bulgakov as "precise and efficient," Lastochkin is not present for Woland's séance and is left to make sense of the event's aftermath for the police as the theater's most senior remaining member. After being questioned by the police, Lastochkin heads to the Commission on Spectacles and Entertainment of the Lighter Type to explain the prior day's events but is greeted by pandemonium as the chairman has been turned into a talking suit. Unable to file his report there, Lastochkin continues on his way to the commission's affiliate, where he encounters further havoc as the staff has been forced to sing uncontrollably. His final stop of the day takes him to the bank to deposit the Variety's earnings from Woland's performance. There, upon discovering that the fares have turned into thousands in various foreign currencies, Lastochkin is promptly and unceremoniously arrested.

Woland and his entourage

Woland

Woland (Воланд, also spelled as Voland) is Satan in the disguise of a "foreign professor" who is "in Moscow to present a performance of 'black magic' and then expose its machinations". Woland instead exposes the greed and bourgeois behaviour of the spectators themselves. Woland is described as having platinum crowns on the left side of his teeth and gold on the right, with his right eye black and his left eye green. The contrasts in his appearance reflect the complexity of his character and moral positioning within the novel. Woland is also mentioned in Faust when Mephistopheles announces to the witches to beware because 'Squire Voland is here'. Along with that, it is highly implied throughout the novel that he is present as the devil in the form of a sparrow (such as in the Pilate narrative). In the previous versions of The Master and Margarita, Woland's name changed multiple times. In the second version from 1929, his name was Dr Theodor Voland. The name was written down and given to Ivan Bezdomniy in Greek letters as opposed to the Cyrillic letters. In a subsequent version of the novel, Woland's name changed to господин [gospodin] or seigneur Azazello Woland. The demon we now know as Azazello was called Fiello. Only in 1934, the definitive names of Woland and Azazello got their final meaning.[19]

Behemoth

An enormous demonic black cat (said to be as big as a hog) who speaks, walks on two legs, and can transform into human shape for brief periods of time. He has a penchant for chess, vodka, pistols, and obnoxious sarcasm. He is evidently the least-respected member of Woland's team – Margarita boldly takes to slapping Behemoth on the head after one of his many ill-timed jokes, without fear of retaliation. In the last chapters, it appears that Behemoth is a demon pageboy, the best clown in the world. His name (Бегемот) refers to both the Biblical monster and the Russian word for hippopotamus. Behemoth is a well-known character from The Master and Margarita, and he is frequently depicted. However, in the original version of the novel from 1928 to 1929, which was titled The Black Magician, there was a sentence mentioning the presence of a second cat on the curtain rod when the theatre's buffet master visits Woland. Bulgakov later abandoned the idea of having two cats in the story.[19]

Korovyev

Also known as Fagotto (Фагот, meaning "bassoon" in Russian and other languages), he's described as an "ex-choirmaster", perhaps implying that he was once a member of an angelic choir. Korovyev's name is also based on the Russian word for "cow" (Корова), a reference to Charles Gounod's Faust, where Mephistopheles praises a "Calf of Gold". Being the only member of Woland and his entourage with a Russian name, he is Woland's assistant and translator, and is capable of creating any illusion. Unlike Behemoth and Azazello, he doesn't use violence at any point. Like Behemoth, his true form is revealed at the end: a never-smiling dark knight. In penance for a poorly made joke he was forced to assume the role of a jester; he paid off his debt by serving Satan on his Moscow journey. Vasily Ivanovich Shverubovich (1875-1948), an actor at the Moscow Art Theatre (MkhAT) who performed under the name Vasily Ivanovich Katshalov, is a possible inspiration for Koroviev. Katshalov hailed from Vilnius, Lithuania, and had a distinctive accent when he sang. He was tall and thin, standing at 1.85 meters, and wore pince-nez glasses due to his nearsightedness. Kachalov possessed an irresistible charm on stage with his eloquent speaking, pleasant voice, and a great sense of humor.[19] Another MkhAT actor and director, Grigory Grigoryevich Konsky (1911-1972), also shared some characteristics with Bulgakov's portrayal of Koroviev. He was a close friend of the Bulgakov family and known as a "master of irony and humor".[19]

Azazello

Azazello (Азазелло) is a menacing, fanged, and wall-eyed member of Woland's retinue who acts as a messenger and assassin. His name may be a reference to Azazel, the fallen angel who taught people to make weapons and jewelry, and taught women the "sinful art" of painting their faces (mentioned in the pseudepigraphal Book of Enoch 8:1–3). He gives a magical cream to Margarita. He transforms into his real shape in the end: a pale-faced demon with black empty eyes. Bulgakov appends an Italian suffix to the Hebrew name עֲזָאזֵל [Azazel]. The name Azazel is frequently associated with Satan in various religious texts and beliefs. In Bulgakov's archives, a book called Azazel and Dionysus was discovered, authored by Nikolai Evreinov (1879-1953), who was a director, dramatist, historian, philosopher, and psychologist, and published in 1924.[19]

Hella

Hella (Гелла) is a beautiful, redheaded succubus. Her name may be a reference to the Brockhaus and Efron Encyclopedic Dictionary (the Soviet equivalent of the Encyclopedia Britannica), underneath the section of "witchcraft," where "Hella" was one of the names of premature girls who became vampires after death on the island of Lesbos. She serves as maid to Woland and his retinue. She is described as being "perfect, were it not for a purple scar on her neck", suggesting that she has been executed by hanging. In the earlier version of the book, she was named Marta.[20] According to Valery Konstantinovich Mershavka, a Russian psychologist and translator, Hella was inspired by Sophia Perovskaya. Perovskaya was a member of the socialist revolutionary organization named The Will of the People and participated in three attempts to assassinate Tsar Alexander II, the last of which was successful, leading to her execution by hanging. The purple scar on Hella's necks could be explained by this method of execution.[19]

Characters from Judaea subplot

Pontius Pilate

The Roman Procurator of Judaea (a governor of a small province). The historical Pontius Pilate was the Prefect of Judaea, not the procurator. This fact was not widely known until after Bulgakov's death. In the novel, Pontius Pilate is a central character in the subplot set in ancient Jerusalem. Pilate suffers terribly from migraines, has suicidal thoughts, and loves only his dog, Banga. He is tasked with determining Yeshua Ha-Notsri's guilt and ultimately is responsible for his death sentence. Nevertheless, after this sentencing, Pilate experiences feelings of guilt and doubt: "it seemed vaguely to the procurator that there was something he had not finished saying to the condemned man, and perhaps something he had not finished hearing."[21] Thus, overall, Bulgakov's portrayal of Pontius Pilate offers a nuanced exploration of human nature and the consequences of moral choices.

Yeshua Ha-Notsri

Jesus the Nazarene (Иешуа га-Ноцри), a wanderer or "mad philosopher", as Pilate calls him. His name in Hebrew is said to mean either "Jesus who belongs to the Nazarene sect" or "Jesus who is from a place called Nazareth", though some commentators dispute the latter interpretation.[22] In the Master's version, Yeshua describes himself as an orphan (he says "some say that my father was a Syrian"), calls everybody (even a torturer) "kind man", denies doing miracles, and has one full-time "Apostle", not twelve, among other departures from the Gospels and mainstream Christian tradition. In the Master's novel there is not a hint of the cleansing of the Temple or cursing the fig tree. The atheist regime of the novel still considers this Jesus to be offensive.

Aphranius

(or Afranius). Head of the Roman Secret Service in Judaea. That character was later an inspiration for the 1995 novel The Gospel of Afranius by Kirill Eskov.

Niza

Aphranius's henchwoman, who entices Judas to his death.

Levi Matvei

Levite, former tax collector, follower of Yeshua. Levi attempts to save Yeshua with a bread knife, and after failing, he is the only spectator, except for the executioners, of Yeshua's death and cuts Yeshua's body down from the cross. Levi is introduced as a semi-fictionalized character in the Master's novel, but toward the end of The Master and Margarita, the "historical" Matthew of the Gospel appears in Moscow to deliver a message from Yeshua to Woland.

Caiaphas

Politically savvy High Priest of Judaea. Caiaphas supports the execution of Yeshua in order to "protect" the status quo ante religion, and his own status as the Chief of the Sanhedrin, from the influence of Yeshua's preachings and followers. He is considerably more aggressive towards Pilate than most accounts, and seems unconcerned by the other man's senior status.

Mark the Ratslayer

The centurion in Yershalaim. Tall, strong, and physically intimidating, the Ratslayer is an agent of the state and a symbol of its brutality. Mark the Ratslayer also illustrates Yeshua's argument about humanity's inherent goodness. Despite his cruelty, Yeshua claims that the Ratslayer is not a bad person; he has simply "become cruel and hard" after being disfigured by others and subjected to violence himself.

Banga

Pilate's loyal dog. He provides Pilate with comfort and Pilate feels comfortable complaining to him about his headaches. Banga is the only "being" Pilate is attached to, and therefore fosters a humanization of the procurator, characterizing him as profoundly lonely.

Judas Iscariot

A spy/informant hired by Caiaphas to assist the authorities in finding and arresting Yeshua. In contrast to the Gospels' version, in which Judas is a long-time member of Jesus's "inner circle" of Apostles, Bulgakov's Judas (of Karioth) meets Yeshua for the first time less than 48 hours before betraying him. He is paid off by Caiaphas, but is later assassinated on Pilate's orders for his role in Yeshua's death.