Chapter I

Epigraph—While Bulgakov incorporates many Faustian elements (many from Gounod's opera, Fausl, rather than from Goethe's poem), his use of this material is far from straightforward.

Commentary

In addition to the direct reference to Goethe's work about a devil-tempter who comes to a scholar, the epigraph introduces the theme of heresy, one which will be reinforced throughout this novel by means of allusions to historical figures accused of heresy. Goethe believed in the theory of polarities which is essentially a version of Manichean thought. In the Manichean view, there are two cardinal principles in the world, the light and the dark, the good and the evil. In this scheme of things, as stated by Mephistopheles in Goethe's Faust, God dwells in eternal light, the devils are consigned to darkness, and human beings have only day and night. This sort of dualistic thinking was unacceptable to the Christian faith, which requires that good be stronger than evil, not equal to it; therefore this kind of worldview was considered heretical.

Never Talk to Strangers—this is not only a piece of maternal wisdom, it is a specific marker for the xenophobia of the Soviet era. During this time talking to strangers, foreign strangers especially, could get you arrested on the grounds that they and you were spies for a foreign power.

First paragraph—Bulgakov rewrote the opening of the novel many times. The variant of the opening paragraph used in previous editions (based on the draft typed by Elena Sergeevna Bulgakov) is found nowhere in the notebook containing Bulgakov's different versions. This translation uses what Yanovskaya deems to be his final version, which differs in minor ways from previously published texts.

Patriarch's Ponds—a real location in the heart of old Moscow. While this was a place where Bulgakov spent a lot of time when he first came to Moscow, the location has double significance for the novel—it is named in honor of the Patriarch of the Russian Orthodox Church. Most of the places Bulgakov describes in this novel can still be found in today's Moscow (although many street names have changed), which has led to an entire Bulgakov tour industry. However, sometimes the author moves streets when it suits him, and relocates buildings, thus befuddling many critics who want the topography to be entirely accurate. Bulgakov consciously mixes realia of Moscow life typical of both the 1920s and 1930s.

Mikhail Alexandrovich—Russian names are formally given as first, patronymic, and last. When respect is being accorded, the full first name and patronymic are used. Berlioz's initials match Bulgakov's own.

MASSOLTT—a very funny acronym in Russian, which might be best conveyed in English as LOTSALIT. Bulgakov found the Soviet passion for acronyms very funny, and made up various absurd ones throughout his career, although the real ones were bizarre enough.

Bezdomny—this name literally means " Homeless, " and brings to mind an entire series of famous pseudonyms, starting with Maksim Gorky (" the Bitter") and ending with Demyan Bedny (" the Poor"). Bedny is apposite in that he was known for especially egregious antireligious works, such as the 1925 The New Testament without Defects of the Evangelist Demyan. Although some have sought historical prototypes for every character in the novel, few of those suggested for the main characters are convincing. Bulgakov's main characters tend to be a blend of many sources, and sometimes are deliberate abstractions (the Master himself is a good example of this). Minor characters, however, do tend to have recognizable sources in a single figure.

What the devil—seemingly unmarked expressions of surprise involving the devil proliferate in the novel. Less obvious to the English-speaking reader are all the sounds that relate to the word for minor devil, chyott, especially the root of the Russian word for black, chyomyi. On the first page, for example, Berlioz has black frames on his glasses, and Bezdomny has black sneakers.