By J. A. E. Curtis

ISBN-10: 0521326710

ISBN-13: 9780521326711

Released in 1987, this ebook used to be the 1st full-length interpretative learn in English of the later writings of the phenomenal Soviet novelist and playwright Mikhail Bulgakov (1891-1940). the focal point is the Thirties, the interval whilst Bulgakov was once writing The grasp and Margarita, a rare novel that has had a profound influence within the Soviet Union and that's now mostly considered as his masterpiece. utilizing fabric from Soviet information and libraries, Dr Curtis means that Bulgakov's primary preoccupation during this movel with the future of literature and of the author is mirrored in different significant works of an analogous interval, specifically his writings on Pushkin and Molière. Bulgakov emerges as a belated romantic, a determine detailed at the early Soviet literacy scene.

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3 The history of the play's production is a long tale, however, even though the first full draft of the work was written very quickly, between October and December 1929. Bulgakov submitted it to MKhAT for consider­ ation early in 1930; but on 18 March came the news that the Chief Bulgakov and Moliere 31 Repertory Committee had refused to allow it to be staged, and Bulgakov returned the work to his drawer. Then in the autumn of 1931 he made some additions and alterations to it in line with suggestions made by the Repertory Committee, and the work was finally approved on 3 October 193 1 .

Yermolinsky makes a particular point of Bulgakov's relative lack of enthusiasm for Chekhov, which is confirmed by Lyubov' Yev­ gen'yevna in her memoirs: Bulgakov liked Chekhov, but not with a fanatical Jove, as with certain Chekhov specialists, but rather with an affectionate Jove, such as one might have for a good and clever older brother. He particularly enjoyed his notebooks. 53 Chekhov did in one sense represent an older-brother figure for Bulgakov, as was recognized by the Assistant Director of MKhAT, V.

The Cabal of Hypocrites - to use its original, more pungent title­ does not pretend to be an historically accurate presentation of Moliere's life; it is a personal view of the playwright which uses authentic materials, but rearranges them in order to concentrate all the most significant factors which shaped his destiny into a compact psychological study. One of the ways Bulgakov principally achieves this effect is through his reorganization of the sequence of historical events. The most important example of this is the way in which he entirely reverses the chronology of the scandal over Moliere's Tartuffe, which allows him to introduce the theme of Moliere's fall from favour at court - an episode for which there is no historical justification.

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Bulgakov's Last Decade: The Writer as Hero by J. A. E. Curtis

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