защо

The study examines the complex structure of Aleko Konstantinov's Bay Ganyu. Analysed here is the intricately organized voice network that is disposed at two levels - the level of the narration and the level of the narrated: the voices of the character, the narrator, the author, as well as the complicated hybridizations between them. Taken into consideration is the dynamics between the spoken and the written modality of the narrative, and the relations between the different expression types in the work and the different addressees that they produce. The structure of Bay Ganyu reveals a problem that is especially important to the total realism of the 1890s - the aspiration for valorization of the "truth", the life authenticity at the expense of the "artistry", the fiction. But in contrast to other works, Bay Ganyu discusses the problem mainly by the specific multiplication of the speaking institution's hypostases. By studying the inner dynamics of the narration, the paper proves that Bay Ganyu is a unique work because of its ambiguous author and character placing and because of the overcomplex statute of the speaking voice, which covers the whole range between fictional and real. The character Bay Ganyu is hardly restrainable into the self-sufficient fiction of the work's reality and the Author is constantly keen on entering the fictional, on metamorphosing into a character. Between these two poles a dynamic system is developed of narrating and commenting modes that are complexly inserted in one another, synchronically imposed or observing each other as mentors. Through a scrupulous analysis of the text, the study reveals and examines five modes of narration terminologically named as follows: character-narrator; primordial narrator; omniscient narrator; publicistic narrator; voice of the author himself. From this position posed here is the problem of the gradual substitution of the protagonist for the occurence presented by him. Examined as well are the effects of this transformation upon the work's figurative system.

This research is concentrated on the poem The lake sleeps (Спи езерото) with a view to two main questions: when and why did the image of lake in the European poetry begin to be different from the common background of water and how explain his sudden appearance in P. Slaveykov's lyrics. The first question is answered by studying in its antique, biblical and literary interpretation until the end of the 19 th century. The essay finds out that the lake gets his poetic emancipation during the romantic period. Special attention is paid to poets admired by Slaveykov like Goethe, Heine, Shelley, Southey. The research finds answer to the second question in the Vrchlicky's poetry, in particular in his poems included in the Vrchlicky's book of poetry From the gulfs (Z hlubin, 1875) : Near the lake (U jezera) and Over the lake (Nad jezerem). The genealogy of The lake sleeps (Спи езерото) explains some of the intertextual features of the early Bulgarian modernism revealing in P. Slaveykov's poetry.