Наумлюк, М. В. Региональная литература Кольского Севера XX-XXI века в аспекте идентичности и мультикультурности. Страницы истории и современность / М. В. Наумлюк ; М-во образования и науки Рос. Федерации, Мурм. гос. гуманитар. ун-т. - Мурманск, 2013.

theogony, antic drama and epic, fairy tale, life and death, the God and the Man, when he represents the image of the Kola North. Thus, image of the North in the Kola land literature collates with ancient, antique and biblical origins of civilization and acquires philosophical under standing. Mikhail Prishvin, independently on Sluchevsky, interprets time and space through myth and Bible images. The illusion and a reality mix up in his book, the author’s imagination draws the fantastic world: “Possibly such day was after the Flood, when water has only started to leave. The water fills all sinful earth... Our ark slides in silence. The feeling of unreality is bom from the perception of the bright transparency and silence... The time of magic images in the country of the midnight sun approaches. What I see now - all is a dream. Animals have come out of woods, fishes from the water. Moon has leaned on a birch. Strings of kantele have rung out. Man has started singing. He sang affairs of times past, sang things creation...” The traveler feels that the time has stopped, and he comes back in the past. Lapps can’t name neither month, nor year. Only smile guilty. Don’t know. Time stops” [Prishvin, 1984, p. 219-220, 240]. Scale and characteristics of northern time and space give birth to basic philosophical and poetic images-symbols. The central symbol in the Northern stories of London is the image of the White Silence; it is congenial to the white nights in Prishvin’s book, one of the chapters names as “Sunni nights”. Time, Space, Temperature create the main image of London’s Northern stories - the White Silence. White Silence is a philosophical and poetical allegory of the Na ture itself, God, Eternity, Destiny, Life, Death, Immortality: “Nature has many tricks wherewith she convince man of his finity, - the ceaseless flow of tides, the fury of the storm, the shock of the earth quake... - bat the most tremendous, the most stupefying of all is the passive phase of White Silence. All movement ceases, the sky clears, the heavens are as brass: the slightest whisper seems sac rilege the man becomes timid, affrighted at the sound of his voice... Strange thoughts arise unsummoned, and the mystery of all things strives for utterance. And a fear of death, of God, of the universe comes over him. It is not pleasant to be alone with painful thoughts in the White Silence”. Bewitched by the white nights, the Prishvin creates a fantastic image of the Russian Lapland, where “unprecedented flowers, animals, birds are clever and kind”. Northern birches remind him of apple-trees, moss-grown stones - of gravestones. The sun which does not set in summer, destroys time, gives a fill ing of continuity of life. In the short term of a northern summer the Nature hur ries all cycles of development up. Nature flourishes all the polar day and night long, the tireless sun breaks all the usual rhythms of human life, the author con fuses day and night and feels “excessively emotional and tired”. The dead si lence, emptiness, beauty of the Nature - all grieves the hero to think of great sense of human life. “If there was the huge person who would rise, has lit desert up, but we were weak insignificant lumps at the bottom of the rocks. And such 84