bulgakov's master and margarita - masking the supernatural and the secret police

8/2/2019 BULGAKOV's MASTER and MARGARITA - Masking the Supernatural and the Secret Police

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Ru ssian Lan gua ge Jou rn al , XXXVIII, Nos . 12 9 -13 0 ( 19 8 4 ) , 11 5 -13 1.

BULGAKOV'S MASTER AND MARGARITA:

Mask in g the Su per n a tu ra l an d th e Secre t Po l ice1

Bar e ly two pa ges in to Bu lgakov ' s Mas te r an d Margar i t a , th e

Devil ap p ears an d p roceed s to p lay a sub s tan t ia l ro le in t h e t ext . The

p a r t p la y e d b y t h e s e cr e t p o lic e , h o we v e r , is so m e h o w h id d e n ,

t h o u g h it i s n e a r l y a s im p o r t a n t --a l m o s t a l l o f t h e c h a r a c t e r s a r e

a r res ted in th e cour se o f th e n ove l . Bu lgakov ach ieves th i s by

d escr ib ing th e ac t ion s o f th e secre t p o l ice in Aesop ian lan guage th a t

m a s k s t h e i d e n t it y o f t h e a g e n t s ( in b o t h s e n s e s) i n v o lv e d Bu g a k o v

ava i ls h im se lf o f th e m an y g ra m m at ica l, syn tac t i c, and lexica l dev ices

ava i ab le in t h e Russ ian l angua ge to ach ieve such m ask in g , th e

n a r r a t i ve g o a l o f wh ic h i s t o ca u s e t h e r e a d e r t o h e s it a t e b e t we e n a

s u p e r n a t u r a l a n d a n a t u r a l e xp l a n a t i o n fo r t h e e v e n t s d e s cr i b e d .

Su ch h es it a t ion l ie s a t th e roo t o f the fan ta s t ic a s desc r ibed b y

Todorov2, wh i ch wh e n t h e e ffe c t p r o d u c e d o n t h e r e a d e r i s m a r k e d ly

d iso r ien t ing o r om ino us , open s in to the g ro tesque

Co n f r o n t e d wit h a n e v e n t wh i ch c a n n o t b e e xp l a in e d b y t h e

laws o f the fam i lia r wor ld , the cha rac te r s a re faced with a cho ice :

e it h e r t h e e v e n t s d e s c r ib e d a r e a n illu s i o n o f t h e s e n s e s o r t h e y a r er e a l ly s u p e r n a t u r a l In t h e f ir s t c a s e t h e la ws o f t h e f a m i lia r wo r l d

s t a n d fir m ; in t h e s e co n d , n e w l a ws u n k n o wn t o u s h o ld s wa y .

Accord ing to Tod oro v 's d ef in i t ion , " the fan tas t ic occup ies th e du ra t ion

of th i s un cer ta in ty ."3 Basically the re is a vaci lla t ion or a con fus ion o f

t wo r e a lit ie s : fa m ili a r e v e r y d a y r e a l it y a n d t h e r e a l it y o f d r e a m s , o f

insan i ty , o f th e sup ern a tu ra l Al l th ree "o th e r rea l it i e s" p lay an

imp or ta n t pa r t in Bu lgakov ' s n ove l.

1A n e a r l ie r v e r s i o n o f t h i s p a p e r w a s r e a d a t t h e An n u a l Me e t i n g o f AA TSEEL,

2 9 D e c . 1 9 8 2 , in t h e s e c t i o n o n Pa r o d y a n d S a t i r e in t h e Sl a v ic Li t e r a t u r e s .

2T zv e t a n To d o r o v , T h e F a n t a s t i c : A St r u c t u r a l Ap p r o a c h t o a Li t e r a r y G e n r e

( It h a c a : C o r n e l l U n i v e r s i t y Pr e s s , 1 9 7 0 ) .

3Todorov ,25 .


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T h e f a n t a s t ic b e c o m e s g r o t e s q u e wh e n it s e ff ec t s a r e

p ar t i cu la r ly d i so r ien t in g and t h rea t en ing Th e dev ices Bu lgakov uses

to m ask t ie ac t ions o f th e secre t p o l ice p r od u ce g ro tesque e f fect s

becau se these ac t ions a re d i st inc t ly th r ea ten ing . In The Gro tesque in

Ar t a n d Li t e r a t u r e , Wo lfg a n g Ka y s e r d e fin e s t h e g r o t e s q u e a s t h ee s t r a n g e d wo r ld 4, "som eth ing om in ous an d s in is te r in th e face o f a

wor ld to ta lly d i ffe ren t f rom th e fami lia r o n e ."5 To a cer ta in ex ten t ,

Bu lgakov ' s c rea t ion i s a reversa l o f th e t r a d i t ion a l gro tesq u e

s t r u c t u r e . Wh ile t h e s u p e r n a t u r a l a n d t h e r e a l a r e c o n f u s e d , wh a t is

t h r e a t e n i n g co m e s n o t f r o m t h e su p e r n a t u r a l, u n k n o wn s id e o f t h e

d ich o tom y, bu t from th e un speaka b le rea l ity o f Sov ie t l if e .

Such a h ie ra r ch ica l sh i ft , wh ich is the bas i s o f th e s tuc tu re o f

t h e n o v e l a s a wh o le ( wh e r e co n t e m p o r a r y Mo sc o w is o ve r r u n b y t h e

Devil' s ban d an d Bib lica l Je ru sa lem obeys th e l aws o f ra t ion a l

rea l ity ) , p r ov id es a Key to un d ers tan d in g the gen es is o f th e no ve l in

th e Sov ie t Un ion un der Sta l in . One o f the fun da m en ta l d i ffe rences

b e t we e n t h e So v ie t s y st e m a n d t h a t o f t h e We st m a y l ie in t h e

a p p r o a c h t o t h e r e l a t io n s h ip b e t we e n wo r d a n d r e a l it y . Sim p l y

s t a t e d , r e a l it y i s t a k e n a s p r i m a r y i n t h e We st , wh i le t h e wo r d ( o r

p r o p a g a n d a o r d ia le c t ic ) is t h e p r i m a r y t e s t o f t r u t h in t h e Ea s t .

Czes law Milosz wro te in 19 53 o f the "sp l it be t ween wor d s and

rea l ity" an d th e " in gen ious m eth od s by wh ich Sta l in i st s iso la tet h e m s e lv e s f r o m r e a l it y ."6

Ef im Etk ind d esc r ibes th i s h ie ra rch ica l sh i ft in t e rm s o f

p r im it ive m en ta l i ty in h is ar t ic le "Sovie t Tab oos ."7 He d e s c r ib e s t h e

v a r i o u s a s p e c t s o f r e a l it y t h a t a r e b e t t e r p a s s e d o v e r in s ile n c e i n t h e

4W o lf ga n g Ka y s e r , T h e G r o t e s q u e i n A r t a n d Li t e r a t u r e ( G lo u c e s t e r : P e t e r

Sm it h ,1968) , 18 4 .

5

Kays e r , 21 .

6Czes law M il osz , The Cap t i ve M in d , t r a n s , J ane Zi e lon ko ( NY: Vi n t a ge ,19 51 - 81 ) ,

237 .

7 , Sy n t a x i s , n o 9 ( 1 9 8 1 ) , 3 - 2 0 . In h i s d e s c r i p t io n

o f t h e a b s e n c e o f V. N. Ne k r a s o v ' s n a m e f r o m t h e i n d e x o f t h e

h e d r a w s a n a n a l o g y u s in g a s u b je c t le s s

e x p r e s s i o n : ( 7 )


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Sovie t Union . Th e c ru x o f th e th eory i s tha t wha t i s n o t expressed

d oes no t ex is t :

.8

[Wh at we d o n ot r ecogn ize officia lly is a sha d e, a

p h a n t o m , n o n e xis t en c e . Wh a t we d o n o t n a m e lo s es

reali ty.]

Or , in th e word s o f th e Mas te r ,

( 7 0 6 )9

[No docum entno person.]

Bu t , a s Tom as Ven c lova h as po in ted ou t , the con t ra r y i s a l so t ru e : " It

is th o u g h t t h a t c e r t a in c o m b i n a t io n s o f g r a p h e m e s a n d wo r d s m u s t

b e c o n s t a n t l y r e p e a t e d t h e n t h e p h e n o m e n a t h e y sig n ify s om e h o w

d escend f rom th e wor ld o f Pla ton ic id eas to th e l eve l o f r ea l ity ."10

Bo t h o f t h e s e p h e n o m e n a im p l y a we ll-o r d e r e d s y st e m in wh ic h t h e

v e n e r a t i o n a p p r o p r ia t e t o t h e m e a n i n g o f a s y m b o l is fo c u s e d o n t h e

sym bol i t se lf , which i s id en t i fi ed wi th i t s im p or t .11

Becau se Sovie t lan gua ge is so h ighly r i tu a l ized , th e ab sen ce of a

s y m b o l p e r c e iv e d a g a in s t t h e b a c k g r o u n d o f t h e c o d e c a n b e a s

s ign i fican t a s i t s p r esence . Th is i s p a r t i cu la r ly t ru e in th e case o f

p rom inen t symb ols l ike pe r sona l n am es . In th e High Sta l in is t pe r iod ,

t h e n a m e "St a l in " wa s su r r o u n d e d b y s t r ic t u r e s wo r t h y o f t h e

8

9

Ru s s ia n q u o t a t io n s a r e t o1978) .

10Tom as Ven c lova , "Th e Gam e o f t h e Cen s o r , " Th e New Yor k Rev i ew o f Boo ks ,

Mar . 31 , 198 3, 34 .

11Su z a n n e K. La n g e r , " On Ca s s ir e r ' s T h e o r y o f La n g u a g e a n d M y t h , " in T h e

P h i lo s o p h y o f Er n s t Ca s s ir e r ( Ev a n s t o n : Li b r a r y o f Li v in g P h i l o s o p h e r s ,

1949) ,389 .


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Heb re w "YHWH."12 In Ai tm at ov ' s Th e Day Las t s Lon ger th an a

Hu n d r e d Ye a r s t h e h e r o e s fr i e n d Ku t t y b a e v is a r r e s t e d b e c a u s e

a c co r d in g t o h i s m e m o ir s h e fa ile d t o r e m a r k t o a n En g lis h m a n t h a t

WWII c o u l d n o t h a v e b e e n wo n wit h o u t t h e g e n i u s o f St a l in 13.

So lzh en it syn ' s " In c id en t a t Krech e tovka Sta t ion" i s based on a s imi la rs it u a t i o n : Tv e r it in o v is a r r e s t e d b e c a u s e h e d o e s n o t k n o w o f

Sta l ingrad.14 Cle v e r e r i n t e r p r e t e r s o f t h e So v ie t s y s t e m i n f e r r e d t h a t

Br e z h n e v h a d d i e d f r o m t h e a b s e n c e o f h i s n a m e in a le t t e r o f

congra tu la t ions to An gola on it s na t iona l d ay .15

Kath leen Par th ha s exam in ed th e dev ice o f m ask in g in Russ ian

lit e r a t u r e o f t h e 1 9 t h c e n t u r y in h e r d i s se r t a t i o n , Ma s k in g t h e

Fan tas t ic an d th e Taboo in Russ ian Li te ra tu re : A Hie ra r chy o f

Gram m atica l Devices , an d in seve ra l ar t ic les .16 Sh e a r r ives a t a

d e fin i t ion o f mask ing as "an incom ple te , in def in i t e re fe ren ce to the

agen t o f an ac t ion , th e resu l t be ing a d iso r ien t ing e ffec t on th e

reader ."17 Fo r m s s h e d is cu s s e s in t e r m s o f t h e ir u s e a s m a s k i n g

d ev ices in c lud e dep erson a l ized ( t em p ora r i ly sub jec t le s s ) ve rb s ,

in d e fin i t e p r o n o u n s , a n d d e m o n s t r a t iv e a n d a n a p h o r ic p r o n o u n s wit h

o b s c u r e d r e f e r e n t s . T h e s a m e d e v i ce s --a n d o t h e r s lik e t h e m --a r e

u s e d t o s im ila r e n d s b y Bu l g a k o v in Ma st e r a n d Ma r g a r i t a .

Whi le som e of the d ev ices ava ilab le in Ru ss ian cann o t b e

ren d ered exact ly in En g lish t r a n s la t ion , in m an y cases equ iva len t s

12In a c h a p t e r o f Vo i n o v i c h ' s Ch o n k i n

(Par i s : YMCA Press , 19 76 ) , 17 6-19 4) a

m a n i s r e le a s e d i m m e d i a t e l y u p o n p r o v i n g h i s n a m e is St a l in .

13C h i n g i z A it m a t o v , T h e D a y La s t s Lo n g e r t h a n a H u n d r e d Ye a r s , t r . J o h n

F r e n c h ( B l o o m i n g t o n : I n d i a n a , 1 9 8 3 ) , 1 9 0 .

14 ( Fr a n k f u r t / M : ,

1964 ) ,135-193; p . 186 .

15Com pa r e P r a vd a 11 .11 .81 and 11 .11 .82 .

16Ka t h l e e n P a r t h , Ma s k in g t h e Fa n t a s t ic a n d t h e T a b o o i n Ru s s ia n Li t e r a t u r e :

A Hie r a r ch y o f Gr am m at i ca l Dev i ce s , Unp ub l . Ph . D . Dis s ., Co r n e l l, 19 79 ;

"M as k i ng t h e Fan t a s t i c an d t h e Tab oo i n To l s t o j ' s Po l i kus h ka , " SEEJ , Vo l. 25 , No .

1 (Spr ing '8 1) , 21 -33; "Deat h Ma sks in To ls to i ," Sla v ic Rev iew , Vol . 41 , No. 2

( Su m m e r ' 8 2 ) , 2 9 7 -3 0 5 .

17Par t h , "Dea t h M as ks , " 297 .


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can b e fou n d . Never the less, an examina t ion o f th e ava i lab le

t ra n s la t ions shows th a t th is a spec t o f Bu lgakov ' s a r t h as mo re o f ten

t h a n n o t b e e n l o s t. Wr it t e n i n t h e la t e 2 0 s a n d 3 0 s , Ma st e r a n d

Ma r g a r i t a wa s fir s t p u b l is h e d in t h e jo u r n a l Mo s k v a i n No ve m b e r

1 9 6 6 a n d J a n u a r y 1 9 6 7 wit h s u b s t a n t i a l c u t s . T h e d r e a m o f Nik a n o rIvan ov ich (abo u t the p r i son fo r p eop le who specu la te in fo re ign

c u r r e n c y ) a s we ll a s s e ve r a l r e f e r e n c e s t o t h e t h e m e o f p o we r we r e

m iss in g . It was th i s ve rs ion th a t was t r a n s la ted by Mir ra Gin sbu rg in

1 9 6 7 .18 In t h e s a m e y e a r s Sc h e r z Ve r la g p u b l is h e d t h e m is sin g

p a s s a g e s19 an d Mich ael Glenn y, a com p lete En glish t r an s la t ion.20 Th e

com p le te Russ ian t ex t was pu b l ished in th e Sov ie t Union on ly in

1 9 7 3 .

Re fe r e n c e t o t h e n a t u r a l a g e n t o f a n a c t io n c a n b e m a d e

in c o m p l e t e o r in d e fin i t e in m a n y wa y s . T h e n a t u r a l a ge n t o f t h e

a r r e s t s , in t e r r o g a t io n s , a n d in t e r n m e n t s i n Ma s t e r a n d Ma r g a r i t a is

th e sec re t p o l ice . Need less to say , th e sec re t p o l ice i s never

m e n t i o n e d b y n a m e , n o r a r e a n y o f it s a ge n t s . ( Th e o n e e x ce p t i o n i s

Baro n Maige l' , wh o fun c t ion s in t h e n ove l p r im ar i ly a s a p a t ien s o r

logical ob ject ra th er th an as agen s or logical sub ject . )

In d e fin i t e p r o n o u n s a n d p r o n o m in a l a d j e ct iv e s h e l p r e n d e r

re fe ren ce to th e sec re t po l ice an d i t s ac t ion s in d efin i t e : When

Ber l ioz ' s un c le f rom Kiev, Pop lavsk ii , inqu ires a t th e ap ar t m en tcom m it tee o ff ice abou t th e p oss ib i lity o f inh er i t in g th e Moscow

a p a r t m e n t , a n a g en t c o m e s in :

( 6 7 4 )

[s om e c it iz en ca m e i n , w h isp e r e d s om e t h in g ]

18 M ir r a G in s b u r g , t r a n s ., T h e M a s t e r a n d M a r g a r i ta b y M i k h a i l Bu l g a k o v ( N Y:

Gr ove P r e s s ,1967) .

19 ( B e r n :

Sc h e r z Ve r l a g , 1 9 6 7 ) .

20M ic h a e l Gl e n n y , t r a n s ., T h e M a s t e r a n d M a r g a r i t a b y M ik h a i l Bu l g a k o v ( N Y:

Har p e r & Row,1967 ) .


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He leaves with th e m an Pop lavsk ii was t a lk in g to . When Nikan or

Iv a n o v i ch ' s wife r e t u r n s fr o m a n s we r i n g t h e d o o r a c c o m p a n ie d b y

t wo c it iz e n s wh o l a t e r t a k e h e r h u s b a n d a wa y , s h e i s d e s c r ib e d a s

( 5 1 7 )[t h e fo r so m e r e aso n v er y p a le Pe la g eia An t o n o v n a ]

Soon th e rea f te r som eon e a r r ives a t T im ofe i Kon d ra t ' ev ich Kvas t sov ' s

a n d t a k e s h i m a w a y :

. (518 )

[t h e u n fa m ilia r c it iz en . . t o ld h im s o m e t h i n g a n d

van ished a long with h im .]

In Nik a n o r Iv a n o v i c h ' s d r e a m t h e MC wa r n s t h e a u d i e n c e wh a t will

h a p p e n if t h e y fa i l t o t u r n in t h e i r fo r e ig n c u r r e n c y :

( 5 8 4 )

[s o m e t h i n g lik e t h i s, if n o t wo r s e , w ill h a p p e n t o y o u ]

La t e r Ko r o v ' e v t e lls Ma r g a r i t a a n a n e c d o t e a b o u t a m a n wh o k e p t

e xc h a n g in g a p a r t m e n t s t o g e t m o r e a n d m o r e r o o m s u n t il h i s a ct iv it y

su d d en ly sto p p ed " " [a s a r e su lt

o f cau ses which were beyon d h i s con t ro l ]:

. (666 )

[It is p o ssib le t h a t h e n o w h a s so m e s or t o f r o o m , o n ly I

can assure you it i sn ' t in Moscow.]

Sim i la r ly , Bu lgakov u ses p ro n ou n s with ou t e s tab l i sh in g the ir

r e f e r e n t s :


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. (748 }

[To t h e q u e st io n o f w h e r e t h e y w e r e a s k in g f o r A r k a d i i

Ap o l lo n o v ic h f r o m , t h e v o i ce o n t h e p h o n e b r i e flya n swer ed wh e re fr om .]

( 7 5 0 )

[Yo u h a v e t o b e fa ir t o t h e o n e w h o w a s in c h a r g e o f t h e

case.]

It is in te res t ing to n o te th a t th e fir s t En g li sh t r an s la t ions inse r t n ou n s

a t t h is p o i n t . Gin s b u r g h a s "in ju s t ic e t o t h e m a n wh o h e a d e d t h e

invest igat ion " (34 6) , Glenn y, "The o fficer in cha rge of th e case was , to

g iv e h i m h is d u e , a m a n wh o k n e w h i s jo b " ( 3 2 5 ) . T h e e m p t y , p u r e l y

re la t ion a l p ron oun , is los t . In th e o r ig in a l Russ ian , these p r on ou ns

re ta in on ly th e ir gener a l , r e la t ion a l mean in g on th e syn tac t ic leve l.

On ly in t h e c o n t e x t o f t h e n a r r a t i o n , wh e n o t h e r s em a n t i c

in f o r m a t io n is t a k e n i n t o a c c o u n t , c a n t h e y b e m a d e r e fe r e n t i a l.21

Bu lgakov ach ieves a s im i la r sem an t ic em p ty ing o f the su b jec t

n od e b y u s in g p a r t i c ip les . Lon g fo rm pa r t i c ip les , whicht r a n s fo r m a t io n a l gr a m m a r in t e r p r e t s a s a t r a n s fo r m a t io n o f p r o n o u n

+ ve r b ( o r a s a v e r b d o m in a t e d b y a n o u n p h r a s e n o d e ),22 al low

21Vla d i m i r Vo i n o v ic h u s e s p r o n o u n s t o a si m i la r g r o t e s q u e e n d i n t h e s a m e

c h a p t e r o f C h o n k i n m e n t io n e d a b o v e (FN 1 2 ) , p p . 1 7 6 -7 7 . :

22Cf . t h e w o r k s o f Le o n a r d H . Ba b b y , " To w a r d s a F o r m a l T h e o r y o f ' Pa r t o f

Sp e e c h , " ' in S la v i c T r a n s f o r m a t i o n a l Sy n t a x , e d , Ri ch a r d D . Br e c h t a n d

C a t h e r i n e V . Ch v a n y ( A n n Ar b o r : M ic h i g a n Sl a v ic M a t e r i a l s, 1 9 7 4 ) , 1 5 0 - 8 1 ; T h e

Sy n t a x o f G e r u n d s i n R u s s ia n ( Bl o o m i n g t o n : In d i a n a U n i v e r s i t y Li n g u i st i c s

Clu b , .1 9 7 5 ) ; T r a n s f o r m a t i o n a l G r a m m a r o f Ru s s ia n A d j e c t iv e s , Ja n u a

Li n g u a r u m , Se r i e s P r a c t i c a , 2 3 4 ( 1 9 7 5 ) ; " Pa r t i c ip l e s in R u s s ia n : At t r i b u t i o n ,

P r e d i c a t i o n , a n d V o ic e . " In t e r n a t i o n a l R e v i e w o f Sl a v i c Li n g u i s t i c s , 1 9 7 8 .


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Bulgakov to exp ress the su b jec t on ly as a re la t ion to th e ve rba l

a c t io n . T h e a g e n t s wh o la y s ie g e t o a p a r t m e n t 5 0 a r e d e s cr i b e d

a l t e r n a t e l y a s

( 7 5 8 )[those coming up ]

( 7 5 8 )

[t h o s e wh o h a d c om e ]

( 7 5 9 )

[t h e o n e wh o t h r e w]

( 7 5 9 )

[t h o s e wh o h a d c om e in ]

( 7 6 0 )

[t h o s e wh o we r e s t a n d i n g ]

( 7 6 0 )

[t h o s e w h o w e r e p r e s e n t ]

( 7 6 1 )

[t h o s e wh o h a d b e e n ]

At l eas t one o f th ese sema n t ica l ly em p ty n od es is fil led by Glen n y in

h is t r an s la t ion :

[ ] [ ]

( 7 5 9 )

[ In t h e b l in k o f a n e y e t h e c a t t o o k a i m a t t h e o n e

st a n d in g clo se st , b u t b e fo r e th e c at co u id s h o o t, t h e r e

wa s a fla s h f r o m t h e o t h e r ' s h a n d . . ]


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In a f la sh [ th e ca t ] t oo k a im a t th e n e a r e st m a n , b u t t h e

d e t e c t iv e b e a t t h e c a t t o t h e d r a w a n d fir e d fir s t . ( Gle n n y ,

3 3 2 )

T h e s a m e s e m a n t ic em p t i n e s s m a y b e c la i m e d f o r t h e n o u ns led ova te l ' , ( inves t iga to r ) used e leven t im es in f ive p ages (751 -56 ) .

Sledova t e l ' i s a ve rb a l agen t n ou n which , like a pa r t i c ip le , ca r r ie s no

m o r e in f o r m a t io n a b o u t t h e s u b j ec t t h a n it s r e la t io n t o t h e v e r b a l

act ion.

T h e fo c u s ca n b e s h i ft e d a wa y f r o m t h e a g e n t b y y e t o t h e r

g ram m at ica l m ean s --pa ss iv iza t ion an d im per sona l iza t ion . Bu lgakov

u se s p a ssive , in d efin it e p e r so n a l ( ), an d

tem p ora r i ly sub jec t le s s cons t ru c t ion s to focus th e sen ten ce on the

p a t ie n s a n d a v o id t h e a g e n s , t h e s e c r e t p o lin e .

Pass ive:

. (577 )

[Nik a n o r Iv a n o v i ch wa s t a k e n t o t h e clin i c.]

. (757 )

[Me a su r e s w e r e t a ke n t o fin d t h e m .]

( 7 5 4 )

[e vid e n ce w as a d d e d .]

( 7 5 1 )

[Nikan or Ivan ov ich Boso i an d t h e un for tu n a te MC wer e

d isco ver ed .]

Th e in d efin it e -p e r so n a l ( ) fo r m in Ru ssia n

c o n s is t s o f t h e t h ir d p e r s o n p l u r a l fo r m o f t h e v e r b wi t h n o s u b j e ct .

T h e s u b je c t is in t e r p r e t e d a s n e c e ss a r ily h u m a n ( s om e t h i n g l ik e o u r

"They say . . .") . Often th ese are t ra n s la ted in to En glish as p ass ives ,


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b u t t h e y co n t a in t h e a d d e d i n fo r m a t i on n o t p r o v id e d b y t r u e

p a s s iv e s t h a t t h e a g e n t o f th e a c t io n is h u m a n .

Indef in i t e -pe rsona l :

. (611 )

[ ( the y) arr es ted Vasi li i Step an ovich.]

( 5 7 7 )

[o n t h e o t h e r s id e o f th e d e s k ( t h e y ) h a d a l r e a d y

r a ise d ( th e ir ) v oice d r o p p ed h in t s ]

In t h i s sc e n e f r o m t h e c h a p t e r o f Nik a n o r Iv a n o v i ch ' s d r e a m ,

Ginsbu rg in t r odu ces a sub jec t , " the in te r roga to r ," (180 ) , whi le Glenn y

uses "th ey" (158 ) .

( 5 7 7 )

[(Th ey) h a d d ro p p ed b y Sa d ov ay a a n d b e en in

a p a r t m e n t n o . 5 0

On e l od g e r d is a p p e a r s f r o m a p t . 5 0 a ft e r a p o lic e m a n c o m e s t oin f o r m h im ,

. . . (4 9 1 )

[. . . t h a t ( th e y ) w ou l d lik e to s ee h im f or a m i n u t e]

Af t e r Ba r o n Ma ig e l d is a p p e a r e d t h e a p a r t m e n t wa s v is it e d a g a in , b u t

n o o n e w a s t h e r e :

( 7 5 4 )

[( t h e y ) v is it e d t h e a p a r t m e n t wit h o u t ca l lin g fir s t ]

Fillin g t h e a g e n s n o d e c a n a l so b e a v o i d e d b y e m b e d d i n g t h e

in f in i t ive in a sub jec t le s s cons t ru c t ion ( t r an s fo rm at iona l g ram m ar


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t r e a t s th e in f in i t ive it se l f a th e sub jec t 23) . In such cases the sub jec t o f

t h e in fin i t iv e m a y b e e x p r e s se d i n a d a t i ve in t h e m a i n c la u s e , b u t

th is i s n ot ob l igator y:

( 7 5 1 )[(it ) w a s s im p l e t o d e t er m i n e ]

( 7 5 1 )

[( it ) w a s n e c e ss a r y t o wo r k . . . t o cle a r u p t h e u n u s u a l

incident]

( 7 5 3 )

[(it ) w as a lr e a d y k n o wn , fo r wh o m t o lo ok an d w h e r e]

( 7 4 8 )

[Arkad i i Ap ol lon ov ich ' s wife answered g loom i ly th a t h e

cou idn ' t come to the p h one . However , (it ) becam en e c e ss a r y fo r Ar k a d ii Ap o llo n o v ic h t o c o m e t o t h e

ph one a l l th e sam e .]

Other sub jec t le s s cons t ru c t ion s accomp li sh t he sam e end :

( 7 5 4 )

[(o n e) co u ld h e ar t h e ba r on b e in g le t in ]

( 7 5 4 )

[o f m a te r ia l t h er e wa s a d d ed ]

23Ba b b y , A T r a n s f o r m a t i o n a l Gr a m m a r ; "T o w a r d s a Fo r m a l T h e o r y o f ' Pa r t o f

S p e e c h . " '


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The n a tu ra l agen t an d logica l sub jec t o f a ll o f th ese sen ten ces is the

secre t p ol ice . Bu lgakov a lso m asks th e ac t ion s of th e secre t p ol ice

th rou gh h is cho ice of lexicon . He ch ooses in t ra n s it ive verb s wh ich

encod e the log ica l pa t i ens as the sub jec t , th u s avo id ing an y re fe ren ce

t o t h e l o gic a l a g e n s wh i le i m p ly i n g a t t h e s a m e t i m e t h a t t h eins t iga to rs o f th ese ac t ion s were th e v ic t im s them se lves :

( 4 9 1 )

[Peop le began to d isapp ear wi thou t a t r ace .]

( 4 9 2 )

[Be lom ut van ished in t o th in a i r ]

( 4 9 2 )

[An na Fran cevna once aga in ru shed o ff to he r d acha . ...

Nee d o n e m e n t io n t h a t s h e d i d n o t r e t u r n !]

( 5 7 7 )

[ Wit h t h a t t h e y le ft Sa d o v a y a , a n d wit h t h o s e wh o we r e

leaving depar ted . . . Prolezhnev.]

Here aga in th e t r an s la t ions lose the n ua n ce o f th e Ru ssian fo rm :

Ginsbu rg h as "They le ft with no th ing , bu t in th e comp an y o f

Pro lezhn ev" (180) ; Glenn y , "They le ft th e bu ild ing t ak ing with them

Prolezhnev" (1 59-60) .

Wh e n t h e a g e n t s d o a p p e a r a s su b je c t s in t h e s en t e n c e s , t h e y a r e

u s u a lly r e fe r r e d t o n o t b y n a m e o r p r o f e ss io n , b u t b y s o m e m o r e

g e n e r a l n o u n o r a t t r i b u t e :

( 5 1 7 )

[two cit izen s]

( 5 1 8 )


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[ the u n fam iliar c i t izen]

( 6 1 4 )

[som e cit izen]

( 6 6 4 )

[a lone m an]

An o t h e r m e a n s o f m a s k in g u s e d b y Bu l g a k o v t o a v o id

re fe ren ce to th e rea l agen ts o f th e ac t ion i s sub s t itu t ion o f som eth ing

con t iguou s fo r th e m asked a gensm ask ing by m etonym y. Direc t

re fe ren ce is ma d e n o t to th e sec re t po l ice , bu t to i t s ca r s , t ab les ,

bui ld ings , and cases :

( 4 9 2 )

[In t h e m o r n in g a c a r c a m e t o p ic k h i m u p a s u s u a l t o

t a k e h i m t o wo r k , a n d i t t o o k h i m a wa y , b u t d i d n ' t b r i n g

a n y o n e b a c k a n d n e v e r r e t u r n e d i t se lf.]

( 5 7 6 )

[He end ed u p a t p ro fessor St rav insky ' s , h owever , n o t

r i gh t a wa y , b h a v i n g sp e n t s o m e t i m e b e f o r e h a n d i n

a n oth er p la ce .]

( 7 4 7 )

[Bu t a t t h is t im e . . . a wh o l e flo o r o f a c e r t a in Mo s co w

office was no t a s leep , an d i t s win d ows , which op en ed

on to a l a rge asph a l t -covered squ are , . . . were sh in ing

br ight ly .]


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( 7 4 7 )

[Th e wh o le flo or w as on t h e c ase . ]

"Th e whole floor o f th e ins t itu t ion" an d th e "case" o ften occur a ssub jec t s th rou gh th e la s t ch ap te r s o f th e book . For examp le ,

( 7 4 8 )

[Ar k a d y Ap o l lo n o v i ch s p e n t t h e wh o l e e v en in g o n t h e

s a m e f lo o r wh e r e t h e c a s e wa s b e i n g c o n d u c t e d .]

Th is passage was cu t in th e o r ig ina l ve r s ion an d , consequ en t ly , in

Gin sbu rg. Glenn y in t r od u ces a specific agen t : "Arka d y Ap ol lon ovich

s p e n t t h e r e s t o f t h e e v e n i n g wit h t h e in v e s t ig a t o r s " ( 3 2 4 ) .

Con t igu i ty o f cause an d e f fec t p r ov id es Bulgakov with ye t an o th e r

d ev ice fo r m ask in g the sp h ere o f th e sec re t po lice . The e f fec t o f the

ap p earan ce and ac t ion s o f th e secre t p o l ice is desc r ibed , whi le the

c a u s e is le ft f o r t h e r e a d e r t o i n f e r . Pe o p l e wh o a r e a b o u t t o b e

a r r es ted d isp lay s igns o f fea r and confus ion :

( 5 1 7 )

[t h e fo r so m e r e a so n v e r y p a l e Pe la g eja An t o n o v n a ]

( 5 1 7 )

[Nik a n o r Iv a n o vich a l so t u r n e d w h it e a n d go t u p ]

( 5 7 7 )

[t h e d ist ra u gh t an d c ru sh e d se cr e t ar y also d ep a r te d ]

( 6 1 4 )

[On see ing h im com e in th e ma n s i t t in g a t the t ab le

t u rn ed p ale ]


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( 6 1 4 )[T h e m a n wh o c a m e in wh i s p e r e d s o m e t h in g t o t h e m a n

wh o wa s s it t in g d o wn , a n d t h e la t t e r , c o m p le t e ly

d i st r a u g h t , g ot u p f r om t h e t a b le , a n d i n a fe w s ec on d s

Po p l a v s k ij wa s le ft a l o n e i n t h e e m p t y r o o m o f t h e

d i r e ct o r s o f t h e a p a r t m e n t . ]

( 7 4 8 )

[h i s w ife wit h a f r ig h t e n e d fa ce ]

In a l l o f t h e c a s e s I h a v e m e n t i o n e d , in d e f in it e r e f e r e n c e t o t h e

sec re t po l ice and it s ac t ion s cau ses th e read er to h es it a te in h i s

exp lana t ion o f the even ts desc r ibed . Since the a c t ion s o f th e sec re t

p o l ice a re in var iab ly om inou s , s in i ste r , an d te r r i fy ing , a s the e f fect

o n t h e c h a r a c t e r s in t h e n o v e l d e m o n s t r a t e s , t h e e f fe c t o n t h e r e a d e r

i s g r o t e s q u e T h e s a m e n a r r a t i ve e n d is s e r v e d b y s im i la r d e v ic e s in

t h e J e r u s a le m n o v e l e m b e d d e d i n M a s t er a n d M a r ga r i ta .

T h r o u g h o u t m o s t o f t h e J e r u s a le m n o v e l , wh i ch m a k e s u p f o u r e n t ir e

cha p te r s o f Bu lgakov ' s work , Pi la te ' s h ead o f the sec re t se rv ice is

a n o n y m o u s . In c h a p t e r s 2 , 1 6 , a n d 2 5 h e a p p e a r s o n ly a s

[ the m an in the h ood] (445 , 588 , 717 , e t a l.) , h i s hood

rep resen t ing icon ica lly th e dev ice o f m ask in g h i s iden t i ty . In t h e

scene in wh ich we f ina l ly l ea rn h i s n am e , Af ran i i, it i s h i s hood th a t

a p p e a r s fir s t a n d d i s a p p e a r s la s t fr o m v ie w ( 7 1 7 , 7 2 5 ) .

Ev e n a f t e r we le a r n h is n a m e , Afr a n ii ' s i d e n t it y i s m a r k e d l y m a s k e d

in c h a p t e r 2 6 . He is r e f er r e d t o a s [t h e

p r o c u r a t o r ' s g u e st ] (7 2 6 ) a n d a t t h e m u r d e r a s

[a th i rd , in a c loak with a h ood ] (732 ) . Af te r the m ur der

Bu l g a k o v b a r e s t h e d e v ic e o f m a s k in g b y s h o win g t h e m a n in t h e

h ood d i sgu ise h im se lf:


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( 7 3 3 )

[T h e m a n in t h e h o o d s t o p p e d h i s h o r s e , g o t d o wn o n t o

th e dese r ted road , took o f f h i s cloak , tu r ned i t ins ide ou t ,

t o o k o u t f r o m u n d e r h i s clo a k a f la t h e lm e t wit h n o

p l u m e , a n d p u t it o n . Now o n t o t h e h o r s e ju m p e d a m a n

in a m ilit a r y m a n t le wit h a s h o r t s wo r d a t h is t h i g h .]

He n c e fo r t h h e is r e f e r r e d t o s im p l y a s [t h e m ilit a r y m a n ]

( 7 3 3 ) u n t i l h e a p p e a r s a g a in a t t h e p a la c e o f Her o d a s

( 7 3 6 ) [ t h e

h ead o f the sec re t guard . . th e m an in the ho od . . . Afran ii.] The r i ch

v a r i e t y o f t e r m s u s e d t o r e fe r t o Afr a n ii ca u s e s t h e r e a d e r t o h e s it a t e

in iden t i fica t ion of h is ro le in th e ac t ion d escr ibed . These vaci lla t ions

in r e fe r e n c e a r e s u p p o r t e d b y t h e in d e fin i t e a n d c o n t r a d ic t o r y

p h ys ica l d esc r ip t ion g iven o f Af ran i i by th e n a r r a to r (a ch ara c te r i st i c

h e s h a r e s wit h Wo la n d ) :

[His h a i r wa s o f a s o r t o f in d e f in it e co lo r .]

[It wo u l d h a v e b e e n d i ffic u l t t o p i n d o wn t h e n a t io n a lit y

o f t h e m a n wh o h a d ju s t a r r i v ed . ]

( 7 1 8 )


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[Th e b as ic th in g th a t d is t ingu ish ed h is f ace was , if you

l ike , a cer ta in e xpr ess ion of good will , wh ich was

co u n t er a ct ed , h o w e ve r , b y h i s e y es, o r r a th e r n o t t h e

e y e s , b u t t h e w a y h e l o o ke d a t a n y o n e h e w a s t a lk in g t o .]

T h e r e v e r s a l s a n d r e s e r v a t io n s i n t h e l a st p a s sa g e ( t h e s y n t a x o f

wh i ch r e c a lls Do st o e v sk y ' s u n d e r g r o u n d m a n ) a r e id e a l ly s u i t e d t o

d esc r ib ing a s l ip pe ry ch ara c te r l ike Af ran i i.

With in th e n ove l, th e dev ice o f m ask in g is no t l im i ted to th e

n ar r a to r ' s t ext ; i t is obv iou s ly en coded in th e lan guage o f the

char ac te r s , who recogn ize the t aboo aga ins t t a lk in g abou t the sec re t

p o l ice and i t s ac t ion s . Th is i s th e m ajor d i f fe ren ce be tween th e use o f

m a s k in g i n t h e 1 9 t h c e n t u r y a s d i sc u s se d b y Ka t h le e n P a r t h a n d i t s

u s e i n 2 0 t h c e n t u r y So v ie t lit e r a t u r e .

In a J a k o b s o n ia n a n a ly s is , t h e p a s s iv e a n d im p e r s o n a l co n t r u c t io n s

m e n t io n e d a b o v e h a v e a g e n e r a l m e a n i n g t h a t is u n m a r k e d f o r

agen s . Bu t th e pa r t i cu la r na r r a t ive use o f th ese con s t ru c t ion s is

u n u s u a l. Th e u n m a r k e d f or m c a n b e u s e d a s t h e m a r k e d fo r m ; a

f or m wit h t h e g en e r a l m e a n i n g "n o s t a t e m e n t o f A" m a y h a v e t h e

p a r t i cu l a r m e a n in g " s t a t e m e n t o f -A"--a n d s u c h is t h e c a se h e r e .T h e s e co n s t r u c t io n s c a n n o t b e r e a d a s im p e r s o n a l ; t h e y a r e r e -

p e r s o n a l iz e d wi t h a 0 -s u b j e c t o r a 0 - a g e n s . T h e i n d e f in i t e p e r s o n a l

fo r m s ca n b e i n t e r p r e t e d o n ly t h i s wa y --a s -h u m a n a g e n t T h e r e a d e r

wh o s h a r e s t h e t a b o o a g a i n s t s p e a k in g o f t h e s e c r e t p o l ic e k n o ws f o r

wh om th i s "-agens" stan ds . Th is p r ocess is la id ba re in th e scene in

which Pop lavsk ii t r i e s to f in d th e h ou s in g com m it tee o f ficia ls . Wh en

h e a s k s wh e r e h e c a n f in d t h e p r e s id e n t , t h e " s it t in g m a n " d i sp l a y s a

typ ica l secre t p o l ice syn dr om e:

( 6 1 3 )


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[Th is app aren t ly s im ple ques t ion fo r some reason

u p se t t h e m a n w h o w a s sit t in g t h e r e so m u c h t h a t h i s

fa ce even ch an ged .]

He ca n g iv e n o p r e c is e a n s we r ( t h e a n s wer a s k s fo r a n o d e wh i ch ise m p t y ) :

" " -

( 6 1 4 )

["Ah a!"said th e c lever Poplavskii an d in qu ired ab ou t th e

s e c r e t a r y ]

Aga in th e resp on se is in d ef in i t e .

" " - (6 1 4 )

["Ah a!"Pop lavskii said to h im self.]

When th e "si t t in g ma n " is t aken a way , Pop lavsk i i th inks ,

( 6 1 4 )

[Ekh , wha t com pl ica t ion s ! An d wou ld n ' t you kn ow tha t a l lof them (acc .) a t on e t ime. . .]

Noth ing d e f in i t e is men t ioned , bu t Pop lavsk ii com es to the r igh t

conc lus ions , filling th e O-agen s no d e wi th th e agen ts o f th e

a p p r o p r ia t e i n s t it u t i o n . In t e r e s t in g l y e n o u g h , h e d o e s n o t m e n t i o n

th e ins t itu t ion h imse lf e ith e r , even in h is tho ugh ts . Simi la r

c o n c lu s io n s m u s t h a v e b e e n d r a w n b y M a r ga r i ta w h e n t h e M a s te r

d i s a p p e a r e d :

( 6 3 3 )

[Sh e d id e v e r y t h in g t o f in d o u t s o m e t h i n g a b o u t h im , b u t

o f co u r se sh e fo u n d o u t n o t h in g at all .]


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A p rocess s im i la r t o th i s f il lin g o f emp ty n od es is a t work in th e

resu r r ec t ion o f de ad m etap h ors invo lving th e word [dev il] in

Ru ssia n . Su ch exp r ession s a s " " (4 8 4 ) [th e d evil t a ke

th em ] an d " " (5 2 0 ) [th e d evil kn ows] occu r th r ou gh o u t th e

n o v e l. In s ta n d a r d Ru s sia n s u c h p h r a s es a r e m e r e ly d e a d m e t a p h o r su n m a r k e d fo r r e fe r e n c e t o a r e a l d e v il. Bu t fr o m t h e f ir s t s ce n e ,

wh er e Ber lioz ' s " " (4 2 4 )

[ it ' s t ime to th row ever y th ing to th e d ev il and se t o f f fo r Kis lovod sk]

le a d s im m e d i a t e ly t o t h e a p p e a r a n c e o f wh a t we l e a r n i s t h e De vil

h im s e lf, t h e r e a d e r i s p r e p a r e d t o s e e t h e m e t a p h o r r e a l iz e d e v e r y

t ime t h e d ev il is m en t ioned . (Bo th t ra n s la t ions lose th i s fi r s t

re fe rence to th e Devil . Ginsbu rg ha s "pe r h ap s I ough t to d r op

every th ing an d ru n do wn to Kis lovod sk" (4 ) ; Glenn y , "I th in k i t ' s t ime

to chu ck every th ing up an d go to Kis lovodsk" (10) . ) We a re p rep ared

t o s e e t h e c o n v e n t i o n a l ly e m p t y n o d e r e p r e s e n t e d b y f ille d

with th e rea l Devi l. Rea l iza t ion occur s aga in wh en Margar i t a says ,

" " (6 3 9 ) [I'd se ll m y sou l to th e Devil],

a n d Az a ze llo a n s we r s h e r t h o u g h t s .

" " (5 1 9 ) [t h e Devil kn o ws wh a t t h is

i s] acqu ires an i ron ica l an d h um orou s read ing , la id ba r e by

Ma r g a r i t a , wh e n s h e s a y s t o t h e Ma s t e r ,

( 7 8 0 - 8 1 )

[You jus t spoke t h e t ru th with ou t kn owing i t .. .. The Devi l

kn ows an d th e Dev il wil l f ix every th ing .]

The d ev ice is a lso la id b a re in th e scene in wh ich Prokh or Pe t rov ich ' s

s e cr e t a r y s a y s ,

(6O6)

[ I a l wa y s, a l wa y s s t o p p e d h i m wh e n h e s wo r e b y t h e

Devil ! Now he 's sworn by t h e Devil for t h e las t t im e.]


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This scene a l so rep resen t s icon ica lly th e em p ty ing an d f ill in g o f

n o d e s d e s c r ib e d a b o v e : t h e e m p t y s u i t c o n t in u e s t h e wo r k o f t h e

b u r e a u c r a t , wh o a p p r o v e s a l l t h e r e s o lu t i o n s t h e s u i t h a s m a d e i n h is

a b s e n c e ( 7 5 0 ) .

T h e a p p e a r a n c e o f t h e De v il wh e n h e is m e n t io n e d is n o tm e r e ly t h e r e v it a liz a t io n o f a d e a d m e t a p h o r ; it i s a ls o p u n i sh m e n t

fo r b rea k in g an an c ien t t abo o . The Dev il an d h i s su i t e a re ve ry

se n sit iv e t o su c h la n gu a ge ta b oo s. Wh e n Ma r ga r it a cr ie s, " !"

[God !] (642) , an o th e r em pty m etaph or , Azazello r espon ds , frowning ,

[Please, no screaming.]

Sim ila r l y , wh e n t h e c o o k r a i se d h e r h a n d t o m a k e t h e s i gn o f th e

cross,

! ( 7 8 7 - 8 8 )

[Azaze llo c r ied th rea ten in g ly f rom th e sadd le ,

"I' l l cut off your ar m !"]

The sem an t ic f ie ld s o f th e sec re t po lice an d th e Dev il in te r sec t open lytwice in th e no ve l with i ron ic and h um orou s e ffect . In Nikanor

Iv a n o v i c h ' s d r e a m h e i s a s k e d wh e r e t h e d o lla r s , wh ic h we r e , in f a ct ,

m ag ica l, ha d come f rom :

( 5 8 0 )

["They ' re m agica l! " sa id someon e in th e d a rk h a l l,

obviou sly i ron ical ly .

"That ' s r igh t , th ey ar e m agical ," Nikano r Ivan ovich

rep lied shy ly .]


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Fina l ly th e re i s one in t e r sec t ion o f th e two tab oos --aga ins t th e sec re t

p o l ic e a n d a g a in s t t h e s u p e r n a t u r a l --t h a t s t r o n g l y su g g e s t s t h a t t h e

t wo p h e n o m e n a a r e h o m o lo g o u s in t h e n o v e l: t h e s u p e r s t it io u s

An f isa t e l ls An n a Fran t sevn a ,

( 4 9 2 )

[ t h a t s h e k n o ws p e r f e c t ly we ll wh o t o o k a wa y t h e l o d g e r

a n d t h e p o lic e m a n , o n l y sh e d o e s n ' t wa n t t o s a y wh o a t

night.]

Likewise Bu lgakov k n ows p e r fec t ly we l l wh o i s r e sp on s ib le , on ly he

d o e s n ' t wa n t t o s a y in p r i n t .

Ab r a m T e r c d e s c r ib e s t h e e f fe c t o f t h i s r e v e r s a l in t h e h ie r a r c h y o f

s ign i fie r an d s ign i fied , o f li t e ra tu re an d rea l ity , in h i s

" ":

Metaph or ica l exp ress ion s like " the l ackeys o f

imp er ia l ism ," "t ra i tor s to th e workin g c lass ," "hire l in gs of

cap i ta l," "left d evia t ion ," "r ight d evia t ion ," were r ea l ized

by Sta l in in th e fu l l inca rn a t ion o f the image in l if e . Thep a t h o s o f 1 9 3 7 l a y i n t h e u n u s u a lly b r ig h t r e a l iz a t io n o f

m e t a p h o r s , lik e in a n o v e l, wh e n t h e wh o l e co u n t r y wa s

sud d en ly c rawl in g with som e k in d o f in v is ib le (and

t h e r e f o r e p a r t i cu l a r ly d a n g e r o u s ) m o n s t e r s, sn a k e s, a n d

s co r p io n s u n d e r t h e t e r r i b le n a m e s "Tr o t s k y it e " o r

"wrecker" It tu rn ed ou t th a t Russ ia was f il led with

l it e ra l ( even i f inv i sib le ) "en em ies" wh o a c ted l ike

d e m o n s a n d e r a s e d t h e b o u n d a r y b e t w ee n r e a lit y a n d

in v e n t io n . St a lin t u r n e d o n ( p e r h a p s wit h o u t e v e n

suspec t ing it ) th e m agica l p owers locked in th e lan guage ,

an d Russ ian soc ie ty , wh ich h as a lways been suscep t ib le to

a f ig u r a t i ve p e r c e p t io n o f t h e wo r d , t o t h e m ir a c u l o u s

t ran s fo rm at ion o f lif e in to th e p lo t o f a nove l (hen ce , by

t h e wa y , t h e b e a u t y a n d g r e a t n e s s o f Ru s s ia n lit e r a t u r e ) ,


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succum bed to th i s we ird il lu s ion o f livin g in a wor ld o f

m irac les, m ag ic , t r ea cher y , an d a r t , which a s everyone

c a n s e e c o n t r o l r e a lit y a n d c a u s e a c h ill t o r u n d o wn o n e ' s

b a c k wh i le t h e y p r e s e n t s o m e k in d o f s t r o n g v is u a l

p l e a s u r e .24

If we re t u rn wi th th i s d esc r ip t ion o f Sov ie t r ea l i ty to Bu lgakov ' s

n ove l, we fin d n u m erou s po in t s o f sim i la r i ty . Metaph ors a re r ea l ized

in th e n ove l a s in l if e . In l if e a s in th e n ove l the l in e d ivid ing rea l ity

f rom fan tasy is b lu r red . The m agica l p owers o f th e lan guage ( t aboo s

in Bulgakov) a re invoked , an d t h e resu lt i s a wor ld o f m i rac les and

sorcer y , a th eatr ica l world . Again , in th e word s of Milosz , " it i s h ar d

t o d e f in e t h e t y p e o f r e la t io n s h ip t h a t p r e v a ils a m o n g p e o p l e in t h e

East o th erwise tha n a s ac t in g. Even o n e 's ges tur es , ton e of voice , or

p r e fe r e n c e fo r c e r t a i n k i n d s o f n e c k t ie s a r e i n t e r p r e t e d a s s ig n s o f

on e 's p ol it ica l ten d en cies ."25 ( Is it an y won d er sem io t ic s f lou r i shed on

s u c h g r o u n d ?)

Wha t i s expre ssed in word s t akes p r eceden ce over rea l ity i t se lf . Th is

can c lea r ly be seen in ye t an o th e r f ill in g o f a conven t iona l ly em p ty

n o d e :

( 5 8 3 )

[ Nik a n o r Iv a n o v i c b e f o r e h i s d r e a m d i d n ' t k n o w t h e

works o f the p oe t Push k in a t a l l. Bu t Pu shk in h imse l f h e

k n e w v e r y w e ll a n d e v e r y d a y h e r e p e a t e d s e ve r a l t im e s

24 " " (1 9 7 4 ), 1 4 3 -

1 9 0 ; q u o t a t io n f r o m 1 6 1 - 6 2 , m y t r a n s la t i o n .

25Milosz, o p . c it . , 54 .


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s e n t e n c e s lik e "An d wh o ' s go n n a p a y f o r t h e a p a r t m e n t ,

Pu s h k in ?" o r " I su p p o s e P u s h k i n u n s cr e we d t h e l ig h t

b u lb o n t h e s t a ir c a s e ?" " I s u p p o s e Pu s h k in will b u y t h e

gas?"]

T h e r e a l Pu s h k in , , is n o t t h e 1 9 t h c e n t u r y o n e o r t h e o n e wh o

wr o t e p o e t r y ; t h e r e a l Pu s h k in liv e s in t h e wo r d s o f t h e t y p ic a l

Soviet .26 The p r im acy o f Sov ie t l in gu is t ic rea l ity over an y o th e r m od e

of exi sten ce can b e seen in ye t an o th e r r eversa l ; th e Sov ie t

fu n c t io n a r y Mis h a Be r l io z d o e s n o t h a v e t h e s a m e n a m e a s t h e

c o m p o s er , r a t h e r t h e F r e n c h c o m p o s e r i s d e s c r ib e d a s "

" (485) [has th e same las t nam e as Misha] .

Because o f th e m agica l power o f word s , th e ac t ions o f the sec re t

p ol ice can b e referr ed to on ly in d irec t ly . Not on ly is the NKVD shifted

ou t o f i t s p r imar y ro le a s pu re agen t it i s a l so sh i ft ed in to o th e r

m o d e s o f r e a l it y i n t h e t e x t --a p r o c e s s wh i c h s i m u lt a n e o u s l y le n d s it

n u m in o s it y a n d a v o id s t h e t a b o o . T h e p r im a r y m o d e o f r e a lit y in t o

which th e secre t p o l ice is sh i ft ed i s d rea m : th e d r eam of Nikan or

Iv a n o v i ch a b o u t t h e s p e c ia l p r i so n , Ma r g a r it a ' s d r e a m a b o u t t h e

Mas te r . In th e Moscow nove l , th en , bo th th e secre t p o l ice and th e

De vil a r e in p a r t e x p l a in e d a wa y a s d r e a m s .

In Je ru sa lem, ho wever , th i s is no t th e case . Here we ha ve as h i ft i n t o a n o t h e r r e a l it y --t h e p a s t a n d a n o v e l--w h e r e p e r h a p s t h e

tab oo i s n o t so st ron g . An d h e re th e re i s n o conf lic t be tween th e

Devil t s ba n d a n d th e secre t p o l ice --th e two a re com bined in Afran i i,

who i s th us b o th s in i ste r a n d e f fec t ive . Not on ly is Af ran i i' s ide n t i ty

26T e r c r e f e r s t o t h i s m a r k e t p l a c e v e r s i o n o f Pu s h k i n i n

( L o n d o n : O v e r s e a s P u b l i c a t i o n s I n t e r c h a n g e , 1 9 7 5 ) , 8 - 9 :


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m a s k e d b y t h e in s t a b ilit y o f r e f e r e n c e t o h i m b y t h e n a r r a t o r , b u t h i s

own d ia log with Pila te a l so exh ib i t s d i so r ien t in g sh i ft s in l an guage .

Pila t e p u t s t h e c o m m a n d t o m u r d e r lu d a i z Kir i a fa i n a p u t a t iv e

ind ica t ive ins tead o f the impera t ive :

( 7 2 3 )

[ To d a y I r e c e iv e d i n f o r m a t i o n t h a t h e will b e m u r d e r e d

tonight.]

He r e t h e in d e f in i t e p e r s o n a l fo r m o f t h e v e r b a n d t h e s h ift o f m o o d

a r e m o t iv a t e d b y a v o id a n c e o f r e s p o n s ib i lit y f o r t h e c r i m e . Aft e r t h e

m u r d e r , Afr a n ii d e s cr i b e s t h e s c en e a s if h e h a d n o t b e e n in v o l v ed

("-agen s") . He a l so p ur po se ly d is to r t s th e d e ta i ls in h i s accoun t to

m a s k t h e t r u e c o u r s e o f e ve n t s . An o t h e r v e ile d c o m m a n d is g iv e n

la te r , whe n Pi la te su gges t s,

( 7 4 0 )

[migh t h e n o t h ave k i ll ed h imse l f?]

When Afran i i says th i s i s u n l ike ly , Pi la te r e spo n d s ,

( 7 4 0 )

[I a m r e a d y t o b e t t h a t in a v e r y sh o r t t im e r u m o r s o f

th i s will sp rea d a l l over t own . ]

As it is the r ead er ' s kn owled ge o f th e ac t ion s o f th e sec re t po l ice tha t

ren der s the fan t as t ic gro tesqu e , so he r e it is the rea d er ' s r eco l lec t ion

of the Bib lica l accoun t th a t cau ses a sh ive r o f r ecogn i t ion to ru n down

h is sp ine . Bu t Pila te does n o t com m an d ; th e imp era t ive is sh i ft ed in to

o th e r m ood s , o th e r syn tac t ic s t ru c tu r es . Only when Lev ii Matve i a sks

h im wh o c o m m it t e d t h e m u r d e r d o e s Pila t e fin a lly a n s we r ,

( 7 4 6 )

[I d id it.]


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T h i s t im e t h e r e a d e r s h i ve r s a t t h e a b r u p t t r a n s t i o n t o d i r e ct ,

u n m a s k e d s p e e c h ; u n t il t h i s p o in t h e is m a d e t o h e s it a t e b e t we e n

var ious agen ts o f the ac t ion .

Perh ap s one o f the c lea res t r e f lec t ion s o f th e g ro tesqu er ies o f th e Sta l in is t sys tem in Bulgakov ' s n ove l comes in th e ep i log , in which

th e b lack ca t s become th e v ic t im s :

( 8 0 1 )

[Ab o u t a h u n d r e d o f t h e s e p e a c e fu l a n im a ls , u s e fu l a n d

d e v o t e d t o m a n , w e r e sh o t o r d e st r o y e d b y o t h e r m e a n s

in va r ious p a r t s o f th e coun t ry . ]

T h i s is n o t o n ly a n in t e r s e c t io n o f th e s u p e r n a t u r a l sp h e r e wit h t h a t

of th e secre t p ol ice , i t a lso re f lec ts th e s i tuat ion in Ru ss ian , "

" [wh e n t h e wh o l e co u n t r y wa s s u d d e n ly c r a wlin g wi t h

som e kin d of m on sters , snakes , an d scorp ions] .

Bo th m ask in g (emp ty ing o f sem an t ica l ly fu l l n od es ) and

rea l iza t ion o f me tap h or ( f ill in g o f conven t ion a l ly em p ty n od es ) se rve

to es t ran ge the re la t ionsh ip b e tween lan guage an d r ea l ity . In f ic t ion

th e goa l o f such d ev ices is to gener a te fan t as t ic an d g r o tesqu e e f fec t s .

Bu t in lif e t h e s a m e d e v i c es a r e t h e m s e lv e s ge n e r a t e d b y a r e v e r s a l

o f t h e h ie r a r c h y b e t we e n l a n g u a g e a n d r e a lit y ; wh a t d o e s o r d o e s n o t

e xis t in la n g u a g e t a k e s p r e c e d e n c e o v e r wh a t d o e s o r d o e s n o t e x is t

in rea l ity . If th e use o f the se dev ices to e s t ra n ge rea l ity re su l t s in th t

g ro tesqu e in Bulgakov ' s nove l , th en th e g ro tesqu er ies o f th e Sov ie t

sys tem i t se l f p r om ote exac t ly th e sam e d ev ices in h i s soc ie ty .

bulgakov's master and margarita - masking the supernatural and the secret police

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