In the novel The Master and Margarita, the poet Ryukhin addresses his monologue to this bronze Pushkin. The monument is the work of A. Opekushin and was erected at the top of Tverskoy Boulevard in 1880. In the 1950s, it was moved to its current location on Pushkinskaya Square.
Until 1937, the square was known as Strastnaya Square. The Strastnoy Monastery, established in 1654, was located here. When the centenary of Alexander Pushkin’s death was being commemorated across the country in 1937, the monastery was demolished and the square was renamed Pushkinskaya Square. Practically all spheres of Soviet culture were involved in the commemorations. Pieces were written, films made and plays and opera performances of Pushkin’s works and about the man himself were put on. Mikhail Bulgakov too wrote a biographical play about Pushkin with a co-author, Vikentiy Veresaev, in the middle of the 1930s. Although many theatres showed an interest in staging it, the play was never performed in Bulgakov’s day. Many researchers see autobiographical motifs in the drama about Pushkin. Bulgakov saw parallels with his own fate in the tragic confrontation between the poet and the authorities.
Point on the map
This map shows where the address sits and how it is tied into the project routes.
Routes
This point belongs to one or more routes. Open them as sequential walks rather than isolated cards.
In the footsteps of the characters of The Master and Margarita
- Stop 7
- 5,52 km
- 4,5 h
Daily life in Moscow in the 1920s and 1930s plays an important role in the multi-layered novel, The Master and Margarita — it is not simply a background for the fantastical events and the characters’ unusual adventures. The novel, addressed to Bulgakov’s contemporaries, describes the lives of Muscovites in detail, with the arguments arising in communal flats, the issue of flats, the spy scare, the invisible but tangible atmosphere of the Great Terror and so on. The events of the novel take over the entire centre of Moscow, and Bulgakov was almost always very precise in the details – the exceptions include only a few addresses (Margarita’s house, the Dramlit house, Stravinsky’s clinic etc.). Bulgakov’s contemporaries would easily recognize their city in the other details, had the novel been printed at that time. Since then, the city has changed a lot – some houses have been demolished, some have been rebuilt unrecognizably, but through the layers, it is possible to glimpse Bulgakov’s Moscow. Following in the footsteps of Bulgakov’s characters, you can feel Ivan Bezdomny’s horror after the death of Berlioz at Patriarch’s Ponds, his desperation in Herzen’s house, the scale of Satan’s ball in Spaso House, the eccentricity of Behemoth’s antics in the Torgsin on Arbat, and much more. The route begins at the Aquarium Garden, not far from Woland’s ‘unpleasant flat’, runs across Tverskoy Boulevard, takes in the lanes around Arbat and ends at the Alexandrovsky Garden, where Azazello and Margarita met.
First address
- Stop 10
- 2,1 km
- 1 h
The route encompasses sites of literary and biographical significance in the life of Bulgakov, centred around the environs of Patriarch’s Ponds. \tAt the end of September 1921, Bulgakov arrived in Moscow with the intention of becoming a writer – his first address was flat 50 in house 10 on Bolshaya Sadovaya Street. Bulgakov’s first three years in Moscow were closely connected with the region around the Patriarch’s Ponds. The Patriarch’s Ponds are not only important in Bulgakov’s biography, but also in his works – this is where the events of The Master and Margarita begin. In the novel, Woland and his retinue live on Bolshaya Sadovaya, the characters in the tale The Spiritual Séance inhabit 32 Malaya Bronnaya, and so on.
