GALINA SEDOVA’S BULGAKOV. XVIII.

Galina Sedova’s Bulgakov.

Kot-Begemot Continues.

 

Do tell me, who, by Godly hand,

Has brought you hither to this land?

M. Yu. Lermontov.

Pushkin and Lermontov. There is no doubt that such is the company in which Bulgakov would love to find himself, should he get into hell or into any other such establishment.

But why have these two great Russian poets found themselves in hell, in the first place? The answer is easy: Aside from their poetry connection, Pushkin and Lermontov do have something else in common: they both insulted Satan. Pushkin, in Gavriiliada, separated the devil from his male organ. Lermontov, in Demon, humiliated him before the whole world, declaring that even having fallen in love, the devil is still incapable of loving. I do not know of any similar examples in world literature.

The devil takes them to hell after death, where they are subjected to a demeaning theatrical death on a daily basis [one cannot actually kill those who have already been killed] wherever they are and whatever they are doing. But as if this weren’t enough, they are forced to work for the devil as “pointers,” procuring for him the souls of amoral people on earth. (See more about this in my chapter on Bulgakov.)

Then, lo and behold, their luck turns around. In their misery, they suddenly receive an unexpected benefactor. Worried about the rise of atheism in dear to him Orthodox Russia, Yeshua calls upon Woland to find a Russian writer for him who would be able to depict his Passion. Woland, who does very few things personally, delegates the task to the care of the demon-tempter Azazello, who is skilled in suggesting ideas to all sorts of people, occasionally not excepting his master Woland.---

What are you saying, Azazello?

I am saying, twanged the other, that you ought to be drowned.
Be merciful, replied the cat, and do not lead my master to such a thought…

Azazello assembles a team of who in his mind are the most capable Russians: Koroviev and Kot-Begemot, and they leave for Moscow…

Such is the answer of the great Russian writer Bulgakov to all those who believe that the place for Pushkin and Lermontov is in hell, and do not see any forgiveness for them. In Master and Margarita, Bulgakov is quite clear that these two do receive eternal forgiveness. However, their course to forgiveness is not straight but is in fact an obstacle race. Too much, perhaps, depends not on them, but on other dramatis personae and forces at play.

The spring ball of the full moon turns out to be their secondary mission, as, on Yeshua’s assignment, they are to spend two years in Moscow. Woland turns up in Moscow only for the “Grand Finale,” merely to reap the fruit of the labor of Koroviev-Pushkin and Begemot-Lermontov, under the command of Azazello.

That prolonged visit to Moscow and the successful completion of the two projects (a book about Yeshua’s Passion written by a Russian writer, and the spring ball of the full moon) releases them from slavery, and grants them rest.

So, you still remember that poem by Pushkin---

No happiness in life, but there is rest and freedom.

I’ve long been dreaming of one enviable lot,

A tired slave, I’ve long been plotting my escape

To a faraway retreat of toils and purest pleasures.

I took this poem from Bulgakov’s own play Alexander Pushkin, which Bulgakov considered important for the understanding of Master and Margarita, hoping that he would be “guessed” correctly.

Koroviev-Pushkin and Begemot-Lermontov both receive their “rest” when, in Woland’s words, the scores are settled and the accounts are closed on the eve of the Russian Orthodox Easter. Still, we need to note the reckless audacity shown by Kot-Begemot toward Woland. Lermontov has not changed a bit. His behavior in hell is no different from the way he was in life.

“Uncommon buoyancy of mind, fears nothing and is self-satisfied… Mentally exalted and gay,”--- this is how Lermontov’s psychological profile might have been described by the eminent English homoeopath Dr. John Henry Clarke, M. D.

Begemot, unceasingly but very politely continues to mock Woland:

“Ach, Messire, my wife, if I had one, would have been risking at least two dozen times to be left a widow! But fortunately I am not married, and I will tell you straight out--- I am happy not to be married! Ach, Messire, is it possible to exchange bachelor freedom for that heavy yoke?”

“Here we go again, with some kind of nonsense,” noted Woland.

…Whether this is nonsense or not, Woland’s feelings are surely hurt by being reminded of his own infamy, in Mikhail Yurievich Lermontov’s Demon. This explains why Woland does not want to believe anything that Begemot is telling him.

“Would you believe it, Messire…” started Begemot in an intimate voice.

“No, I wouldn’t believe,” abruptly replied Woland. (He does not wish to listen to whatever Begemot has to say to him.)

“Are you here alone, or with your spouse?”---

“Alone, alone, I am always alone,” bitterly replied the professor [Woland].

And in a different place:

Koroviev went on: “But let us get down to business, Margarita Nikolaevna. You are an intelligent woman, and you have surely figured out who our host is. Each year messire throws one ball. So, here is the point. Messire is a bachelor, but a hostess is required. You must agree that without a hostess…”

So, as it turns out Lermontov in his poem Demon and subsequently in hell, keeps rubbing salt, with his incessant reminders, into a never-healing wound…

(To be continued…)