писатели

The periodicals from the era of our national revival often surprise us with the insight and sober ideological and aesthetic sense of the first Bulgarian Literary Critics. In them, next to the angry correspondence against the centuries-old slave system or the naive poetic work of some teacher, we often come across reviews of original and translated works of art or articles of a theoretical nature. Sometimes they are laconic and informative, sometimes detailed and categorical. Their authors are not always original. In most cases, they even popularize ideas and beliefs created and adopted in other countries dozens of years earlier. But even when they paraphrase or borrow textually, our literary pioneers do so not in order to be proclaimed by the ignorance of their compatriots as talented thinkers or as founders of movements and schools, but because of the utilitarian spirit of the time and for tactical considerations before the official political authorities. However, both as popularizers and as original The Bulgarian Renaissance writers and literary figures always lived with the problems and creative pathos of our literature. The influence of Russian realistic thought on their literary-critical views is undeniable. However, we do not set ourselves the task of tracing how and to what extent it was realized, we will limit ourselves to pointing out that almost all Bulgarian Renaissance writers were able to soberly use what they had learned both as writers and as literary critics. This is evident above all from their articles and notes, in which some of the problems of realism as a creative method in fiction are raised and examined. The literary-critical views of Karavelov, Botev, Nesho Bonchev, which reflect a relatively more mature stage in Bulgarian criticism, will not concern us in this case. By referring only at certain moments to some articles by our established literary critics, we will try to trace the concepts of Other Renaissance writers on our literary development, in order to see that the struggle for realism in Bulgarian literature until the Liberation was a struggle not only of individual, albeit great, writers, but a collective work of an entire literary generation. And since realism finds its fullest expression in literary prose, we will limit ourselves to indicating how literary criticism then greeted the first attempts in the field of "Bulgarianized" and original fiction, how some of our writers understood their tasks, what tasks they assigned to narrative creativity.

In the first decades after the Liberation, the socio-historical needs of the Bulgarian people required scientific and cultural figures to work on a broad front, to undertake and implement numerous initiatives, to demonstrate civic responsiveness and foresight in order to lay solid foundations for the developing national science and culture. If one part of the post-liberation intelligentsia was carried away by the political demagogy and careerism of the ruling bourgeoisie and their actions deservedly provoked the criticism and indignation of the best realist writers, then another significant part gave their talents and knowledge to the flourishing of education, science, and literature. The great socio-patriotic, ideological, and moral-ethical traditions of the Revival era continued to be a source of inspiration for them to serve devotedly for the all-round progress of our newly liberated people. Among these enthusiastic builders of our national culture, the personality of Prof. Iv. D. Shishmanov. His diverse and fruitful work as a scientist and cultural figure, as a citizen-humanist and a patriot writer is a valuable contribution to the spiritual and intellectual development of our people from the end of the last and the first decades of the current century. Here it is not our task to consider the contribution of Iv. Shishmanov in the numerous areas in which he worked. We will only point out the role of the prominent scientist-humanist in the development of our literature through the comprehensive support he gives to writers and poets, through the rare responsiveness to their needs and aspirations. Shishmanov is one of the few at that time who with such great love and concern follows the development of our national artistic and scientific thought, seeks all possible means and forms in order to create the necessary conditions for the manifestation of creative talents, for the emergence of literature with great ideological-cognitive and patriotic-emotional significance. A trained literary historian and critic who has studied the development of many other national literatures, he accurately sees where the necessary prerequisites are hidden for talents to grow and manifest, what needs to be done so that they are properly nurtured and not wasted. The history of world literature has taught him that artistic thought develops on the basis of a higher culture of the entire people, that its bearers can only be people who live with higher socio-ethical and cultural-aesthetic ideals, but who can also find objective conditions for creative expression with such ideals. That is why he works with dedication to expand and democratize education, to raise the general cultural level of the people. "If you want a richer Bulgarian literature to develop - first of all, provide education and through education, give the opportunity to manifest the hidden talents that exist in all classes, but are silenced because they cannot find the necessary conditions for development." With proverbial persistence, for decades Shishmanov worked to organize a variety of cultural and educational institutes and institutions and deservedly occupies one of the first places among the builders of a new cultural Bulgaria.

Only recently, in connection with the XIII Congress of the Union of Polish Writers, has a broad and deeply principled discussion unfolded about the state and prospects of Polish literature. Something new was also felt in the atmosphere, in the spirit of the sessions of the congress itself - greater principle. Attention was directed primarily to key, central problems, while at previous congresses the emphasis was often on secondary issues of a strictly professional nature. Even with the best desire for a conscientious and objective presentation of literary facts, one is not immune from the danger of falling into one-sided assessments, since in Polish literature there is such a diversity of creative individuals, and some creators have undergone such an evolution that information, especially the shorter ones, is quite difficult. Still, some phenomena are very obvious. If one compares the literature in Poland of the last six or seven years with the literature of the previous period, any unbiased reader will see that the newer literature stands on a higher artistic level, is characterized by depth, richness, and dynamism. The development of individual creative personalities has become much more organic, free, and unforced.

The memory of Krum Velkov takes me back to the distant 1932, when I was secretary of the Sofia organization of the Union of Labor Writers. (There were no other organizations in the country like this union, but we had conceived them as groups of young literary cadres, and therefore in the "center" we had a "central leadership" and a "Sofia organization".) We had a meeting in one of the rooms of the "Maika" school (behind the Courthouse). I was just calling on the comrades to sit down and begin the agenda, when Todor Pavlov came to me, to the rostrum, with an unknown younger man. "Meet Keshish Parvan," said uncle Todor to me. I remembered this name from someone who had spoken under this pseudonym in Bakal's magazine "Nov Pat" in 1924-1925. It turned out that Keshish Parvan was Krum Velkov from Pernik, who after being expelled from high school worked as a locksmith and machinist and participated in the September Uprising in 1923 in the city of Preslav. He had written a novel about this uprising and was now carrying it - on the recommendation of Todor Pavlov, we, the then communist writers from the active ranks of the literary front, had to read it and find a way to publish it. I read it in the next few days, Georgi Karaslavov and other comrades read it, and we all agreed that the novel was very good. We decided to publish it as a book issue of our newspaper "RLF".

We have received your letter, together with the material. We are glad that our youth, although in foreign countries they are busy with the difficult science of courses, do not forget the great and sacred duty to the dear and dear fatherland, and this phenomenon shows that our people want to live a long and lasting life - God willing! Work, brother, work, while your strength is fresh, your energy strong and your imagination ardent: do not let this fiery and winged time fly away uselessly into the irretrievable eternity of eternity. We are glad of this phenomenon and we will place your works in Trud with great pleasure. Polish literature is rich in stories, and you are there among it: from it, from German and etc. choose the color and that which is in accordance with our reviving our young literature - things that will bring tangible benefit to our people. From the letter itself and from the material it is clear that you work conscientiously and accurately. May your example serve as an example to other young people! Even though we do not know each other personally, we see that you have spirit and talent: do not let your talent go to waste - reveal it to the world and, God forbid, may it take refuge and fly over Bulgarian life, inspiring it and leading it to the beautiful and morally useful.

Comrades, At our current meeting in honor of the 50th anniversary of the Union of Bulgarian Writers, we started an argument with the Chairman of the Committee on Culture and Art, Dr. Petar Vutov. I asked him to give me the floor later, so that I could prepare accordingly and get into tune, so to speak. But he told me: "It is not possible, Comrade Zhivkov, because the Chairman of the Union of Bulgarian Writers, Dr. Kamen Kalchev, will also speak, and other comrades will speak, and there will also be a literary program." It seems, as I understood from Dr. Vutov's information, that today's meeting will be more difficult than your solemn meeting last night. (Merry cheering. Applause). The second issue of our argument with Dr. Vutov concerns whether I should just raise a toast or deliver a speech. I do not know why Dr. Vutov, by giving me the floor, limits me and suggests that I raise a toast. I could not imagine how you, the writers, would exist if you did not write, and how we, the political and state figures, would exist if we did not deliver speeches. After all, that is how we earn our living. (Merry cheering. Applause). Dear writers, Dear comrades, Distinguished guests, I am fulfilling a pleasant assignment from the Central Committee of the Bulgarian Communist Party, the people's government and my comrades - members of the Politburo and secretaries of the Central Committee of the party, who are present at this meeting. I greet you most cordially, warmly fatherly - I mean the party, friendly - I mean our comradeship and ties, on the occasion of the glorious 50th anniversary of the Union of Bulgarian Writers. (Prolonged applause).

One of the most striking manifestations of the struggle of Bulgarian writers against capitalism and fascism is the founding and activity of the Union of Labor Writers. Labor writers! Today this concept is almost forgotten. It is connected with a certain period of political and literary development in Bulgaria - the beginning of the 1930s. This is a period of great revolutionary upsurge of the masses, a time when the clash between the exploited and the exploiters acquired such a sharp character that many expected it to end with an open armed conflict, with the overthrow of the fascist dictatorship. This is the time when, despite terror and violence, despite special laws for the protection of the state, the red communes reappeared in the country - the workers in a number of cities and villages won the elections and seized local power. Even Sofia, the capital of bourgeois-fascist Bulgaria, was captured! The initiative to create a unified anti-fascist union - the Union of Labor Writers - belongs to the proletarian writers, grouped around the newspaper "Workers' Literary Front". Already with the establishment of the Union - February 1932 - a decision was made to publish a special organ - the Front of Labor Writers", the first issue of which was published in June 1932. An important part of the activities of the Union of Labor Writers and its organ "Front" was occupied by problems of the Soviet Union and Soviet literature. This problem already occupies one of the central places in the draft platform of the Union. In point 3, the main task of the union was defined as: "Protection of Soviet culture and the USSR, against the preparing anti-Soviet war". The words with which the project ends are remarkable: Long live the USSR - the true fatherland of the workers and toilers of the whole world and the hearth of culture". Proletarian today and the universal tomorrow This attitude of writers, of the toilers in our country towards the Soviet Bulgarian Proletarian Union is the result of the deep traditions of the Bulgarian Communist Party of loyalty and devotion to internationalism, to the liberation cause of the proletariat. The Soviet Union is the country where the socialist revolution first won, it became the vanguard of all humanity in the struggle for the destruction of the hateful exploitative society, for the triumph of the communist ideal. This is why the USSR is the fatherland of all toilers of the whole world, it must be protected like the apple of the eye. The Soviet people are tracing the path to the future in all areas of life and their experience is a lesson and an example for all. In this spirit, the Bulgarian Communist Party has been educating its members and the entire working Bulgarian people for decades. people.

From December 3 to 5 of this year, the 15th Congress of Polish Writers met in Krakow. One of the central issues in the congress's discussions was the issue of creating new literary magazines. A number of speakers emphasized that the insufficient number of magazines was not conducive to the creation of serious literary criticism and journalism, but led to a superficial form of feuilleton criticism. Ideological and artistic initiative was largely stifled, and the literary assessments given by only one central literary organ were inevitably one-sided. The need to publish a magazine dedicated to foreign literature, like the Soviet "Foreign Literature", was emphasized. A group of young writers spoke in favor of publishing a magazine that would print only debut works. However, the first issue raised was the issue of publishing another central literary magazine in Warsaw, which would reflect the creative pursuits of writers from the capital.

The interests of our great poet and cultural figure Pencho Slaveykov in Russia, Russian literature and Russian culture appeared in his earliest years, and deepened and developed throughout his life. At different times and on different occasions, he gave not quite the same assessments of individual writers, poets and literary critics, and even expressed contradictory thoughts. But this is the fleeting, episodic aspect of his work, of his life. Characteristic of his entire creative development, of his literary and aesthetic views, of his mature artistic taste and preferences, is his understanding and deep conviction that Russian literature is leading, that Russian writers utter new truths, that their work is original and unique, that the path to great art leads through Russian literature. Pencho Slaveykov received the correct direction of his interests in Russian literature first from his father, and then from other of his predecessors, writers and poets: Karavelov, Botev, Drumev, Vazov. It grew and took shape in the first years after the Liberation, when the atmosphere in our country was filled with the influence of Russia, an influence represented in many ways by progressive-minded Russian specialists and public figures working in Bulgaria.

The first contacts between Bulgarians and French people are lost somewhere in the Middle Ages... After the Great French Revolution, which shook the minds of the whole world, more echoes can be found in our country (due to slavery, they are distant and indirect) of the struggles of the French people for freedom and social justice, of the ideological searches of French society. But the facts of the indirect and concrete acquaintance with French literature and the first contacts and visible influences on individual public and literary figures, mainly those who studied or lived in France, date from the middle of the 19th century. And these contacts and influences are very diverse, go through different stages, have their own interesting history. In the present notes, we focus on those of our writers from the period after the Liberation of Bulgaria from Turkish slavery until the First World War, who studied in French schools, lived in France and began their creative path in a French environment with direct acquaintance and influence of French culture and literature. And one more thing that interests us above all is the concrete facts of this acquaintance: the respective city and university, the student environment and first meetings with foreign writers, the collaboration in the French press, etc., necessary both for enriching the civil biography of the writers, and, of course, for a more complete clarification of their first literary steps and their creative image in general. The impressions are the result mainly of visiting the places where the Bulgarian writers lived and studied, of those few traces that the past decades have spared... The following could be noted in advance: both with the most direct impact of the French social and cultural environment, and with the strongest influence of the diverse French literature on our writers, they do not lose their own national and individual appearance as creators. Even when, especially in the years immediately before the First World War, in the verses of our poets, carried away by symbolism, tones sound or images appear that are very similar to those of their French teachers, they still manage to preserve their Bulgarian face.

Being is a dialectical unity of life and death. The force field in which they unfold is indivisible. Hippocrates (460-375 BC), the "father of medicine", had already realized that "nature is existence and non-existence". Engels also accepted the basic position of biology as the continuous growth of death throughout life. When it is the natural end of personal existence, this is undoubtedly not a disease phenomenon. Indeed, diseases are also subject to natural laws, but they disrupt the free flow of life more or less, for a short or a long time. In health, it unfolds in the rhythmic sequence of age transitions from birth to death. Since diseases put to sleep or even make it impossible for the full expression of the individual, man has been fighting against them for a long time. Moreover, both plants and animals resist disease according to their biological capabilities. "Natural healing" is noted in all stages of evolution, starting from the single-celled organism and ending with man. But he - unlike all other living beings - also creates a healing art, or more precisely, medicine as a science. His consciousness enables him not only to establish that he has an illness, but also to experience it as his own suffering, not only to die, but also to have his own attitude towards death. If the continuation of the existence of the personality and beyond its limits is an exciting problem of primitive cosmogony, of ancient and modern philosophy, if it is the lifeblood of religious longings and creative achievements, an inspiring impulse for self-sacrifice in social conflicts, then medicine aims to preserve life only beyond death. But the vocation of the doctor is not limited to prolonging life to its natural end through the physiological extinction of brain activity. The doctor removes or at least alleviates suffering and pain, fear and grief, anger and despair. He prevents (or tries to do so) the transition of acute illness into long-term suffering and infirmity. He helps the restoration of the organism and the personality in the urge and to regain the freedom of health. But the task of his tasks is - to protect the person from illness.

One of the characteristic features of the contemporary literary process is its genre diversity. This applies equally to both fiction and literary criticism. Artistic aspirations and generalizations, the searches and insights of historical-literary and critical thought find expression in various genres and forms, sometimes very heterogeneous, but nevertheless interesting as evidence of the richness of literary life, of the diversity of creative individuals, of the different paths that writers and literary critics take to reveal truths of an ideological-aesthetic, biographical-creative, moral, and emotional nature.