*H₂éwsōs
*H₂éwsōs | |
---|---|
Personal information | |
Parents |
|
Equivalents | |
Greek equivalent | Eos |
Roman equivalent | Aurora |
Slavic equivalent | Zorya |
Hinduism equivalent | Ushas |
West Germanic equivalent | Ēostre |
Lithuanian equivalent | Aušrinė |
Albanian equivalent | Prende |
*H₂éwsōs or *Haéusōs (lit. 'the
*H₂éwsōs is believed to have been one of the most important deities worshipped by Proto-Indo-European speakers due to the consistency of her characterization in subsequent traditions as well as the importance of the goddess Uṣas in the Rigveda.[2][3][4]
Her attributes have not only been mixed with those of
Name
Etymology
The reconstructed Proto-Indo-European name of the dawn, *h₂éwsōs, derives the verbal root *h₂(e)wes- ('to shine', 'glow red', 'a flame') extended by the suffix *-ós-. The same root also underlies the word for 'gold', *h₂ews-om lit. 'glow', inherited in Latin aurum, Old Prussian ausis, and Lithuanian áuksas.[5]
The word for the
A derivative adverb, *h₂ews-teros, meaning "east" (lit. 'toward the dawn'), is reflected in
Epithets
A common epithet associated with the Dawn is *Diwós Dʰuǵh₂tḗr, the 'Daughter of
Depiction
Eternal rebirth
The Dawn-goddess is sometimes portrayed as
Colours
A widespread characteristic given to the Dawn is her 'brilliance'; she is generally described as a "bringer of light".
*H₂éwsōs is usually associated with the natural colours of the dawn: gold, saffron, red, or crimson. The Dawn is 'gold-coloured' (híraṇya-varṇā) in the Rigveda, 'the golden-yellow one' (flāua) in Ovid's Amores, and 'gold-throned' (χρυσόθρονος) in a Homeric formula.[25] In Latvian folk songs, Saulė and her daughter(s) are dressed of shawls woven with gold thread, and Saulė wears shoes of gold, which parallels Sappho describing Eos as 'golden-sandalled' (χρυσοπέδιλλος).[25]
Eos is also 'saffron-robed' (κροκόπεπλος) in Homeric poems,[26] while Ushas wears crimson (rose-red) garments and a "gleaming gold" veil.[27][28] The Hindu goddess is also described as a red dawn shining from afar; "red, like a mare", she shoots "ruddy beams of light", "yokes red steeds to her car" or "harnesses the red cows" in the Samaveda.[29] Saffron, red and purple are colours also associated with the dawn by the Latin poet Ovid.[30][c]
The Baltic sun goddess Saulė has preserved some of the imagery of, and she is sometimes portrayed as waking up 'red' (sārta) or 'in a red tree' during the morning.[43] Saulé is also described as being dressed in clothes woven with "threads of red, gold, silver and white".[44][d] In the Lithuanian tradition, the sun is portrayed as a "golden wheel" or a "golden circle" that rolls down the mountain at sunset.[48] Also in Latvian riddles and songs, Saule is associated with the color red, as if to indicate the "fiery aspect" of the sun: the setting and the rising sun are equated with a rose wreath and a rose in bloom, due to their circular shapes.[49][50][51][e][f]
According to Russian folklorist Alexander Afanasyev, the figure of the Dawn in Slavic tradition is varied: she is described in a Serbian folksong as a maiden sitting on a silver throne in the water, her legs of a yellow color and her arms of gold;[54] in a Russian saying, the goddess Zorya is invoked as a krasnaya dyevitsa (красная девица 'red maiden');[55] in another story, the "red maiden" Zorya sits on a golden chair and holds a silver disk or mirror (identified as the sun);[56] in another, a maiden sits on a white-hot stone (Alatyr) in Buyan, weaving red silk in one version, or the "rose-fingered" Zorya, with her golden needle, weaves over the sky a veil in rosy and "blood-red" colours using a thread of "yellow ore".[57][g][h] She is also depicted as a beautiful golden-haired queen who lives in a golden kingdom "at the edge of the White World", and rows through the seas with her golden oar and silver boat.[60]
Movements
*H₂éwsōs is frequently described as dancing: Uṣas throws on embroidered garments 'like a dancer' (nṛtūr iva), Eos has 'dancing-places' (χοροί) around her house in the east, Saulė is portrayed as dancing in her gilded shoes on a silver hill, and her fellow Baltic goddess Aušrinė is said to dance on a stone for the people on the first day of summer.[61][26] According to a Bulgarian tradition, on St. John's Day, the sun dances and "whirls swords about" (sends rays of light), whereas in Lithuania the Sun (identified as female) rides a car towards her husband, the Moon, "dancing and emitting fiery sparks" on the way.[62]
The spread hand as the image of the sun's rays in the morning may also be of Proto-Indo-European origin.[63] The Homeric expressions 'rose-armed' (ῥοδόπηχυς) and 'rosy-fingered Dawn' (ῥοδοδάκτυλος Ἠώς), as well as Bacchylides' formula 'gold-armed' (χρυσοπαχύς), can be semantically compared with the Vedic formulas 'golden-handed' (híraṇyapāṇi) and 'broad-handed' (pṛthúpāṇi-).[63] They are also similar with Latvian poetic songs where the Sun-god's fingers are said to be 'covered with golden rings'.[63] According to Martin L. West, "the 'rose' part is probably a Greek refinement."[63]
Another trait ascribed to the Dawn is that she is "wide-shining" or "far-shining" - an attribute possibly attested in Greek theonym
Dwelling
Another common trait of the Dawn goddess is her dwelling, generally situated on an island in the Ocean, or sometimes in an Eastern house.[65]
In
In Slavic folklore, the home of the Zoryas was sometimes said to be on Bouyan (or Buyan), an oceanic island paradise where the Sun dwelt along with his attendants, the North, West and East winds.[68]
The Avesta refers to a mythical eastern mountain called Ušidam- ('Dawn-house').[69] The Yasnas also mention a mountain named Ušidarɘna, possibly meaning "crack of dawn" (as a noun)[70] or "having reddish cracks" (as an adjective).[71]
In a myth from Lithuania, a man named Joseph becomes fascinated with Aušrinė appearing in the sky and goes on a quest to find the 'second sun', who is actually a maiden that lives on an island in the sea and has the same hair as the Sun.[61] In the Baltic folklore, Saulė is said to live in a silver-gated castle at the end of the sea,[72] located somewhere in the east,[12] or to go to an island in the middle of the sea for her nocturnal rest.[73] In folksongs, Saule sinks into the bottom of a lake to sleep at night, in a silver cradle "in the white seafoam".[74][i][j]
Vehicle
Carrier
The Dawn is often described as driving some sort of vehicle, probably originally a wagon or a similar carrier, certainly not a chariot as the technology appeared later within the Sintashta culture (2100–1800 BC), generally associated with the Indo-Iranian peoples.[77][78] In the Odyssey, Eos appears once as a charioteer, and the Vedic Ushas yokes red oxen or cows, probably pictorial metaphors for the red clouds or rays seen at morning light.[79] The vehicle is portrayed as a biga or a rosy-red quadriga in Virgil's Aeneid and in classical references from Greek epic poetry and vase painting, or as a shining chariot drawn by golden-red horses.[80] According to Albanian folk beliefs the dawn goddess Prende is pulled across the sky in her chariot by swallows, called Pulat e Zojës 'the Lady's Birds', which are connected to the chariot by the rainbow (Ylberi) that the people also call Brezi or Shoka e Zojës 'the Lady's Belt'.[81]
Saulė, a sun-goddess syncrethized with the Dawn, also drives a carriage with copper-wheels,[82] a "gleaming copper chariot"[83] or a golden chariot[84] pulled by untiring horses, or a 'pretty little sleigh' (kamaņiņa) made of fish-bones.[85][86] Saulė is also described as driving her shining car on the way to her husband, the Moon.[62] In other accounts, she is said to sail the seas on a silver[87] or a golden boat,[83] which, according to legend, is what her chariot transforms into for her night travels.[12][88] In a Latvian folksong, Saule hangs her sparkling crown on a tree in the evening and enters a golden boat to sail away.[47]
In old Slavic fairy tales, the Dawn-Maiden (Zora-djevojka) "sails the sea in the early morning in her boat of gold with a silver paddle" (alternatively, a silver boat with golden oars)[60] and sails back to Buyan, the mysterious island where she dwells.[89]
Horses
The Dawn's horses are also mentioned in several Indo-European poetical traditions. Homer's Odyssey describes the horses of Eos as a pair of swift steeds named Lampos and Phaethon, and Bacchylides calls her 'white-horsed Dawn' (λεύκιππος Ἀώς).[79] The vehicle is sometimes portrayed as being drawn by golden-red horses. The colours of Dawn's horses are said to be "pale red, ruddy, yellowish, reddish-yellow" in the Vedic tradition.[90]
Baltic sun-goddess Saulė's horses are said to be of a white color;[12] in other accounts they amount to three steeds of golden, silver and diamond colors.[62] In Latvian dainas (folk songs), her horses are described as yellow, of a golden or a fiery color.[88] The sun's steeds are also portrayed as having hooves and bridles of gold in the dainas, and as golden beings themselves or of a bay colour, "reflect[ing] the hues of the bright or the twilight sky".[91] When she begins her nocturnal journey through the World Sea, her chariot changes into a boat and "the Sun swims her horses",[92] which signifies that "she stops to wash her horses in the sea".[93] Scholarship points that the expressions geltoni žirgeliai or dzelteni kumeliņi ('golden' or 'yellow horses'), which appear in Latvian dainas, seem to be a recurrent poetic motif.[50]
Although Zorya of Slavic mythology does not appear to feature in stories with a chariot or wagon pulled by horses, she is still described in a tale as preparing the "fiery horses" of her brother, the Sun, at the beginning and at the end of the day.[94]
Role
Opener of the doors of heaven
*H₂éwsōs is often depicted as the opener of the doors or gates of her father the heaven (*
A similar poetic imagery is present among Classical poets, although some earlier Greek source may lie behind these.
Other reflexes may also be present in other Indo-European traditions. In
According to scholarship, Lithuanian folklore attests a similar dual role for luminous deities Vakarine and Ausrine, akin to Slavic Zoryas (although it lacks the door imagery):[102][103] Vakarine, the 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.[12] In another account, they are Saulé's daughters and tend their mother's palace and horses.[104]
Reluctant bringer of light
In Indo-European myths, *H₂éwsōs is frequently depicted as a reluctant bringer of light for which she is punished.[105][106] This theme is widespread in the attested traditions: Eos and Aurora are sometimes unwilling to leave her bed, Uṣas is punished by Indra for attempting to forestall the day, and Auseklis did not always rise in the morning, as she was said to be locked up in a golden chamber or in Germany sewing velvet skirts.[2]
The
Evidence
Dawn-goddesses
Cognates stemming from the root *h₂éwsōs and associated with a dawn-goddess are attested in the following mythologies:
- PIE: *h₂(e)wes-, meaning "to shine, light up, glow red; a flame",[7][9]
- PIE: *H₂éws-ōs, the Dawn-goddess[7]
- Indo-Iranian: *Hušas,[108]
- Hellenic: *Auhṓs[8]
- Greek: Ēṓs (Ἠώς), the goddess of the dawn,[7][109][8] and Aotis, an epithet used by the Spartan poet Alcman and interpreted as a dawn goddess.[111][112][113]
- Mycenaean: the word a-wo-i-jo (Āw(ʰ)oʰios; Ἀϝohιος)[k][119] is attested in a tablet from Pylos; interpreted as a shepherd's personal name related to "dawn",[120][121][122][123] or dative Āwōiōi;[124]
- Italic: *Ausōs > *Ausōs-ā (with an a-stem extension likely explained by the feminine gender)[125]
- Fabulae, in the lost epic of the Titanomachy,[127] and as the name given to one of the Sun's horses in Ovid's Metamorphoses,[128][129][l]
- Thracian: Auza-, attested in personal name Αυζα-κενθος (Auzakenthos 'dawn-child'), believed by linguists Vladimir I. Georgiev and Ivan Duridanov to attest the name of a Thracian dawn goddess.[131][132][133]
- PIE: *h₂ws-s-i, locative singular of *h₂éwsōs,[134]
- Armenian (Proto): *aw(h)i-, evolving as *awi̯ -o-, then *ayɣwo-,[134]
- Germanic: *Auzi/a-wandalaz, a personal name generally interpreted as meaning 'light-beam' or 'ray of light',[136][137][138]
- Old English: Ēarendel, meaning "dawn, ray of light",[136][139]
- Old High German: Aurendil, Orentil; Lombardic: Auriwandalo,[136][140]
- Gothic: auzandil (𐌰𐌿𐌶𐌰𐌽𐌳𐌹𐌻), Morning Star, Lucifer ("light-bringer"),[140]
- PIE: *h₂ews-rom (or *h₂ews-reh₂),[141][142] "matutinal, pertaining to the dawn",[143]
- Balto-Slavic: *Auṣ(t)ro,[141]
- Baltic: *Auš(t)ra, "dawn",[141]
- Lithuanian: Aušrinė, personification of the Morning Star (Venus), said to begin each day by lighting a fire for the sun;[109] Aušra (sometimes Auska), goddess of sunrise,[12] given as the answer to a Baltic riddle about a maiden who loses her keys;[144] and Auštra (interpreted as "dawn" or "northeast wind"), a character in a fable that guards the entry to paradise,[13]
- Latvian: Auseklis (ausa "dawn" attached to the derivative suffix -eklis),[145] personification of the Morning Star, and a reluctant goddess of the dawn;[109] female personal names include Ausma and Austra;[146][147] words ausma and ausmiņa denoting "Morgendämmerung" ('dawn, daybreak');[148]
-
- Polish: Jutrzenka or Justrzenka;[151][149] Czech: Jitřenka,[152] name and personification of Morning Star and Evening Star,
- Polabians: Jutrobog (Latin: Jutry Bog or Jutrny Boh), literally "Morning God", a deity mentioned by German historians in the 18th century,[153] and Jüterbog: a town in east Germany named after the Slavic god,[153]
- Historically, the Kashubians (in Poland) were described to worship Jastrzebog and the goddess Jastra, who was worshipped in Jastarnia, from which the Kashubian term for Easter, Jastrë, was derived. These names may be related with Polabian god Jutrobog, be influenced by Proto-Germanic deity *Austrōn (see below), or may come from the word jasny ('bright').[154]
- Baltic: *Auš(t)ra, "dawn",[141]
- Germanic: *Austrōn, goddess of the springtime celebrated during a yearly festival, at the origin of the word 'Easter' in some West Germanic languages,[142]
- Romano-Germanic: matronae Austriahenae, a name present in votive inscriptions found in 1958 in Germany.[155]
- Old English: Ēastre, personification of Easter,[156][7]
- Old High German: *Ōstara (pl. Ôstarûn), personification of Easter (Modern German: Ostern),[156][157]
- Old Saxon: *Āsteron, possibly attested in the name asteronhus ('Easter-house').[158]
- Balto-Slavic: *Auṣ(t)ro,[141]
- PIE: *H₂éws-ōs, the Dawn-goddess[7]
Epithets
The formulaic expression "Daughter of Dyēus" is attested as an epithet attached to a dawn-goddess in several poetic traditions:
- PIE: *diwós dhuǵhatḗr, "Daughter of
Poetic and liturgic formula
An expression of formulaic poetry can be found in the Proto-Indo-European expression *h₂(e)ws-sḱeti ('it dawns'), attested in Lithuanian aušta and aũšti,[161] Latvian àust, Avestan usaitī, or Sanskrit ucchāti.[9][162][m] The poetic formula 'the lighting dawn' is also attested in the Indo-Iranian tradition: Sanskrit uchantīm usásam, and Young Avestan usaitīm uṣ̌ā̊ŋhəm.[108] A hapax legomenon uşád-bhiḥ (instr. pl.) is also attested.[164]
Other remnants of the root *h₂éws- are present in the Zoroastrian prayer to the dawn Hoshbām,[165] and in Ušahin gāh (the dawn watch),[166] sung between midnight and dawn.[167][168] In Persian historical and sacred literature, namely, the Bundahishn, in the chapter about the genealogy of the Kayanid dynasty, princess Frānag, in exile with "Frēdōn's Glory" after escaping her father's murderous intentions, promises to give her firstborn son, Kay Apiweh, to "Ōšebām". Ōšebām, in return, saves Franag.[169] In the Yasht about Zam, the Angel of the Munificent Earth, a passage reads upaoṣ̌ā̊ŋhə ('situated in the rosy dawn'), "a hypostatic derivation from unattested *upa uṣ̌āhu 'up in the morning light(s)'".[170]
A special carol, zorile ("dawn"), was sung by the colindători (traditional Romanian singers) during funerals, imploring the Dawns not be in a hurry to break, or begging them to prevent the dead from departing this world.[171][172] The word is of Slavic origin, with the term for 'dawn' attached to the Romanian article -le.[171]
Stefan Zimmer suggests that Welsh literary expression ym bronn y dyd ("at the breast/bosom of the day") is an archaic formula possibly referring to the Dawn goddess, who bared her breast.[173]
Legacy
Scholars have argued that the Roman name
Remnants of the root *haeus and its derivations survive in
A character named Gwawrdur is mentioned in the
In Albanian folk beliefs, Prende, who had been worshiped in northern Albania until recent times, is the dawn goddess, whose name traces back to PIE *pers-é-bʰ(h₂)n̥t-ih₂ 'she who brings the light through', from which also the Ancient Greek Περσεφάττα, a variant of Περσεφόνη (Persephone), is considered to have regularly descended.[18][186] In Albanian folklore Prende is also called Afër-dita[81] – an Albanian phrase meaning 'near day', 'the day is near', or 'dawn'[187][188] – which is used as a native term for the planet Venus:[189][190] (h)ylli i dritës, Afërdita 'the star of light Afërdita' (i.e. Venus, the morning star)[81] and (h)ylli i mbrëmjes, Afërdita (i.e. Venus, the evening star).[191] The Albanian imperative form afro dita 'come forth the dawn' traces back to Proto-Albanian *apro dītā 'come forth brightness of the day/dawn', from PIE *h₂epero déh₂itis.[192] According to linguist Václav Blažek, the Albanian word (h)yll ('star') finds a probable ultimate etymology in the root *h₂ews- ('dawn'), specifically through *h₂ws-li ('morning-star'), which implies the quite natural semantic evolution 'dawn' > 'morning star' > 'star'.[174]
Influences
According to Michael Witzel, the Japanese goddess of the dawn Uzume, revered in Shinto, was influenced by Vedic religion.[193] It has been suggested by anthropologist Kevin Tuite that Georgian goddess Dali also shows several parallels with Indo-European dawn goddesses.[194]
A possible mythological descendant of the Indo-European dawn goddess may be
Footnotes
- Slovenian and West Slavic), while útro exists in the Eastern languages (East Slavic languages, Bulgarian and Macedonian).[6]
- Pahlavi, the expression exists in the compound name Ōšebām. A recent translation of the book is thus: "Dawn [ōšebām] is the ray of the sun that rises when the sun's light first appears. Its body is not visible until the sun is visible, at the brilliance [bām] of the dawn [oš]."[21]
- ^ For further example: in the Aeneid, the sea or the waves flush red (rubescebat) as Aurora descends from high heavens 'shimmering yellow' (fulgebat lutea) in her 'rosy chariot' (in roseis ... bigis).[31][32] Ovid describes her "purple hand" (purpurea ... manu)[33] and "saffron hair" (croceis Aurora capillis).[34][35] In Metamorphoses, the Dawn is moving on "saffron-wheels",[36][37] and his poem Fasti tells of Aurora, "Memnon's saffron mother" (Memnonis ... lutea mater), as arriving on rosy horses (in roseis ... equis),[38] and "with her rosy lamp" (cum roseam ... lampada) she expels the stars of the night. In The Golden Ass, Apuleius depicts the movement of Aurora as she began to soar through the skies "with her crimson trappings" (poenicantibus phaleris Aurora roseum).[39] Ancient Greek poet Nonnus refers to the Dawn as "rose-crowned" (ῥοδοστεφέος, rhodostephéos) in his poem Dionysiaca.[40] In Lucretius's De Rerum Natura, Book V, Latin deity Mater Matuta "spreads the rosy morning" (roseam Matuta ... auroram differt),[41] and the author poetically describes the sunrise, i.e., colours changing from red to gold, at dawn (aurea cum primum ... matutina rubent radiati lumina solis).[42] In an Orphic Hymn (77/78), the goddess Eos is said to be 'blushing red' or 'reddening' (ἐρυθαινομένη).[23]
- ^ Saulė is also said to own golden tools and garments: slippers, scarf, belt and a golden boat she uses as her means of transportation.[45] Other accounts ascribe her golden rings, golden ribbons, golden tassels and even a golden crown.[46] In Latvian folksongs, she is also depicted in a silver, gold or silk costume, and wearing a sparkling crown.[47]
- ^ According to Lithuanian scholar Daiva Vaitkeviciene, Wilhelm Mannhardt's treatise on Latvian solar myths identified other metaphors for the Sun, such as "a golden apple", "a rose bush" and "red berries".[52]
- ^ In some Latvian folksongs, the personified female Sun is also associated with the color "white" (Latv balt-), such as the imagery of a white shirt, the expression "mila, balte" ("Sun, dear, white"), and the description of the trajectory of the sun (red as it rises, white as it journeys on its way).[53]
- ^ Afanasyev used the word "рудо-желтую" (rudo-zheltuyu). The first part of the word, "рудо", means "ore", and Afanasyev considered it a cognate to similar words in other Indo-European languages: Ancient Greek erythros, Sanskrit rudhira, Gothic rauds, Lithuanian raudonas, German (Morgen)rothe.
- ^ Some holdover of a female solar goddess may exist in Slavic tradition: in songs, the sun is portrayed as a maiden or bride, and, in a story, when a young woman named Solntse covers herself with a heavy cloak, it darkens, and when she puts on a shining dress, it brightens again.[58] In addition, in Belarusian folk songs, the Sun is called Sonca and referred to as a 'mother'.[59]
- Daiva Vaitkevičienė, this imagery is also related to the rebirth of souls in Baltic mythology.[75]
- ^ The Otherworld in Latvian mythology is named Viņsaule 'The Other Sun', a place where the sun goes at night and also the abode of the dead.[76]
- ^ Foreign scholars interpret this name as "matinal", "matutino", "mañanero", meaning "of the early morning", "of the dawn".[118]
- ^ According to Adalberto Magnavacca, the term Eous refers to the Morning Star (Venus), as it rises in the morning, but could also be used as another poetical term for aurora.[130]
- ^ This reflex may also exist with Hittite verbs uhhi, uskizzi and aus-zi 'to see'.[162][163]
References
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A tribute to Paul Friedrich
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Further reading
- Benedetto, Vincenzo di (1983). "Osservazioni intorno a *αυσ- e *αιερι". Glotta. 61 (3/4). Vandenhoeck & Ruprecht (GmbH & Co. KG): 149–164. JSTOR 40266630.
- Jackson, Peter (2005). "Πότνια Αὔως: The Greek dawn-goddess and her antecedent". Glotta. 81: 116–123. JSTOR 40267187.
- Wandl, Florian (2019). "On the Slavic Word for ‘Morning’: *(j)u(s)tro". In: Scando-Slavica, 65:2, pp. 263–281.
External links
- Media related to Hausos at Wikimedia Commons