поетическа

Those who deal with aesthetics know that one of the most talented representatives of French materialism of the 18th century - Denis Diderot - was also a brilliant defender of realistic art. He hated the otherwise skillful artist François Boucher for his sweet, romantically-influenced allegories and pointed to the crude but truthful art of Chardin as a measure for young artists. And just when he opposed creative "hypocrisy" to naive fidelity to nature, Diderot simultaneously claimed that "exaggeration and falsehood lie at the foundation of the arts." Indeed, at first glance, the contradiction is obvious, and the surprised reader instinctively seeks to restore the broken monolithicity in Diderot's views, declaring the quoted thought to be a random thought or a "pen error." But here is the creator of socialist realism - Maxim Gorky, whose aesthetic concepts were incomparably clearer than those of Diderot, considers exaggeration and fiction to be inevitable aspects of the artist's work. Obviously, here the theory of art is faced with a real antinomy, which must be clearly stated and explained: how to combine the principle of the truthful reflection of reality with the inevitability of exaggeration and fiction? Are not the latter an attempt on the sincerity of the artist, which we in any case solemnly demand of him? These questions - interesting in themselves - have a direct connection with one of the most vividly treated problems of our aesthetic science: the problem of the reflection of reality, undoubtedly in art. It is precisely

There are sensitive natures who are no less excited than talented poets, but their excitement does not give rise to poetic ideas. It is not a question of the desire to compose, which can also overshadow those completely devoid of talent, but it is very distantly related to the artistic idea. In order for a poetic idea to arise, talent is needed. Talent, so to speak, is an innate mastery, the bearers of which must thank nature. And the greater the talent, the more condensed, more concentrated this potential mastery is. The young Pushkin wrote poems whose mastery would be envied by even great poets in their most mature creative age. Pushkin is a worldly genius. But our Smirnensky also created unfading poetic works in his early youth. By the way, he died almost a teenager, and amazes us with his poetic virtuosity. Another young man, Dimcho Debelyanov, created perfect poems before Smirnensky. Even earlier, the unknown Peyu Kracholov amazed such strict literary connoisseurs as Dr. K. Krastev and Pencho Slaveykov, who simply wondered how this boy from the backwater province managed to achieve such heights of poetic skill in "Calliope". And yet, poets usually do not write their most perfect works at the beginning of their creative path. And brilliant poets develop, acquire mastery through schooling from their great predecessors, through a lot of work, through enriching their life experience, etc. A poet is one - says Gogol - who is more capable than others of feeling the beauty of creation" ("Russian Writers on Literary Work", Leningrad, 1954, vol. I, p. 477). This feeling for the beauty of the world is undoubtedly strengthened in creative practice, which forces the poet to seek the beautiful, the wonderful in life and truthfully depict it, to sing it. The poet, like any artist, is gifted by nature with strong observation and impressionability. And they are sharpened in the process of work.