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The self-observations of creative individuals provide the most valuable data through which we can gain insight into an insufficiently studied field and place research on the creative process on a sound scientific footing. Books such as Goethe's Conversations with Eckermann, Fr. Hebbel's Diaries, or Stanislavski's My Life in Art are a rich source both for researchers of the personal work of these artists and for scholars who want to establish the general patterns in the creative process. After all, such personal confessions by significant artists are always solid and powerful nourishment for any young talent.

How Dimcho Debelyanov worked on his poems, how the creative process unfolded for him, how the poet managed to "subjugate" the word to his poetic temperament, to infuse it with his own melodies of the soul, how the individual theme, image, feeling was born in him - the answer to these questions is determined not least by the specific analysis of the numerous corrections in his own poems.

If we now start to claim that poetry lags behind life, it is like repeating something that has often been said. The idea that it lags behind modern life is not new - this idea, it seems to me, has existed since. as poetry itself has existed. We simply need to understand that the coefficient of selectivity in poetry is incomparably higher than, say, in prose. It is not by chance that Anatole France ironized the readers of poetry - with songs, he says, the case is the same as with women: the most beloved is always the best of all the others.