Geo Milev. Revolution and aesthetic views

"The tragedy begins!" - writes Geo Milev about the bloody September of 1923. In fact, the tragedy began years before that. Bai Ganyo lit the first fuse and with political fireworks presented Alek's head as the greatest achievement in the hands of Ferdinand. This was the opening blow, the first cry of those in power - In the name of the people!" Parties and governments passed this "motto" to each other like a baton. "Lies lie, lies rule, lies steal." The new time invades and with a stunning blow proves that one cannot live only with memories and the past, throwing them overboard like ballast. The spirits of the martyrs of the Bulgarian National Revival excite, perform the insidious movement in the minds, but do not give an answer. "Power is my eternal mistress" - every political department brazenly and loudly confesses. The idols, the "collapsed idols" press their shoulders. But the Buzludzha Congress in Bulgaria is indisputable proof that living water exists. It brings "first love" to an entire generation of the Bulgarian intelligentsia, without, however, providing it with a protective armor at the crossroads. The revolutionary romanticism of a pre-liberation era does not allow for much reflection, but the end of the past and especially the beginning of the 20th century necessitates a logical reassessment, a painful search for new sources. Under other social and political conditions, this search is already a fact in Russia, France, Belgium, Germany. Ethically pure natures face chaos - hopeless and dreamy - protected only by the tormenting images of their "drunken ships", their wanderers, loners and eccentrics. The creators, the creators of spiritual freedom, embodied in poems, colors and music, turn out to be both the Achilles' heel of society and its saviors. Earthly purity is already infinitely compromised in the world of capital and the leaps of human minds from "supermen", from Maeterlinck's "Treasure of the Humble", through the multinational, fragmented internal dialogues of symbolism, through the roar of Verhaeren's "The Ringer" to Ernst Toler's "Massa-Man" - are fully justified by the brutality of the era. In Bulgaria, this era is pouring out in a very short period of years, when our progressive thought must collectively pass through populism and socialism, through symbolism, impressionism, expressionism. A review of the periodicals of just a few of the magazines such as: "Den", "Delo", "Novo Vreme", "Nash Zhivot", "Misl", "Khudozhnik" to the magazine "Cherven Smyah", to the magazine "Plamak".