Poetics of Trauma—Yavorov between Silence and the End
Poetics of Trauma—Yavorov between Silence and the End

Summary/Abstract: The present article examines the final four to five years of Peyo Yavorov’s life and work, putting emphasis upon the boundary moments that shape both his literary trajectory and his biographical destiny. The author interprets 1910 and 1914 as a dual ending, marking the closure of a poetic project and the end of a human life simultaneously. Particular attention is given to the concept of the auto-anthology in Podir senkite na oblatsite (“Behind the Shadows of the Clouds”) (1910), which Yavorov constructs as a summation of already completed poetic modes: social, symbolist, intimate, and philosophical. Rakyovski reconstructs the motives behind Yavorov’s cessation of poetic writing after 1909 and examines the two suicide attempts as fundamentally different in nature—the first emotional and partial, and the second one—deeply motivated and final. An analysis of the cycle Haydushki pesni (“Outlaw Songs”) testifies to a turning point in Yavorov’s relation to the folkloric tradition—the texts function simultaneously as artistic songs and as poetic necrologies dedicated to the figure of Gotse Delchev. The article further traces the debate surrounding symbolism, underlining that Yavorov is both a central figure in its development and the first to withdraw from it. Ultimately, the study outlines Yavorov’s path toward silence as the outcome of aesthetic, biographical, and moral crises.

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