Цветан Ракьовски

Slavcho Krasinski is one of the gifted Bulgarian lyrical poets between the two world wars. When he was 21 (1929) he published his first book of poetry entitled Gunshot and attracted the critics' attention. The poet's real character is revealed by his two subsequent books - Spring Guest (1932) and Green Clouds (1938). From 1930 he actively contributed verses to the renowned Zlatorog magazine (edited by Vladimir Vasilev). His work paradoxically combines the characteristics of symbolism (the critics see N. Liliev's influence here) and imaginism, which penetrated into in Bulgaria under the influence of the Russian poet Sergey Esenin. These are the two poetics which create an intertextual web of links for Slavcho Krasinski's lyrical poetry.

The article explores the theme of Bulgarian Modernism at the beginning of the twentieth century through the point of view of L. Stoyanov's poetry and critical texts. He is a poet who experiences the heyday and the drama of the end of Symbolism. On the other hand, he is a critic who often puts negative assessments on the authors of his time. However, there are emblematic phrases in those articles that give a precise diagnosis of the literary phenomenon.

The research subject of the study is the poet Lalio Marinov, who is known by his creative pseudonym Lamar. Attention is focused on his presence in the Bulgarian literary process between the two world wars. Lamar's path in the already formed aesthetic trends of post-war Symbolism and Expressionism is examined. Attention is paid to the traces that imaginism and anarcho-communism leave in his poetry. The more prominent intertextual relationships that took shape in the 1920s are traced. More important are those relations between Lamar, on the one hand, and Geo Milev, Dimitar Hadjiliev, Yassen Valkovski, Ivan Perfanov, on the other. It comments on the changes in imagery and poetic expression that accompanied Lamar and his books, as well as his publications in literary periodicals in the years between the two wars.