Герои

In his original contemporary play "When the Roses Dance", Valery Petrov takes up with gentle sincerity, with subtle soft humor, with ease and grace the eternally young problem of love. The spirit of youth, this cheerful spirit, born in May, reincarnated in the image of the Young Man, wants to awaken the youth in the Old Man. Will he succeed? The dispute begins as a joke. The Young Man proves the existence of true love. With magic, with songs, music, ballet and with the destinies of several couples in love. The roses, these precious flowers that the Old Man guards day and night and cannot protect, suddenly come to life before his eyes. They not only teach and sting, but can dance, yearn, suffer and... run away. Roses are intended for lovers. Having begun with roses, the love theme imperceptibly expands and grows into a theme for young and old perceptions in contemporary life. It turns out that in Every person has both an old man and a young man who are in constant struggle. What does it mean to be young? The answer to this question constitutes the second plan of the theme of love, the undercurrent of the action in "When the Roses Dance" - because not only in love, but in thousands of places, our damned old age fights with youth. . . The Young Man is tireless in his passionate urge to protect youth. This is an image that is constantly transforming. He instantly takes off his symbolic clothes, acquires flesh and blood. With his soft intimacy and sparkling witty lines, he is an unusually lively and vital positive hero, as well as fantastically ethereal, elusive, alluringly diverse, surprising. He is the backbone of the play, the defender of the main theme, the conductor of the "spring pantomime", in which, along with jokes and magic, the sad and cheerful melodies of love and wisdom sound. And the Old Man? Maybe this is just a contrasting symbolic image, constantly opposing the views of the Young Man and in the end will be rejected by life, ridiculed? Yes, indeed, at first he shows a petty stingy passion, distrust of people. But the most interesting thing about this character is his transformation and especially his unusual experiences on the way to the police station, where he leads the Young Man, who has plucked three roses for his beloved.

There has been much debate about the role and significance of fiction, and indeed of art in general. In sharp contradiction to the main and main trend of Bulgarian literature, realism, not a few critics and literary theorists in the past sought to tear writers away from the life of the people, to distract them from the main tasks of our national development. Vain efforts! Life is so strong that even on the pages of the magazines that carried out these theories in the most drastic form, Misl and Zlatorog, their most talented contributors perceived and depicted true images of life - more than once in contradiction with their own ideological and political positions. The case of Bloody Song by Pencho Slaveykov is characteristic: at the center of the poem he places Mladen as an exponent of the ideas of the writer himself (along with the fact that this hero is an exponent of one wing in the national-revolutionary movement) - with a hesitant acceptance of the uprising and with a strong admixture of late individualistic views, artificially included in that era. And yet it is not Mladen who imposes himself on the minds of the readers, but the Voivode (Benkovski), although in many cases he is presented in the poem in an unfavorable light. Even more vividly stand out before us are images such as Boycho Ognyanov in Vazov's novel Under the Yoke and a number of heroic images in Epic of the Forgotten: their political pathos is high, as it is the fruit of the deep and sincere convictions of the writer, who grew up socially in the struggle for national liberation. For a long time, the Revival-revolutionary heroes were at the center of the literary works of our best writers; In this way, these writers highlighted the testaments of the Revival in order to oppose them to the entire bourgeois reality that was being created in our country with all its negative sides. But even when Bulgarian critical realism, following its positive, denunciatory tasks, had to bring to the forefront the Baiganiovites and the Vazov Gorolomovites, as well as the number of negative characters in the works of Vlaykov, Mikhailovsky, Elin Pelin, Stamatov, Stefan Kostov, Yovkov, Svetoslav Minkov and others, the positive hero was always felt, present in their works. Sometimes - as in Yavorov - it was the writer himself, whose angry figure stands above the denunciatory pages.

Efrem Karanfilov has completed his critical trilogy "Heroes and Characters". This is a major creative work that enriches both the reader's culture and his creative attitude towards some of the brightest achievements of literary fiction.

In "I Live in Berkovitsa," the folk poet tells of his life in this small but beautiful mountain town. of his service as chairman of the district court, of the people he befriended, of the walks through the beautiful mountain scenery that helped restore his shaky health from the turbulent life in the then malarial Ruschuk, where he served in the Governorate as a "junior clerk for special orders." e On days free from work - the poet writes in these memories - I made joyful outings on horseback with a young group of Berkovci, with the doctor and the governor through the dense beech forests that cover the skirts and sides of the Stara Planina, intoxicated by the sound of the crystal mountain streams, by the breath of the grasses and flowers, by my youth and by everything, everything". .. *"Kom reminds me, however, of a crime - Vazov continues further - that we committed with the district governor. It still haunts my soul and now I will confess it (A. T. - Vazov wrote this memory 31 years after the event, if we judge by the date placed under this memory, published in the newspaper "Speech"). We found three beams set on Kom, which formed a kind of narrow high pyramid, built with stones and supported by transverse trees. We wondered what this thing was. A shepherd told us that Serbs had placed it as a sign on the border between Serbia and Bulgaria... And, overcome with patriotic indignation, we overturned the unfortunate wooden pyramid through the guards. A few days later, a Russian topographic officer told the governor that some mischievous people had pushed the trigonometric sign on the Kom! In the novel "New Land", Part III, Chapter VIII ("The Pyramid") Vazov tells of this "crime", but attributes it to Dikiy Barin, an image that he also uses in the humorous story "Mitrofan and Dormidolsky" in the person of Dormidolsky. The prototype of both characters is the judge Ivan Stoyanov, called "Grandpa Ivan" by the Berkovitsa residents, with whom Vazov lives in the house of Zlatish Hasan.