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The Master and Margarita

Bulkakov M. (1966), The Master and Margarita, Athens: Themelio
Translated from russian to greek by Tina Karageorgi and Yuri Giannakopoulos
Satan with a retinue that includes three demons, a vampiress and a black anthropomorphous cat, visit
Moscov and wreak havoc on the inside of a prominent literary elite but also, in every instance, on the
rest of the city residents.
What makes Michail Bulkakov's The Master and Margarita ( ) special is that it
can be read in multiple ways. Reading most of the literary approaches one can easily see how much
they tend to focus on interpreting the symbols hidden behind the writer's characters, a mainly historical
(over the Soviet Russia's political leadership) and religious research. Undoubtedly the historical context
in which an artwork is born is crucial for its creator but still, in this particular novel, deciphering its
symbolisms will not be necessary for the recognition of its value.
Human greed, the promposity of those who bear (fairly or not) the title of an artist, the absurd
governmental bureaucracy that fosters cencorship and the universal notions of good and evil or of love
and cowardice do not demand a depper sociopolitical understanding, but the experienced human
identity. Perhaps the only condition that there is concerns the readers' willingness to sink into an
amalgam of imaginary and realistic elements, as it suits a work of magical realism.
** Full of powerful composition, provocative imagination and satirical pertinence, this novel by
Michail Bulkakov is developed in three parts: the historical-psychological, with Pontius Pilatus in the
eye of attention -a Human that can not find the mental strength to act in accordance with his
consciousness; the satirical, focusing on the untalented, opportunistic and upstart artists from the
literary-artistic, mainly, environment in Stalin's Moscow; and the lyrical-dramatic, with the shockingly
fiery love of the Master and Margarita.