естетически

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:

Lyuben Karavelov wrote in three languages ​​- Russian, Serbian and Bulgarian - and this is a unique phenomenon in the history of world literature. Lyuben Karavelov's literary works - novels, short stories, poems and feuilletons - are permeated by the tendency to critically expose not only the plagues of the Turkish feudal system, but also the collusion between the treacherous Bulgarian bourgeoisie and the clergy; drawing bright images of revolutionaries - fighters for the liberation of the homeland - Karavelov strives to awaken the consciousness of the masses from centuries-old backwardness, to raise them to active struggle (Doncho, "Bulgarians of Old Time", "Hadji Nicho", "Martyr", etc.). A huge influence on Karavelov was exerted by the revolutionary-democratic literature and aesthetics of Chernyshevsky, Dobrolyubov Pisarev. In the story "Is Fate Crooked?" (1869), written in Serbian, he applied the ideological and creative techniques of the novel "What is to be done?" by N. G. Chernyshevsky. In his writing, L. Karavelov comprehensively used the creative experience of the classics of Russian and Ukrainian literature, learned from them critical-realist techniques in depicting reality, and propagated the works of Pushkin, Gogol, Chernyshevsky, Herzen, Shevchenko, Marko Vovchok, Serbia and Bulgaria. All this makes the philosophical and artistic work of Lyuben Karavelov particularly interesting and close to us. B Lyuben Karavelov adopted the basic ideas of revolutionary-democratic criticism and aesthetics during the years of his stay in Russia (1857-1866), and this is reflected primarily in his artistic works and in their sharp critical focus. But he also tried to make sense of the principles of realism and revolutionary tendentiousness in a theoretical sense. "Poetry - we read in his Manuscript Notes - as well as everything else in the mental activity of man should serve the serious goals of life, and not be art for the sake of art." 1 In his articles from this period, L. Karavelov calls for the depiction of living folk life, for the rapprochement of writing with folklore, and calls for the liquidation of the archanization of the literary language. And in Serbia (1867-1869) L. Karavelov appears as an already formed literary critic, who gave a well-founded and firm assessment of the tendencies of abstract romanticism and sentimentalism, which had distanced Serbian literature from the truthful depiction of the social struggle in the sphere of intimate experiences. Lyuben Karavelov contributed to a great extent to the turn of Serbian literature from the late 60s-70s from the blind imitation of foreign models to national originality.

Even Marx and Engels believed that the "future" proletarian literature would appear as an organic "complete fusion of great depth, conscious historical meaning" with Shakespearean liveliness and effectiveness" of artistic depiction. This is how they imagined the essence of proletarian verbal art, which for several decades now we have been calling the literature of socialist realism. In fact, through these and similar formulations, the founders of Marxist aesthetics noted two main features of proletarian literary art: first, its deeper and qualitatively new historicity in comparison with the art of past societies and second, its ability and historical obligation to start in its artistic searches from the highest ("Shakespearean") creative achievements of the universal human genius.

"The tragedy begins!" - writes Geo Milev about the bloody September of 1923. In fact, the tragedy began years before that. Bai Ganyo lit the first fuse and with political fireworks presented Alek's head as the greatest achievement in the hands of Ferdinand. This was the opening blow, the first cry of those in power - In the name of the people!" Parties and governments passed this "motto" to each other like a baton. "Lies lie, lies rule, lies steal." The new time invades and with a stunning blow proves that one cannot live only with memories and the past, throwing them overboard like ballast. The spirits of the martyrs of the Bulgarian National Revival excite, perform the insidious movement in the minds, but do not give an answer. "Power is my eternal mistress" - every political department brazenly and loudly confesses. The idols, the "collapsed idols" press their shoulders. But the Buzludzha Congress in Bulgaria is indisputable proof that living water exists. It brings "first love" to an entire generation of the Bulgarian intelligentsia, without, however, providing it with a protective armor at the crossroads. The revolutionary romanticism of a pre-liberation era does not allow for much reflection, but the end of the past and especially the beginning of the 20th century necessitates a logical reassessment, a painful search for new sources. Under other social and political conditions, this search is already a fact in Russia, France, Belgium, Germany. Ethically pure natures face chaos - hopeless and dreamy - protected only by the tormenting images of their "drunken ships", their wanderers, loners and eccentrics. The creators, the creators of spiritual freedom, embodied in poems, colors and music, turn out to be both the Achilles' heel of society and its saviors. Earthly purity is already infinitely compromised in the world of capital and the leaps of human minds from "supermen", from Maeterlinck's "Treasure of the Humble", through the multinational, fragmented internal dialogues of symbolism, through the roar of Verhaeren's "The Ringer" to Ernst Toler's "Massa-Man" - are fully justified by the brutality of the era. In Bulgaria, this era is pouring out in a very short period of years, when our progressive thought must collectively pass through populism and socialism, through symbolism, impressionism, expressionism. A review of the periodicals of just a few of the magazines such as: "Den", "Delo", "Novo Vreme", "Nash Zhivot", "Misl", "Khudozhnik" to the magazine "Cherven Smyah", to the magazine "Plamak".

Stoyan Karolev's new book "In the World of Prose" is one of the most meaningful events in our literary life in recent years. It can be passed over and underestimated only by someone who suffers from congenital aesthetic myopia or is gripped by attacks of progressive professional egocentrism. It reveals with utmost clarity the most joyful trends in the development of contemporary, dialectically enriched aesthetic thinking, capable of penetrating the specific spheres of verbal art, of discerning the uniqueness of various creative talents, of achieving the truth about the artistic completeness and functionality of various stylistic and genre phenomena, about the aesthetic existence of the individual work of art, of the artistic image and suggestion. "In the World of Prose" affirms the legitimate aspiration of today's literary researcher to enter the holy of holies" of authors and books without prejudice and pretense, without aesthetic ecstasy and "artistic exaltation," but with increased intellectual insight into real ideological and aesthetic values, with increased emotional responsiveness to the artistic atmosphere of literary facts. Indicative of the peculiar renaissance that many of the leading representatives of our theory and criticism have experienced in the last decade, this book also represents an event in the author's personal biography: it contains the happy fruits of an inspired creative maturity.