FREE PDF Ù BOOK Мастер и Маргарита

KINDLE Мастер и Маргарита

FREE PDF Ù BOOK Мастер и Маргарита ä Michaił Bułhakow zaczął pisać Mistrza i Małgorzatę w 1928 roku ukończył w roku 1940 na kilkanaście dni przed śmiercią Książka ukazała się w druku po 40 latach i rzecz niespotykana – natychmiast stała się światowym bestselleremDo dzisiaj i śmiech i łzy towaMichaił Bułhakow zaczął pisać Mistrza i Małgorzatę w 1928 roku ukończył w roku 1940 na kilkanaście dni przed śmiercią Książka ukazała się w druku po 40 latach i rzecz niespotykana – natychmiast stała się światowym bestselleremDo dzisiaj i śmiech i ł This review is dedicated to Mary the very model of a perfect co moderator and GR friendUnlocking the Meaning of The Master and MargaritaMikhail BulgakovIn the decades following the publication of The Master and Margarita myriad critics have attempted to find a key to unlock the meaning of Bulgakov’s unfinished masterwork Some viewed the novel as a political roman à clef laboriously substituting historical figures from Stalinist Moscow for Bulgakov’s characters Others posited a religious formula to understand the relationships between good and evil in the novelAfter giving myself time to think I believe that any attempts to reduce the novel to a formula reflect some readers’ desire for neat safe boxes to contain the world This approach is at odds with the fear ridden desperate and yet transcendent reality of Bulgakov’s experience in writing revising destroying reconstructing and then revising the novel up to his death in Moscow on March 10 1940 The Master and Margarita shows evidence of Bulgakov’s struggles to complete it especially in part two which illness prevented him from revising I believe that the novel’s profound humanity stems from these imperfections these facets not uite fitting neatly together these jarring movements from scene to scene In the end The Master and Margarita is by virtue of its own existence a testament to the necessity of art in times of repression and to the urgent need for artists to veer from cowardice and hold firmly to their commitment to living a true human life with fantasy and reality combined with history and invention feeding into each other with good and evil providing the shadows and depth that make life meaningful and real The Master and Margarita as Fairy TaleOne approach to The Master and Margarita that appeals to me is understanding it in part as a fairy tale In the novel Bulgakov threads together three different storylines which intertwine especially at the novel’s conclusion the often slapstick depiction of life in Stalinist Moscow seen in part through the antics of the devil Woland and his demonic helpers; the story of Pilate with names and details transformed from the familiar Biblical versions; and the story of the Master and Margarita The action takes place in a compressed time frame so readers looking for character development will be disappointed Instead Bulgakov develops an extended allegory where flight euals freedom where greed and small mindedness are punished and where weary artists are afforded some mercy and peace The Master and Margarita provided Bulgakov with a lifeline to the imagination in the midst of the stultifying culture of Stalinist Russia There are healthy doses of wish fulfillment in the novel especially in those sections in which Woland’s minions Azazello Behemoth and Koroviev wreak retribution for the petty mindedness and greed inherent in this political and social system There also is a desperate attempt to resist the Stalinist bent towards monotony and flatness and instead to weave dizzying strands of magic fantasy and power into life in MoscowBehemothThese attempts to use a story as wish fulfillment criticizing a social order by turning it upside down in fiction and recognizing how to use an audience’s sense of wonder as a fulcrum for change resonate with the historical and cultural functions of fairy tales as described by scholars including Jack Zipes in The Great Fairy Tale Tradition and Marina Warner in From the Beast to the Blonde On Fairy Tales and their Tellers Magic and wonder force the reader to acknowledge other possibilities outside of a reality of political repression poverty and war When fairy tales reveal challenges to misplaced authority whether in the guise of an evil ueen or a greedy government official they may take on one of two roles a subversive threat to authority or a valve to release the pressure of living under severe constraints Perhaps most important fairy tales remind their readers that life is miraculous and that certain freedoms such as the freedom to imagine and dream can be nurtured and honored even under the most restrictive regimes For Bulgakov the blend of the fantastical and the everyday in The Master and Margarita serves as his manifesto Throughout his life he fought to preserve the full human experience not the two dimensional totalitarianism in the Stalinist USSR where human life was flattened of any sense of wonder creativity exuberance Instead he advocated for human life with all its shadows and colors with a foundation in imagination and wonder The freedom he sought was not simply freedom from communal housing or repressive government policies Instead he sought the freedom to imagine to dream to infuse his life with wonder and to share his vision For this reason any attempt to read The Master and Margarita as a simple satire of Stalinist totalitarianism is misguided Instead Bulgakov sought to fly free along with his characters and in doing so to tap into the universal human need for imagination wonder and freedom of the intellect and spirit“For me the inability to write is as good as being buried alive”Bulgakov and his wife Yelena c 1939Although Bulgakov universalized his uest for artistic freedom in The Master and Margarita he drew inspiration and a sense of urgency from his experiences A playwright he faced censorship as his plays were banned and productions cancelled He saw his fellow writers imprisoned for following their calling In response to one of these cases Bulgakov destroyed one version of The Master and Margarita which he later reconstructedIn desperation between 1929 and 1930 Bulgakov wrote three letters to Soviet government officials including Stalin to protest his censorship and beg for a chance to practice his art if not within Russia outside it In the final letter dated March 28 1930 Bulgakov movingly describes his ordeal arguing that his duty as a writer is to defend artistic freedom and pleading that being silenced is tantamount to deathAlthough the letters provided Bulgakov with employment after receiving a favorable response and saved him from arrest or execution he still faced his works’ being banned and suppressed He devoted the last years of his life to revising The Master and Margarita knowing he would not live to see it published and sometimes despairing it would ever be read outside of his family circle His widow Yelena Shilovskaya worked tirelessly after his death for decades preserving his manuscript and finally seeing it published in a censored version in 1966 and 1967 Planes of Reality The Fantastic The Historical and the TotalitarianAzazello Behemoth and KorovievSome criticism of The Master and Margarita comes from the abrupt transitions and changes in mood among the three storylines the actions of Woland and his minions in Moscow; the transformed story of Pontius Pilate with some striking changes to the names of characters and the seuence of events which simultaneously make the narrative seem historical and keep readers off balance; and the story of the Master and Margarita which includes Bulgakov’s central concerns about cowardice artistry duty loyalty and love I believe that Bulgakov purposefully constructed his novel so that the reader would be pulled from dimension to dimension The effect although jarring is one of constant instability and surprise The reader is immersed in a world where a Biblical past seems historically based and less fantastic than 20th century Moscow where characters who are petty and greedy are meted out fantastic public punishments at times literally on a stage and where in the end characters with the most substance and loyalty have their lives transformed through magicBy carefully building this multifaceted world with all the seams showing Bulgakov forces us as readers to consider the intersections among these worlds Bulgakov reveals how we cut ourselves off from the wellsprings of magic and wonder and invites us to join him in mounting a broomstick and riding off into the night sky free from the constraints of our everyday livesThe Necessity of Shadows WolandWolandJust as Bulgakov confounds his readers’ expectations of a unified and seamless world so he also makes us uestion our assumptions about good and evil A key character is Woland the devil at the center of the magical action From his appearance in the first chapter Woland presents an arresting and disconcerting figure Woland immediately inserts himself into a conversation with Berlioz the editor of a literary magazine and chair of MASSOLIT a prestigious literary association and Ivan a poet also known by his pen name Bezdomny engaging in a debate with them about the existence of God Berlioz parrots many of the current arguments against the existence of God but Woland deftly counters his arguments in a manner that veers between the charming and the sinisterThis debate introduces a theme that runs throughout The Master and Margarita a cosmos in which good and evil each have their jurisdiction but work together to ensure that people get the rewards or punishments that they deserve In a famous passage later in the novel Woland provides the following cogent description “You pronounced your words as if you refuse to acknowledge the existence of either shadows or evil But would you kindly ponder this uestion What would your good do if evil didn't exist and what would the earth look like if all the shadows disappeared? After all shadows are cast by things and people Here is the shadow of my sword But shadows also come from trees and from living beings Do you want to strip the earth of all trees and living things just because of your fantasy of enjoying naked light? You're stupidThroughout The Master and Margarita Woland metes out justice to wrongdoers However he does not simply punish instead he also rewards Margarita for her devotion intelligence loyalty and bravery He rescues the Master from his exile in the asylum and ultimately grants him and Margarita a destiny of peace and rest together In doing so Woland overturns our expectations Bulgakov describes a world where good and evil powers work together to provide some justice and balance in our lives in spite of the thoughtless and cruel ways that humans behave As Woland tells Margarita at one point “Everything will be made right that is what the world is built on” The true evil in The Master and Margarita does not rise from Hell but instead comes from the pettiness and greed of flawed small minded humansThe Master and Margarita Responsibility to ArtThe Master makes his appearance relatively late in the novel in chapter 13 “Enter the Hero” However he is not the traditional hero He is a broken man living in an asylum remembering his love for Margarita while at the same time turning his back on the art that Margarita loved protected and honored his novel about Pontius PilateIn a lengthy conversation with Ivan the Master paints an idyllic portrait of his life with Margarita who creates a cozy sanctuary full of roses and love in which the written word is treasured and respected “Running her slender fingers and pointed nails through her hair she endlessly reread what he had written and then she sewed the very cap he had shown Ivan Sometimes she would suat down next to the lower shelves or stand up on a chair next to the upper ones and dust the hundreds of books She predicted fame urged him on and started calling him Master She waited eagerly for the promised final words about the fifth procurator of Judea recited the parts she especially liked in a loud sing song voice and said that the novel was her life”However this idyll comes to a crashing end when the Master completes the manuscript and looks for a publisher He provides harrowing descriptions of his brutal treatment by the literary world in Moscow as editors publishers and fellow writers publicly criticized him for his novel These descriptions bear the pain of Bulgakov’s personal experience with censorship and rejection culminating in the Master’s paralyzing fear of everything around himFinally in a scene inspired by events in Bulgakov’s life the Master attempts to destroy his manuscript Although Margarita salvages some pages this scene marks the end of her life with the Master who turns his back on Margarita and his art He describes himself as a man without a name or a future marking time in the asylum Bulgakov depicts the Master as a broken man whose loss of spirit and cowardice in the face of adversity led him to lose everything of value in his lifeMargaritaMargarita poses a stark contrast to the Master When we finally meet her in part two she is grieving over losing the Master but she also shows herself to be intelligent energetic and fearless in her determination to find him and rebuild their life together In doing so Margarita is not taking an easy path She is married to a successful husband who adores her The two live in a large apartment with a great deal of privacy a true luxury in Stalinist Moscow She is beautiful but she cannot put behind her deep dissatisfaction with her life apparently perfect on the surface but with no depth She is living a lie Her despair starts to break when she has a dream about the Master which she views as a portent that her torment will soon come to an end After rushing from her home she has a fateful conversation with Azazello whom Woland has tasked with inviting her to officiate as his ueen at his ball Margarita handles the interaction with spirit and courage agreeing to follow Azazello’s mysterious instructions in hopes of learning the Master’s fateMargarita’s Night RideMargarita is transformed and embarks on a night ride flying naked on a broomstick over Moscow After wreaking havoc at the apartment of a publisher who had tormented the Master and comforting a small boy who awakened terrified by the destruction she participates in a moonlight gathering of other magical creatures Afterwards she returns to Moscow in a magical car “After all that evening's marvels and enchantments she had already guessed who they were taking her to visit but that didn't frighten her The hope that there she would succeed in regaining her happiness made her fearless” The night ride is a symbol of Margarita’s freedom and powerHer fearlessness propels Margarita through her meeting with Woland and his minions and a surreal evening as the ueen of Woland’s midnight ball Her devotion is rewarded by Woland in scenes full of magic and moonlight Although the Master crumbles in the face of adversity Margarita becomes the ultimate hero and savior through her courage and commitment to the Master and his artThe MoonThroughout The Master and Margarita Bulgakov uses key symbols to tie together the different chapters and storylines Perhaps the most important symbol is the moon which appears freuently in practically every chapter The moon conveys a kind of otherworldly truth Characters are bathed in moonlight at critical points in the novel especially when making entrances as when the Master first appears in Ivan’s hospital room Moonlight imparts insight and truth even to the most delusional of characters The moon lights the night rides of Woland his companions Margarita and the MasterWoland and company Night RideThe moonlight also features prominently in the Pilate chapters serving as a lynchpin between them and the rest of the novel Pilate looks up at the moon for solace in the face of his agony from his migraines and his cowardice with his faithful dog Banga as his sole companion Bulgakov uses the moon to illuminate Pilate’s torment and his final peace granted to him by the Master his creator Pilate has been sitting here for about two thousand years sleeping but when the moon is full he is tormented as you see by insomnia And it torments not only him but his faithful guardian the dog If it is true that cowardice is the most grave vice then the dog at least is not guilty of it The only thing that brave creature ever feared was thunderstorms But what can be done the one who loves must share the fate of the one he lovesIn response to Woland’s prompting the Master stands and shouts the words that complete his novel and end Pilate’s torture “The path of moonlight long awaited by the procurator led right up to the garden and the dog with the pointed ears was the first to rush out on it The man in the white cloak with the blood red lining got up from his chair and shouted something in a hoarse broken voice It was impossible to make out whether he was laughing or crying or what he was shouting but he could be seen running down the path of moonlight after his faithful guardian”Pilate Banga and the moonBulgakov follows this transformative scene with Woland’s gift of peace to the Master As she did throughout the novel Margarita remains by the Master’s side his loyal companion through eternity Bulgakov cannot give salvation to the Master perhaps because of the enormity of his cowardice against art perhaps because he has been so damaged by a hostile society In these final passages Margarita gives the Master and the reader a soothing picture of a peaceful life perhaps one Bulgakov himself longed for Listen to the silence Margarita was saying to the Master the sand crunching under her bare feet Listen and take pleasure in what you were not given in life—uiet Look there up ahead is your eternal home which you've been given as a reward I can see the Venetian window and the grape vine curling up to the roof There is your home your eternal home I know that in the evenings people you like will come to see you people who interest you and who will not upset you They will play for you sing for you and you will see how the room looks in candlelight You will fall asleep with your grimy eternal cap on your head you will fall asleep with a smile on your lips Sleep will strengthen you you will begin to reason wisely And you will never be able to chase me away I will guard your sleep

Mikhail Bulgakov Ô Мастер и Маргарита READER

Zy towarzyszą lekturze Mistrza i Małgorzaty Bułhakow opisał świat współczesny szyderczo i bez litości nie pozostawiając czytelnikom szczególnej nadziei; na pociechę zostawił obietnicę że rękopisy nie płoną że człowiek jest a może raczej bywa – dobry Soviet Ghost StoriesStories stories all is stories political stories religious stories scientific stories even stories about stories We live inside these stories Like this one in The Master and Margarita The story that we can or less agree upon we call reality But is it real?Story making and telling is what we do as human beings Through stories we create meaning out of thin air in the same way that plants create their food from light and usually with about the same level of casual unconsciousness We then learn to share meaning and thereby create language and societies We call this culture and have little idea what it means or how it worksWhat happens when stories particularly stories about stories are inhibited or forbidden? The most important result society goes mad And that part of society which becomes most mad is that of the professional story tellers who because they are the carriers of the essential human and cultural talent become less than human They are unable to tell the stories needed by the rest of us and enter a dream like state of inexplicability and meaninglessness The Master and Margarita is obviously a satire a purposeful distortion of language to demonstrate its corrupt use It is also obviously meant to recall the necessity for religious stories in a society that has degraded and mocked them But for me the book is less about the corruption of Soviet society and its attitude toward the Christian religion and about the even fundamental beliefs that are the unspoken tenets of story telling that is to say the philosophy of literature In an important sense literature is indistinguishable from religion Religion cannot exist without it; but it is likely that literature could exist without religion Literature precedes religion Bulgakov notices this in his story of Christ before Pilate “These good people” the prisoner began hastily added “Hegemon” and continued “learnt nothing and muddled up all I said In general I’m beginning to worry that this muddle will continue for a very long time And all because he records what I say incorrectly” This is a direct attack on the ‘veracity’ of the gospel of Matthew Bulgakov here implicitly contrasts religion against literature in his expanded and reinterpreted version of the biblical story of Jesus's condemnation and death; and he comes down decisively for literature as the fundamental mode of thinking The only thing beyond a text is another textThis is not to say that literature should cause trouble for religion The use of language is itself a religious experience even when it is used to parody religion as in Bulgakov's Communion of Sinners Ball and demonic Eucharist Literature conseuently exists as a spiritual and social rather than a material and merely sensory process Materialism of a Marxist Capitalist Scientific or any other sort tells a story that cannot account for where its story comes from Its causes cannot be enumerated and accounted for Such a story is deficient and incompleteStories do not appear to be 'in nature' but they do comment upon nature It is not inaccurate to say that they come from 'elsewhere' And it is this elsewhere that is both the source and guarantor of the integrity of the stories that get told Without the existence of this infinitely fecund elsewhere the realm of the spirit there is no way to verify the stories we tell ourselves As Bulgakov has a psychiatrist point out to one writer People can go around telling all sorts of stories But you don’t have to believe everything”It is this spiritual elsewhere that Bulgakov has intruding on and disrupting Russian civil society In time honoured fashion the intruders are portrayed as devils who are able to exploit the presumptuous conceits of this society especially those of the literary elite of the MASSOLIT the state run literary guild It is the writers who sense this intrusion first and it is they who are uite properly driven mad or to their death by it Bulgakov's demonic characters are up front in their challenge to cultural reality They make a reductio ad absurdum by denying the reality of language and the society and the culture associated with it The seductive mystics lie there are no Caribbean Seas on earth and desperate filibusters do not sail them and a corvette does not give chase and cannon smoke does not spread above the waves There is nothing and never was there anything either This challenge of course passes over the heads of the Soviet CitizenryFrom the writers the plague induced by constrained and distorted story telling spreads to minor government officials The local housing officer is the first casualty and he instinctively recognises the problem Comrades We’ve got unclean spirits in our building” And he's right the spiritual cannot be excluded only deformed by telling a story that denies the spirit Such denial is patently a confirmation of what is being deniedIt is through entertainment 1930's stage vaudeville that the condition is spread through the wider population The presumably hidden or at least repressed culture of Soviet consumer society is shown for what it is impressed as deeply as in any capitalist society by the linguistic distortions of brand names and wealth without purpose The 'watching mass' has no idea that it is being shown itself literally exposed in all its mendacious cupidityEven love ultimately the cohesive force of marriage and family as well as society is a product of language It appears from that spiritual elsewhere as a murderer leaps out from under the ground in a side street” for the Master Love may start with a look but it doesn’t progress beyond fantasy unless the look is the beginning of a shared story interpreted by Margarita as an eternally fated event The object that keeps them together while apart is of course the manuscript of the Master's book an alternative gospelIf the medieval troubadours are not enough evidence of the cultural determination of the meaning of love surely the varieties of love articulated in Shakespeare’s Sonnets and accepted by generations since clinch the case Any society that attempts to limit what love in all its variants might mean is doomed by its own contradictions; and not just the Soviet variety But it is Bulgakov’s conception of divine love that I find the most disturbing aspect of the pieceAny theologically aware person must at some point confront the problem of evil Evil demands a story The monotheistic religions subscribe to the story line that not only the Creator but his creation are ‘good’ How then does the obvious evil in the world come about? The existence of evil is typically explained with one of several largely inadeuate theories Evil is a spontaneous development of a rebellious force against the goodness of God and His works; Evil is not an autonomous force but merely the localised absence of the divine within creation; Evil is actually inherent in a world that was formed by a subsidiary godThis last theory has a number of designations but is usually associated with the third century CE Persian Mani So called Manichaeism is the perennial thinking persons solution to the problem of evil since it accounts for the available facts of life without the need to invent a number of uestionable metaphysical entities It needs only one such beast the flawed demiurge a satanic figure who made a few mistakes in the way he shaped the cosmos and we have been dealing with the conseuences ever sinceIt becomes apparent in The Master and Margarita that Bulgakov rejects all the classical theological explanations for evil especially Manichaeism But the resulting theology is not easy to digest He suggests that what appears as evil the work of Satan in the world is in fact the disguised work of God Bulgakov's contemporary Carl Jung termed this the Shadow and conceived it as an integral part of the divine In The Master and Margarita Bulgakov echoes Jung exactly in Satan's criticism of the evangelist Matthew Would you be so kind as to give a little thought to the uestion of what your good would be doing if evil did not exist and how the earth would look if the shadows were to disappear from it? After all shadows come from objects and peopleIn other words God is Satan; Satan is God And GodSatan cannot be avoided or escaped Even within evil God is present He is present among the atrocious evil doers of his demonic ball; among the crass bureaucrats and proletarian graspers in the audience of the Black Magician; among the scammers and players of the system who try to get one up on their fellow citizens; in Pilate and in Judas And presumably God is present and active therefore within and through Soviet society despite official protestations to the contrary The idea of Soviet Moscow as Paradise Lost is perhaps the greatest ironytruth that Bulgakov expresses in the bookOf course Bulgakov does not make a theological argument He tells a story But in this story Satan as well as his devoted angels transform suddenly into their opposites caring agents of human well being; then into clownish Loki or Coyote trinitarian figures whose function is to play the fool with social institutions There is no logic that can capture this divine turnaround from evil to love and play But there is a narrative in which it can be described and on the basis of that description be believed Bulgakov’s techniue as well as the substance of his story is not very different from for example the story of Exodus in which the God of Israel both allows the imprisonment of his people and then saves them from the situation he allowed to happen The story also presents an alternative account of creation itself as a text produced and protected by Adam and Eve a couple which is bound together by it Going beyond biblical bounds religion itself is accounted for by the Master the new Adam Of course when people have been completely pillaged like you and me they seek salvation from a preternatural force And he is immediately corrected by Margarita the new Eve with eminent practicality Preternatural or not preternatural –isn’t it all the same? I’m hungry”The theme almost a running joke is clear The Lord giveth and the Lord taketh away Blessed be the Name of the Lord The situation is dire but not hopeless Exile from the Garden means freedom as well as toil This is a theme that demands great faith to assert More than I have had at times certainly

TEXT á Мастер и Маргарита Ô Mikhail Bulgakov

Мастер и МаргаритаNawet szatan w Mistrzu i Małgorzacie okazuje się w końcu przyzwoitym facetemW Polsce powieść Bułhakowa niezmiennie cieszy się ogromnym powodzeniem W rankingu czytelników i ekspertów Rzeczypospolitej w 1999 roku została uznana za najważniejszą powieść XX wiek «Sympathy for the Devil»His name is God Not Lucifernot Satanbut GodSatan is God in a bad mood God in a bad mood lays our souls to waste «As heads is tales Just call me LUCIFER cop is to criminal as God is to Lucifer» God in a good mood plays games with us «What’s confusing you is just THE NATURE OF MY GAME»«This song has a direct tie to the book the Master and the Margarita is about all the history tragedies with points throughout time The man he is describing is the devilThe devil is asking for sympathy because he claims the reason he is not to blame is because the devil does not make you do anything He simply sets the stage which is the nature of his game Look up those points in time You should know most of them from history» Someone said His name the devil humanity A masterful song for a masterpiece «Please allow me to introduce myselfI'm a man of wealth and tasteI've been around for a long long yearStole many a man's soul to wasteAnd I was 'round when Jesus ChristHad his moment of doubt and painMade damn sure that PilateWashed his hands and sealed his fatePleased to meet youHope you guess my nameBut what's puzzling youIs the nature of my gameI stuck around St PetersburgWhen I saw it was a time for a changeKilled the czar and his ministersAnastasia screamed in vainI rode a tankHeld a general's rankWhen the blitzkrieg ragedAnd the bodies stankPleased to meet youHope you guess my nameAh what's puzzling youIs the nature of my gameI watched with gleeWhile your kings and ueensFought for ten decadesFor the gods they madeLet me please introduce myselfI'm a man of wealth and tasteAnd I laid traps for troubadoursWho get killed before they reached BombayPleased to meet youHope you guessed my nameWho whoBut what's puzzling youIs the nature of my game get down babyPleased to meet youHope you guessed my nameBut what's confusing youIs just the nature of my gameJUST AS EVERY COP IS A CRIMINAL AND ALL THE SINNERS SAINTS AS HEADS IS TAILSJUST CALL ME LUCIFERCause I'm in need of some restraintSo if you meet meHave some courtesyHave some sympathy and some tasteUse all your well learned politesseOr I'll lay your soul to wastePleased to meet youHope you guessed my nameBut what's puzzling youIS THE NATURE OF MY GAME mean it get down Tell me baby what's my nameTell me honey can you guess my nameTell me baby what's my name tell you one time YOU ARE TO BLAME Ο συγγραφέας μας καλεί σε ένα ταξίδι χωρίς όρια Μια τρελή περιπέτεια και η απόλυτη ερωτική ιστορία Πρωταγωνιστές και συνοδοιπόροι μας ο Διάβολος και ο Χριστός Καταρρίπτουμε τα δεδομένατα χρηστάτα χρονικά σύνορατα απλά Μπαίνουμε στο μύθο του Φάουσταλλάζουμε τα Ευαγγέλιακάνουμε μυστικιστικές αναζητήσειςενώνουμε τη φαντασία με την σοβαρότητα εξομοιώνουμε το ρεαλισμό με τον τρυφερό λυρισμό και απο τα βάθη της μεσαιωνικής μαγείας μέχρι τη Σταλινική Μόσχα ζούμε τον διαβολικά παράφορο έρωτα του Μαίτρ και της Μαργαρίτας Κοιταζόμαστε στον καθρέφτη βλέποντας τα πάθη και τις αμαρτίες μας Μαθαίνουμε ακράδαντα να πιστεύουμε πως το μεγαλύτερο αμάρτημα για τον καλό και τον κακό Θεό είναι μόνο η ΔΕΙΛΙΑ Αυτή τιμωρεί και τιμωρείται Αυτή γεννάει την αιώνια δυστυχία της ανθρώπινης ύπαρξης Ο φόβος και η δειλία είναι τα συστατικά για την πλήρη ανυπαρξία Παίζουμε σε ένα δαιμονικό παιχνίδι με τους ανθρώπους και τους διαβόλους Ο Σατανάς μαζί μαςδίπλα μας έχει εντολή απο το θεό να παίξει μαζί μας να μας προκαλέσεινα μας δείξει αλήθειες Στη Μόσχαστη Ναζαρέτστην Καινή διαθήκηστη συνείδηση μαςστην πουλημένη ή κατεστραμμένη ψυχή μας βρίσκονται αιώνες επαναλήψεων ιστορικώνκοινωνικώνατομικών μυθικών ρεαλισμών Κάναμε περίπατο με τον Πόντιο Πιλάτο και τον Χα Νοτσρί Ο Ιησούς τραγούδησε Συνομιλήσαμε για πολλά με έναν γάτο και έναν κακάσχημο δαίμονα Τα πλήθη ξετρελαμένα σε ομαδική παράκρουση τραγουδούσαν ασταμάτητα Ο Σατανάς πάντα δίπλα μας έκανε χρέη οικοδεσπότη και μεταφραστή Χορέψαμεαγαπήσαμεσκοτώσαμε Ταξιδεύουμε πάντα με γεμάτη Σελήνη Ποζάρουμε ως τέρατα χαμογελώντας στον καθρέφτη της ζωής Μπροστά μας πάντα η Μαργαρίταολόγυμνη και ευτυχισμένη σέρνει το χορό στην τελετή του διαβόλου και μας καθοδηγεί Η επιλογή κατεύθυνσης πάντα δική μας ευθύνη Κύριο χαρακτηριστικό μας η ελεύθερη βούληση Βασικό μειονέκτημα η θνητότητα μας που ίσως θεραπεύεται μόνο με πάθη και αμαρτίες Μια δοκιμή ή περισσότερες θα μας πείσουν Καλή ανάγνωση Πολλούς διαβολικούς ασπασμούς