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In recent years, significant differences have emerged in the assessment of the creative method of individual Renaissance writers, opposing opinions have been expressed about the beginning of critical realism, and the question of romanticism and realism in our Renaissance literature has been raised. In his study "The Problem of Romanticism and Bulgarian Literature" 1 P. Dinekov examines, along with romanticism, some other questions: the relationship between sentimentalism and romanticism, revolutionary romance and romanticism, etc. Characterizing romanticism, the author makes a number of general observations about realism, which is the only one to take shape as a literary school with its own lasting traditions", but whose "first manifestations can only be separated with great difficulty from the strongly mixed elements of sentimentalism and romanticism". In our literary science, the prevailing view is that critical realism was first established as a specific direction in the creative work of L. Karazelov, who was its founder. P. R. Slaveykov does not reach the critical realism. P. Zarev dwells on this issue in more detail. Slaveykov's work, in Zarev's words, is in principle, in character and in pictorial system a work of pre-critical realism and a transition to it. 2 The opposite thesis is advocated by G. Tsanev in his article "The Beginning of Critical Realism in Bulgarian Literature." 33 He claims that almost all Bulgarian writers, with the exception of the representatives of proletarian literature and socialist realism, as well as the predecessor of socialist realism in our country - Hr. Botev (naturally, and the representatives of decadent literary movements) are critical realists, with all their work or with a part of it. The gaze of Bulgarian writers is turned towards society, the critical-accusatory tone is inherent in Bulgarian literature. Further, the author disputes the prevailing view that L. Karavelov is the founder of Bulgarian critical realism and comes to the conclusion that the first representative of critical realism in our literature is P. R. Slaveykov. To prove this statement, the author of the essay refers to two poems - Boy, gather your wits", written in 1857 and Song for my coin - from 1861 - poems that reflect a critical satirical attitude towards "the robber and reveal the power of money, on which everything in the emerging bourgeois society depends. Critical realism before the Liberation is a reflection of reality, in which a struggle is waged not only against bourgeois social relations, but also against the national and social oppression of Turkish feudalism. "Critical realism in our country is directly, organically connected with the national liberation struggle of our people". "The object of artistic reflection also includes moments of national character and feudal nature." The above-mentioned views on realism before the Liberation are far from exhausting everything written on the subject. Our task is only to outline some basic theses and fundamental differences.

The art of small literary genres (proverbs, maxims, aphorisms, maxims, reflections) encompasses the multifaceted figurative sententious phraseology of folklore; the rhythmically condensed figurative formulas of Ecclesiastes, Tacitus, Juvenal; the psychological insights of writers from the “school” of La Rochefoucauld. Coming as an enlightenment and catharsis of the spirit, these works harmoniously unite reflection and feeling, poetry and eternal truth. The organic fusion of vivid impression and reflection connects the sententious to the great questions of life. Pascal’s “Thoughts”, Goethe’s “Maxims in Prose” or the aphorisms of Fr. Kafka reveal an inner penetration between art, on the one hand, and science and philosophy, on the other. Sententious thought proceeds from the fullness of views and accurately captures the nature of things. Depending on the nature of these works, Jul. Petersen places them in the outermost sphere of literature, since they go beyond the limits of purely poetic experience and reach the realm of thought, a moral or theological lesson. Petersen's treatment follows Goethe's classical statements and allows for rich observations on the problematics of literary genres and types. Maxims are seen as a "monologue depiction of a state" and are placed between the epic and the lyric, but remain closer to the lyric.