Exploring Identity in Bulgakov’s Master and Margarita and Puig’s Kiss of the Spider Woman

Bulgakov named his protagonist in a way that shows that the character is an everyman artist. The name of the protagonist, "the master," is never capitalized, which demonstrates that it's not really a name. Like Bulgakov's character, the master suffers from government censorship and regime and must conceal his identity. The novels both have external conflicts involving society, which forces all the characters to adjust to the government's new rules and become oppressed in society. Bulgakov made the master nameless to foreshadow his internal conflict of not being recognized and his abandonment of his name. The character says, "I am a master… I no longer have a name."

The author's character, who declared "I have renounced life itself" (159), demonstrates his lack of concern for societal approval by renouncing life and seeking isolation. The protagonist named him Master, in an ironic attempt to praise his work as only she appreciates it, contrasting with Puig's title that foreshadows an obscure passion. The and content remain unchanged.

Like "The Panther Women," the story of the spider woman also illustrates the theme of love leading to danger and death. In the opening chapter, the author introduces Irina, the panther woman whose name implies peace but who ultimately kills her lover. Despite her inner conflict similar to Molina's, she is also forced into hiding her true identity.

. The quote, "Always with the heroine" (25), highlights the protagonist's unusual behavior as a result of his inner conflict - being a woman in a man's body. This creates suspense and adds to his eccentric personality. In the novel, the heroines mirror Molina's feelings and attitudes towards Valentin, creating distinct personalities

that contrast with the apathy of the master. Both characters are uniquely developed to illustrate inner struggles, but Molina remains faithful while the master loses interest in art and existence.

Conventionally, the identity of characters in literature is tied to their actions, both good and bad. Each character in a text has a defining moment that solidifies their identity as a human being. However, in The Master and Margarita, the story is told through the eyes of the master, which means that the climax occurs before the novel even begins. In Bulgakov’s novel, the climax happens when the master is introduced, highlighting his pessimistic views towards love and the world. For example, he describes love as "a murderer jumping out of a dark alley," using simile and anthropomorphism to emphasize the sudden and noxious nature of love. This negative connotation reflects the protagonist's pessimism. Bulgakov also uses storytelling to illustrate the turning point in the master's past, when he burns his manuscripts to emphasize the injustice towards art and expression in that setting. The metaphor "the appalling failure of my novel seemed to have withered part of my soul" demonstrates how the loss of identity is conveyed through the destruction of the master's soul.

This novel places great importance on the recognition of the public. Chapter eight serves as an alternative turning point, revealing Molina's betrayal and adding a new dimension to the story. This creates ambiguity in Molina's speeches and builds suspense, as seen in his foreshadowing of Valenin's sickness with the statement "One of these days you'll be the sick one and I'll get even" (104). In chapter five, Puig emphasizes Molina's knowledge on sickness

with the statement "someday this could happen to you, then you'll see how it feels..." (97).

Both texts feature sudden shifts that lead to role reversals. Molina, in Kiss of the Spider Woman, becomes the savior for Valentin by getting him food when he falls ill from poisoned rice. Similarly, in Bulgakov's The Master and Margarita, the female protagonist fights for the freedom of the male character. Unlike the apathetic and selfish master, Valentin becomes more caring and sensual. The climax in both narratives is unpredictable and shapes the entire story, building suspense. Ultimately, both texts suggest that self-sacrifice is an essential characteristic of identity. Bulgakov's protagonist highlights the importance of compassion for others, otherwise risking the loss of one's own character.

In Bulgakov's story, the protagonist sells her soul to discover whether the master is alive. This foretells her change into a witch, and the theme of self-sacrifice indicates her longing for the master. However, this is juxtaposed with the master's egoism, which leads to a loss of identity and indifference towards others. For example, the master shows no interest in Ivan after learning he is a poet. In contrast to this, Puig's character Molina sacrifices anything to care for his mother, showcasing his brave and passionate personality, similar to Margarita. In chapter fourteen, Molina sacrifices himself for Valentin demanding all the information from him.

Within the novel, Molina's respect and deference towards Valentin serves as a way to make up for his prior betrayal of their friendship, as shown through the line "You have to tell me everything I have to do" (263). This is further exemplified when the Warden asks Molina if he found it

helpful to weaken Valentin physically, which leads Molina to mend his lover after he poisons him and results in a reversal of their roles. While both novels have a recurring theme of self-sacrifice, it is only Molina and Margarita who sacrifice themselves for others, thus giving them strong identities in contrast to the Master.

Both authors depict characters showing both devout and sinful qualities. However, the female characters are the ones who fight for justice and love, unlike the male protagonists who remain static. Bulgakov's protagonist loses his human qualities and becomes apathetic towards the world. When the Master burns his novel, he also burns all negative emotions associated with it, causing him to lose a part of himself and his faith, ultimately leading to indifference. In contrast, Margarita successfully saves the Master from the mental hospital, highlighting her determined fight for justice and love. The Master's only sin is his despondency and lassitude, causing him to stop trying and leading a meaningless life without recognition. As publishers reject his work, he becomes indifferent to everything. The last chapter emphasizes that the Master "has not earned light but has earned rest," showcasing his lack of effort compared to Margarita's resilient efforts.

In contrast to Puig’s protagonists, the character Master in Bulgakov's novel does not perform any religious rituals, which is a common theme throughout the novel and builds suspense. Both characters showcase the oppression present in society, one is oppressed for their beliefs while the other is oppressed for their sexuality. Bulgakov's creation of the character Master represents the artistic society in Soviet Russia, which suffered severely under the totalitarian regime. Master is an enigmatic character

with no definitive nature; he embodies aristocratic artists without a clear purpose. Both texts emphasize that all actions have meaning and lead to significant events except for Master who becomes passive and simply waits for something to happen. Furthermore, Margarita serves as a leader in the novel and provides a contrast to her powerless lover.

Both novels share a common theme of oppression and powerlessness, with all protagonists suffering under government regimes. Despite their dire circumstances, both Molina in Kiss of the Spider Woman and Bulgakov's heroine in Master and Margarita exhibit strong character and passion for their loved ones. These modernist works showcase the depths of characters' identities when faced with uncertainty. In both novels, all characters remain loyal to their romantic partners except for the Master in Master and Margarita, who burns everything he held dear.

The characters' identities are determined by how their faith and desires are challenged in both works.