The touchstone character of the novel is Ivan Homeless, who is there at the start, is radically changed by his encounters with Woland and the master, becomes the latter’s ‘disciple’ and continues his work, is present at almost every turn of the novel’s action, and appears finally in the epilogue. He remains an uneasy inhabitant of ’normal’ reality, as a historian who ‘knows everything’, but each year, with the coming of the spring full moon, he returns to the parable which for this world looks like folly.
Richard Pevear
A Note on the Text
At his death, Bulgakov left The Master and Margarita in a slightly unfinished state. It contains, for instance, certain inconsistencies — two versions of the ‘departure’ of the master and Margarita, two versions of Yeshua’s entry into Yershalaim, two names for Yeshua’s native town. His final revisions, undertaken in October of 1939, broke off near the start of Book Two.
Later he dictated some additions to his wife, Elena Sergeevna, notably the opening paragraph of Chapter 32 (’Gods, my gods! How sad the evening earth!‘). Shortly after his death in 1940, Elena Sergeevna made a new typescript of the novel.
In 1963, she prepared another typescript for publication, which differs slightly from her 1940 text. This 1963 text was published by Moskva in November 1966 and January 1967. However, the editors of the magazine made cuts in it amounting to some sixty typed pages.
These cut portions immediately appeared in samizdat (unofficial Soviet ’self-publishing‘), were published by Scherz Verlag in Switzerland in 1967, and were then included in the Possev Verlag edition (Frankfurt-am-Main, 1969) and the YMCA-Press edition (Paris, 1969). In 1973 a new and now complete edition came out in Russia, the result of a comparison of the already published editions with materials in the Bulgakov archive.
It included additions and changes taken from written corrections on other existing typescripts. The latest Russian edition (1990) has removed the most important of those additions, bringing the text dose once again to Elena Sergeevna’s 1963 typescript. Given the absence of a definitive authorial text, this process of revision is virtually endless. However, it involves changes that in most cases have little bearing for a translator.
The present translation has been made from the text of the original magazine publication, based on Elena Sergeevna’s 1963 typescript, with all cuts restored as in the Possev and YMCA-Press editions. It is complete and unabridged.
The translators wish to express their gratitude to M. O. Chudakova for her advice on the text and to Irina Kronrod for her help in preparing the Further Reading.
Book One
Chapter 1, Never Talk with Strangers
At the hour of the hot spring sunset two citizens appeared at the Patriarch’s Ponds.1 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,2 editor of a fat literary journal and chairman of the board of one of the major Moscow literary associations, called Massolit3 for short, and his young companion was the poet Ivan Nikolaevich Ponyrev, who wrote under the pseudonym of Homeless.4
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 …’5
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 Alexandria6 and the brilliantly educated Flavius Josephus7 — 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,8 the forty-fourth Chapter, where mention is made of the execution of Jesus, was nothing but a later spurious interpolation.
The poet, for whom everything the editor was telling him was new, listened attentively to Mikhail Alexandrovich, fixing his pert green eyes on him, and merely hiccuped from time to time, cursing the apricot soda under his breath.
There’s not a single Eastern religion,‘ Berlioz was saying, ’in which, as a rule, an immaculate virgin did not give birth to a god. And in just the same way, without inventing anything new, the Christians created their Jesus, who in fact never lived. It’s on this that the main emphasis should be placed …‘
Berlioz’s high tenor rang out in the deserted walk, and as Mikhail Alexandrovich went deeper into the maze, which only a highly educated man can go into without risking a broken neck, the poet learned more and more interesting and useful things about the Egyptian Osiris,9 a benevolent god and the son of Heaven and Earth, and about the Phoenician god Tammuz,10 and about Marduk,11 and even about a lesser known, terrible god, Vitzliputzli,12 once greatly venerated by the Aztecs in Mexico. And just at the moment when Mikhail Alexandrovich was telling the poet how the Aztecs used to fashion figurines of Vitzliputzli out of dough — the first man appeared in the walk.
Afterwards, when, frankly
