фейлетоните

The bold feuilletons of the Lucky Man appeared in the 1990s, when the bourgeoisie, eager for power and wealth, had already thrown the people into a new slavery. At that time, the Populist party, headed by Konstantin Stoilov, was ruling. Stambolov was overthrown from power, but his deputy oppressed the people with the same barbaric means. The democratic Tarnovo constitution, which was at that time, was cruelly trampled. This is how Dimitar Blagoev characterizes this bloody era: "In terms of domestic politics, the Populist regime was just as gangster and violent as Stambolov's. The Stambolov regime had many political murders through torture in prisons, through mass shootings during elections, through military executions, etc. But the Populist regime added to these horrors political murders from ambushes by bribed robbers and gangs. "1

In our political history, the image of Georgi Kirkov - the Master - is one of the most charming. Those who have seen or listened to him, from whatever background they come from, could not remain indifferent to the subjugating power of his word. Kirkov also respects with his books, which will always be republished. Because in them lives an entire period of the history of the party, an entire encyclopedia of thoughts and predictions. At a time when many other advanced countries are far from socialism, Bulgaria, which has just regained its sight, is illuminated by the first dawns of Marx's teachings. The Bulgarian Workers' Social Democratic Party, created by Blagoev, is one of the earliest proletarian parties in the world. Even in the time of abbots and peasants, the first apostles of socialism predicted the path of economic and social development and sowed the seeds of Marxist enlightenment. No, these were not just seeds, they were sparks that, if they hit a stone, would be extinguished, but if they found awake and dissatisfied souls, they would blaze in uncontrollable torment. Along with Dimitar Blagoev, Georgi Kirkov is “the first trumpeter for the awakening and organization of the Bulgarian proletariat,” as his then young student and successor Georgi Dimitrov called him in the speech at his grave. Kirkov’s contributions to the building of the Marxist party are enormous. The unwritten history of the Bulgarian socialist movement fills an entire chapter with his activities; with a number of his manifestations (especially during the wars and the October Revolution) he also stands out as an actor of the international workers’ movement.

Botev's feuilletons are the highest achievement in the development of Bulgarian feuilleton until the Liberation. They are closely related to Karavelov's feuilleton. Botev undoubtedly learned from Karavelov, set out on the path outlined by him, adopted the main genre and style features of his feuilletons. The general, principled attitude of Karavelov and Botev to the factual basis of the feuilleton, to the artistic image, to the journalistic essence, power and pathos of the feuilleton denunciation, to the great revolutionary tasks that the feuilletonist solves and to which his work also serves, are very close in both authors. The deep connection and continuity in their creative work of great masters of the feuilleton is undeniable. At the same time, however, Botev takes a significant step forward. His feuilletons are one of the peaks not only in the history of Bulgarian feuilleton, but in the development of our literature in general. Despite the great proximity and undeniable continuity with Karavel's feuilletons, Botev's feuilleton legacy has its own independent place and significance, and is subject to its own laws. The great proximity is accompanied by deep and essential differences. The more we delve into the structural and generally artistic features of Botev's feuilleton, the more clearly its peculiar world emerges.