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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.

The Bulgarian communist Dimitar Gachev, who inherited the theoretical principle and irreconcilability of Blagoev, fully formed himself as an art critic and historian of aesthetics in the USSR. The period from 1930 to 1937 was particularly active for his development. After that, the cult of personality not only slowed down, but also tragically interrupted his creative activity. Gachev felt on his shoulders the impact of forces, essentially alien and hostile to socialism, which inflicted so many defeats not only in the political and economic, but also in the intellectual life of our society. But he remained faithful to communism, to the great Soviet homeland, until his last breath, he went away with the dream of building communism in Bulgaria. The 20th Congress of the USSR and the April Plenum in our country returned, among many others, the cultural values ​​that Gachev created to the treasury of socialist culture.

"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".