When I think or think of Geo Milev, I always imagine an older man. In my mind the image of an rather old man emerges. Some thoughtful gentleman who wants something very important and very complicated to tell and explain to his listeners. Something too philosophical and Western that most of his contemporaries in Bulgaria have never suspected. Looking up and seeing that he only lived in 30, I can't believe it. He never left the limits of his youth!

Geo Milev had an unusual and age-specific erudition. Erudite is usually referred to as an older person who lived very long, so he had time to read many books. Geo is just that - erudite, but young.
Despite his age, and perhaps because of her, he had the confidence to open new horizons of knowledge to his countrymen. He lives with the mind of an enlightener. Although there is no declaration of such a thing. It is interesting to note that the bearers of a new aesthetics in art like him have always had an enlightening spirit. And without claiming it, even without asking for it.

The Age of Enlightenment is a work of youth - D'Alembert and Diderot are in their 30s, while compiling the famous Encyclopedia, which gave impetus to the Enlightenment internationally. The Enlightenment spirit is also characteristic of Geo. But he is not a Renaissance educator. This is the difference between him and the "old artists", such as Vasil Drumev, Ivan Vazov, Todor Vlaykov, Mihalaki Georgiev. This is an artist and creativity of a "new type". Here's what: Geo Milev is full of daring and provocation. Emil Verhaarn, the great poet and founder of symbolism, tells him when they see each other in London: "You are all fiery!"

Such as G. Milev are called the masters of suspicion. They first suspect and then rebel. Where does the suspicion come from? That's where jealousy comes from. From the heart and soul, not from the mind. When he does not die a natural death, does not "melt" and does not disappear, suspicion (jealousy) necessarily provokes rebellion. Geo is one of those who welcomes the revolt. That is why he will write: “Longing gives birth to creativity. Creativity is a struggle. Fight with yourself. Rebellion. Rebellion against oneself. ”G. Milev is a admirer of the rebellion and its subsequent“ avarization ”:“ Bulgarian poetry needs avarization. From raw juices. From raw juices, in which there is a primitive life. To infuse life with dead poetry. (…) We want to see today barbarians, hooligans, Pechenegs - with a flame in their eyes and iron teeth. Barbarians, a new race - to shed new blood in Bulgarian poetry. "

In order for all of this to happen, in order to make the poetic dream of rebellion and "enchantment" a reality, a status quo is needed. There is a need to radically replace one morality (the "old") with another (the "new"). This in itself is tantamount to a God-fighting feat. Geo Milev has the intuition to understand it, so he writes the following:
"All art is expressionism; creative expression, expression of God I am. "
I - Man becomes God. It replaces God, taking away his functions. This is where the roots of Geo's new morale and similar must be sought. Therefore, in the poem "September" it says:


we throw a bomb into your heart,
storm the sky:


and from your throne
we send the dead down
down the universal abyss
iron. "

As noted above, in the long run, great philosophical talk is always about religious matters. The first and main line of demarcation between the two is drawn there - Is there or is no god? What if we have been lied to for centuries that there is a God? Geo suspects. They deliberately kept us in the wrong, is his poisonous conclusion. Well-known thinkers, long before it, built entire sciences and philosophical directions on the basis of the suspicion / conclusion in question - Nietzscheanism, Marxism, Freudianism. It is in the interest of truth to say that every rebellion and call for rebellion rests on suspicion. Suspicion of lies, of infidelity, of some bad things. "Someone uses us, they cheat us on the most important thing." The deception is revealed by the servant of God himself, in the famous poem of Geo Milev "Septemvri", by pop Andrei from Medkovets.

in the midst of general turmoil
like crazy
epically brave
with the legendary top
projectile after projectile…
At the last moment:
"Death to Satan!"
he called
mad and great -
and turned back
your top:
the last one
right there
- into the temple of God
where he had sung liturgy, litanies… "

Pop Andrew, this supreme expression of God - I, died, creating:

"He broke in quickly
alone on your neck rope
without looking at the sky
- hanging -
between his teeth clenched:

unattainable! "

Pop Andrei sacrifices himself in the name of his new god, Man. And he's dying. Geo Milev himself dies in the same way, sacrificing himself for the same cause - in the name of new morality, new society and new art.

All this new ideology is based on a new language, this very well needs to be understood. The new ideology, in order to be completely farsighted, in general - to be accepted by people, needs a new language. The new language is the cause of modernity in general. Every modernist trend needs such a "new" language of its own. As we know, every new language is difficult to learn grammatically. It requires exhausting and tedious preparation at times. That's why to some extent Geo Milev, as an author, makes it so difficult for his students and his researchers. In general, modernists are quite confused by their sophisticated expression. This is a consequence of their specific language. The terminology in it strains effort.

There is a wise judgment of the great French philologist and thinker Antoine de Rivarol, which gives reason for comment. You spoke Rivarol with a boast who boasted that he knew four languages. To which Rivarol angrily replied that in such a case the gentleman in question could now express the same idea in four different words. What is the point of this? The language itself is an idea. If a language is replaced with an idea, in the expression "I know four languages", what comes out is that the boastful "knows" four external forms of the same idea. Therefore, it is always more appropriate to say that you speak some foreign languages, you have mastered the foreign idea (foreign language) to some extent. But you don't own it, you don't "know it" because it doesn't become yours in the process of getting to know yourself. Ultimately, learning something foreign is expressed by advancing one's own (in your basic idea = language). When you abandon yours and wander in search of recognizing the alien as your new, then you come to the Geo-Mile observation:

"The Fatherland
is in danger!
but - what is a homeland? "(" September ")

Within these limits are all modernist considerations that art "needs" a new language. It may be needed if it has set new goals. New goals seek new horizons in which the new language is pursued. As for the new morality of new art, it is an unfulfilled dream. Perhaps because, if we again refer to the philologist Rivarol, "Morality and geometry have only one number; there is only one morality and only one geometry. "

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