THE MUSICAL PRINCIPLE: TRAYANOV-YAVOROV, TRAYANOV-LILIEV OR THE END OF BULGARIAN SYMBOLISM AS SEDIMENTATION IN LANGUAGE

The study follows two parallel but intertwining storylines. The first is the linear development of Trayanov’s poetry as a process of increasing hermetism of poetic language, i.e. a consistent, purposeful removal of all referentiality to reality. In this way, Trayanov’s poetic language comes as close as possible to the musical language, which is non-referential in nature. This is also the second highlighted plot in the article. The process reaches its final form in the book Pantheon precisely because maximum openness to external reality is conceptually assumed here; but that reality is eliminated. Trayanov’s poetic language is viewed as opposed to Liliev’s “musicality”; the musicalization of Trayanov’s poetry is of a radically different type – not melodic (song), but structural (symphonic). The personal ontogenesis of Trayanov’s poetry is designed as a literary-historical one: it is through the structural, highly rational, mathematical “symphonism” of this poetry that Bulgarian symbolism achieves its absolute end/telos.