българско

It is so young that its name is still being debated. But it strives to keep pace with every other science. On the desks of the people who deal with it are manuals and reference books on differential calculus, higher mathematics, information theory, psychology, and physiology; their file cabinets are full of statistical data from mass tests, their sound libraries are teeming with recordings, in their laboratories the tape recorder is being replaced by the complex equipment of wide-ranging sound spectrograms. In just a few years, these people have done a tremendous job of clearing away the metaphoricalism in the terms and concepts that have dominated our knowledge of verse so far: today it has been experimentally established that the objectively stressed vowel does not carry any stress and that usually the sound that we feel stressed is not pronounced the most stressed; that the sound flow is objectively indivisible and is not separated into syllables or words, that the Sound itself is not uniform, but represents a whole bouquet of sounds, in which no one can yet establish exactly how our ear manages to recognize what it needs. As you can see 150 - complete chaos reigns even in our ideas about the physical nature of the verse. Yanakiev boldly puts an end to everything that has been done so far and proposes to start from A and B: a complete break with the current metaphorical use of terms, the application of exclusively scientific methods, relying solely on logic, precise formulations and dealing only with material and clearly distinguishable for everyone components of the verse composition - these are Yanakiev's principles. As a true man of science, he believes that the first step must be absolutely accurate, though small and far behind what the intuitive glimpses of aesthetes and critics have so far given us on the path to penetrating the depths of poetic Mysteries. His first step is to study - if one may so say - the anatomy of verse; to make a purely structural examination of the structure of the poem, to study the different forms of rhythm and to specify the terms by which these forms will henceforth have to be named.

The beginning of New Bulgarian poetry is usually associated with the first decades of the 19th century, with the names of Dimitar Popski, G. T. Peshakov, and others. It is also accepted that "new Bulgarian poetry arose outside the traditions of medieval literature. The writers who in the 19th century laid the foundation for modern Bulgarian poetry neither knew Slavic-Bulgarian poetry nor learned from it. Their gaze was directed towards other models - Russian, French, Greek, Serbian, Romanian poetry, on the one hand, and Bulgarian folk song, on the other".1 Of course, it is correct to believe that new Bulgarian poetry did not develop in isolation, on its own, but in close contact with the poetry of neighboring and more distant European peoples - Russian, Serbian, Greek, Romanian, French, etc., from which it was enriched both in form and content.

The rich Bulgarian literature of the Middle Ages has not yet been sufficiently well presented to a wider circle of cultural readers and activists. The main reason for this is the fact that a large part of its most valuable works have not been published, which is why they remain inaccessible for direct scientific studies. And the difficulty becomes even greater when one takes into account the fact that most of these works are located abroad (USSR, Romania, Yugoslavia, Mount Athos, France, Germany, England, etc.). And therefore, a joyful fact for our cultural community is the printed appearance of one of the important monuments of old Bulgarian literature, namely the Manassian Chronicle, published under the title "The Chronicle of Constantine Manassi". The Vatican transcript of the chronicle has been published in phototype form, with an introduction and notes by Prof. Ivan Duychev. Thus, a long-standing dream of the Bulgarian public and Bulgarian scientists to see a complete edition of this valuable historical monument is realized. And it must be said right away that the fine initiative to publish old Bulgarian manuscripts (phototype or in block form) should continue, and be placed on a sounder organizational basis. The Chronicle is published as the first book in the well-conceived series "Monuments of Old Bulgarian Literature". It is desirable that the next issues of the series appear sooner. The institutes of literature, language and history at the Bulgarian Academy of Sciences are directly interested in and responsible for the implementation of this task. The Manasseh Chronicle has long been known to science, especially through the publications of the Russian scholar A. D. Chertkov and the Romanian Slavist Ioan Bogdan, who published a later transcript from the 16th and 17th centuries. The Vatican transcript is valuable not only for being one of the ancient transcripts of the chronicle, but especially for being its only richly illustrated copy. After Prof. Duychev made a separate color edition of the miniatures of this chronicle, now a natural addition is its complete publication according to the Vatican transcript. The two latest editions, related to the Manasseh Chronicle, already greatly facilitate any kind of research not only on it, but on Bulgarian culture in general, literature and painting in particular. They also have an important place in the studies on our medieval historiography.