романтизъм

The first to encounter his name in print were the readers of the magazine "Savremennost" in the autumn of 1906. The magazine was rather nondescript. Its loud name was probably chosen to remind us that the editors St. Donchev and G. Savchev, whom no one knows today, had the "new literary trends" at heart, i.e., symbolism. At that time, in the minds of some intelligentsia, susceptible to literary fashion, decadence was a sign of modernity. But in the cycle "Dedication" by the new poet Dimcho Debelyanov, there is no decadent "modernity" to be seen. The poems are not shrouded in a symbolic fog, they are clear, traditional". "The inspirations come from elsewhere - from the poet whose personality fills the young man's heart with adoration - Pencho Slaveykov. At that time, Dimcho Debelyanov, born in 1887, was nineteen years old. He had just graduated from the first Sofia male gymnasium. In the gymnasium, he earned a reputation as a warm-hearted and talented young man. Many loved him - for his bribing immediacy, although he was also inclined to solitude, for his directness, for the pure fervor with which he spoke and declaimed. One of his speeches on the feast of Cyril and Methodius was long remembered. He made an even deeper impression with his recitation in "Slavic Discourse" of Vazov's poem "Come and See Us". This time he even gained the attention of the monarch Prince Ferdinand himself, who had come to the solemn student matinee. And no wonder. Dimcho was not at all embarrassed by Coburg. Turning to him, he boldly threw the angry denunciations of the people's poet into his eyes:

"For us, the Bulgarians, the Hieromonk and Pro-Igumen Paisius of Hilendar is a national pride." This high and in a sense new assessment of the first Bulgarian Revivalist, sounded by the illegal radio station "Hristo Botev" during the armed anti-fascist struggle, was an assessment not only of the revolutionary working class and the Communist Party, but also of our entire progressive society, of the working people heroically fighting against fascism and capitalism. That is why, after the victory of the socialist revolution in our country, Paisius of Hilendar attracted the strong attention of many literary critics, historians, philosophers - T. Pavlov, Zh. Natan, D. Kosev, P. Dinekov, P. Zarev, Em. Georgiev, V. Velchev, Hr. Hristov, Vl. Topencharov, B. St. Angelov, etc. Some foreign (mainly Soviet and Italian) scholars also showed special interest in his personality and work - A. N. Robinson, G. D. Gachev, R. Picchio, etc. In response to accumulated misconceptions on the part of biased bourgeois scholars in the past, the problem of Paisius' ideology naturally turned out to be the most relevant now. In connection with this problem and to a large extent as subordinate to it, the questions of the era, of the socio-economic, political, and cultural state of the Bulgarian people in the 18th century, as well as the questions of the domestic literary sources of "Slavic-Bulgarian History" were thrown into a new, broader, Marxist-Leninist study.

In the history of literature, the period of Romanticism occupies an important place as a specific artistic method for reflecting reality. In literary theory, disputes are still being conducted to this day, studies are being conducted on the characteristic features and romantic forms of reflection and artistic generalization. This emphasized interest in Romanticism stems from the fact that it covers an interesting period in the development of public thought, where the views, dreams and aspirations of progressive people for the transformation of the world, for national liberation from centuries-old oppression intersect, a period that reflected both on the economy and on philosophy and all branches of art - literature, painting, music. In recent years, interesting monographs on Romanticism and its artistic method have appeared in Soviet literary theory by researchers such as Elistratova, Reizov, Sarinyan, etc. Among them is the work of the Armenian scholar S. Sarinyan - "Armenian Romanticism".