Cat

The Cat, whose name is Behemoth, is one of the most memorable and disruptive members of the demonic retinue that accompanies the mysterious Professor Woland to Moscow. He is a gigantic, black tom-cat, as large as a hog, with a desperate cavalryman's whiskers. His very existence is a violation of the natural order, as he walks on his hind legs, speaks in a human voice, and engages in sophisticated, often malicious, behavior. Behemoth is not merely a pet or a familiar; he is an active agent of chaos, a trickster whose antics serve to expose the absurdity and corruption of Soviet society while simultaneously demonstrating the terrifying power of his master, Woland.

Identity and Introduction

Behemoth is first introduced as part of the trio that flees from the poet Ivan Homeless after the death of Mikhail Alexandrovich Berlioz. He is described as a "tom-cat, who appeared out of nowhere, huge as a hog, black as soot or as a rook, and with a desperate cavalryman's whiskers." This initial appearance is marked by a surreal act of defiance against the mundane: he attempts to board a tram-car, offering a ten-kopeck piece to the conductress, who screams, "No cats allowed!" When expelled, he coolly jumps onto the rear coupling-pin of the last car, saving himself the fare. This episode establishes Behemoth's defining traits: his size, his insolence, his ability to navigate the human world, and his complete disregard for its rules. He is later revealed to be a member of Woland's retinue, alongside the long, checkered Koroviev and the red-haired, fanged Azazello.

Role in the Moscow Chaos

Behemoth is a central participant in the series of supernatural events that terrorize Moscow. In the apartment of Stepan Likhodeev, he is found sprawled on an ottoman, drinking vodka from a glass and eating a pickled mushroom with a fork, a scene that drives the already hungover director to the brink of madness. During the infamous black magic seance at the Variety Theatre, Behemoth's role escalates from comic to horrific. When the master of ceremonies, Georges Bengalsky, annoys the retinue, Behemoth, at Koroviev's command, leaps onto Bengalsky's head and tears it from his neck with a savage howl. The cat then hands the severed, weeping head to Koroviev, who displays it to the horrified audience. This act of grotesque violence is followed by a casual act of mercy when Woland orders the head replaced, and Behemoth "aiming accurately, planted the head on the neck, and it sat exactly in its place, as if it had never gone anywhere." He also participates in the ladies' shop, where he bustles about with a measuring tape around his neck, helping to distribute the magical Parisian dresses and shoes.

Encounters with Authority and Bureaucracy

Behemoth's disruptive power extends to the very heart of Soviet bureaucracy. In the office of Prokhor Petrovich, the chairman of the Spectacles Commission, a black cat (Behemoth) walks in, and is followed by a fat man with a cat-like mug. When the chairman angrily demands the intruder be removed, the man simply says, "Devil take you? That, in fact, can be done!" and vanishes, leaving behind an empty suit that continues to write and speak. This incident, as recounted by the hysterical secretary Anna Richardovna, demonstrates Behemoth's ability to literally unmake the reality of officialdom, reducing a powerful man to a mere garment. His presence is also felt in the affiliate for city spectacles, where a checkered specialist (Koroviev) organizes a choral club that leaves the entire staff unable to stop singing, a mass hypnosis that leads to their removal to Stravinsky's clinic.

Relationship with Woland and the Retinue

Behemoth is a loyal and deferential member of Woland's retinue, though he is also capable of impertinence. He addresses Woland as "Messire" and seeks his permission for actions, such as when Azazello asks to "chuck" Likhodeev out of Moscow. He also engages in banter with his fellow demons, such as when he observes that Azazello does not look like a bishop. His relationship with Koroviev is one of partnership in chaos, the two of them working in tandem to execute Woland's plans. The cat's presence is a constant source of unease, as he is both a source of amusement and a reminder of the supernatural power that has invaded the city.

Thematic Significance

Behemoth is a powerful embodiment of the novel's central themes. He represents the carnivalesque spirit that Mikhail Bakhtin identified as a force for liberating laughter against the "gloomy lies" of official truth. His actions are a form of festive comic imagery that criticizes and dethrones authority. At the same time, Behemoth is a manifestation of the "unclean powers" that the characters fear and deny. He is a walking, talking contradiction of the atheistic, materialist worldview of Soviet society. His ability to ride a tram, drink vodka, and tear off a man's head with casual ease makes him a terrifyingly real figure, one who proves that the supernatural is not only possible but is actively intervening in the world. He is, in the end, a part of that power which eternally wills evil and eternally works good, his chaotic acts serving to expose the deeper truths that the novel's characters are so desperate to ignore.