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Łysa Góra", or "Lyeba" "Łeba". Therefore, it should be assumed that Długosz's "Lyada" corresponds to the old Polish form "*Łada", as it is interpreted traditionally. Further etymology. The Proto-Slavic form of "lada" is reconstructed as "*lada". Further etymology is unclear; it is generally believed that "*lada" is etymologically related to the Proto-Slavic noun and root "*ladъ" (, ) meaning "harmony, order". According to Brückner, the word derives from the verb "ładzić" "to concur, agree" (Proto-Slavic "*laditi") → "concurring, agreeing couple" → "husband, wife" or "lovers". The etymology of the word "*ladъ" is also unclear, and an kinship with

Lada (mythology)

Gothic 𐌻𐌴𐍄𐌰𐌽 ("letan" "to let") has been suggested, or some relation to the word "*lagoda" "gentleness" – according to Brückner and Nikolay Shanskiy "lad" contains the decayed root "la-" "over" found in "lagoda" expanded with the suffix "-d" (cf. зад "zad", под "pod"). According to Shanskiy "lad" originally meant "top, peak", as opposed to "pod" "bottom, pit". He also points to the word сладить, "sladit"' "to win (over) someone" and suggests the following shift in meaning: "to win" → "to bring order" → "*laditi" "to live in harmony" → "*ladъ" "harmony, order". Dida and Dido. Based on the Did-Lada refrain

Lada (mythology)

, uncritical and romantic old researchers, in addition to inventing Lada, also invented the god Dido and the goddess Dida. Faminstyn considered these words as borrowed from the Baltic languages and pointed to the Lithuanian "didis" "big, great". However, the attested fragment from the Slovak songs "Didi-Jane, Didi-Jene" "o St. John" sung on Saint John day may indicate to the native origins of these words (Proto-Slavic "*did-" "big, great"). The Proto-Slavic form may be continued by the Polish "*dzidzi", which is most likely found in another theonym mentioned by Długosz: Dzidzilela. Lada as Baltic goddess. There is

Lada (mythology)

also a view among Baltic Romantics and some scholars that Lada was also worshipped by the Balts. The word "lada", and its various derivatives, appear in the refrains of sutartinės, Lithuanian polyphony songs, in various combinations, such as "Lado tatato" / "Laduto, laduto" / "Loduta, loduta" / "Liadeli, liadeli" / "Ladutela, laduta", and others. Zenonas Slaviūnas grouped these songs as follows: workers' songs, wedding songs, military songs, family songs, dance songs, and songs about nature. Similarly, but more precisely, Vanda Misevičienė classified them, moving the songs about crane to the groups of rye-gathering songs and the songs about fir tree to the groups

Lada (mythology)

of family songs. According to Norbertas Vėlius, although the songs belong to different groups, they all have much in common. For example, in the sutartinės about the conifer, the image about the maturation of young people is poetically represented by a conifer tree that outgrows all the trees in the forest. In another song, a crane is called upon to fly into the garden, pick flowers and make a wreath – this motif evokes the idea that a bride-to-be should start making a wreath to join the ranks of adults. In another sutartinės the shooter kills a crane, which

Lada (mythology)

is supposed to mean a girl taken by a boy, and in yet another song the crane is asked to feed "his children". The songs "Kad mes buvom" and "Selagij viteli rikavo" are openly wedding songs and tell of courtship. Also, the song "Išjos brolis", which has a military character, is sung on behalf of a sister who talks about her feelings. Finally, the song "Laduto, laduto" tells about the bad relationship between daughter-in-law and father-in-law. According to Vėlius, all songs with these refrains refer to young people, especially girls who have reached adulthood. Thus, it

Lada (mythology)

should be considered that if the word "Lado" occurring in these refrains had any meaning, it should be associated primarily with young people. In his search for the origin of these words, Vėlius points to Stryjowski's "Chronicle", where he describes the custom of dancing and singing "Lado, lado ir mano lado" in honor of "Liada or Ladona – the mother of Castor and Pollux". In another place of his "Chronicle" dedicated to Lithuania and Samogitia, he writes that Lithuanians worshipped the god "Dzidzis Lado", in whose honor they sang "Lado, lado, lado didis mūsų dieve". He also mentions Kromer's

Lada (mythology)

Chronicle and the "Kievan Synopsis". He notes, however, that the reliability of these sources is low and cites the opinions of Lithuanian researchers, such as Simonas Stanevičius, who believed that the god Lado was invented by Stryjkowski on the basis of a folk songs, Simonas Daukantas, who regarded the god "Dzidzis Lado" as a distorted form of "Titis leido" referring to Perkūnas, Mikalojus Akelaitis, according to whom Lado is a distorted form from "laide" or "leide", and Brückner, according to whom Lado was borrowed into Lithuanian songs along with the Kupala night, and several other Lithuanian scholars who rejected the

Lada (mythology)

deity's authenticity. He also recalls that the Slavic deity Lada/Lado is regarded with distrust by Slavic scholars. He also mentions several Lithuanian and Slavic researchers who accepted the deity's authenticity, but notes that many of them were not mythologists but ethnographers who did not study the deity's authenticity. However, according to him, an argument for the existence of the goddess could be the Bulgarian custom of "laduvane", during which the second girl in the family who goes to fetch water is called "lada". The Greek dragon Ladon may also be an argument, assuming that the coincidence

Lada (mythology)

of the similarity of words is not accidental, and the Lithuanian words "ladėti", "laduti" meaning "to reprimand, abuse", "to curse, damn", as well as the Latvian "lādēt", and words from the semantic field "to curse", also often have a mythological meaning. Bronislava Kerbelytė argues against the existence of the goddess Lada among the Balts. She states that the Slavic chant "lada" generally appears in wedding songs, and she reads the word "did" as ""dziad", grandfather", which sometimes appears in the names of Slavic ritual objects around the winter solstice, such as "dednik" (or "badnjak") or "didukh", which are associated with

Lada (mythology)

the cult of fertility. In Russian, the wedding is sometimes called "rukobitije" ("crossing of arms"), from which the clapping while singing the refrains of the "lada" during children's songs may derive. She further points out the analogy between East Slavic songs with the refrain "lada" and songs during Līgo noted by Eduards Volters. Latvian "līgt" meaning "to employ," "to make peace," and "līgums" "to agree," along with Lithuanian "lygti", "sulygti" "to consult, negotiate, agree," correspond to the Slavic word "lad". She gives the example of a story about a Gypsy who forced a peasant to exchange horses by jokingly

Lada (mythology)

suggesting to the villager that they should go to an inn, shake hands, and shout "liko". When they did so, the gypsy took the peasant's horse, taking advantage of the fact that the peasant had forgotten the meaning of shaking hands and the shouting. The symbol of crossed hands was also used during Lithuanian summer solstice celebrations, e.g. a couple would jump over the fire holding hands: if they let go while jumping, they would not get married. Jan Łasicki (16-17th century) mentions god Tavalas in one of his works. Scholars have compared this name to a song

Lada (mythology)

written by Simonas Daukantas sung by boys dragging a log on Christmas Eve, which was supposed to prove the existence of the god Tabalas: However, an analysis of the song and language shows that "tabalai" is derived from the verb "tabaluoti" "to dangle". The authenticity of other deities mentioned by Łasicki is also rejected, e.g.: alleged theonym Šluotražis is derived from the word "šluotražis" "broom" and was a magical and symbolic (related to healing) ritual object, to which it has already been explained by many scholars. Thus, according to Kerbelytė, there are no grounds to consider Tabalas or Lada as

Lada (mythology)

Lithuanian deities – these words were only magic words or objects used in rituals and ceremonies. The "lado" refrain is also considered a ritual vocabulary by Lithuanian ethnologist Rimantas Balsys, who blames the misunderstanding in the Baltic context on the uncritical use of 16th century sources and the activity of the Romantics, who considered the ritual "ledų dienos" ("day of ice") as proof of the existence of the winter goddess Lada. In the case of the historicity of the Slavic deity, he takes a neutral position. Lada (mythology) Lada and Lado are alleged Slavic deities. Lada was first mentioned around 1405

Lada (mythology)

Morana (goddess) Morana (goddess) Marzanna (in Polish), Morė (in Lithuanian), Marena (in Russian), Mara (in Ukrainian), Morana (in Czech, Slovene and Serbo-Croatian), Morena (in Slovak and Macedonian) or Mora (in Bulgarian) is a pagan Slavic goddess associated with seasonal rites based on the idea of death and rebirth of nature. She is an ancient goddess associated with winter's death, rebirth and dreams. In ancient Slavic rites, the death of the Goddess Marzanna at the end of winter becomes the rebirth of Spring of the Goddess Kostroma (Russian), Lada or Vesna representing the coming of Spring. Some medieval Christian sources such

Morana (goddess)

as the Czech 13th century Mater Verborum compare her to the Greek goddess Hecate, associating her with sorcery. 15th century Polish chronicler Jan Długosz likened her in his "Annales" to Ceres, the Roman goddess of agriculture (together with another Slavic goddess Dziewanna). Lithuanian, Latvian and some Estonian sources, dated between the 13th and 14th century, note the worship of Morana, the mother of souls. The most contemporary historical theory supposes the settlement of Slavic people in and around the Baltic region, most probably spreading the worship of Morana and likely finding many similarities between the Baltic natives and their goddesses

Morana (goddess)

of death, rebirth and the afterlife. Some Norse ballads, their origin not yet verified, hint at the worship of Marzanna, noting the natural contrasts with the Norse beliefs in the afterlife. In modern times the rituals associated with Marzanna have lost their sacred character and are a pastime – an occasion to have fun and celebrate the beginning of spring. The tradition is usually celebrated around the spring equinox (March 21). Usually schoolchildren and young people participate in the celebrations alongside local folklore groups and other residents. A procession consisting of men, women and children carries handmade Marzanna (and often also

Morana (goddess)

Marzaniok dolls, the male counterpart to Marzanna) to the nearest river, lake or pond. The participants sing traditional songs and throw effigies of Marzanna into the water. Sometimes the effigies are first set on fire, or their clothes are torn. On the journey back to the village the focus falls on the copses, adorned with ribbons and blown egg shells. The procession, still singing, returns to the village. In some locations (e.g. in Brynica – a district of Miasteczko Śląskie), the beginning of spring is then celebrated with a feast. Names and etymology. Marzanna's name most likely comes from the

Morana (goddess)

Proto-Indo-European root *mar-, *mor-, signifying death. The Slovak form of the theonym – "Ma(r)muriena" – suggests that the goddess may have originally been connected to the Roman god of war Mars (known under a variety of names, including "Marmor", "Mamers" and "Mamurius Veturius"). The connection to Mars is supported by, among others, Vyacheslav Ivanov and Vladimir Toporov, who underline that he was originally an agricultural deity. Other theories claim her name is derived from the same Indo-European root as Latin "mors" 'death' and Russian "mor" 'pestilence'. Some authors also likened her to mare, an evil spirit in Germanic and

Morana (goddess)

Slavic folklore, associated with nightmares and sleep paralysis. In Belarusian, Polish, Ukrainian and in some Russian dialects the word 'mara' means dream. But Vladimir Dahl says it means 'phantom', 'vision', 'hallucination'. Traditions. The tradition of burning or drowning an effigy of Marzanna to celebrate the end of winter is a folk custom that survives in the Czech Republic, Poland, Lithuania, and Slovakia. In the past, the festival was held on the fourth Sunday of Lent. In the 20th century the date March 21 was fixed (March 20–21). The rite involves preparing an effigy in female clothing, and either setting it

Morana (goddess)

on fire or drowning in a river (or both). This is often performed during a field trip by children in kindergarten and primary schools. The effigy, often made by the children themselves, can range in size from a puppet to a life-size dummy. This ritual represents the end of the dark days of winter, the victory over death, and the welcoming of the spring rebirth. Drowning of Marzanna. Marzanna is also the name used to describe the effigy of the goddess, which was ritually burned and/or drowned during an early spring rite called Jare Święto to hasten the approach

Morana (goddess)

of spring. The custom of drowning the effigy of Marzanna derives from sacrificial rites; its function was to ensure a good harvest in the upcoming year. Following the principles of sympathetic magic – as described by James Frazer – it was believed that burning an effigy representing the goddess of death would remove any results of her presence (i.e., the winter) and thus bring about the coming of spring. The effigy has usually been made of straw, wrapped in white cloth and adorned with ribbons and necklaces. Traditionally the effigy has initially been carried past every house in the village by a

Morana (goddess)

group of children holding green juniper twigs. During this procession Marzanna was repeatedly dipped in every encountered puddle or stream. In the evening the effigy passed to the young adults; the juniper twigs were lit, and thus illuminated Marzanna was carried out of the village, burned, and thrown into water. There is a number of superstitions related to the custom of drowning Marzanna: one cannot touch the effigy once it's in the water or one's hand will wither; looking back while returning home may cause an illness, while stumbling and falling may lead to a relative's

Morana (goddess)

death within the coming year. The Catholic Church attempted to forbid this old pagan custom. In 1420, the Synod of Poznań instructed the Polish clergy: "Do not allow the superstitious Sunday custom, do not permit them to carry around the effigy they call Death and drown in puddles". However, both the custom and tradition prevailed. At the turn of the 18th century there has been an attempt to replace it (on the Wednesday preceding Easter) with a newly introduced custom of throwing an effigy symbolizing Judas down from a church tower. This attempt also failed. Today, the custom is celebrated

Morana (goddess)

at spring equinox on March 21, which coincides with the traditional date of Jare Święto. Marzanna and the copse. The rite of drowning Marzanna, often conducted together with carrying bouquets of green twigs and branches (dubbed "gaik" in Polish, literally "copse") was originally performed on the fourth Sunday of Lent, called the White Sunday. The tradition of celebrating it on March 21 only began in the 20th century. Most researchers agree that the custom of carrying the copse (also known as "grove, new summer", or "walking with the Queen") from house to house was earlier performed much later in the

Morana (goddess)

year, probably shortly after Easter. The effigy of Marzanna. Details of the ritual vary from region to region. Typically the effigy or doll representing Marzanna is made of straw and dressed in traditional local costume, rags, or even bridesmaid's clothes. Marzanna may resemble a young woman wearing a garland as well as an old crone. Village dwellers carry the effigy away from the village, often singing event-related songs. Jerzy Pośpiech points out that at first only adults participated in the ritual; only when the custom became a fun game did the young join in. Depending on local tradition

Morana (goddess)

, the ritual that takes place after the procession reaches its chosen destination can be performed in various ways: sometimes the effigy is first torn into pieces, its clothes ripped off, and then drowned in a lake, river or even a puddle. In some variants of the ritual, the effigy is burned; in others, it is first set on fire and then thrown into water. A number of superstitions (also locally varied) are connected to the ritual, e.g.: the person who last returns to the village after the ritual is sure to die in the coming year. In some locations, a

Morana (goddess)

tradition functions in which Marzanna is given a male counterpart – Marzaniok. Walking with the copse. Walking with the Copse is a ritual in which pine branches, twigs or even entire small trees (pine or spruce) – adorned with ribbons, handmade ornaments, egg shells or flowers – are carried from house to house. In some variations of the ritual a doll is tied to the top branch; in others, a local girl accompanies the copse (hence "walking with the Queen"). The copse is usually carried by girls, who walk from house to house, dance, sing and extend best wishes to the hosts. Some

Morana (goddess)

sources relate that the group also collected donations. Today the ritual often takes the form of bringing a decorated copse to the village after the ritual of drowning Marzanna is completed. This type of a two-part ritual (destroying the effigy and then returning with the copse) had been observed in the Opole region, the western parts of Kraków Voivodeship, Podhale, Slovakia, Moravia, Bohemia, Lusatia and Southern Germany (Thuringia, Franconia). In the 19th century Oskar Kolberg noted that the copse had been carried around as a standalone custom (without the prior destruction of Marzanna) around Kraków and Sandomierz, as well

Morana (goddess)

as in the regions of Mazovia (on Easter Tuesday) and Lesser Poland (beginning of May or the Green week). Traditions related to Marzanna and the copse in Silesia. The date when the customs of drowning Marzanna and carrying the copse originated in Silesia is unknown. Although the Catholic Church considered these to be pagan traditions, and persecuted them accordingly, the custom nevertheless survived in Silesia even at times when it had been almost extinct in other regions of Poland. Researchers point out that traditionally only women and girls would walk with a hand-made Marzanna; only later was the custom

Morana (goddess)

taken over by young adults and children. In some regions – such as around Gliwice and Racibórz – local girls were followed by boys carrying Marzanna's male equivalent – Marzaniok. The effigies were carried around the village. Songs, often improvised, were sung in front of each house, especially if a girl lived in it. Hosts would reward the singers with money or eggs. Afterwards, the singing procession left the village and went to a nearby body of water – a stream, pond, lake or even a puddle. If there was no lake or pond nearby, the effigy was burned; its clothes had been

Morana (goddess)

ripped off or it had been pelted with snow or mud. The procession would usually return carrying a copse – a small spruce or pine tree adorned with eggs and ribbons. Nicknamed "latko" (summer), the copse symbolised the spring and blooming nature. The procession carried it into the village, accompanied by songs and best wishes. Significance. Today Marzanna is often perceived as a personification of winter and the symbolic drowning ends this season and returns life. In this interpretation, the copse is used to welcome spring and to affirm the re-awakening of nature. However, modern interpretations simplify the ritual: one

Morana (goddess)

example is merging two originally separate rituals and changing the time of the year at which they were celebrated. Moreover, even medieval chroniclers suggested that the custom had already evolved into a light-hearted, fun event and its original meaning had been almost forgotten. Researchers emphasise that Marzanna functioned not merely as a symbol of winter, but also as a Slavic goddess. Marzanna's later association with death (in some regions Marzanna is called Death Crone) trivialized the importance of the goddess, who was the lady of not only death, but also life, and commanded the natural world. Drowning Marzanna

Morana (goddess)

in water (an element of high importance in season-related folk celebrations) is understood as the goddess' symbolic descent into the underworld, to be reborn with next winter. Some researchers underline the sacrificial character of this ritual and suggest that Marzanna is sacrificed to appease Winter. The authors of "Wyrzeczysko" propose that Marzanna is sacrificed to the demons of water, whose favour was necessary to ensure a plentiful harvest in the coming year. Celebrating the Copse after Easter – in full spring – performs an individual function in the cycle of rebirth: it announces the coming of spring, a time of joy

Morana (goddess)

and song, a time when the Earth bears new fruit. Morana (goddess) Marzanna (in Polish), Morė (in Lithuanian), Marena (in Russian), Mara (in Ukrainian), Morana (in Czech, Slovene and Serbo-Croatian), Morena (in Slovak and Macedonian) or Mora (in Bulgarian) is a pagan Slavic goddess associated with seasonal rites based on the idea of death and rebirth of nature. She is an ancient goddess associated with winter's death, rebirth and dreams. In ancient Slavic rites, the death of the Goddess Marzanna at the end of winter becomes the rebirth of Spring of the Goddess Kostroma (Russian), Lada or Vesna

Morana (goddess)

Ognyena Maria Ognyena Maria In Slavic mythology, Ognyena Maria (literally "Fiery Mary") is a fire goddess who is the sister and assistant of the thunder god, Perun. Ognyena Maria originates as a conflation of the figures of Margaret the Virgin and the Virgin Mary, both regarded as sisters of Saint Elias. This divinity also appears with southern Slavs, and is usually considered to be the sister of the thunder god/saint. She was also associated with rain or the sea, or with Lazarus (Марина Лазоревая) and azure flashes of lightning. Ognyena Maria's feast in the folk calendar of the Slavs is

Ognyena Maria

on July 17, on the Julian calendar (around 30 July). Belarus. In Belarus, she is prayed towards for healing from ailments: "Добры вечар, цёмна ноч! На табе, вада, маю бяду, а мне маё здароўе назад аддай" ("Good evening, dark night! I leave my troubles to you, water, and give me my health in return.") Bulgaria. In Bulgaria, she is celebrated on July 22, as the day she prevents fires. A strict ban is observed on housework to prevent any disastrous fires on that day, as the summer at July was hot enough to start such outbreaks. They believe that anyone

Ognyena Maria

who breaks the ban will suffer destructive fires that will break out against them and their households. Her festival culminates a celebration on 15–22 July, related to the Goreshtnitsi Festival at the 28–30 July. As the mistress of snakes, people were also forbidden from using ropes and threads on her feast days. During those days, snakes were said to hide in the underworld. The first day of Goreshtnitsi was when all fires were extinguished, and no new fires will be lit until the third day, when the Bulgarians celebrate the fires of the Holy Spirit. Some do it to celebrate

Ognyena Maria

Ognyena Maria's power over fire. Some Bulgarians believe that as she is the sister of Saint Elijah, she hides from him on St. Elias' Day, to ensure that he would not be so delighted, that his lightning and thunder would destroy everything. Russia. In Russia, she is considered as the daughter of a king from the sea. As she felt bored of life in his palace, she fled to land. Her father got angry from this, and so he rained down darts of lightning on her birthday, that anyone who saw the lightning will be blind. Her birthday falls

Ognyena Maria

around Trinity Week (also known as Русальная неделя, or Rusalka Week), or St. Elias' Day. People were advised not to swim or bathe on the days leading to Trinity Week, as it is believed that mermaids would drown anyone who does so on any water. If anyone has to, crosses, garlic, magic charms, and wormwood were used to stave the mermaids off. Ukraine. In Ukraine, villagers would pay attention to the lightning in the sky, hoping that on Ognyena Maria's day, this will indicate that God will send rain for their crops. Ognyena Maria In Slavic mythology, Ognyena Maria

Ognyena Maria

Percunatele Percunatele Perkunatete, Perkunatele or Perkūnėlė is in Baltic mythology the thunder goddess mother of Perkūnas, in Slavic mythology referred to as Percunatele mother of Perun, which is probably derived from the Balts. Like many such goddesses absorbed into Christianity, she is, today, difficult to distinguish from the Christian madonna, Mary, one of whose epithets was Panna Maria Percunatele. Professor Patricia Monaghan of DePaul University also believes that she was originally derived from the Baltic thunder goddess. The character of Perkunatete seems to be present in the myths of Baltic sun goddess Saulė. This solar goddess, after her daily ride, bathes

Percunatele

in a sauna to rest and recover her strength for another daily travel, with Perkunatete waiting on her. Percunatele Perkunatete, Perkunatele or Perkūnėlė is in Baltic mythology the thunder goddess mother of Perkūnas, in Slavic mythology referred to as Percunatele mother of Perun, which is probably derived from the Balts. Like many such goddesses absorbed into Christianity, she is, today, difficult to distinguish from the Christian madonna, Mary, one of whose epithets was Panna Maria Percunatele. Professor Patricia Monaghan of DePaul University also believes that she was originally derived from the Baltic thunder goddess. The character of Perkunatete seems to

Percunatele

Piorun Piorun Piorun can refer to: Piorun Piorun can refer to:

Piorun

Stribog Stribog Stribog is a god in Slavic mythology found in three East Slavic sources, whose cult may also have existed in Poland. The sources do not inform about the functions of the god, but nowadays he is most often interpreted as a wind deity who distributes wealth."" Sources. Stribog appears for the first time in the 12th-century "Primary Chronicle" together with other gods for whom Vladimir the Great erected statues: In "The Tale of Igor's Campaign", the winds are called "Stribog's grandsons": The "word of John Chrysostom" also mentions Stribog: Legacy. After Christianization, the name was preserved

Stribog

in toponymy: Стрибожь, "Stribozh"' in Novgorod Governorate, Стрибоже, "Strybozhe" leak, Стрибожская, "Strybozhskaya" river in Kiev Voivodeship, Стрибож, "Strybozh" village in Zhytomyr Oblast, in Poland "Strzyboga" village and the "Striboc" (= "Stribog") stream near Tczew, attested in the 1282, and possibly Latin name for river from modern-day Germany "Striboz" (1122). Etymologies and interpretations. Modern etymologies. Wind interpretation. According to Roman Jakobson, "Stribog" contains the stem "stri-", derived from the Proto-Slavic verb "*sterti" "to extend, spread, widen, scatter" attested only with suffixes, e.g. Polish "rozpostrzeć", Russian простереть, "prosteret"', or Old Czech "(nepokoj) strieti". The verb comes from the Proto-Indo

Stribog

-European root "*ster-", which in Latin occurs in the verb "sterno" and in the Greek verb στόρνυμι, "stórnymi" "to spread". The theonym would thus consist of the stem "stri-" and the word "bog" "god". On this basis, he considers Stribog to be "disperser, apportioner of riches", a complementary god to Dazhbog, "giver of riches". Proof of Stribog's association with wind is to be found in his Hindu counterpart, the wind god Vayu, who says in the "Avesta" "I am called he who spreads". He links the pair of Dazhbog and Stribog with the Vedic pair of Bhaga and Amça

Stribog

, or the Greek pair of Aisa and Poros. This etymology is one of the most popular. According to Michał Łuczyński, Jakobson's etymology is linguistically correct, however, according to him, the division of the theonym into "stri-" and "-bog" is unlikely, since hydronyms and personal names indicate that the consonant ⟨b⟩ belonged to the root, not the suffix, e.g., the Ukrainian hydronym Стриб, "Stryb", or Polish names beginning with "Strzyb-": "*Strzybala", "Strzybalska", "Strzybna", "Strzybny". Stanisław Urbańczyk, following Lubor Niederle and Alexander Afanasyev, linked the theonym with the Czech dialectal (Moravian) "stři" "strong wind, air", and explained the theonym as "god

Stribog

of creaking, swishing". Jakobson's etymology was supported by Aleksander Gieysztor. In his search for manifestations of the cult of wind in the Slavs, he pointed to the Bulgarian wind тъмичарин, "tŭmicharin", which brings darkness and blinds, and in Serbia the southern wind is called "one-eyed" (чоравац, "čoravac"), which may be an echo of some ancient mythological motif, to which perhaps is related the one-eyed Odin, who, like Stribog, is placed in the first group of Dumézil's tripartite, and who is sometimes interpreted as the god of wind, breath. Water interpretation. Omelyan Ohonóvsʹkyy and Aleksander Brückner rejected

Stribog

the wind etymology as unwarranted. Instead, they related the theonym to the Ukrainian verb стриба́ти, "strybaty" "to jump" and explained it as "god-jumper, god who jumps". Brückner divided the word in terms of its structure into the segment "strib-", and the suffix "-og", in the likeness of Svarog ("svar-" + "-og"). He pointed to a whole family of words with the "strib-" segment connected with jumping: стриб, "stryb" "jump", стриба́ти, "strybaty" "to jump", стрибо́к, "strybok" "jump", стрибну́ти, "strybnuty" "to jump", etc. He further indicated that he could not say anything more about the theonym. Michał Łuczyński returns to such

Stribog

an etymology. He points out that the Ukrainian word about such a meaning is also found in some south-western dialects of Russian. In addition, he points out that while researching the etymology of this theonym, certain words were overlooked: Russian стрыбый, "strybyy" "rapid, swift ("fast-dripping")", Russian dial. стрива́ть, "stribat'" "to flash (of lightning)", and Ukrainian стрибати, "strybaty" in the meaning "to escape, fly", "to jump high and far". He reconstructs the Proto-Slavic form of these words as "*strybati" from the Proto-Slavic stem "*strū-". According to him, "to jump", "to leap" as the meaning of this word

Stribog

family in Ukrainian and some Russian dialects developed late, and the original meaning of these words would be "to move at high speed", and "to flow". He points to the Baltic equivalent of the meaning of Russian "strybyy" "rapid, swift", Lithuanian "sraujùs" "rapid", Latvian "stràujš" "fast, quick, rapid", which may indicate the probable existence of Russian "stryb-" "current (water)", cf. Lithuanian "sraujà", Latvian "strauja" "current (water)". Additionally, Russian dial. "stribat"' "to flash (of lightning)" bears a close semantic resemblance to Croatian "strujiti" "to flow (of electricity)", and quotes other linguists, according to whom Croatian "strujiti" can refer to water as

Stribog

well as air, and figuratively also to electricity. He reconstructs the Proto-Slavic form of the theonym as "*Strybogъ", which would consist of the segment "*strybъ" (a verb noun from "*strybati" "to move quickly" from "to flow, run"), and the suffix "-ogъ", which had no function. The segment itself would continue the Proto-Slavic stem "*stry-" "to flow, run", from the Proto-Balto-Slavic "*srū-", from the Proto-Indo-European "*srew-" "to flow". This etymology is supported by the fact that after Christianization this theonym was preserved mainly in hydronyms, which proves that the meaning of the theonym was known

Stribog

to the Slavs. The Old East Slavic notation of the theonym (Стрибогъ, "Stribogǔ") with the vowel ⟨i⟩ instead of the expected ⟨y⟩ is explained as a mixing of these vowels, which is attested in the texts of southern East Slavic since the end of the 11th century, which is connected with the influence of the grammar of the Old Church Slavonic/Bulgarian language on the Old East Slavic language. The mixing of these vowels also occurs in hydronyms ("*Stir-"/"*Styr") and in Ukrainian, cf. Стрый/Стрий, "Stryj"/"Strij", Стрына/Стрина, "Stryna"/"Strina". Dated and other etymologies. According to Mark Vey, Stribog could in

Stribog

fact be originally an epithet meaning literally "father god", which was used in the religions of Indo-Europeans to describe the god of the bright sky. The reconstructed Proto-Indo-European term for "god father" is "*Dyḗus ph₂tḗr" (cp. Roman Jupiter ("Iūpiter", "Diespiter"), Greek Zeus ("Zeus Pater") and Vedic Dyaus ("Dyáuṣ-pitṛ́"); sometimes in reverse order) and its local variety "*ph₂tḗr bhagos". After the so-called Iranian inversion, Slavic peoples abandoned the word "*dyḗus" and replaced it with the word "bog", which is borrowed from Iranian languages (from the PIE. "*bhagos") and which appears as a second part of the

Stribog

name. Proto-Indo-Europan "*ph₂tḗr" ("father") is generally also considered to be absent in the Slavic languages (replaced by the synonym "*átta" → "otec") or even in the Balto-Slavic languages, but according to Vey, "*ph₂tḗr" turned into the Slavic word "*stryjь", which now means "uncle, father's brother" as follows: "*ph₂tḗr" → "*ptri-" → "stri-" and is the first part of the name. Stribog could therefore be the Slavic god of sky. This etymology has been advocated by a number of scholars, including Vyacheslav Ivanov and Vladimir Toporov who placed Stribog in the first group of the so-called

Stribog

the trifunctional hypothesis of Dumézil, which groups the main deities who look after the community and watch over the distribution of goods. Such etymology is criticized by most linguists. The word "*stryjь" is derived from PIE "*stru-io-" and is cognate to Lithuanian "strùjus" "uncle, old man", Old Irish "sruith" "old, venerable" and Old Welsh "strutiu" "old man", and the process described by Vey did not occur in Slavic language. Brückner in his "Dictionary" noted that the word "stryj" was sometimes referred to as "good wind" and connected it to the core "stru-" "to flow" (cf. Stryj in Ukraine). There

Stribog

are also other interpretations of the name: Zelenin connected the "stri-" root with the word стрити, "stryty" (Proto-Slavic "*sъtьri") "to annihilate, destroy," and considered Stribog to be "annihilating, destroying god," the god of war. This view was supported by Orlov and Borovsky, this may also be indicated by the fact that Vayu is also worshipped as the god of war, of the dead, of the harvest, but also of the good and bad fate, as he connects sky and earth. The name was also associated with the nickname of Ahura Mazda "Śribaya"/"Stribaya" ("god of beauty", "god worthy of honor

Stribog

, cf. Sanskrit श्री, śri" "beauty"), which is supposed to be an Iranian influence and ultimately come from "*ph₂tḗr bhagos", but this etymology is problematic. Pisani reconstructed the name as "*strigo-bogъ", in which "*strigo-" would correspond to the Latin "frigus" ("frost, cold") and in that case Stribog would be the god of cold. Stribog Stribog is a god in Slavic mythology found in three East Slavic sources, whose cult may also have existed in Poland. The sources do not inform about the functions of the god, but nowadays he is most often interpreted as a wind deity who distributes wealth

Stribog

Svarog Svarog Svarog is a Slavic god of fire and blacksmithing, who was once interpreted as a sky god on the basis of an etymology rejected by modern scholarship. He is mentioned in only one source, the "Primary Chronicle", which is problematic in interpretation. He is presented there as the Slavic equivalent of the Greek god Hephaestus. The meaning of his name is associated with fire. He is the father of Dazhbog and Svarozhits. Etymology. This theonym is preserved in several forms, in the "Primary Chronicle" as Соварога, "Sovaroga", Сварогъ, "Svarogǔ", Сварогом, "Svarogom", Сварога, "Svaroga", and in the "Sofia Chronograph" as

Svarog

: Сваро, "Svaro", Сваро, "Svaro". The fire etymology was one of the first to be proposed by the Slovene linguist Franc Miklošič (1875), who explained the theonym "Svarog" as consisting of the stem "svar" 'heat', 'light', and the suffix "-og". The stem "svar" itself was to be derived from an earlier "*sur" "shining". That etymology is also supported by contemporary linguists and etymologists, but the etymology of the stem "svar" is explained differently. The root "svar" derives from the Proto-Slavic "*sъvarъ", which consists of the prefix "*sъ-" meaning "good, (ones') own" and the stem "*varъ" "fire, heat", which is continued

Svarog

, for example, by Old Church Slavonic варъ, "varǔ" "heat", or Old East Slavic варъ, "varǔ" "sunny heatwave, scorching heat, heat" (from Proto-Indo-European "*wār-" "warmth"). This root was then extended by the suffix "*-ogъ", which has no specific function. The common noun "*sъvarogъ" "good, own fire, heat" was then transferred to the name of the god because of his function as a divine blacksmith, a god wielding fire, working with fire. The "*sъvarъ" stem is also the origin of words related to blacksmithing, e.g. Old East Slavic сварити, "svariti" "to forge something at high temperature", Old Polish "zwarzyć" "to

Svarog

weld, chain two pieces of iron", as well as modern Russian words, e.g. сварить, "swarit"' "to melt", "to weld". Some researchers, e.g. Aleksander Brückner and Vatroslav Jagić, suggested that the name stemmed from the word "svar" meaning "argument, disagreement", or the verb "svariti" "to quarrel". Brückner translated this theonym literally as "wrangler, brawler", which would also be associated with fire. However, this etymology has been criticized. In earlier scholarship, the dominant view was that the root "sva"r was borrowed from an Indo-Iranian language, e.g. from Sanskrit स्वर्, "svar" "radiance", "sky", "sun", but this etymology is nowadays rejected due to

Svarog

phonetic difficulties. Legacy. After Christianization, Svarog was preserved in toponymy and vocabulary. In Bulgaria these are the towns of Сва́рог, "Svarog", Сва́рошка бара, "Svaroshka bara", in the Czech Republic it is the "Svaroh" mountain, and the Sorbian name "Zwarogk". Brückner also added the Polish town of "Swarożyn" here, based on a notation in the German Latin "Swarozino" from 1205, but the original notation was "Swarozina" and is dated 1305, so it should be read as "Swarocino", from the personal name "Swarota", or, as other records indicate, the town was called "Swaryszewo", from the personal name "Swarysz". Modern notation "Swarożyn" should

Svarog

be regarded as false transcription. In the Russian dialect (Novgorod) the obsolete word сва́рог, "svarog" meaning "fire" and "blacksmith", is preserved. The Romanian word "sfarog", meaning "something burnt, charred, dried", was probably borrowed from an unspecified South Slavic language, probably Bulgarian, and the source word is reconstructed as "*svarogъ". Svarog-Svarozhits. A god named "Svarozhits" appears in the sources as well. Some scholars have suggested that Svarozhits means 'young Svarog' or is a diminutive of "Svarog". The argument for the existence of only one god is based on the fact that in Serbian the suffix "-ić" means 'young' or 'small

Svarog

' (e.g., "Djurdjić" is not the 'son of Djurdjo', but 'little Djurdjo'). Brückner also believed that the Lithuanians called their gods fondly, e.g. "Perkune dievaite" meaning 'little god Perkun' and not 'god Perkun'. However, most scholars disagree with this interpretation. The suffix "-its", "-ich" (from Proto-Slavic "*-iťь") is most often a patronymic suffix (e.g. Polish "pan" 'master' → "panicz" 'son of a master'). The family relationship between Svarog and Svarozhits is also indicated by accounts of these gods. Sources. The only source that mentions Svarog is the Slavic translation of the "Chronicle" ("Chronography") of John Malalas, which was placed in

Svarog

the "Primary Chronicle" under year 1114. In this translation, in glosses, the Greek god of fire and smithing Hephaestus is translated as Svarog, and his son, the sun god Helios, is translated as Dazhbog (glosses are in italics): This source is problematic for several reasons. The first problem is place and time the glosses about Svarog and Dazhbog were included in the Slavonic translation of the "Chronography". Some scholars believe that these glosses come from the 10th-century Bulgarian translator of the "Chronography" (the first Slavic translation in general), and some scholars assume that the glosses were added by a

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Ruthenian copyist. Aleksander Brückner supported this thesis by adding that the Bulgarian texts avoided mentioning Slavic or Turkic paganism in Bulgaria. Vatroslav Jagić suggested that the glosses were written in Novgorod because the "Chronography" translation also contains references to Lithuanian paganism, which the Bulgarian translator could not do. The downside of this theory is that the glosses must have been written before 1118 (this is probably when they first found their way into the compilation of the "Primary Chronicle"), and in the 11th century Ruthenian writers were not interested in Lithuanian paganism because of underdeveloped contacts with Lithuania. For this

Svarog

reason, Viljo Mansikka has proposed that the Baltic interpolation and glosses came into translation in 1262 in Lithuania or Western Rus. However, this explanation raises some objections: Svarog is not mentioned in any other Russian sources (unlike Dazhbog), and he is also omitted by Nikon in his list of deities worshiped by Vladimir the Great. According to Henryk Łowmiański, who identified Svarozhits with Dazhbog, an argument for the Bulgarian origin of the glosses is the fact that in these glosses Dazhbog is called "the son of Svarog" – in Bulgarian the patronymic suffix "-ic", "-ič" has been forgotten, so that Dazhbog

Svarog

could not be called simply Svarozhits. If the Bulgarian origin of the glosses is recognized, Svarog must also be considered a South Slavic god, not an East Slavic one. The second problem is that it is not clear which information in the glosses pertains to Slavic mythology and which to Greek mythology. According to the glosses Svarog is: (1) the Slavic equivalent of Hephaestus, the Greek god of fire and smithing, (2) the father of Dazhbog, and (3) the creator of monogamy. According to Andrzej Szyjewski, the myth of the adulterous wife fits Hephaestus (pagan Slavs were polygamous), whereas the

Svarog

myth of the blacksmith god being the father of the Sun does not appear anywhere in Greek mythology. Łowmiański believed that Hephaestus was not translated as Svarog because of his association with fire and smithing, but precisely because of his being the father of the Sun. Brückner and Dimitri Obolensky interpreted this account as a distorted myth about a blacksmith god who forged a sun disk. Such an affinity may be indicated by the Baltic parallel where Teliavelis forges the sun and casts it on the sky. Interpretations. Because it is unclear to what extent the fragmentary translation of the

Svarog

Chronography can be used, and because of only a single source about Svarog, as well as uncertain clues in folklore, the interpretation of this god is problematic. Some scholars have even suggested that Svarog was created from the figure of Svarozhits and never existed in the beliefs of the Slavs. God of fire, blacksmithing, sun. Czech historians Martin Pitro and Petr Vokáč believe that Svarog is a god who receded into the background after the creation of the world, but at the same time is a celestial smith and sun god. It is possible that Svarog echoes the mythology of

Svarog

northern Europe: the smith god in Norse and Baltic mythology forges weapons for the Thunderer, and as in Finnish mythology, the smith god Ilmarinen is the creator of the Sun, the sky, and many wondrous objects. The smith god also fights the powers of chaos in defense of his creation. Aleksander Gieysztor interpreted Svarog as celestial fire (the sun), Perun as atmospheric fire (the thunderbolt), and Svarozhits-Dazhbog as earthly fire (fire). Jiří Dynda rejects the understanding of Svarog as a sovereign deity of heaven or a "deus otiousus" type deity, and points out that in the source Svarog, or

Svarog

rather his prefiguration, does not bear the characteristics of such a deity, except for the paternity of the solar deity, which he considers a secondary feature. Instead, he compares him to the figure of the magician and hero Volkh Vseslavyevich from Russian bylines, and to the ancient blacksmiths who, in Russian folklore, make weapons for heroes and weld the hair of men and women symbolically uniting them into marriage, which include, for example, the blind father of the hero Svyatogor. It is possible that Svarog is related in some way to mythological bird Rarog (saker falcon), perhaps on the taboo

Svarog

basis pointed out by Roman Jakobson. In Vedism Indra is sometimes called "Indra Vritrahan", "Indra the victor of Vritra". In the Iranian version of this motif, Veretragna is transformed into the falcon "Varhagan" during his duel with Vritra. Czech "Raroh", "Rarach" is a generous yet vengeful demonic being associated with the campfire, taking the form of a bird or dragon, with a body and hair of flame, who flies out through the chimney as a ball of fire or whirlwind. He indicates a Balto-Slavic motif: the names "raróg", "rarok" in Polish, "jarog" in Czech, and "raragas" or "vanagas" in

Svarog

Lithuanian refer to a bird with glowing eyes. Sky god. On the basis of solar and celestial etymology, Svarog is often interpreted as a celestial creator deity whose role in cult mythology has been overlooked. Svarog would have been the heir of a hypothetical Proto-Indo-European "*Dyḗus". In this case, he would correspond to deities such as the Vedic Dyaus or the Baltic Dievs, but also to the Greek Zeus or the Roman Jupiter – the latter two deities, however, took on thunderer characteristics and occupied an important place in their respective pantheons. Michal Téra interprets Svarog as the counterpart

Svarog

of the Vedic sky-god Dyaus, who according to some accounts is the father of the fire-god Agni-Svarozhits and of the sun-god Surya-Dazhbog. He also links him to the mystical figure Svyatogor, whose place in the bylinas is taken by Ilya Muromets, Perun's heir – according to Téra described as tired, whose weight the earth cannot bear, and he compares this last motif to the mythical separation of Heaven and Earth which is necessary to put the world in order. He also believes that Svarog appears in the myths of the creation of the world

Svarog

. Łowmiański developed a theory that the cult of the Proto-Indo-European god "*Dyḗus" developed among the Slavs in two forms: in the form of Svarog among the West Slavs, and in the form of Perun among the East Slavs. Subsequently, the cult of Svarog was to be transported in the 6th century by Serbs and Croats from West Slavs to the Balkans. Svarog Svarog is a Slavic god of fire and blacksmithing, who was once interpreted as a sky god on the basis of an etymology rejected by modern scholarship. He is mentioned in only one source, the "Primary

Svarog

Zorya Zorya Zorya (lit. "Dawn"; also many variants: Zarya, Zara, Zaranitsa, Zoryushka, etc.) is a figure in Slavic folklore, a feminine personification of dawn, possibly goddess. Depending on tradition, she may appear as a singular entity, often called "The Red Maiden", or two or three sisters at once. Although Zorya is etymologically unrelated to the Proto-Indo-European goddess of the dawn "*H₂éwsōs", she shares most of her characteristics. She is often depicted as the sister of the Sun, the Moon, and Zvezda, the Morning Star with which she is sometimes identified. She lives in the Palace of the Sun, opens

Zorya

the gate for him in the morning so that he can set off on a journey through the sky, guards his white horses, she is also described as a virgin. In the Eastern Slavic tradition of zagovory she represents the supreme power that a practitioner appeals to. Etymology. The all-Slavic word "zora" "dawn, aurora" (from Proto-Slavic "*zoŗà"), and its variants, comes from the same root as the all-Slavic word "zrěti" ("to see, observe", from PS "*zьrěti"), which originally may have meant "shine". The word "zara" may have originated under the influence of the word "žar" "heat" (PS

Zorya

*žarь). PS "*zoŗà" comes from the Proto-Balto-Slavic "*źoriˀ" (cf. Lithuanian "žarà", "žarijà"), the etymology of the root is unclear. Comparative mythology. The Proto-Indo-European reconstructed goddess of the dawn is "*H₂éwsōs". Her name was reconstructed using a comparative method on the basis of the names of Indo-European goddesses of the dawn, e.g. Greek Eos, Roman Aurora, or Vedic Ushas; similarly, on the basis of the common features of the goddesses of the dawn, the features of the Proto-Indo-European goddess were also reconstructed. Although the Zorya cult is only attested in folklore, its roots go

Zorya

back to Indo-European antiquity, and the Zorya herself manifests most of "*H₂éwsōs" characteristics. Zorya shares the following characteristics with most goddesses of the dawn: Zarubin undertook a comparison between Slavic folklore and the Indo-Aryan "Rigveda" and "Atharvaveda", where images of the Sun and its companions, the Dawns, have been preserved. These images date back to ancient concepts from the initially fetishistic (the Sun in the form of a ring or circle) to the later anthropomorphic. Chludov's Novgorod Psalter of the late 13th century contains a miniature depicting two women. One of them, fiery red, signed as "morning

Zorya

zora", holds a red sun in her right hand in the form of a ring, and in her left hand she holds a torch resting on her shoulder, ending in a box from which emerges a light green stripe passing into dark green. This stripe ends in another woman's right hand, in green, signed as "evening zora", with a bird emerging from her left sleeve. This should be interpreted as the Morning Zorya releasing the Sun on its daily journey, and at sunset the Evening Zorya awaits to meet the Sun. A very similar motif was found in a

Zorya

cave temple from the 2nd or 3rd century AD in Nashik, India. The bas-relief depicts two women: one using a torch to light the circle of the Sun, and the other expecting it at sunset. Some other bas-reliefs depict two goddesses of the dawn, Ushas and Pratyusha, and the Sun, accompanied by Dawns, appears in several hymns. The Sun in the form of a wheel appears in the Indo-Aryan "Rigveda", or the Norse "Edda", as well as in folklore: during the annual festivals of the Germanic peoples and Slavs, they lit a wheel which, according to medieval

Zorya

authors, was supposed to symbolize the sun. Similar images to the one from the Psalter and the Nashik appear in various parts of Slavic lands, e.g. On a carved and painted gate of a Slovak peasant estate (village of Očová): on one of the pillars is carved the Morning Zora, with a golden head, above her is a glow, and even higher is the Sun, which rolls along an arched road, and on the other pillar is carved the Evening Zora, above it is a setting sun. There are also darkened suns on this relief, possibly "dead suns" appearing in

Zorya

Slavic folklore. These motifs are also confirmed by the Russian saying "The sun will not rise without the Morning Zoryushka". Such a motif was also found on the back of a 19th-century sled where the Sun, in the form of a circle, is in the palace and two Zoryas stand in the exit, and on a peasant rushnyk from the Tver region where Zoryas on horseback rides up to the Sun, one is red and the other is green. Baltic mythology. According to scholarship, Lithuanian folklore attests a similar dual role for luminous deities Vakarine and Ausrine: Vakarine, the

Zorya

Evening Star, made the bed for solar goddess Saulė, and Aušrinė, the Morning Star, lit the fire for her as she prepared for another day's journey. In other accounts, Ausrine and Vakarine are said to be daughters of the female Sun (Saule) and male Moon (Meness), and they tend their mother's palace and horses. Russian tradition. In Russian tradition, they often appear as two virgin sisters: Zorya Utrennyaya (Morning Zorya, from "útro" "morning") as the goddess of dawn, and Zorya Vechernyaya (Evening Aurora, from "véčer" "evening") as the goddess of dusk. Each was to stand on a different

Zorya

side of the golden throne of the Sun. The Morning Zorya opened the gate of the heavenly palace when the Sun set out in the morning, and the Evening Zorya closed the gate when the Sun returned to his abode for the night. The headquarters of Zorya was to be located on Buyan Island. A myth from a later period speaks of three Zoryas and their special task: Zorya also patronized marriages, as manifested by her frequent appearance in wedding songs, and arranged marriages between the gods. In one of the Malo-Russian songs, where the Moon meets Aurora while

Zorya

wandering in the sky, she is directly attributed this function: In folk incantations and popular medicine. Zara-Zaranitsa (aka "Dawn the Red Maiden") appears interchangeably with Maria (Mother of God) in different versions of the same zagovory plots as the supreme power that a practitioner applies to. She was also prayed to as Zarya for good harvests and health: Professor Bronislava Kerbelytė cited that in Russian tradition, the Zoryas were also invoked to help in childbirth (with the appellation "зорки заряночки") and to treat the baby (calling upon "заря-девица", or "утренняя заря Параскавея" and "вечерняя заря Соломонея"). Zarya was

Zorya

also invoked as protectress and to dispel nightmares and sleeplessness: In another incantation, Zarya-Zarnitsa is invoked along with a "morning Irina" and a "Midday Daria" to dispel a child's sadness and take it away "beyond the blue ocean". Further attestation. Croatian historian Natko Nodilo noted in his study "The Ancient Faith of the Serbs and the Croats" that the ancient Slavs saw Zora as a "shining maiden" (""svijetla" i "vidna" djevojka"), and Russian riddles described her as a maiden that lived in the sky ("Zoru nebesnom djevojkom"). As for the parentage of the Dawn, she is referred "in

Zorya

a Russian song" as "dear little Dawn" and as the "Sister of the Sun". Belarussian tradition. In Belarusian folklore she appears as Zaranitsa (Зараніца) or as Zara-zaranitsa (Зара-Зараніца). In one of the passages, Zaranica is met by St. George and St. Nicholas, who, according to comparative mythology, function as divine twins, who in Indo-European mythologies are usually brothers of the goddess of the dawn: "Saint George was walking with Saint Nicholas and met Aurora". In folklore she also appears in the form of a riddle: This is about the dew, which the moon does not react to

Zorya

and which disappears under the influence of the sun. "Zara" is probably simply the goddess of the dawn, and can be translated literally as "Dawn", and "Zaranica" is a diminutive and may indicate respect towards her. In Belarussian tradition, the stars are sometimes referred to as "zorki" and "zory", such as the star Polaris, known as "Zorny Kol" ('star pole') and "polunochna zora" ('star of midnight'). Polish tradition. In Polish folklore, there are three sister Zoras ("Trzy Zorze"): Morning Zorza (Polish: "Zorza porankowa" or "Utrenica"), Midday Zora ("Zorza południowa" or "Południca") and Evening Zora ("Zorza wieczorowa" or "Wieczornica"), which appear

Zorya

in Polish folk charms and, according to Andrzej Szyjewski, represent a threefold division of the day. They also function as Rozhanitsy: Another folk saying from Poland is thus: "Żarze, zarzyczki, jest was trzy, zabierzcie od mojego dziecka płakanie, przywróćcie mu spanie". In a magical love charm from Poland, the girl asks for the dawn (or morning-star) to go to the girl's beloved and force him to love no other but her: Ukrainian tradition. The Ukrainian language also has words deriving from "Zorya": зі́рка (dialectal зі́ра "zira" and зі́ри "ziry") "zírka", a diminutive meaning 'little star', 'starlet', 'asterisk'; зі́рнйця

Zorya

zirnitsa (or зі́рнйці "zirnytsi"), a poetic term meaning 'little star', 'aurora, dawn'. In a saying collected in "Харківщині" (Kharkiv Oblast), it is said that "there are many stars (Зірок) in the sky, but there are only two Zori: the morning one (світова) and the evening one (вечірня)". In an orphan's lament, the mourner says he will take the "keys of the dawn" ("То я б в зорі ключі взяла"). In a magical love charm, the girl invokes "three star-sisters" (or the "dawn-sisters"): Slovene tradition. In a Slovene folksong titled "Zorja prstan pogubila" (Zorja lost her ring), the

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singer asks for mother ("majko"), brother ("bratca"), sister ("sestro") and darling ("dragog") to look for it. According to professor Monika Kropej, in Slovene mythopoetic tradition, the sun rises in the morning, accompanied by the morning dawn, named Sončica (from "sonce", 'sun'), and sets in the evening joined by an evening dawn named Zarika (from "zarja", 'dawn'). These female characters also appear in a Slovenian narrative folk song about their rivalry. F. S. Copeland also interpreted both characters as mythological Sun and Dawn, as well as mentioned another ballad, titled "Ballad of Beautiful Zora". Slovene folklorist Jakob Kelemina (), in his book

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about Slovene myths and folk-tales, stated that a Zora appears as the daughter of the Snake Queen (possibly an incarnation of the night) in the so-called "Kresnik Cycle". East Slavic tradition. According to professor Daiva Vaitkevičienė, the Virgin Mary most likely replaced deity Zaria in East Slavic charms. The Virgin Mary is also addressed as "Zaria" in Russian charms. In a charm collected in Arkhangelsky and published in 1878 by historian Alexandra Efimenko (), the announcer invokes зоря Мария and заря Маремъяния, translated as "Maria-the-Dawn" and "Maremiyaniya-the-Dawn". In another charm, the "Evening Star Mariya" and

Zorya

Morning Star Maremiyana are invoked to take away sleeplessness. Slavic tradition. Goddess Zaria (alternatively, a trio of deities named Zori) is also invoked in charms against illness. According to professor Daiva Vaitkevičienė, this "is a very popular motif of the Slavic charms". Legacy. The word "Zorya" has become a loanword in Romanian language as its word for "dawn" ("zori") and as the name of a piece of music sung by colinda tori ("zorile"). The Morning Star is also known as "dennica", "zornica" or "zarnica". In Serbo-Croatian languages, the planet Venus is known as "Zornjača", when it appears in the

Zorya

morning, and "Večernjača" when it appears at night. In a folksong, the Dawn/Morning Star is depicted as the bride of a male Moon. In some Croatian folk songs, collected and published in 1876 by Rikardo Ferdinand Plohl-Herdvigov, a "zorja" is used along with "Marja" in "Zorja Marja prsten toči"; and referred to as "Zorja, zorija" in "Marija sinku načinila košulju"; Zorya Zorya (lit. "Dawn"; also many variants: Zarya, Zara, Zaranitsa, Zoryushka, etc.) is a figure in Slavic folklore, a feminine personification of dawn, possibly goddess. Depending on tradition, she may appear as a singular entity, often called "The

Zorya

William Bridges (general) William Bridges (general) Major General Sir William Throsby Bridges, (18 February 1861 – 18 May 1915) was a senior Australian Army officer who was instrumental in establishing the Royal Military College, Duntroon and who served as the first Australian Chief of the General Staff. During the First World War he commanded the 1st Australian Division at Gallipoli, where he died of wounds on 18 May 1915, becoming the first Australian general officer to be killed during the war. He was the first Australian officer—and the first graduate of Kingston—to reach the rank of major general, the first to command

William Bridges (general)

a division, and the first to receive a knighthood. He is one of only two Australians killed in action in the Great War to be interred in Australia. Early life. Born 18 February 1861 in Greenock, Scotland, the son of William Wilson Somerset Bridges, a Royal Navy captain, and his Australian wife, Mary Hill Throsby. He was educated at Ryde on the Isle of Wight, before attending the Royal Naval School at New Cross, London, in 1871. He remained there until mid-1872 when his family moved to Canada, after his father was badly injured in an accident and forced to

William Bridges (general)

retire from the navy. For the next three years, Bridges was a boarder at the Trinity College School, at Port Hope, Ontario. On 10 April 1877, at the age of 16, he entered the newly established Royal Military College of Canada in Kingston, as part of the college's second intake, and was assigned the student number of 25. Although tall, Bridges was of slight build and was not noted for his involvement in sport while at the college, spending most of his spare time reading; nevertheless, he became a keen canoeist as a cadet. Although he was a good

William Bridges (general)