поети

We simply did not feel when the anxious October rain restlessly pounded on the poetic window of Lyubomir Levchev, we simply did not see when the gentle youth matured into a serious young poet who persistently sought his own style in poetry. L. Levchev's first poems on the pages of the youth press were sprinkled with many stars, with very gentle romance. But he quickly stepped back to earth. He looked around. He saw the restless face of our modernity, he sought new paths to poetic truth. Very soon he turned into a proud contemporary of ours, who is admired by the majestic victories in Space, who is no longer carried away by the sweet, ancient sounds of grandfather's gadulka. He wants to live with the rhythm of a hurried, breathless, dynamic time. He brings something new with his verse, energetic and expressive, punchy and spiteful, he wants to capture the complex diagram of the psyche of the contemporary, the fragmented, impressionistic thinking of the civilized urban man. The lyrical hero of L. Levchev's poetry lives with the disturbing changes on our planet, with the profound changes that are taking place in our socio-economic life. This social unrest is one of the attractive features of Levchev's poetry. Unlike other young poets who waste time on the detailed and insignificant, L. Levchev is looking for a new civic voice in poetry, but expressed already with newer linguistic means. And L. Levchev's new collection of poems is entirely turned towards modernity, towards construction, towards the life of our youth. He wrote some interesting poems about construction. His poetic chronicles of our construction days are not boring protocols, but verses distinguished by a fresh construction romance, a life-affirming feeling, a constructive pathos. L. Levchev manages to poetically elevate our labor construction reality, to poeticize everyday labor, to break the banal framework in its depiction. And in this direction he managed to write a number of interesting poetic works. In the poem "Kremikovsko nacholy" there is a nice atmosphere, a new figurative vision: The picture is not at all beautiful - A field. A brown fallow. Above it the sun - low and foggy. And nothing else. Who dared to sow the seeds of dreams here instead of wheat?... The furrows smoke, smoke mysteriously, like the hearth of a proto-Bulgarian fortune teller.

There are poets who suddenly shine with a violent red flame and with their first call, with their first impulses, they go beyond the boundaries of the ordinary and conquer readers. Even the coldest, simplest words shine with the fiery rhythm of their feelings. It is not ambition, not imitation that directs them to poetic art. Unnoticed, like flowers in the field, their thoughts burst forth and one day we discover that a poet has been born. It is as if some higher power, that earthly-unearthly power, has gifted them with the ability to create their own world of thoughts and ideas. Their vital existence seems to transform itself into poetry. They sink into the spoken words and their poems, like a smile, naturally and effortlessly blossom on their lips. They think, they sigh, they dream in verses. What is expressed in acute life conflicts, or what passes away with chance, they transform into melodic flutter, into poetry. For them, poetry is not a craft. It is an organic breakthrough of their spiritual world. It is a tearing of the crust of everyday life by the inner boiling of experiences. It is a cry of a victor or a lament of victory. A joyful impulse of a discoverer or a suffering anguish of one broken by life. These poets may quickly go out, but the sparks they have scattered around them excite the imagination for centuries. "Fools" and crazy heads, they often draw upon themselves the wrath and curses of prudent grayness. Legends grow around them, the evil rumor of offensive mediocrity follows them, but they turn into myth.

This is the tenth book in a row by Efrem Karanfilov and is yet another proof of his diverse literary interests. This time, the subject of study is only Bulgarian authors - poets from different eras and generations, from Paisius to our contemporaries. In Paisius's story, the critic is struck by a twisted revolutionary passion and an unquenchable, eternal youth, which captivates him with its irrepressible drive. It forces him to express in one breath the fascination of the immortal Paisius' work over the modern reader. This work sounds to him like a heroic poem, it carries him with the violent strength of the Hilendar monk, it ignites him with his patriotic flame. He writes about Paisius in an uplifting manner, with a romantic coloring in the style and diction. Efrem Karanfilov is most strongly and sincerely moved when he discovers fighting moods in the poets. The deepest experiences and immediate excitements in his soul are awakened by the fanfare of the martial lyre, the revolutionary flight of poetry sparkling with youth and vitality.

I will not talk about the poems of Parvan Stefanov, written before 1956 and not included in his first book - as is known, out of the numerous songs of enthusiasm, he included in "Falcon Feathers" only one soldier's cycle. Therefore, I will say that he started from a relatively high level. To begin with, I will take his first poems from the newspaper "Narodna Mlazed" (1949), his first book, which appeared in 1956. It was a time when he was one of the most popular young poets. His poem "The Stone Boy" (in Russian translation) received the prize of the Fifth World Festival of Youth and Students in 1955, it was read and copied, recited on every occasion, and the 24-year-old author left for Warsaw, from where he brought a notebook of poems and a love for Chopin's homeland, to whose fate and poetry he would permanently join. I say this because it is impossible to explain the entire subsequent development of Parvan Stefanov without the beneficial impact of his Polish meetings and experiences, predetermined by the happy decision of the festival jury. What made "The Stone Boy" appeal to the members of the jury and especially to its chairman - the prominent Turkish poet Nazum Hikmet? If we now read the collection "Falcon Feathers", we will find other, more mature poems, such as "Accident", "The Dance of the Negro" (it enjoyed success in literary readings), "Grass", "Ballad of the Three Fir Trees". Only now would it be the turn of "The Stone Boy" - it modestly takes its place among the good poems of the young poet. At that time, it bribed with its pure romance, connecting our dreams of today with the ideals of those who gave their young lives in the struggle. The concluding verse, revealing the true possibilities of the poet, has a special power: