Notes on the style of Vazov, Elin Pelin and Yovkov. Part 2. The “Soul” of the Event

How does Vazov - this master painter of the visible world - paint what is invisible? How does he convey the soul movements of the characters and the atmosphere of the event, in other words - the lyrical-psychological filling of the story, in comparison with the other two narrators and especially with Elin Pelin? - In principle, in the same way: as a witness and observer. When the "soul" of the character, of the event or of the landscape needs to be revealed, the author takes the floor to describe and explain it. Naturally, before the author, the characters themselves do this, insofar as they are characterized by their actions and lines: Vazov is the master of lines and dialogue and would remain untouchable if Elin Pelin were not his equal rival in this respect. Both of them master the characterological possibilities of lines to perfection. But not all mental movements can receive adequate expression in the replica, not to mention the ideological-emotional, spiritual filling and meaning of the situations, actions, the moment, especially in the short story with its strictly defined possibilities. What and how much can characters like grandfather Yotso or grandmother Iliytsa, or Stancho and Stoilka, or Lisichkata say about themselves, even when they are Elin Pelinovi villagers? As for nature, objects and animals, they are silent at all. The author must help them. The question here is – how?