By Riitta H. Pittman
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Additional resources for The Writer’s Divided Self in Bulgakov’s The Master and Margarita
In each case, however, the individual characters carry the burden of responsibility for what they deserve. The devil is wholly exonerated from blame for evil. IN SUPPORT OF THE IRRATIONAL FACT Just as in the classical world rational monism failed to account sufficiently for the empirical reality as a whole, so the dogmatic Soviet ideology, as depicted in The Master and Margarita, cannot embrace such reality. Bulgakov demonstrates that life is not confined within the experience of purely material things or occurrences, but comprises also the perception of metaphysical phenomena.
Berlioz and Bezdomny detect this alienage quickly and identify Woland as an intruder whose presence threatens the conformity, and hence the status quo, of their society. According to Chudakova the figure of a foreigner as a literary hero, who was entrusted with the plot development, appeared in Moscow in the early 1920s. Such a foreigner (and a cosmopolitan) or a quasiforeigner, perhaps suggestive of an emigre on a spying mission, was easily decked with devilish characteristics. He was generally endowed with the distinguishing attributes of 'self-control, imperturbability' and 'elegant clothes'.
The detection of similarities in the devils' behaviour and outward appearance is, however, only of secondary importance here in comparison with the study of the parallel ways in which Bulgakov's and Dostoyevsky's devils reflect human psychology. It is useful to glance briefly at a graphic illustration of how much intellectual arrogance (as discussed more generally in Chapter 1) had increased during the time which had lapsed between the writing of The Brothers Karamazov and The Master and Margarita.