Name: The Master & Margarita
Rating: 4.284064665127021 (433 reviews)

Mikhail Bulgakov

Diana Lewis Burgin

Introduction by Simon Franklin; Translation by Michael Glenny "From the Hardcover edition."

The Master & Margarita

Мастер и Маргарита

Presents a satirical drama about Satan's visit to Moscow, where he learns that the citizens no longer believe in God. He decides to teach them a lesson by perpetrating a series of horrific tricks. Combines two distinct yet interwoven parts, one set in contemporary Moscow, the other in ancient Jerusalem.

The Master and Margarita

ikkychan

Mikhail Bulgakov’s The Master and Margarita is one of those books that can’t be pinned down to just one category. It’s satirical, philosophical, absurd, and deeply reflective all at the same time. In many ways, it feels like Bulgakov was holding up a mirror to his readers, showing them the chaos and resilience of humanity under Stalin’s regime. Let’s dive into four major aspects of the novel: its critique of Stalinist USSR, its brilliant use of humor and absurdity, its exploration of deep philosophical and religious ideas, and its defense of artistic and personal freedom. One of the most fascinating things about The Master and Margarita is how it tears into Stalinist society with biting satire. Bulgakov exposes how psychological manipulation, survival tactics, and the absurdity of authority were woven into daily life. Take Woland and his gang, for example. Their antics in Soviet Moscow aren’t just entertaining; they’re a brutal expose of moral decay, greed, and hypocrisy. Remember the Variety Theatre scene? Woland’s magic show lures the audience with free money and luxury items, only to strip it all away and leave them humiliated. This moment feels like a perfect metaphor for Stalin’s false promises of prosperity and his government’s habit of public shaming as a means of control. When Woland points out that “mankind loves money, whatever it’s made of,” he’s shining a light on the materialism that thrived in such a corrupt system. The Pilate-Yeshua storyline adds another layer to this critique. Pilate’s struggle—condemning Yeshua despite believing in his innocence—captures the moral compromises people were forced to make under oppressive regimes. Pilate’s inner turmoil is summed up by Yeshua’s haunting observation: “Cowardice is the most terrible of all vices.” You can’t help but feel Pilate’s guilt as he wrestles with the memory of his choices, much like those who had to prioritize survival over conscience under Stalinist rule. Surviving in Stalin’s world wasn’t about thriving; it was about keeping your head above water. Bulgakov shows this through his characters. The Master retreats into isolation after his work is censored, while Margarita strikes a deal with Woland to save him. They’re both fighting for meaning and love in their own ways, but neither can fully escape the grip of oppression. Even their final reward—an eternal, secluded life together—feels like a bittersweet reminder that true freedom was unattainable in such a society. Bulgakov’s message seems clear: no one is ever completely free of the state’s control. And then there’s the humor. Bulgakov’s use of absurdity is nothing short of genius. Woland’s retinue—especially Behemoth, the benzene-drinking, gun-wielding cat—turns the mundane into the ridiculous, poking fun at Soviet bureaucracy. Behemoth’s tram ride, where he causes pure chaos, is a standout moment that mocks the rigid and often nonsensical rules of public life. When Behemoth fights the police officers in apartment no. 50 and is caught in a brutal crossfire that claims no victim no matter how many shots fired, he’s breaking every rule, and it’s hilariously liberating. It’s humor like this that helps readers process the oppressive atmosphere of the time without losing hope. The absurdity in the novel isn’t just for laughs. It’s a way to highlight the farcical nature of authoritarianism. Scenes like Margarita’s naked broomstick flight across Moscow are outrageous, but they also remind us that laughter and silliness can be acts of resistance. Bulgakov’s “necessary silliness” gives readers a way to face the bleakness of oppression without being consumed by it. At its heart, the novel asks big questions about morality and the balance of good and evil. Woland, despite being Satan, often feels like a force for justice. His punishments might be harsh, but they’re targeted at greed and hypocrisy. When he says, “What would your good be doing if there were no evil, and what would the earth look like if shadows disappeared from it? After all, shadows are cast by objects and people,” it’s a reminder that good and evil coexist in everyone and every society. Pilate’s guilt over Yeshua’s execution and the Master’s despair over abandoning his manuscript reflect the struggles of people trying to stay moral in an immoral world. Yeshua Ha-Nozri stands out as a beacon of compassion and truth. His belief in kindness, even in the face of death, contrasts sharply with Pilate’s cowardice and the Master’s resignation. Bulgakov seems to be saying that moral integrity, no matter how costly, is the ultimate resistance against tyranny. Finally, there’s Bulgakov’s take on artistic freedom. The Master’s censorship mirrors Bulgakov’s own battles with Soviet authorities. When the Master gives up on his novel, it’s a heartbreaking acknowledgment of how totalitarianism silences creative voices. But Margarita’s unwavering support shows how art can inspire and connect people, even under the harshest conditions. Woland’s famous line, “Manuscripts don’t burn,” is the ultimate expression of this idea: truth and creativity can’t be destroyed, no matter how hard oppressive regimes try. Bulgakov doesn’t hold back when it comes to showing the absurdity and corruption of Soviet bureaucracy. From exposing greedy bureaucrats to highlighting their incompetence, Woland’s interactions with them expose the moral bankruptcy of those in power. The theater manager’s panic during Woland’s show and Behemoth’s absurd tram ride underscore the incompetence and fear-driven behavior that characterized Soviet authority. By laughing at authority figures, Bulgakov strips them of their supposed grandeur and reminds us of the power of satire. In the end, The Master and Margarita is more than a critique of Stalinist oppression. It’s a celebration of resilience, humor, and the enduring power of art and morality. By blending the fantastical with the real, Bulgakov captures both the absurdity and the strength of the human spirit in the face of tyranny. It’s a story that doesn’t just reflect its time but speaks to the timeless struggle for freedom and truth.

Diana Burgin

Katherine Tiernan O'Connor

The underground masterpiece of twentieth-century Russian fiction, this classic novel was written during Stalin’s regime and could not be published until many years after its author’s death.

When the devil arrives in 1930s Moscow, consorting with a retinue of odd associates—including a talking black cat, an assassin, and a beautiful naked witch—his antics wreak havoc among the literary elite of the world capital of atheism. Meanwhile, the Master, author of an unpublished novel about Jesus and Pontius Pilate, languishes in despair in a pyschiatric hospital, while his devoted lover, Margarita, decides to sell her soul to save him. As Bulgakov’s dazzlingly exuberant narrative weaves back and forth between Moscow and ancient Jerusalem, studded with scenes ranging from a giddy Satanic ball to the murder of Judas in Gethsemane, Margarita’s enduring love for the Master joins the strands of plot across space and time.

Karpe Diez

The surprising naivety with which characters in this book deal with supernatural proves to be a powerful source of humor for Bulgakov. There is that and then there is simplicity, common-sense and candor in the version this author offers for the events surrounding Jesus' encounter with Pontius Pilate. I almost wish the story would have encompassed a version of Jesus' encounter with the Caiaphas

An audacious revision of the stories of Faust and Pontius Pilate, The Master and Margarita is recognized as one of the essential classics of modern Russian literature. The novel's vision of Soviet life in the 1930s is so ferociously accurate that it could not be published during its author's lifetime and appeared only in a censored edition in the 1960s. Its truths are so enduring that its language has become part of the common Russian speech.One hot spring, the devil arrives in Moscow, accompanied by a retinue that includes a beautiful naked witch and an immense talking black cat with a fondness for chess and vodka. The visitors quickly wreak havoc in a city that refuses to believe in either God or Satan. But they also bring peace to two unhappy Muscovites: one is the Master, a writer pilloried for daring to write a novel about Christ and Pontius Pilate; the other is Margarita, who loves the Master so deeply that she is willing literally to go to hell for him.

By Mikhail Bulgakov - Bitig Books Classics

Marija

Nadine MacDonald

“Manuscripts don’t burn” as a piece of history, Master and Margarita feels almost unbelievably incredible and brave. It is a miracle that we get to read this work of art. As a book, it is a bit of work to read, as I found it difficult sometimes to understand the representations of soviet Russia. This meant that at the end of every chapter I was reading analyses, which made it all so worth it.

Михаи́л Афана́сьевич Булга́ков

Usta ile Margarita

(this review is for the everyman's library edition and glenny translation of mikhail bulgakov's 

best cat of all time. best satan of all time. best demon henchmen of all time. best lover of all time. best pontius pilate of all time. best depressed writer of all time. bulgakov mixes satire and the supernatural masterfully so, much to the delight of this fan of gogol. while i later learned glenny's translation was based on a censored version of the text—i'm now determined to reread the book with burgin/o'connor's translation—i adored the humor and imagery captured through glenny's choices, and i also appreciated the historical context this edition provided in the forward. i was moved not only by the satire, but the lengths margarita goes for the master, the mercy she shows to frieda, the lengths matthew goes for ha-notsri, the encouragement the master shows to ivan, and the love banga harbors for pontius pilate. the cast may be wide, yet they are all full of depth, even the ones who are given relatively few lines. and moscow and jerusalem themselves become characters too. i think there are hundreds more layers i missed on my first read (of a censored version, no less), and even so, i savored each page.

another nypl patron before me curiously cut out the last two words of the epilogue, so i'll have to guess what they are (probably: pontius pilate), but ironically that's rather true to the book's grappling with authorship and reality...

alice

(this review is for the everyman's library edition and glenny translation of mikhail bulgakov's the master and margarita)

best cat of all time. best satan of all time. best demon henchmen of all time. best lover of all time. best pontius pilate of all time. best depressed writer of all time. bulgakov mixes satire and the supernatural masterfully so, much to the delight of this fan of gogol. while i later learned glenny's translation was based on a censored version of the text—i'm now determined to reread the book with burgin/o'connor's translation—i adored the humor and imagery captured through glenny's choices, and i also appreciated the historical context this edition provided in the forward. i was moved not only by the satire, but the lengths margarita goes for the master, the mercy she shows to frieda, the lengths matthew goes for ha-notsri, the encouragement the master shows to ivan, and the love banga harbors for pontius pilate. the cast may be wide, yet they are all full of depth, even the ones who are given relatively few lines. and moscow and jerusalem themselves become characters too. i think there are hundreds more layers i missed on my first read (of a censored version, no less), and even so, i savored each page.

another nypl patron before me curiously cut out the last two words of the epilogue, so i'll have to guess what they are (probably: pontius pilate), but ironically that's rather true to the book's grappling with authorship and reality...

Um livro tão distinto de tudo o que já li este ano. Caprichoso, extravagante e unicamente estranho e bizarro. É uma obra que sabe não se levar demasiado a sério, que brinca com a realidade e a distorce de maneiras hilariantes. Cada capítulo era repleto de referências absurdas e ironia, ainda que tão perspicazes no seu criticismo à Rússia Comunista. 

Realmente não há nenhum livro como 'O Mestre a Margarita'; Bulgakov é um revolucionário da literatura russa, desafia o realismo e escuridão dos clássicos de Dostoyevsky, Tosltoy, Gogol,... Ao invés de cenários sombrios, Bulgakov presenteia o leitor com um mundo mágico (que, não obstante, continua a ser extremamente humano, simples, e real - o cenário continua Moscovo, ainda que com algumas peculiaridades).

A verdadeira de definição de ''ver (ou ler!) para crer''. 

dyonisos.

Um livro tão distinto de tudo o que já li este ano. Caprichoso, extravagante e unicamente estranho e bizarro. É uma obra que sabe não se levar demasiado a sério, que brinca com a realidade e a distorce de maneiras hilariantes. Cada capítulo era repleto de referências absurdas e ironia, ainda que tão perspicazes no seu criticismo à Rússia Comunista. 
Realmente não há nenhum livro como 'O Mestre a Margarita'; Bulgakov é um revolucionário da literatura russa, desafia o realismo e escuridão dos clássicos de Dostoyevsky, Tosltoy, Gogol,... Ao invés de cenários sombrios, Bulgakov presenteia o leitor com um mundo mágico (que, não obstante, continua a ser extremamente humano, simples, e real - o cenário continua Moscovo, ainda que com algumas peculiaridades).


A verdadeira de definição de ''ver (ou ler!) para crer''. 

Orlando Figes

A literary sensation from its first publication, The Master and Margarita is considered a masterpiece of twentieth-century Russian literature.

Part of the Macmillan Collector’s Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is translated by Diana Burgin and Katherine Tiernan O’Connor, and features an introduction by Orlando Figes.

In Mikhail Bulgakov's imaginative extravaganza, Satan, disguised as a magician, descends upon Moscow in the 1930s with his riotous band, which includes a talking cat and an expert assassin. This visit has several aims, one of which concerns the fate of the Master, an author who has written a novel about Pontius Pilate and is now in a mental hospital. By turns satiric, fantastic and ironically philosophical, The Master and Margarita constantly surprises and entertains as the action switches back and forth between twentieth-century Moscow and first-century Jerusalem.
([source](https://www.panmacmillan.com/authors/mikhail-bulgakov/the-master-and-margarita/9781529012118))

Master and Margarita

I love art that isn’t immediately known to you from the first chance getting to know it. There's something captivating about not fully grasping the entire context—it opens the door to personal discoveries about history, world leaders, literary references, and so much more. I find it fascinating to uncover philosophy in Christianity or other religions through the lens of a different belief system. It’s not that it makes me feel smarter; rather, it offers an experience I know I could never find in contemporary literature. I think I’m in love with the inherent strangeness of classic books, and Bulgakov’s writing, in particular, is so mesmerizing that I never want to stop immersing myself in it.

I have a theory about Woland’s role in 

. He was present at Christ’s execution and later appears in Moscow during Stalin’s Soviet regime, a time when the government aggressively promoted atheism and rejected religion. Woland seems to have a specific purpose: to expose and punish the people’s denial of Christ and their refusal to believe in His existence. He finds amusement in their ignorance, especially in how stubbornly they reject the idea of God. But Woland’s actions aren’t just for his own entertainment. He eliminates anyone who opposes him or tries to stand in his way. What’s interesting is how he punishes people in ways that match their beliefs. Since they deny God, Woland becomes a kind of divine reckoning, enforcing justice in his own way. His presence forces the people to face the consequences of their disbelief. To Woland, this approach makes sense—if they’ve already dismissed God, he feels free to act as he pleases, without following divine rules. This connects to the translator’s note: “

As Woland’s existence proves the existence of a God the Soviet state has abandoned—so the writer tells lies in order to say something true

.” Woland’s presence challenges the Soviet regime’s rejection of God, showing that denying spiritual truths doesn’t make them disappear. Instead, their ignorance and defiance invite forces like Woland, who punish them in ways they can’t understand or escape.

🏹

I love art that isn’t immediately known to you from the first chance getting to know it. There's something captivating about not fully grasping the entire context—it opens the door to personal discoveries about history, world leaders, literary references, and so much more. I find it fascinating to uncover philosophy in Christianity or other religions through the lens of a different belief system. It’s not that it makes me feel smarter; rather, it offers an experience I know I could never find in contemporary literature. I think I’m in love with the inherent strangeness of classic books, and Bulgakov’s writing, in particular, is so mesmerizing that I never want to stop immersing myself in it.

I have a theory about Woland’s role in The Master and Margarita. He was present at Christ’s execution and later appears in Moscow during Stalin’s Soviet regime, a time when the government aggressively promoted atheism and rejected religion. Woland seems to have a specific purpose: to expose and punish the people’s denial of Christ and their refusal to believe in His existence. He finds amusement in their ignorance, especially in how stubbornly they reject the idea of God. But Woland’s actions aren’t just for his own entertainment. He eliminates anyone who opposes him or tries to stand in his way. What’s interesting is how he punishes people in ways that match their beliefs. Since they deny God, Woland becomes a kind of divine reckoning, enforcing justice in his own way. His presence forces the people to face the consequences of their disbelief. To Woland, this approach makes sense—if they’ve already dismissed God, he feels free to act as he pleases, without following divine rules. This connects to the translator’s note: “As Woland’s existence proves the existence of a God the Soviet state has abandoned—so the writer tells lies in order to say something true.” Woland’s presence challenges the Soviet regime’s rejection of God, showing that denying spiritual truths doesn’t make them disappear. Instead, their ignorance and defiance invite forces like Woland, who punish them in ways they can’t understand or escape.

An utter mystery. For me, seductive and out of the blue. 

Adam Scharf

Interposed between a retelling of the crucifixion of Christ is the most charming bewildering and lighthearted Russian story about mischief and the pitfalls of cowardice. Unlike many of his contemporary counterparts (Gogol, Pushkin, Tolstoy) bulgakov does not fixate on Soviet era Russia’s strife and misery but instead tells a tale about satan in Moscow with his crew of henchmen while they rampage though the city. So enjoyable and lighthearted. Couldn’t help but laugh out loud each time behemoth the hind leg walking vodka drinking cigarette smoking black cat decided to play a game of William Tell or fire off his Browning at the Russian secret service. 

jaya kohol

britt

my brain needs a break. will review later.

Natalie

Had high expectations for this book, after hearing heaps of praise about it, yet somehow my expectations were still exceeded. What makes this novel so singular in its brilliance is its heart that cohesively brings together widely disparate elements of its narrative (e.g. satire, fairy tale, etc). A classic that I plan to re-read many, many times.

Matt Ball

i only got halfway thru before i had to put it down. what was even happening.. i couldnt follow especially with all the random characters. i can usually get thru older & complex books but nothing was connecting and the dialogue was so strange that it was more confusing than funny. i wanted to believe i would get into it but i just couldnt :( 

All'amico segreto / Lettera al governo dell'Urss

Il Maestro e Margherita

silvia

«Non bisogna certo fare dei grandi progetti, caro vicino, è vero! Io, per esempio, volevo fare il giro di tutta la Terra. Si vede che non era stato scritto. Vedo solo un insignificante pezzetto di questa Terra. Penso che non sia il migliore che esista al mondo, ma, lo ripeto, non è poi così misero.»

Любовь выскочила перед нами, как из-под земли выскакивает убийца в переулке, и поразила нас сразу обоих was the first sentence i voluntarily translated in rus101 freshman yr shoutout bulgakov

i don’t have the words to explain just how much i adored this book, but it’s going to stick with me for a long time. hands down one of the best books i’ve ever read.

Classic! Deeply layered, wonderfully chroeographed and satisfying storyline. 

The Master & Margarita

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