идеи

In recent years, there has been no conversation between our contemporaries - builders of socialism and communism - that has not touched on the prevailing thought of the time, that has not turned into reflections on that turbulent and rapid movement forward that began after 1953-1956. Now we ourselves are amazed at the frozen kingdom of dogmas and ideas, at the cold majesty with which the cult had enveloped the most human, the most earthly, the ideal of social order that radiated so much light and warmth. The most democratic, the most mass teaching was threatened with becoming an inaccessible codex of once-for-all truths that inspired more trembling and fear and less subjugating with the charm hidden in them. The words of the young Marx were forgotten, that communism and humanism were synonymous, that at the center of our teaching lies the noblest idea of ​​human happiness and well-being, of the abolition of all violence, of everything ugly and inhuman, inherited from the bourgeoisie. The harsh revolutionary spirit, the awareness that history is made without mercy, that the laws of the class struggle are something inexorable and determine the choice of means, the line of behavior of revolutionaries, was exploited, brought to a one-sidedness that began to have the opposite effect. The ideology and practice of the cult of personality repelled with its brutality, brought turmoil into souls, hindered the true revolutionary education of the masses, instilled obedience and servility - the external grimace of indifference and cynicism, of wordless obedience.

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.