True Evil isn’t “Evil”

Summary

"True Evil isn’t “Evil”" challenges the conventional understanding of evil, suggesting that it is not found in overtly malevolent acts but rather in the subtleties of conformity, cowardice, and societal decay, as illustrated through the actions of Woland, the devil character in Bulgakov's "The Master and Margarita."

Abstract

The article "True Evil isn’t “Evil”" delves into the nuanced portrayal of evil as depicted in Mikhail Bulgakov's novel "The Master and Margarita." It argues that evil is not represented by the obviously malevolent individuals such as murderers or tyrants, but instead resides in the hidden recesses of the mundane, the unquestioning conformity, and the stagnation of society. The protagonist, Woland, embodies a complex devil figure who targets Moscow during a time of atheistic dominance, where his true nature can remain concealed. Through his actions, Woland exposes the hypocrisy and moral bankruptcy of the city's elite, revealing that true evil is the antithesis of vitality and truth. The narrative suggests that evil thrives in the absence of self-awareness and the presence of societal norms that stifle genuine human connection and integrity.

Opinions

The article posits that conventional evil-doers are too obvious and banal, lacking the depth of true evil which is more insidious and hidden.
True evil is characterized by the death of creativity and individuality within a conformist society, represented by the monotony and colorlessness of life.
Woland, the devil in "The Master and Margarita," is portrayed not as inherently evil but as a catalyst for revealing the true nature of individuals, particularly their capacity for hypocrisy and cowardice.
The narrative implies that evil is not about havoc for its own sake but about exposing and eliminating what is no longer authentic or necessary in society.
The article suggests a reevaluation of the concept of evil, moving away from the caricature of evil figures like Hitler or Nero towards a deeper understanding of the forces that erode the essence of life.
Woland's respect for Margarita and the Master indicates a recognition and reward for selflessness and artistic genius, implying that these qualities are the antithesis of evil.
The article encourages readers to consider the subtler forms of evil present in contemporary society, such as conformity and the mechanization of life.

The Devil goes where he is least expected — Moscow ca 1930

Apart from being a ingenious piece of poetic prose and mythography, the Master and Margarita manages to be something much vaster — the one analogy that puts all other analogies to shame.

It manages to parabolize the struggle of light and dark in both the micro and macro.

However one understands darkness, devilism or evil, be it in their literal forms as entities looking to invade and dissuade, or as metaphors for memes inside the human psyche and society, one thing is true: these opponents of good are not what we think.

The opponents of good aren’t the evil doers, the murderers, pederasts, genocidal maniacs, liars, Nazis or exploitative capitalists.

Even the least intelligent of us understand that the abovementioned are banal creations. It is obvious that they are illicit and vile. It is very easy to trace them once they have been exposed as such. They are like clowns at a circus, with faces painted so as to announce precisely their evil intention.

True evil hides much deeper. True evil lies in the hidden death within the living. It nests in the sleeping mind and monotony of conformism and monochrome, it cultures in the unmoving waters and makes it undrinkable.

Woland, the rather charming Satan in Bulgakov’s masterpiece, chose Moscow as his target of chaos for one reason: he could hide in plain sight there. Most bolsheviks were dire atheists; among the scholastic folk, either you founded your career on atheism or else you espoused it to be able to climb or remain safe professionally. It was the perfect place for Woland to hide in and even tell outright that he was the prince of darkness.

Those who did believe that Satan had arrived to Moscow were quickly put in the psychiatric asylum. Poet Ivan “Bezdomny” (“Homeless”) is witness to a prophecied death by accident, but his testimony costs him his freedom.

In the minor climax, Woland stages a theater show of “black magic” for the citizens of Moscow. His true intention, however, is to expose them as cowards and pigs willing to step over anyone to preserve their status in life. In a fistful crescendo, Woland causes money to rain down on the audience, and watches irksomely how they fight to grab as much as they can.

But Woland isn’t evil per se. Later on in the narrative, he rewards Margarita for selfless behavior, when she asks for a lost soul to be spared before her own, deepest wish of finding her lost lover, the Master, is granted.

All throughout the story it is clear that Woland detests hypocrisy and cowardice more than he loves to create havoc for havoc’s sake. He even rewards the opposite to these behaviors. He is clearly not as black-and-white as anyone would have the Devil to be.

If anything, Woland is the stress tester of Moscow’s ruling elite. If they are what they say they are, virtuous, just and honest, then they will stand the test. If they are not, however, they will see to their own demise. Woland doesn’t have to do much except to plant the objects of their desires in front of them.

In Margarita, a woman devoted to the search of her lover, the Master, Woland finds a rightful companion worthy of his respect. In the Master, he finds a genius who narrates the story of Jesus Christ — a binary necessity to Satan’s work.

The Master and Margarita clearly delineates how Satan is out to expose and put away what is no longer needed. He isn’t an evil clown like Adolf Hitler or Caesar Nero, whose egomania quickly spiraled their beliefs into parody and exposé. Satan wants to put the truth to the test. If it is indeed true, it will win.

You may by now see how this ties into the problems of today’s era. I urge anyone reading to feel into my proposed idea that evil isn’t the blatant murderousness and destruction, but the conformity, colorlessness and machination of everything once known as life.