образи

In recreating the image of the communist in our country there is a long and rich tradition from the past: in poetry - D. I. Polyanov, Hr. Smirnensky, N. Vaptsarov and the post-1930s; in prose - again Smirnensky, Kr. Velkov, G. Karaslavov and others. New people - new in their social consciousness, in their spiritual appearance - were formed during the years of great battles of our people against capitalism and fascism. And in order to understand the type of person - the type of revolutionary, an active historical figure - literature naturally turns to the image of the communist. Why is this so? Because the communist is not only a politically significant image, but also a bearer of the new in our time in general. What is more - right next to him walks the conscious citizen who does not yet have a party ticket, but to whom the cause of the communist party is close. Today, it is clear to readers and writers that every more substantial, more artistically convincing image of the communist always has a "cover" in socialist reality itself. And he always returns to it, reality, to serve it, but already aesthetically evaluated. This is one of the main advantages of contemporary socialist-realist literature. So far, in articles and speeches, an attempt has been made, sometimes more cursory, sometimes more in-depth, to clarify theoretically and mainly in connection with practice the problem of the communist in literature. For example, it was discussed during the national review of contemporary Bulgarian drama in 1959. And in 1960, the Writers' Union organized a three-day theoretical conference on the topic "The Image of the Communist in Literature". The purpose of this article is to dwell on some unexamined questions and, in particular, on individual literary works. Limiting the topic hides some inconveniences, and perhaps even dangers. But it also has some advantages: we will keep our focus on today, on contemporary problems.

Hristo Smirnenski carries on the wings of his poetry the indomitable rush of the revolutionary storm and the most daring dreams of the sunny day of humanity. The very movement of the many-faced life has found in his poetry an inspired poetic embodiment, capable of greatly affecting the mind and heart of man. Deeply and realistically embracing the main features of the revolutionary era, the dark spots in the cruel dying world of capitalism and the whirlwind flight of the oppressed lowlands to the gates of communism; reflecting in unique pictures and images the very storm of the emerging socialist world, embodying the trembling enthusiasm and unshakable faith in the victorious march of the Great October Socialist Revolution and in the future day of humanity, Smirnenski's work opened new horizons in the development of Bulgarian literature. The scope of his poetic talent is so wide, the enchanting figurative wealth of his works has so deeply summarized the development of Bulgarian literature, so close is the connection of his poetic visions with the people's life and dreams for the future, that it contributes to the unshakable force of laying the foundations of socialist-realist art in our country without much toil and detours. With his life and work, Smirnenski brilliantly showed that the fusion of the writer with the revolutionary aspiration of the masses, placing his heart and lyre in harmony with communist ideas, in the service of the revolution and the liberation struggle of the people, fertilizes his talent, stimulates his creativity, elevates his thought. After Smirnenski, a great writer in Bulgarian literature could only be the one who stands on the positions of realism, on the side of the struggling people. This enormous contribution of Smirnensky had a beneficial effect in two directions: on the one hand, it opened the broad road of socialist revolutionary literature, united democratic writers on the basis of the anti-fascist struggle; on the other hand, it dug a deep chasm for modernism, which could no longer find fertile ground for flourishing in our country. The entire Bulgarian revolutionary literature, supported and guided by the Communist Party, followed the path outlined by Smirnensky. Along this path, learning creatively from Smirnensky, Bulgarian literature created works that are unfading in their poetic power and inspiration, in their insight into the life and pathos of the struggle.

For years, for obvious reasons, our literary scholarship has been shedding light on the creative and life path of the writer Dimitar Talev in a very uneven way. Divided by the gamut of historical events in 1944-1945, this path offers a heterogeneous ideologically and emotionally, artistically unequal and unequally grateful material for studying the author. The mature work of D. Talev, which attracts with a true abundance of ideological and aesthetic problems, social and life conflicts, of human images and motives, is quite justified in the center of the most significant studies to date on the literary work of the writer. The attention of D. Talev researchers continues to be directed today to the great ideological and artistic wealth of the four-volume historical epic, a work that has secured an inviolable place in the heart of every Bulgarian, and has won for the author the name of an indisputable master of everyday-historical narration. Before tracing the writer's overall creative development, before outlining his appearance in detail, it was imperative to understand the beauty and power of that series of novels that earned the author extraordinary popularity and recognition. The relevance of this task for the future is undoubted.

The appearance of the book "Images and Problems" is a positive phenomenon in our literary science. Its author Ivan Tsvetkov is known as one of the few best experts on Soviet literature in our country. 176 As early as 1964, the publishing house of the Bulgarian Academy of Sciences released his book "Maxim Gorky and Bulgarian Literature", a solid study of some aspects of the great writer's work and of a number of problems of its penetration, distribution and creative perception in Bulgaria. Written with erudition, with a temperamental and lively pen, this work contributed a lot to the overall clarification of the issues of Bulgarian-Russian literary relations. In his first book, Tsvetkov is alien to the narrow setting and solution of problems. He does not mechanically transfer the results of one national literary development to another, does not turn the regularities in the development of one literature into a mandatory norm for another, but seeks the true creative interpenetrations, conditioned by a complex complex of social, political and cultural factors. The subject of the study is the literary-critical perception and stage adaptation of Gorky in our country, with the task of interaction with our poets and writers being set out in perspective. It has now been partially fulfilled.