Sometimes it’s dead easy to find out to whom or to what Bulgakov is referring, but sometimes it needs more insight. Most translators have tried to respect Bulgakov’s style and to make his satire clear for non-Russians as well. No wonder that many characters, locations, houses and situations are fictitious only on the face of things. It turned into a glorification of freedom and a gorgeous love story, but also into a book by which he took revenge on the soviet literators for thwarting him, and on the soviet authorities – often Stalin himself – for making megalomanic decisions which were, according to the supporting propaganda, intended to create the socialist utopia, but in reality disturbing people’s life – and often even ending it abruptly. He worked secretly on The Master and Margarita during the ongoing repression in the Soviet Union in the thirties. Bulgakov’s major talent was in his capability to transform his impressions and deceptions into satire. It must be a real slog for any translator to grasp entirely Mikhail Bulgakov’s satire in The Master and Margarita. He argues that, by doing so, they missed a part of Bulgakov’s satire on the subject of money in the Soviet Union era. According to Jan Vanhellemont, the webmaster of the Master & Margarita website, it’s a pity that the English, French and Dutch translators of Bulgakov’s masterpiece translated this word as ten-rouble bill. In The Master and Margarita, Mikhail Bulgakov used several times the word chervonets. It’s an excerpt from the Context section, in which you can find much more information on the political, economical and social context in which Mikhail Bulgakov lived while he was writing The Master and Margarita. This is a sample page of content which you can find on the Master and Margarita website.
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