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Hence the quickness and pungency of Bulgakov’s writing. At the same time, it allows Bulgakov to exploit all the theatricality of its great scenes — storms, flight, the attack of vampires, all the antics of the demons Koroviev and Behemoth, the séance in the Variety theatre, the ball at Satan’s, but also the meeting of Pilate and Yeshua, the crucifixion as witnessed by Matthew Levi, the murder of Judas in the moonlit garden of Gethsemane.
Bulgakov’s treatment of Gospel figures is the most controversial aspect of The Master and Margarita and has met with the greatest incomprehension.
Yet his premises are made clear in the very first pages of the novel, in the dialogue between Woland and the atheist Berlioz. By the deepest irony of all, the “prince of this world” stands as guarantor of the “other” world. It exists, since he exists. But he says nothing directly about
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