called Nazareth", though some commentators dispute the latter interpretation. In the Master's version, Yeshua describes himself as an orphan (he says "some say that my father was a Syrian"), calls everybody (even a torturer) "kind man", denies doing miracles, and has one full-time "Apostle", not twelve, among other departures from the Gospels and mainstream Christian tradition. In the Master's novel there is not a hint of the cleansing of the Temple or cursing the fig tree. The atheist regime of the novel still considers this Jesus to be offensive. Aphranius (or Afranius). Head of the Roman Secret Service in Judaea. That character was later an inspiration for the 1995 novel The Gospel of Afranius by Kirill Eskov. Niza Aphranius's henchwoman, who entices Judas to his death. Levi Matvei Levite, former tax collector, follower of Yeshua. Levi is introduced as a semi-fictionalized character in the Master's novel, but toward the end of The Master and Margarita, the "historical" Matthew of the Gospel appears in Moscow to deliver a message from Yeshua to Woland. Caiaphas Politically savvy High Priest of Judaea. Caiaphas supports the execution of Yeshua in order to "protect" the status quo ante religion, and his own status as the Chief of the Sanhedrin, from the influence of Yeshua's preachings and followers. He is considerably more aggressive towards Pilate than most accounts, and seems unconcerned by the other man's senior status. Judas Iscariot A spy/informant hired by Caiaphas to assist the authorities in finding and arresting Yeshua. In contrast to the Gospels' version, in which Judas is a long-time member of Jesus's "inner circle" of Apostles, Bulgakov's Judas (of Karioth) meets Yeshua for the first time less than 48 hours before betraying him. He is paid off by Caiaphas, but is later assassinated on Pilate's orders for his role in Yeshua's death. Themes and imagery The novel deals with the interplay of good and evil, innocence and guilt, courage and cowardice, exploring such issues as the responsibility towards truth when authority would deny it, and freedom of the spirit in an unfree world. Love and sensuality are also dominant themes in the novel. Margarita's devotional love for the Master leads her to leave her husband, but she emerges victorious. Her spiritual union with the Master is also a sexual one. The novel is a riot of sensual impressions, but the emptiness of sensual gratification without love is emphasized in the