литературния

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:

The discussion of literature education in schools has become a necessity of life. Our society has already encountered serious weaknesses in the linguistic and literary culture of youth on several occasions. However, the reason for the nationwide interest in the quality of literary education has a deeper basis. It lies, first of all, in the special place that literature occupies in the system of general education subjects, in the nature of the knowledge it provides, in the strength and immediacy of the educational impact it has. The aesthetic specificity of literature is the basis of a complex and comprehensive impact not only on the mind, but also on the heart of the student, which cannot be replaced by anything. Literature as a subject of study most often poses problems that are directly related to the ideological and moral education of students. Therefore, any underestimation of the educational and educational significance of literature as a subject of study is in contradiction with the great tasks of the "communist construction of the younger generation." Hence the lively interest that the general public shows in the narrowly professional at first glance problems of literary education in schools. The questions that arise when discussing the teaching of literature are many and varied. However, there are some that are fundamental and decisive. Of the greatest importance, precisely for the teaching of literature, is the problem of the analysis of the literary work. Not only because the curriculum devotes the most time to studying the work of Bulgarian and foreign writers. First of all, because the specificity of the subject is determined by the specificity of the literary work, which becomes material for educational work in literature classes. Recently, however, the problem of literary analysis in the teaching of literature has not been studied in depth, despite its complexity and diversity, although this is the weakest point in the work of a number of teachers. The detachment of methodological science from this problem has also led to the lagging behind of the methodology in general from the latest achievements of literary theory and aesthetics. Therefore, it is entirely justified that the issues of literary analysis in school are at the center of the national discussion of literature education.

Nikolai Ivanovich Gnedich was a poet, a contemporary of Pushkin, and a translator who recreated the Iliad in Russian - a translation that continues to be talked about today, because it was made with great knowledge of both languages ​​and a subtle poetic taste. Decades would pass and the Gnedich family would give Russian literature other representatives. Until our days, when Tatyana Grigorievna Gnedich is the continuer of this family tradition... For several years, Byron's Don Juan has not left the stage of the Leningrad Comedy Theater. The newspapers wrote a lot about the beautiful performance and even more about the translation of the famous poem, made with incredible grace, linguistic orchestration, and beautiful verse. This translation belongs precisely to the aforementioned Tatyana Grigorievna Gnedich. The translation of Don Juan has a very interesting and instructive story. And it is as follows.