고골의 「비이」와 불가코프의 『거장과 마르가리타』의 비교 연구 (A Comparative Analysis between Gogol’s Vij and Bulgakov’s Master and Margarita)

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초록

This article is a comparative analysis between Gogol’s Vij and Bulgakov’s Master and Margarita. There are three spheres in the narrative structure of Master and Margarita : the story of Moscow, Ershalaim and transcendental spaces(Boland and Eshua). The three cycles of these spheres are interconnected, formulating a spiral Möbius strip in a more complicated form than the five cycles of spaces in Vij. In both works after three rotations of spaces epilogues come out and depict that people in Kiev and Moscow have undergone no radical changes in their lifestyle, although they hear or suffer the punishment and the horrible revenge of devils and witches. But in the epilogue of Master and Margarita there are some changes in character’s personality and memories, thereby loosening the suffocating closeness. Both writers disclose the same artistic viewpoint from which the transcendental world is as real as the real world and intervenes in the real world in order to establish justice. There are some similarities in the details of the scenes of witch’s flight, the motives of the resurrection of a dead body, the dead body’s green eyes and grinding teeth. Both works are penetrated by the ‘triplication’ of motives and actions and the triad-structure of characters and details. The number ‘3’ is related to the concept of the ‘Trinity’ in Christianity and the Hegel’s concept of the dialectical development of history through a triad ‘thesis-antithesis-synthesis’. The number ‘3’ is also a magic number in folklore. Both works reveal similarity in the use of the motives of gastronomy and devilish dances, exposing banality, ‘poshlost’’ and spiritual death. In spite of these similarities in Bulgakov’s works, there is no trace of radical pessimism and compulsive asceticism which are concealed in Vij. By implementing the transcendental element of ‘Eshua’, Bulgakov supposes the graceful, merciful and righteous world of God. Bulgakov adapts Gogol’s sharp critical vision of the world and his genius literary skills, but escapes the shadows of his obsessive strict asceticism and legalism. The tradition of Pushkin enriches Bulgakov’s artistic vision.(Milne)

영어초록

This article is a comparative analysis between Gogol’s Vij and Bulgakov’s Master and Margarita. There are three spheres in the narrative structure of Master and Margarita : the story of Moscow, Ershalaim and transcendental spaces(Boland and Eshua). The three cycles of these spheres are interconnected, formulating a spiral Möbius strip in a more complicated form than the five cycles of spaces in Vij. In both works after three rotations of spaces epilogues come out and depict that people in Kiev and Moscow have undergone no radical changes in their lifestyle, although they hear or suffer the punishment and the horrible revenge of devils and witches. But in the epilogue of Master and Margarita there are some changes in character’s personality and memories, thereby loosening the suffocating closeness. Both writers disclose the same artistic viewpoint from which the transcendental world is as real as the real world and intervenes in the real world in order to establish justice. There are some similarities in the details of the scenes of witch’s flight, the motives of the resurrection of a dead body, the dead body’s green eyes and grinding teeth. Both works are penetrated by the ‘triplication’ of motives and actions and the triad-structure of characters and details. The number ‘3’ is related to the concept of the ‘Trinity’ in Christianity and the Hegel’s concept of the dialectical development of history through a triad ‘thesis-antithesis-synthesis’. The number ‘3’ is also a magic number in folklore. Both works reveal similarity in the use of the motives of gastronomy and devilish dances, exposing banality, ‘poshlost’’ and spiritual death. In spite of these similarities in Bulgakov’s works, there is no trace of radical pessimism and compulsive asceticism which are concealed in Vij. By implementing the transcendental element of ‘Eshua’, Bulgakov supposes the graceful, merciful and righteous world of God. Bulgakov adapts Gogol’s sharp critical vision of the world and his genius literary skills, but escapes the shadows of his obsessive strict asceticism and legalism. The tradition of Pushkin enriches Bulgakov’s artistic vision.(Milne)

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