‘Forgive me, but I don’t believe you,’ Woland replied, ‘that cannot be: manuscripts don’t burn.’ He turned to Behemoth and said, ‘Come on. ‘Unfortunately, I cannot do that,’ replied the master, ‘because I burned it in the stove.’ ‘And that - now? It’s stupendous! Couldn’t you have found some other subject? Let me see it.’ Woland held out his hand, palm up. ‘About what? About what? About whom?’ said Woland, ceasing to laugh. ‘It is a novel about Pontius Pilate.’ Here again the tongues of the candles swayed and leaped, the dishes on the table clattered, Woland burst into thunderous laughter, but neither frightened nor surprised anyone. ‘But tell me, why does Margarita call you a master?’ asked Woland. Straight away the flesh of the head turned dark and shrivelled, then fell off in pieces, the eyes disappeared, and soon Margarita saw on the platter a yellowish skull with emerald eyes, pearl teeth and a golden foot. Let it come true! You go into non-being, and from the cup into which you are to be transformed, I will joyfully drink to being!’ There is also one which holds that it will be given to each according to his faith. However, one theory is as good as another. I have the pleasure of informing you, in the presence of my guests, though they serve as proof of quite a different theory, that your theory is both solid and clever. You have always been an ardent preacher of the theory that, on the cutting off of his head, life ceases in a man, he turns to ashes and goes into non-being. But we are now interested in what follows, and not in this already accomplished fact. And fact is the most stubborn thing in the world. ‘The head was cut off by a woman, the meeting did not take place, and I am living in your apartment. ‘Everything came to pass, did it not?’ Woland went on, looking into the head’s eyes. ‘Mikhail Alexandrovich,’ Woland addressed the head in a low voice, and then the slain man’s eyelids rose, and on the dead face Margarita saw, with a shudder, living eyes filled with thought and suffering. In an astonishing case of art imitating life, The Master and Margarita was only eventually published due to Elena’s determination-similar to the way Margarita steadfastly supports the master’s Pontius Pilate novel. Many scholars believe that the character of Margarita is based on Bulgakov’s third wife, Elena Sergeevna Shilovskaya. Through helping Woland, Margarita is allowed to rescue the master and to live with him in eternal peace (leaving their earthly bodies behind). Margarita learns that Woland’s ball is always hosted by a “Margarita,” and that she is related to French royalty, explaining why the ball’s guests address her as their Queen. She is tasked with being the hostess at Satan’s ( Woland’s) Ball and does so with courage and determination, believing that helping the devil might help bring the master back to her. She thus represents steely determination and faith. The mistreatment of the master by critics and editors runs deep in Margarita, and, when she is turned into a witch by Azazello’s cream, she opts to destroy the apartment of Latunsky, one of the master’s harshest critics. Margarita does not make an appearance in the book until halfway through, but her importance becomes obvious thereon in. Though she is married to someone else, her true love is the master, though she does not know if he is alive or dead. Margarita is the heroine of the novel, a woman of around thirty years of age.
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