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The great proletarian poet usually lives in our consciousness with the dazzling brilliance of his poetic images, with the captivating dynamics and heroism of mass revolutionary scenes, with his youthful exaltation. Smirnensky was a contemporary of epochal, hitherto unheard-of events in history. Dizzy by their grandeur, the poet saw them in fantastic outlines. For him, the rebellious slaves turned into titans, who, having built their enormous stature on a par with mountain ridges, carry within themselves the sun and the storm, and the revolution was an angrily erupting volcano, a stormy sea, a fierce element of ocean waves, a bristled fiery colossus. "A fairy tale of fiery images and paintings" - this is how Georgi Bakalov defined the form of Smirnensky's revolutionary poetry. But if we exhaust the poet's creative portrait with these features alone, it would be very incomplete. The inspired proletarian singer turned out to be a master not only in revolutionary poetry, but also in tender, intimate lyrics, in the short story, in the essay, in the feuilleton and in satirical poetry. In Smirnensky, the poet, the fiction writer, the cheerful humorist and the merciless satirist happily combined. And in all genres he achieved a rare variety of stylistic techniques, he emerged as a unique creative individuality. It was as if the muses had fallen madly in love with this fiery young man and generously showered him with versatile gifts. Along with the titanic images of the October Revolution, of the rebellious masses, Johann, Delecluze, the gladiator, the little gavroshchés, the street woman, the tobacco worker scarred by the "yellow guest", the stonemason, the florist, the blind musician, the Russian peasants condemned to starvation appear before us as alive. They are all drawn in natural height, without romantic embellishment. And in "Winter Evenings" with great simplicity and expressiveness, pictures of harsh everyday life are drawn. Many of the stories are written with the same simplicity. In them the tone is not so elevated, there is not that titanicness of the images, as in much of the revolutionary poetry.

There is no dispute - the old literatures of Bulgarians, Serbs and Rus' show some common features in content, trends, development, style, genres, writers, etc. This is precisely what gives reason in the history of the pan-European literary development to consider them as a group of literatures, to search for and point out features that represent something new in this development. To a certain extent, the latest publication of the well-known and prominent Soviet scholar and medievalist Dmitry Sergeyevich Likhachev - "Old Slavic Literatures as a System" is due to this indisputable commonality. More precisely, the thoughts expressed here further develop and detail his opinions expressed several years earlier. His last publication, in fact an expanded and revised report, delivered in Prague in 1968 at the VI Slavic Congress, touches on several very important problems in the history of the old Slavic literatures: 1. Phenomena of literary transplantation; 2. Old Slavonic literature as a mediator and the Slavic review (redaction) of Byzantine culture; 3. Genres and types of Old Slavonic literatures; 4. Old Slavonic literatures and folklore; 5. Old Slavonic literatures and the visual arts; 6. Old Slavonic literatures and reality.

The question of the manifestations of the Baroque in Bulgarian literature can be considered only in connection with the manifestations of the literary Baroque in general in the Slavic Orthodox area. Therefore, it is relatively easiest to establish the character of Bulgarian historiography of the late 18th and early 19th centuries. The historiography of the Orthodox Slavs itself actually offers sufficiently rich material for comparison with Bulgarian historiography.