Summary: This paper examines how spatial orders are created both vertically and horizontally in a fictional built environment, and the cross between time and space. The novel has 3 settings – Soviet Moscow, Jerusalem and Roman Empire, where spatial orders in each setting is constructed differently. This work finds that Bulgakov uses vertical spatial order to embed the symbolism of power. For instance, in Soviet Moscow, only the people with magical power are able to fly and those who are in governmental power not, while in Jerusalem and Roman Empire, the ruling power sits literally on a higher altitude. Bulgakov also uses horizontal spatial order to create atmosphere. The constant changing size of the fictional place compliments the dramatic plot of the novel.
Introduction:
The Master and Margarita is one of Mikhail Bulgakov’s major fictional works that is written in between 1928 and 1940[1]. The novel is composed of tons of “brilliant satire, phantasmagoria and historical prose” that is worth analysing. (Gurevich 1) Within the novel, Bulgakov creates 3 fictional worlds: the Soviet Moscow during the 1930s, the illusionary realm created by Woland and his crew, and the historical space of Yershalaim. The “Trident” shaped structure of this novel has created various parallels between the three worlds Bulgakov created, and naturally, these three worlds and its character interact with each other. These interactions creates interferences between the three worlds, leading to the end of this novel, where the master gains eternal refuge. Due to the nature of critics (and readers, as well), many have tried to map out these three worlds and try to account for the parallels between these storylines. (Gurevich 1) (Belyk) Some argue that the structures of “each world is more complex than the generic frame, and multiple common structures can be inferred from the three different worlds.” (Gurevich 1) Others argues that the Master and Margarita is an attempt to “de-construct Socialist Realism”. (Belyk) According to Belyk, “Bulgakov’s scepticism towards the soviet regime, in addition to his adversity of writing in the style of Socialist Realism enables his reader to receive a true glimpse of life in Moscow in the 930s.” (Ibid) This results in a work that was rare during the shadows of revolution. (Ibid)
However, not much about how Bulgakov arranges the detailed spaces within these three worlds and its metaphors is explained and analyzed. In general, Bulgakov implies both vertical space orders and horizontal (flat) space orders. This essay is an attempt to analyze the physical spatial orders in The Master and Margarita, and to explain the metaphors Bulgakov implied.
The idea of a “spatial order”:
The concept of a “spatial order”, or “space order”, is a term that is commonly applied in disciplines like architecture, landscape architecture[2], urban planning and geography. It describes the relationship between the order of a physical space and how people interact with it. In composition and literature where spaces are often referred and described, the term spatial order is defined as a pattern where “items are arranged according to their physical position or relationships.” (Friedlander) The logical organization of physical spaces not only creates different programming features e.g. accessibility/ recreation for people, but also carries cultural identities and expresses emotion. The collaboration of the size, texture, direction and arrangement of path through a space has the ability to inject human emotion to a physical space. In The Master and Margarita, Bulgakov deliberately creates different three dimensional fiction universes that can be both analyzed vertically and horizontally.
Vertical Space Order Analysis:
In all three Bulgakov’s fictional realities, vertical orders can be found everywhere. Natural landscape topography and building heights are the most evident vertical space organization elements that Bulgakov applies to imply metaphor. According to Olga Gurevich, a professor in the Department of Slavic Studies at Duke University, Bulgakov applies vertical order to symbolize power. (Gurevich 2) This evident in chapter 2 of The Master and Margarita, where Pilate is waiting for Joseph Kaifa at his palace. The physical location of his palace’s patio is described as a place “which there spread before the procurator the whole Yershalaim.” (Bulgakov, Pontius Pilate 33) Here, the palace, which works as a symbol of absolute and intensive governance, is organized above the city of Yershalaim and its people. The Bald Mountain, a place where death sentences are executed, is also located on a higher altitude than Yershalaim. Here, Bulgakov is trying to imply a simple metaphor: Power goes up in space. (Gurevich 2)
In Woland’s illusive reality, the ordinary spatial order is not being followed. By applying supernatural powers, Woland and his fellows have the ability to modify spaces, and to commute through a space via unusual ways. In Chapter 23 of The Master and Margarita, Margarita and Woland’s crew redecorated apartment 47, expanded its physical space, and elevated the space into a higher dimension by inviting people from different times and tales to the Satan’s great ball. These are all evidences of re-organizing spaces so that the significance of apartment 47 as one of the major settings is ensured. Apartment 47 is also an example that demonstrates the concept of how people interprets a physical space differently. To Berlioz, Apartment 47 is his home, and a vertical representation of power. To Berlioz’s uncle, it is a possession he desires that helps him to raise his power and status. It is the house rather than Berlioz’s death that attracts him to Moscow. To other people around the neighbourhood, apartment 47 is a haunted house. To Woland and his crew, however, apartment 47 is more than a residence: it is also a space that is extendible, and can be used deliberately as a set of mechanism that tricks people.
The other supernatural ability that breaks the equilibrium of order, as suggested by Gurevich (pg.2) is flying. In The Master and Margarita, only Woland and his fellows has the ability to fly initially. Flying grants them an alternative route to travel across Moscow in a way that is not trapped or interrupted by the landscape and its people. Consequently, flying breaks the traditional spatial order in Moscow, and is a symbol of absolute power above others, as Woland holds. Further, when Margarita was granted the ability of flying, she feels “[i]nvisible and free.” (Bulgakov, Flight 235) This indicates that by deliberately breaking the set-up spatial order, the metaphor of freedom is implied. It is also suggested by Gurevich (pg. 2) that the ability of flying is a symbol of escaping from the Soviet Union and its Socialist Realism literature’s grip and restriction. (Gurevich 2)
In the Soviet Moscow setting of the story, the vertical order is reversed. As suggested by Gurevich, Margarita had to “ascend from her tower” for happiness and the Master’s home is in a basement, which is opposed to the higher end of the Power metaphor. (Ibid.)
Horizontal Space Order Analysis:
The horizontal space order is mostly demonstrated in two chapters: Ivan’s chase in Chapter 4 and the soldiers’ route in Chapter 26. Using chapter 4 as a case study, one may reveal the relationship between emotion/ plot development and the organization of urban space.
In chapter 4, Ivan was engaged in a chase on Woland and his gang. Here, Bulgakov manages to successfully create a virtual route through out Moscow streets next to the garden ring in order to create a sense of anxiety for the readers and to create a fast-pace plot. The chase begins at Patriarch’s Pond, a narrow, depressing enclosure of trees and surrounding residential buildings. Here, Ivan’s emotion is related to the landscape: confused and complicated. Then, as the chase proceeds, the gang rushes to Spiridonvka Avenue, where Ivan is “convinced at once that it would be very difficult to catch up with them [Woland and his fellows].” (Bulgakov, The Chase 50) Here, the space opens up and expands linearly in the form of a major street, which creates a sense of emptiness, and making Woland and his gang further away from Ivan. Then, as the gang splits up at the Nikitsky gate, the space becomes complicated and puzzle-like again. Ivan lost his hope again. As Ivan spots Woland’s trace, the spaces extends again into Bolshaya Nikitskaya St, where Ivan gains his hope and arrived there “[i]n the twinkling of an eye.” (Bulgakov, The Chase 51) Here, the sense of opening of the space is related with hope. Then, as Woland eventually disappears, Ivan is introduced to apartment 47, but eventually lost his hope. Here, the space encloses, which is related to depression. At last, Ivan proceeds to the river bank of Moscow River, which is another open space that is related with hope. The combination of small enclosures and wide, linear openings creates a fast-pace plot that takes the reader through Moscow with “supernatural speed” (Bulgakov, The Chase 51). This combination also creates a sense of anxiety by chasing across the space. The riverbank space serves as a relief for the readers to recap after the fast-pace plot.
Conclusion:
To conclude, Mikhail Bulgakov has successfully played with spatial orders to convey his metaphors and to try to break the equilibrium. By creating spaces across the horizontal landscape, he also manages to create a vivid image of the Moscow that time in The Master and Margarita. By analyze spatial orders in literatures helps one with better understandings in not only the settings of the story, but also the context and themes behind it.
Bibliography
Belyk, Kristina. “The Master and Margarita: Deconstructing Social Realism.” brightONLINE 12 November 2012. Web. 21 April 2016. <art.brighton.ac.uk/study/literature/brightonline/issue-number-three/the-master-and-margarita-deconstructing-social-realism>.
Bulgakov, Mikhail. “Flight.” Bulgakov, Mikhail. The Master and Margarita. Trans. Larissa Volokhonsky Richard Pevear. New York City: The Penguin Group, 1967. 235-247. 22 April 2016.
Bulgakov, Mikhail. “Pontius Pilate.” Bulgakov, Mikhail. The Master and Margarita. Trans. Larissa Volokhonsky Richard Pevear. New York City: Penguin Group, 1967. 19-41. 20 4 2016.
Bulgakov, Mikhail. “The Chase.” Bulgakov, Mikhail. The Master and Margarita. Trans. Larissa Volokhonsky Richard Pevear. New York City: The Penguin Group, 1967. 47-54. 22 April 2016.
Friedlander, John. Principles of organization. n.d. Web. 22 April 2016. <http://grammar.ccc.commnet.edu/grammar/composition/organization.htm>.
Gurevich, Olga. “Bulgakov’s The Master and Margarita: Why Can’t Critics Agree on What it Means?” Glossos June 2003: 1-27. Web. 20 April 2016. <slaviccenters.duke.edu/uploads/media_items/4gurevich.orginal.pdf>.
[1] The novel is actually published in 1967 due to political issues.
[2] Landscape Architecture can sometimes be interpreted as the science that design physical spaces
