Reading Master & Margarita -12

Chapter 12

Black Magic and Its Exposure

The banners mentioned that there is going to be a show, “Black magic and its Exposure” in Variety theatre on Thursday, in the second half.

The hall of Variety is full to its capacity.

The evening began with some small tricks on cycles by Julie and her family.

People are excited and they are eagerly waiting for the black magic show.

The only person who is nervous about this whole thing is Rimsky. He is sitting in his cabin and biting his lips in nervousness. Now and then his face would shiver with fear. He was scared that after Styopa’s disappearance, now Varenukha too has disappeared. Rimsky felt that there is a link between these two events.

He was wondering why Varenukha did not return from that place where he was sent with telegrams? He could not decide to call them and confirm whether Varenukha had reached there or not. At last at 10 in the night he decided to call there, but he found that the telephone is dead, in fact all the telephones in Variety were dead. Though Rimsky was a little scared at this he, in fact, felt happy to know this, as this he saved him from calling them.

During the first interval Rimsky was informed that the foreign artist had arrived along with his team. He had to go to receive him as there was no one left in Variety to welcome him.

Woland has come with his interpreter and a big, fat cat. Presence of an interpreter too makes Rimsky unhappy. Some tricks by the assistant/interpreter of the foreign artist made people very excited, they were too impressed by the cat who was walking on her legs, drinking water from the jar…

When the third bell rings and the lights in the hall go off, the Master of Ceremonies, George Bengalsky introduces the artists and the show and comments that though the show is about black magic, we know that there is nothing called black magic and that the foreign artist is going to expose the technique of black magic…

The curtain opens; the magician enters along with his two assistants: the checkered tall man and the huge cat walking on its hind legs. Public applauded…

The magician, Woland, orders for a chair and a chair appears on the stage. 

Woland asks his assistant:

'Tell me, my gentle Fagott,' Woland inquired of the checkered clown, who evidently had another appellation than Koroviev, `what do you think, the Moscow populace has changed significantly, hasn't it?'

The magician looked out at the hushed audience, struck by the appearance of the armchair out of nowhere.

"That it has, Messire,' Fagott-Koroviev replied in a low voice.

"You're right. The city folk have changed greatly ... externally, that is ... as has the city itself, incidentally... Not to mention their clothing, these ... what do you call them ... trams, automobiles ... have appeared ...'

Woland asks further:

'Quite right, thank you,' the magician spoke slowly in a heavy bass, `as in a question of much greater importance: have the city folk changed inwardly?'

"Yes, that is the most important question, sir.'

There was shrugging and an exchanging of glances in the wings, Bengalsky stood all red, and Rimsky was pale.

The officials are scared that the magician is going to talk about the psychological state of citizens and they are alarmed.

Bengalsky interrupts saying that the foreign artist seems impressed at Moscow’s technical achievement…the Muscovites too have impressed him.

Woland is angry, he asks Fagot, whether he has shown any sign of surprise?

Fagot denies and comments that Bengalsky is a liar.

Trouble begins for Bengalsky.

The next item, with pack of cards turns out to be hilarious when the cards change into currency notes…there is a race among the people to catch them. Bengalsky again comments that this was an example of black magic and that the currency notes will soon disappear.

Woland is really very angry….Fagot asks the audience how should they deal with Bengalsky, someone from the hall comments, “cut off his head!” Fagot agrees and calls Begemot (the huge cat is called Begemot). The next moment Begemot jumps on Bengalsky’s head and plucks off his head from his neck!  

Blood oozes like fountain from the broken veins and wets his coat..The headless torso stumbles for some time then sits on the stage and pleads, “please give me back my head…take everything back from me…my flat, my portraits…just give me back my head…”.

There are shrieks in the hall. People take pity on Bengalsky

Woland comments, “These people are like common people. They love money…but sometimes some kindness too appears in their hearts…problem of residential accommodation has spoilt them…” and he orders that Bengalsky’s head is put back on its place.

Bengalsky is made to promise that he will not poke his liar nose everywhere and then his head is placed back on his neck, his coat is cleaned; a bundle of currency notes is put in his pocket and he is taken out of the hall, but suddenly he goes into delirium….starts behaving like an insane and is taken to Stravinksky’s clinic.

Then starts the Fashion-shop…the shop with latest fashioned dresses, shoes, purses, cosmetics…Women are invited to get new dresses and accessories in exchange of their old costumes.

After this part of the show is over, the Chairman on the Accoustics Committee, Arkadi Appolonovich Simpleyarov demands that Fagot expose the technique of black magic. This proves disastrous to the chairman himself.

'

The mass of spectators,' the impudent clown interrupted Sempleyarov, `doesn't seem to be saying anything. But, in consideration of your most esteemed desire, Arkady Apollonovich, so be it - I will perform an exposure. But, to that end, will you allow me one more tiny number?'

'Why not?' Arkady Apollonovich replied patronizingly. 'But there must be an exposure.'

'Very well, very well, sir. And so, allow me to ask, where were you last evening, Arkady Apollonovich?'      

At this inappropriate and perhaps even boorish question, Arkady Apollonovich's countenance changed, and changed quite drastically.

`Last evening Arkady Apollonovich was at a meeting of the Acoustics Commission,' Arkady Apollonovich's wife declared very haughtily, "but I don't understand what that has got to do with magic.'

'Ouee, madame!' Fagott agreed. 'Naturally you don't understand. As for the meeting, you are totally deluded. After driving off to the said meeting, which incidentally was not even scheduled for last night, Arkady Apollonovich dismissed his chauffeur at the Acoustics Commission building on Clean Ponds' (the whole theatre became hushed), `and went by bus to Yelokhovskaya Street to visit an actress from the regional itinerant theatre, Militsa Andreevna Pokobatko, with whom he spent some four hours.'

'Aie!' someone cried out painfully in the total silence. Arkady Apollonovich's young relation suddenly broke into a low and terrible laugh.

'It's all clear!' she exclaimed. 'And I've long suspected it. Now I see why that giftless thing got the role of Louisa!''

And, swinging suddenly, she struck Arkady Apollonovich on the head with her short and fat violet umbrella.

It is exposed in full of public that Simpleyarov tells lies to his wife regarding official meetings and spends time with female artists who come to Moscow to perform. Using this type of relationship he insists that they are given lead roles in famous plays, that is how actresses without any talent get plum roles in plays.

Bulgakov has exposed the reality of the theatrical world; he also talks about how the problem of quarters brings change into people’s behavior…

Suddenly Begemot announces that the show is over and in a moment the stage is empty, Fagot and Begemot, as if dissolve in the air; the police enters Simpleyarov’s box where a relative of his, a young upcoming artist, starts banging him with her little umbrella at this exposure, and Simpleyarov’s wife thundering and calling the police….