THE IMAGE OF FLAX IN FOLKLORE AND LITERATURE: PSKOV AND LATGALE FRONTIER

The article presents reflections on flax as a floral symbol of Pskov land and Latgale. The folklore of neighbouring lands describes how flax was grown, processed and used for ritual purposes as a protective charm against negative energy. The semantics of flax reflects the archaic character of the homeland in the cultural knowledge of the people of the Pskov-Latgale frontier and their loyalty to tradition.Flax has always been the main field plant and source of income in frontier lands of Pskov and Latgale. In the world market the most valuable flax among all other types of Baltic and Belorussian flax was Pskov flax fibre.In the flax growing territories long-lasting folklore traditions were set up, which indicates that flax has always had not only practical but also a symbolic meaning for the peoples of the Baltic States, Belarus and Russia. In the territory of Pskov region the crop fertility rites were practised to ensure the flax crops, for example, horse riding for “tall flax”. Flax fibre was considered to be an amulet, a protection from negative energy. Flax linen sheets were used during childbirth in Latgale, in Pskov land the afterbirth was wrapped in it and given to the midwife; the sick children were wrapped up in the flax prayer tablecloth, etc.In Russian folklore in the territory of Latgale flax growing and flax processing are frequently reflected in couplets (chastushkas), riddles and lyrical songs. Flax is the symbol of strength and persistence. Numerous contacts on frontier territories have contributed to the plot commonalities of fairy and non-fairy prose, e. g. flax can save man from the evil spirit. Such plots are registered both in the territory of Pskov region and Latgale. The image of flax left the realm of folklore for literature, which is common for both Pskov and Latgale.Latvian poets create a vivid image of “flax crop fields” which reflect the landscape peculiarity of Latgale. Quite often the image of flax crop fields brings them back the memories about their past life (V. Krāslavietis, P. Antropov – O. Alekseyev). So V. Krāslavietis remembers his native Latgale with the blue lakes, where blue flax is growing, where he rides to visit someone on a horse of cheerful memories. Flax often takes Pskov writers on a journey into the memory (O. Alekseyev, L. Malyakov).There is an inseparable link of flax with the landscape of Latgale and with the people living there. A. Kūkojs marks parallelism in his daughter’s appearance: curly and thin as Latgalian flax is daughter’s hair. Pskov poet O. Alekseyev uses such comparisons to reveal the power and tenderness of the folk soul.At the same time flax is associated with human character and soul of people, who are known for such typical traits as hard work and holiness, sufferings and belief. Purity and tenderness of flax corresponds to the shyness of Latgalian girls (Madsolas J.). Latgale is portrayed as a barefoot “orphan girl” who endures patiently life hardships “under the grey woolen sky” among “the fields covered with flax stalks” (A. Kūkojs).For the Russian writers (immigrants who used to live in Pskov land and were attracted to it and associated Pskov with Russia) flax symbolizes unbreakable bond of times and loyalty to the traditions of Pskovites (L. Zurov). The image of flax in literature can be not only visual but olfactory as well. Poet Y. Ivask recalls Pskov with its “retted autumn flax”. Stinking smell, “repelling, but healing stench” has the highest spiritual value for the homesick poet. Not the beauty of the blue flax but its repelling stench is taken by the poet as a gift – as it cleanses the spirit.For Pskov writers of the second half of the 20th century flax field also symbolises the Motherland (S. Zolotsev, E. Borisov, A. Аbrosimov) – “golden” and happy, despite the grief periods. The flax field causes them to contemplate, feel tenderness and sadness. The loss of flax, which is the floral symbol of the native land, has been lately regarded by our contemporaries as a break with traditions and oblivion of the past (Е. Еrmak).Flax in the literature of Pskov and Latgale is the symbol of the Motherland. It acts as a human being and embodies natural beauty and persistence. In Latgalian poetry the image of flax supports the myth about people who suffer or are orphans, who are hardworking and selfless. In Pskov literature flax depicts fading patriarchal character of the native land; no wonder Pskov is called the land of “flaxen Rus” (V. Sergeyeva)

“EVERYTHING STARTS HERE…”: REZHITSK–PSKOV ORIGINS OF THECREATIVE PERSONALITY OF YURY TYNIANOV

Yury Tynyanov is an outstanding scientist, writer, translator, one of the founders of the formal school in literary criticism. The article is devoted to the role of two cities – Rēzekne and Pskov – in the destiny of Tynyanov. These are place, where the writer spent his childhood and youth. Kaverin’s statement refers to both cities: “Tynyanov paid attention to his childhood, which was following him slowly but steadily.”Tynyanov’s memoirs, reminiscences of his friends and contemporaries provide an interesting material for analysis. Child’s impressions are reflected in writer’s autobiography. It is connected with daily life of Rezhitsa (Rēzekne) and its inhabitants. Primarily, author’s attention was drawn to people – the representatives of different nationalities and social stratums, who retained their cultural traditions and mode of life: “The town was small, hilly and very different.On the hill there were the ruins of Livonian castle, Jewish alleys were below, and beyond the river there was a schismatic skit. At the same time there lived Jews, Belarusians, Great Russians and Latvians, and there were several centuries and countries. Old Believers were like Surikov archers. In the skit there was celebrated a wedding on rabid horses.Russian people of the 17th century were walking there; old men were wearing long coats, wide-brimmed hats; beards were like sharp, long icicles. Drunkenness was archaic and often ended up with riding.”Tynyanov strived to understand thoughts, characters and essence of people. Drawing portraits of townspeople from memory, the writer noted some details, which are important for understanding human’s nature. These descriptions can be called psychological.With such a desire to cognize human’s soul it is no wonder that little Tynyanov mostly was interested in people, who were out of the crowd, standing below the norm not only socially, but also psychologically. Rezhitsa gave him amazing material for observation: “There were a lot of crazy and eccentric people in the town. They amused everyone. One young Jew stamped his feet in front of the photoshop’s showcase which he stared at, yelling: “My dear, look straight at me!” A crazy woman was driving a brood of her children – they grew in number from year to year. Went without Karamazov.”Tynyanov described a lot of astonishing people, remembering his hometown. He remembered the names of many of them: Kolia Topolev, who wasted all money on cabs and became a tramp, Mishka Posadskii – terrible, one-handed, looked like a cautious, confident beast of unknown breed, and Crazy Nikolay – so exact that hostess checked on him, whether it is time to start preparing porridge.From his childhood’s observations Tynyanov began his way to become one of the most extraordinary researchers and a peerless writer. He had an amazing ability to take the shape of another person like an actor. He could see what he feels, what he is thinking about and what the matters of his behaviour are. He could become this person for a while, whether it is tramp or Pushkin himself or Griboyedov. Taking into consideration the fact, which can be observed in reality or taken from a historical document, Tynyanov was able to go further, to go under the surface, to feel intuitively the condition of a person. He formulated his method this way: “I start where the document ends.”The role of Pskov in Tynyanov’s life has also played a significant role, because places had always had a great impact on the writer and had shaped the identity, future, as well as the literary taste of the philologist. In Pskov, during the years of studying at school, Tynyanov gained his first friends, began to learn Russian and foreign literature. Everyday life of the city itself, i. e., its weekdays and holidays influenced the philologist’s future: “Since that time I got to know Russian province.” A particular attention in the autobiography is paid to prisons and convicts, but still the determining factor in the perception of the city is an amazing atmosphere of intellectual and artistic freedom