#Aušrinė

[bukimevieningi]

Aušrinė Armonaitė pakišinėja Gabrielių Landsbergį ir Ingridą Šimonytę

Ministrei Aušrinei Armonaitei teigiant, kad ji neprivalėjo rūpintis jai pavaldaus „Litexpo“ pirkimo sandoriais ruošiantis NATO susitikimui, “sąžiningiausia” partija Lietuvoje socialdemokratai atkreipia dėmesį, kad Viešųjų pirkimų tarnybos (VPT) išvados adresuotos būtent „laisvietės“ A. Armonaitės vadovaujamai Ekonomikos ir inovacijų ministerijai. VPT išvadose pirkimai pripažįstami…

[unsubconscious]

Aušrinė Aniko

[derring-do]

Upcoming Opera Video Streams: Late August-Early September 2024

Aug 23rd: Le Comte Ory from Rossini in Wildbad. Starring Patrick Kabongo, Sophia Mchedlishvili, and Diana Haller. Free!

Aug 23rd: The Idiot from the Salzburg Festival. Starring Bogdan Volkov, Aušrinė Stundytė, Clive Bayley, and Pavol Breslik. Free while live, subscription subsequently.

Aug 24th: Les Contes d'Hoffmann from the Salzburg Festival. Starring Benjamin Bernheim, Katherine Lewek, Christian Van Horn, and Kate Lindsey. Subscription.

Aug 24th: The Gambler from the Salzburg Festival. Starring Sean Panikkar, Asmik Grigorian, and Peixin Chen. Subscription (Medici & Mezzo, Medici stream may be free while transmitting live).

Aug 30th: Il Barbiere di Siviglia from the Royal Swedish Opera. Starring Konu Kim, Luthando Qave, and Dara Savinova. Free!

Sep 6th: La Vestale from Opéra National de Paris. Starring Elza van den Heever, Michael Spyres, Ève-Maud Hubeaux and Julien Behr. Free!

Sep 15th: Un Ballo in Maschera from San Francisco Opera. Starring Michael Fabiano, Lianna Haroutounian, and Amartuvshin Enkhbat. Single purchase.

[looking-at-the-deiwos]

Áusōs

Or as I write it, Áusos. Also found as Háusos, Héusos (with a hard h as in the ch in loch) or H₂éwsōs. Her name means "the Dawn" or "Rising"

Aúsos is the goddess of the dawn. She also reigns over light, youth and spring. She is characterized as a beautiful maiden who dances freely through the heavens. She is a bringer of light as she brings the day with her and paves the path of the sun. She seems to have been the most important goddess to the Proto Indo-Europeans

Áusos is also related to sexuality and love, sometimes ill-fated. She has a myth in which she falls in love with a mortal, Ausiwendhós, of whom she procures eternal life. Yet he forgot to ask eternal youth for him, so he ends up withering into old age as the dawn goddess takes her leave, broken-hearted.

Áusos is also a goddess of love and sexuality. There is however a Proto Indo-European love goddess, so love isn't Áusos' main domain, even tho she has a big role in it.

The archetype of the maiden fits her well

She is sometimes said to dwell in an western land at the edge of the world, a paradise called Usés Mág̑hās

She is also called Diwós Dhugətḗr, "Daughter of Dyéus" and Bhṛg̑héntī, "Exalted"

Offerings

Taken from here

Flowers, especially pink ones

vase of roses in various shades of pink

birch wood

birch bark

half-circle of birch wood with ribbons

Devotional acts

Dancing

Watching the sun rise

Depiction or imagery related to the dawn

Waking up early (there are myths of Áusos struggling with this, so she feels you!)

Sleeping in (if it's safe to do so)

Paint your nails or put on make up

Listen to your favorite feel good music and dance away

Picking flowers

Have a flower garden

Spend time with a loved one

Listen to love songs/watch romance movies

Self-care and self-love

Wear pink or another of her colours

Respect your own place and limits in your relationships

Associations

Pink

Yellow, Gold, Red and Saffron

Feminity

Birch (as a tree of spring)

the feast of Ostara

Friday

March

Descendants in later pantheons

Eos (Greek)

Aphrodite in some aspects (Greek)

Aurora (Roman)

Aušrinė (Lithuanian)

Ushas (Vedic)

Usha (Iranian)

Eostre/Ostara (Germanic)

Brigid (Celtic)

Finally, here's her wikipedia article

Also, fun fact! It is speculated that Aphrodite absorbed some of the aspects of Áusos (especially those related to love and sexuality), so she's also a descendant of her in a way. These aspects then got lost from her direct descendant in greek mythology, Eos.

[hildathesaint]

Perkūnas

The Lithuanian god of Thunder

Attributes: lighting, storms, the sky, an axe or sledgehammer

Animals: goat

Plants: oak

Colours: black, white, grey

The sky deity of the Baltic religion, Perkūnas, is regarded as a fertility god and the guardian of law and order apart from being the god of thunder and lightning. Perkūnas is the most important Lithuanian god, and is the central figure in the Pantheon. The oak, which is the tree most frequently struck by lightning, is regarded as sacred to him.

Perkunas is usually depicted as a middle-aged man riding a two-wheeled cart with goats. In some accounts, the thunder god is seen driving a flaming horse or a cart of white and red horses through the skies. He would be identified by the constellation of Ursa Major.

On his heavenly chariot, Perkunas is holding a goat with one hand while he uses an axe or horn on the other.

Mythology

Folklore usually emphasises that Perkūnas is a patron of weather, he lives between the heaven and the earth in the clouds, he commands the thunder and lightning. Thus Perkūnas occupies the centre of the structure of the universe, becomes the master of the atmosphere (Perkūnas is correspondingly associated with the heaven and the devil - Velnias with the earth, underground, water). Perkūnas possesses a two-wheeled cart harnessed by two goats or horses , and rides through the sky , the sound of the wheels often causes thunder. Perkūnas strikes and chases the devil or devils, though often it is said that this animosity is based on personal grounds because of a certain act the devil committed (theft, insult, abduction of Vaiva, as mentioned below).

An important function of Perkūnas is to fight Velnias. He is sometimes considered the antithesis of Perkūnas and is the god of the underworld and death. Christianity considers "Velnias" akin to their "devil", though this is not in line with ancient beliefs.

Perkūnas pursues his opponent, Velnias, for picaroon or theft of fertility and cattle. Velnias hides in trees, under stones, or turns into various animals: a black cat, dog, pig, goat, lamb, pike, cow or a person to avoid Perkūnas.

Perkūnas pursues an opponent in the sky on a chariot, made from stone and fire (Lithuanian ugnies ratai). Sometimes the chariot is made from red iron.

Perkūnas possesses many weapons. They include an axe or sledgehammer, stones, a sword, lightning bolts, a bow and arrows, a club, and an iron or fiery knife. Perkūnas is the creator of the weapons (Akmeninis kalvis, "the stone smith") or he is helped by the heavenly smith Televelis (Kalvelis).

Perkūnas simultaneously is given the function of the patron of fertility, when he rolls his thunder for the first time in spring the grass starts growing, the processes of vegetation begin, Perkūnas also appears in the wedding symbolism. One other function of Perkūnas is keeping justice. He chases devils but he also punishes bad people, fights evil spirits and keeps the order of the universe.

According to ancient tradition, people who were struck by lightning were protected from devils. The objects that were struck by lightning were also used to cure various ailments, such as fever, toothache, and anxiety. Perkūnas is thus seen as a god of healing as well as destruction.

In some songs Perkūnas, on the way to the wedding of Aušrinė (dawn; the daughter of the Sun), strikes a golden oak. The oak is a tree of the thunder god in the Baltic mythology. Lithuanian Perkūno ąžuolas or Latvian Pērkona ozols ("oak of Perkūnas") is mentioned in a source dated to the first half of the 19th century.

Perkūnas is also connected to Thursday. Thursday is the day of the Thunderer in many traditions: compare Polabian Peräune-dǻn ("day of Perun"), Lithuanian Perkūno diena. Perkūnas is associated with the Roman god Jupiter in early sources. Thursday is a day of thunder-storms and rains, and also of weddings.

Family

In most myths, Perkūnas’s wife is Žemyna, the goddess of the earth. In some myths, Perkūnas would expel his wife and children and then remain in the sky by himself. The reason for this is that Perkūnas was given the responsibility of the stones in the sky whose rumbling and rubbing against each other tend to generate thunder and lightning during storms.

In songs about a "heavenly wedding" Saulė is married to Perkūnas amd cheats on Perkūnas with Mėnulis (the Moon); Perkūnas splits Mėnulis in half with a sword, which accounts for the moon phases we see today.

According to another, more popular version, Mėnulis cheats on the Sun with Aušrinė (the morning star) just after the wedding, and Perkūnas punishes him. However, he does not learn and repeats the adultery and is punished again every month. Other explanations say it is why the Sun shines during the day and the Moon at night. Though divorced, both want to see their daughter Žemyna (the Earth).

Some stories claim that Perkūnas and a woman known as Vaiva or the rainbow were supposed to get married but the bride was kidnapped by Velnias, the god of the underworld. Since then, Perkūnas has been hunting Velnias. Some stories also claim that there are four sons of Perkunas who are representative of the four seasons or the four cardinal directions. Sometimes there are seven or nine Perkūnai referred to as brothers. It is said in Lithuanian "Perkūnų yra daug" ("there are many thunders").

[blogwelberfotos-blog]

Aušrinė Armonaitė, Ministro da Economia e Inovação da Lituânia, assina os Acordos Artemis na presença da Embaixadora dos Estados Unidos Kara C. McDonald numa cerimónia em conjunto com o Vilnius Space Days. Crédito: Agência de Inovação da Lituânia

[ancestorsalive]

Lithuania : Birute Hill near Palanga, Lithuania, was once home to paleo astronomical observatories. Restored in 1998, the Samogitian Sanctuary is a recreation of a Pagan observatory from the Middle Ages. This northern Lithuanian group of statues is based on artifacts found at the site of a prehistoric astronomical observatory and shrine that stood til the 16th century.

During the key calendar holidays, Lithuanian people would carve wooden poles that correlate to the Balts' gods and goddesses. These Gods and Goddesses are Perkūnas, Aušrinė, Žemyna, Austėja, Ondenis, Patrimpas, Patulas, Velnias, Leda, Saulė and Mėnulis.

[primordialness]

I am *certain* that this has been discussed by people better qualified than myself; I've barely started this research. If anyone knows of articles or essays that talk about this better, please share them with me! But I wanted to talk a bit about the Proto Indo European Dawn Goddess [1]:

PIE H₂éwsōs, Goddess of the Dawn

Vedic Ushas, Goddess of the Dawn

Greek Eos, Goddess and Personification of the Dawn

Roman Aurōra, Goddess of the Dawn

Slavic Zorya, Personification of the Dawn

Lithuanian Aušrinė, Goddess of the Dawn or the Morning Star (Venus): "goddess of beauty, love and youth, linked with health, re-birth and new beginnings" [2]

Albanian Prende/Premte, "goddess of dawn, love, beauty, fertility, health and protector of women" [3]

But then also...

West Germanic Ēostre, Goddess of Spring and namesake of Easter [4]

And maybe even the Greek Persephone, Goddess of Spring and the Underworld, whose name might relate to the Albanian Prende [3]

The key to tying together the Goddesses of Dawn and the Goddesses of Spring lies, I think, in that Lithuanian definition: "linked with health, re-birth and new beginnings." We can think of Dawn, Day, Twilight, Night as equivalent to Spring, Summer, Fall, and Winter... and even the Waxing, Full, Waning, and New Moon. These are all cycles of beginnings and endings--arguably all a way for us to cope with our understanding of life and death.

In a journal entry several months ago, I noted that I'm not that fond of the dawn; I'm not a morning person (sorry, H₂éwsōs). But I *am* a fond of fresh starts, rebirth, and new beginnings. I know all the best albums for breaking up and moving on. I have endless Playlists for it. I know how to restart far better than I know how to stay. I know the Waxing Spring Dawn, Waning Fall Twilight, and New Winter Night far better than I know the Full Summer Day.

I've joked recently that Persephone is mad at me because the weather hasn't been good to me since I've moved. But perhaps I simply haven't been honoring her enough--recognizing that as I have been experiencing a rebirth these past two years, she's been the one in charge of that. Maybe she's been my intuition giving me warnings that I've ignored.

In any case... though it's a full moon tonight (and a supermoon at that!), I would like to take a moment to toast to the power and energy of a fresh start--a new day, a new month, a new season, a new love. I am becoming brand new, and if there is a higher power behind that, I thank them.

[joaquimblog]

LICEU 2023-2024: LA NOVA TEMPORADA I UNA NOVA DECEPCIÓ

Jonas Kaufmann, Lise Davidsen, Aušrinė Stundytė, Eleonora Buratto, Anita Rachvelisvili, Freddie De Tomasso, Javier Camarena, Tamara Wilson, Julia Lezhneva, Michael Volle, Adriana Gonzalez, Varduhi Abrahamyan, Magdalena Kožená, Elena Pankratova, Nadine Sierra, Maria Agresta, Gerald Finley, Elizabeth DeShong, Noms, noms, noms, alguns dels més valorats i esperats per a mi, altres que no esmento…

[operaportugues]

The Idiot (Mieczysław Weinberg) - Salzburg Festival, 17/agosto/2024

Ópera completa com legenda em português: vídeo; legenda.

Um príncipe que retorna à Rússia e é ridicularizado como um “idiota” por acreditar na bondade humana em meio a uma sociedade brutal e hipócrita, encontrando todos com compaixão e amor.

“O mundo será salvo pela beleza”. Que mistério esse homem carrega? Que conhecimento íntimo do mundo lhe dá acesso à verdade daqueles que ele encontra? Os segredos que cada um de nós guarda, os segredos que nenhum de nós ousa expor, esse homem, esse príncipe, esse “idiota” conhece todos eles. Sua aura atrai tanto quanto assusta. Buscamos seu olhar tanto quanto tememos sua presença. Um encontro com ele deixa uma marca duradoura. O “idiota” possui um poder desestabilizador que a sociedade - com sua brutalidade, sua vulgaridade, seus compromissos, suas paixões sombrias - não pode tolerar. O “idiota” representa a inversão dos valores comuns. Um valor, mais do que qualquer outro, se destaca: a compaixão. Quando confrontados com aquele que demonstra compaixão por mim, por você, por nós, nossas defesas desmoronam. A compaixão expõe a alma. Ela desarma.

Nesta década de 2020 o ódio está se espalhando, a humanidade está sendo desprezada. Enterrada sob o barulho da guerra, a voz da compaixão não está sendo ouvida. Assim, quando uma pessoa real ou, como neste caso, um personagem fictício coloca a ternura e a piedade contra os abismos da alma humana - por suas palavras ou atitudes, pela verdade que ele diz, livre de todo cálculo e de toda mentira - ficamos assustados com o escândalo de um amor que não conhece limites. Príncipe Myshkin é o nome dessa escandalosa carícia de luz. Uma carícia que transcende todo julgamento moral. O amor incondicional é uma vertigem para a qual nunca estamos preparados.

Libreto baseado no grande romance de Dostoiévski sobre a inocência destruída pela sociedade corrupta. Com música de grande poder e intensidade, esta ópera, concluída em 1985 e estreada em 2013, mostra a notável habilidade de Weinberg como dramaturgo musical, enquanto esta nova produção do ilustre Krzysztof Warlikowski promete marcar um divisor de águas em sua breve história de apresentações. Enquanto isso, poucos maestros são mais qualificados para reger a obra do que Mirga Gražinytė-Tyla, que conduz um elenco internacional de primeira linha (o tenor ucraniano Bogdan Volkov como o delicado príncipe Myshkin - um homem cuja profunda bondade é cruelmente incompreendida pela alta casta russa do século XIX - ao lado da soprano lituana Aušrinė Stundytė como a bela e problemática Nastasya Filippovna).

The Idiot é a última ópera de Weinberg, sua joia menos conhecida. Quatro partes do romance de Dostoiévski foram transformadas em três horas de música com intenso desenvolvimento sinfônico, melodias cativantes e estrutura baseada em leitmotiv. A linha da história da ópera reflete quase todas as reviravoltas do romance, mas a doença do príncipe Myshkin é deixada no passado (as cenas que mostram seus paroxismos, bem como o final, não foram incluídas no libreto). Como o protagonista está pregando os ideais do próprio compositor, os monólogos do príncipe Myshkin são os únicos fragmentos do libreto de Alexander Wiktorowitsch Medwedew (1927–2010) que não se baseiam no texto original de Dostoiévski.

No príncipe Myshkin, Weinberg encontrou uma imagem espelhada de suas próprias experiências fatídicas de vida. Weinberg teve de suportar a guerra, a perseguição de Hitler e Stalin, o assassinato de membros da família e o encarceramento na prisão estatal de Lubyanka, em Moscou. No entanto, seus poderes criativos, que também se expressaram em outras óperas, como The Passenger, Lady Magnesia, We Congratulate e The Portrait, ajudaram-no a alcançar a liberdade pessoal e artística, culminando em The Idiot.

“Há momentos em que você sai do Teatro de Ópera sem conseguir falar. Quando a combinação de texto, música, movimento e imagens atinge um n��vel de perfeição tão complexo que você não consegue encontrar palavras para o que sente… The Idiot é tão bom que chega a doer. Veja se você puder.” - Shirley Apthorp em um elogio cinco estrelas para o Financial Times.

"A última ópera de Weinberg reduz o romance de Dostoiévski à sua essência, fazendo a pergunta: O que governa o mundo, a compaixão ou o mal? No que diz respeito a trabalhos de recuperação, não há nada melhor do que os recursos e a proeminência de Salzburgo. E The Idiot, uma ópera bem feita, soa como se merecesse absolutamente um lugar no repertório." - New York Times

Mieczysław Weinberg Não faz muito tempo que a música de Mieczysław Weinberg (1919-1996) apareceu pela primeira vez no repertório dos teatros. A primeira apresentação em concerto de The Passenger, sua primeira ópera (1968), cujos protagonistas são uma ex-prisioneira de um campo de concentração e sua guarda, ocorreu em 2006 no Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre. Um festival dedicado ao 90º aniversário do compositor foi realizado na Inglaterra em 2009, apresentando suas peças instrumentais, a ópera de um ato Lady Magnesia e o Requiem. Um ano depois, Teodor Currentzis conduziu a primeira apresentação de The Passenger no Festival de Bregenz. Depois disso, vários teatros de ópera demonstraram interesse nas partituras de Weinberg, especialmente The Passenger, The Portrait e The Idiot. A música deste “compositor soviético até então desconhecido” foi uma verdadeira revelação para a Europa, enquanto o autor logo foi anunciado como o terceiro maior compositor depois de Shostakovich e Prokofiev.

Mieczysław Weinberg nasceu em Varsóvia. Em 1939, conseguiu fugir e chegar à União Soviética, enquanto toda a sua família morria no gueto. A vida do compositor mudou muito depois de conhecer Shostakovich, que se tornou seu amigo, promoveu suas obras e defendeu sua libertação quando Weinberg foi preso em conexão com o “complô dos médicos” em 1953. Weinberg sempre se considerou um discípulo de Shostakovich, embora formalmente nunca tenha recebido uma única lição dele, nem imitado seu estilo, apesar da forte influência óbvia de seu colega sênior. Embora tenha sido autor de mais de 20 sinfonias e 7 óperas, ele era mais conhecido do público em geral por seus inúmeros trabalhos em filmes e animação. O compositor morreu em 1996, sem ganhar fama mundial e convencido de que sua música, que quase nunca foi executada durante sua vida, seria totalmente esquecida após sua morte.

Weinberg’s The Idiot acclaimed at the Salzburg Festival

Salzburg Festival - The Idiot

(Vídeo) Entrevista com a regente Mirga Gražinytė-Tyla

About the Production: The Idiot

Fantasia for Cello and Orchestra, Op. 52

International Weinberg Society

Personagens principais: - Príncipe Lev Nikolaevich Myshkin: jovem ingênuo e bondoso, visto como "idiota" por sua natureza simples e moralmente incorruptível. - Nastasya Filippovna: mulher fascinante e destrutiva, cuja beleza e trágica história a tornam objeto de obsessão e conflito entre os homens. - Parfyon Rogozhin: homem intenso, que se envolve em um amor obsessivo e doentio por Nastasya Filippovna, competindo violentamente pelo afeto dela. - Lebedev: homem espertalhão e bajulador, que vive de pequenas trapaças e serve como figura cômica e traiçoeira no enredo. - Ivan Fyodorovich Epanchin: General aposentado e figura respeitável da sociedade, com uma certa ambição e orgulho, especialmente em relação às filhas. - Elizaveta Prokofevna Epanchin: sua esposa. Mulher de temperamento forte e protetora da família. - Aglaya Epanchin: filha mais nova e preferida dos Epanchin. Jovem espirituosa, com forte senso de independência e atraída pela natureza singular do príncipe Myshkin. - Aleksandra Epanchin: filha mais velha, mais serena e madura, com postura mais prática e racional em comparação às irmãs. - Adelaida Epanchin: a segunda filha, talentosa e artística, envolvida com pintura e expressando um lado criativo e sensível. - Ardalionich Ivolgin (Ganya): secretário de Epanchin e jovem ambicioso, ele está dividido entre o desejo de ascender socialmente e o dilema moral causado por seu interesse em Nastasya Filippovna. - Varvara (Varya): irmã de Ganya, é uma jovem pragmática e direta, que costuma observar e comentar com acidez as situações em que sua família se envolve. - Pais de Ganya e Varya - Totsky Afanasy Ivanovich: ex-amante de Nastasya. Um aristocrata rico e influente, com um passado conturbado envolvendo Nastasya Filippovna, cuja vida ele alterou profundamente, tornando-se um símbolo da corrupção moral.

Sinopse: O jovem príncipe Myshkin, que sofre de epilepsia, retorna totalmente destituído a São Petersburgo depois de passar vários anos em um sanatório suíço. Ele se vê imediatamente envolvido em uma rede de intrigas em torno da bela de olhos escuros Nastasya. Seu amor por ela força o decente Myshkin a ter um relacionamento difícil com seu impulsivo rival Parfyon Rogozhin, filho de um rico comerciante. Nastasya é fascinada pela profunda loucura do príncipe, que, nesse meio tempo, tornou-se milionário graças a uma herança repentina. A tentativa de Rogozhin de acabar com seu adversário fracassa porque Myshkin sofre um ataque epilético durante a tentativa de assassinato.

A reação de Myshkin à profunda afeição de Aglaya, a orgulhosa e intocada filha mais nova dos Epanchin, com quem ele tem um parentesco distante, revela sua trágica incapacidade de se comprometer de verdade. Nastasya dá seu consentimento aparentemente irrevogável ao preocupado príncipe em Pavlovsk, mas foge alguns minutos antes do casamento com Rogozhin para São Petersburgo.

Em um acesso de ciúme furioso, Rogozhin esfaqueia Nastasya até a morte e passa horas de devoção ao lado da mulher assassinada. Após uma busca desesperada, Myshkin encontra a cena do crime horrível. Esquecendo-se de si mesmo, ele acaricia a cabeça de Rogozhin, que está afundado em uma dolorosa paralisia.

Quadro "O Corpo de Cristo Morto na Tumba" pintado pelo artista suíço Hans Holbein, o Jovem, em 1521. Em "O Idiota", esta pintura impacta profundamente o Príncipe Myshkin, devido à sua representação crua e realista do corpo de Cristo após a crucificação.

[bukimevieningi]

Varškės sūrelių kovos: A. Armonaitė prieš Ž. Savicką

Socialiniuose tinkluose buvo pasklidusi informacija, kad neva “UAB Uriga” gaminamuose sūreliuose yra priedų iš vabzdžių. Pasirodo, kad “Urigos” varškės sūreliuose nėra priedų iš vabzdžių, apie kuriuos buvo paskelbusi “Maximos” internetinė parduotuvė “Barbora”, o nuo jos nusikopijavo “E-Gulbelė”. Po paskelbtų naujienų apie svirplių miltus, žmonės pasidarė atidesni ir pradėjo skaityti maisto prekių…

[legitbabynames]

Aušra, Aušrinė

[mitologismo]

Aušrinė and Vakarinė (Aušrinė, the Morning Star, comes from the word Aušra, meaning Dawn, while Vakarinė, the Evening Star, comes from the word Vakaras, meaning Evening) Interpreted both as sisters, or as two different sides of one Goddess, Aušrinė and Vakarinė represent beauty, youth, and health. The two were beautiful maidens who helped Saulė with her daily work - Aušrinė would light up Saulė’s home in the morning, while Vakarinė made her bed at night. This too, became the same for their people - they greeted Aušrinė at daybreak, and said goodnight to Vakarinė when she began to shine in the sky. Even after Mėnulis fell in love with Aušrinė and separated himself from Saulė, Aušrinė continued to stay faithful to her mistress.

[epic-summaries]

Women in Mythology - Hausos the Dawn Goddess

Has anyone thought about how weird it is to have a deity for the dawn. The dawn isn’t like the sun or the moon, you can’t really see it. It’s not an important everyday function like caring for the hearth. It’s not a job like blacksmiths. It happens and it’s beautiful but it’s not physical. I googled “dawn definition” and the first thing that comes up is “the first appearance of light in the sky before sunrise.” (The Google Dictionary). It’s weird to deify a small period of time. It’s probably why there are so little dawn deities. There are only two mythologies with dawn deity/spirits (maybe three but Tefnut is the goddess of the morning dew and moisture, that’s not really the dawn) which are not from Indo-European cultures. These deities are the Shinto’s Ame-no-Uzume-no-mikoto and the Sioux’s Anpao (which btw has two faces and I love that fact, it makes a lot of sense to me). All other deities are from Indo-European countries. Which is why “Dawn goddesses are crucial in Indo-European comparative mythology…” (Source 1 to an article about Eostre and Bede.) Dawn goddesses, lunar and solar chariots and Sky Fathers are the backbone of comparative Indo-European mythology studies. (I seriously considered doing something comparing Indra and Zeus but I was already looking up dawn goddesses for funsies. This whole thing was written for funsies tbh).  

What is Indo-European Mythology? Short of it, so I can get to the comparing of deities, is that Indo-Europeans are a theorized people that that originated the Indo-European languages (English, French, Spanish, Sanskrit, Hindi, Hittite, Persian, Greek, etc.). There are also a few similarities between the mythologies. Which, you can explain as surrounding cultures influencing each other or if you a psychoanalyst you believe that the similarities between all of them is because of a deep shared self conscious or that they all originated from one original deity. Indo-European mythology exist because of the last mindset.        

Using comparative mythology, we can assume some of the Indo-European Pantheon. It’s a bottom down perspective. And I want to do this exercise, so let’s compare some Dawn Deities. 

Was the original Indo-European Dawn Goddess really named Hausos? I can say with 99.9% certainty no. Hausos is scholar’s best educated guess

1. Auseklis - Latvian Mythology

Sadly, I can’t find to much about him (or her, Auseklis is either one). Yeah, this is the god of the dawn and morning star (aka Venus). He is subordinate to the moon but also serves the sun. He is associated with marriages, bath-houses and birth.

2. Aušrinė - Lithuanian Mythology

I can find more about her then I can about her Latvian counterpart. She had an affair with the Moon God, which caused Sun Goddess and the Moon God to basically divorce. Aušrinė lived on sea-girt island where she takes cares of magical apples that will bring love to people who eats them. Also she had cows that made boiling milk (ummm) that will make you beautiful (sure). Also, she’s connected to maidens, weaving, love, weddings and baptism (she’s later connected with the Virgin Mary when Lithuania was Christinized). And there is a myth of a man falling in love with her after finding her golden hair in the water of a lagoon. She also makes the sun’s fire every morning (that makes a lot of sense). 

3. Aurora - Roman Mythology

Sadly we don’t have much from just Aurora and most stories with Aurora are actually stories about Eos. She gave sight to Orion.

She is the mother of the morning star, Lucifer. It’s cool that the dawn and the morning star are separated. 

4. Brigid - Irish Mythology

Every list of dawn goddesses has her or some articles will say that she comes from the original Indo-European dawn goddess. But they never explain why. In her list of what she is the goddess of, they never mention the dawn. She’s the blacksmith goddess, the goddess of the spring, the fertility goddess, the healing goddess, the poetry goddess.

My favourite quote from my research is “About Brigid there has been scant evident. (...) questions need to be asked about her origins, her functions, in early Irish society, and existing tradition (...)” (Mother Worship:There and Variations, source below)

Sure, spring and beautiful things are often associated with the dawn but that is not enough to convince me that she is a dawn goddess. Also, her name doesn’t fit well, unlike Ēostre.

5. Eos - Greek Mythology

She’s properly the goddess who’ve heard the most about, she’s Greek. She’s the daughter of Hyperion (titan of light) and Theia (she was a titaness and probably had something to do with light, being also called wide-shining). Eos is the sister of Helios (the sun) and Selene (the moon). She is also married to Astraeus (dusk), but if you didn’t know that, I don’t blame you. Eos was well known for getting around a lot. She loved Orion, Tithonus, Cephalus, Cleitus and Ares. Tithonus is a pretty famous story, Eos asks Zeus for Tithonus to become immortal which Zeus does, but as the asshole he is, he didn’t make Tithonus eternally youthful and Tithonus becomes dust. (Zeus it was in the subtext to make him eternally youthful.) When she has an affair with Ares, Aphrodite curses Eos to be constantly falling in love or just to have an unsatisfied sexual desire. Eos also had some children in the Trojan war, when he died, she cried which created the morning dew. And she was the mother of the anemoi (aka the winds).

She had the classic job of announcing the coming of her brother Helios. She seems like his assistant. She also rides her own chariot of Pegasi.

I love how she is constantly being called the rose finger goddess. I find that pretty.  

6. Ēostre/Ostara - Germanic Mythology

She’s more of a spring goddess then anything. But I keep seeing her on list (not just Wikipedia), so I have to add her. Though, I’m more confident in adding her because she linguistically looks like she belongs. And I can see how the dawn goddess becomes a spring goddess (still very iffy on Brigid mainly due to linguistics). Spring announces summer, like dawn announces day (I have no proof of this, it’s just logically I can see how this can happen). Though, there are some scholars who believes that Ēostre might have been an invention from Bede, because that’s the first time they hear about her.

So, Ēostre is associated with spring and fertility. Then there are tons of theories of how she very probably connected with Easter celebration, rabbits how she might just be a spring goddess and not a dawn goddess. She can’t be both? She couldn’t have started out as dawn goddess then became a spring goddess? Bede is writing in the 8th century, at the very least over a thousand of years after the Indo-Europeans migrated. Things change in a thousand years, especially without writing. Hell, Eos and Ushas changed even with writing.

7. Thesan - Etruscan Mythology

She was the dawn goddess and evoked in childbirth. All I could find about her.

8. Ushas - Vedic Hindu Mythology

For brevity sake, there are many different sects of Hinduism. Anyway, Ushas is found in the Rigveda which is one of the oldest texts written in an Indo-European language. In this text the three most important gods are Agni (fire), Soma (moon and plants) and Indra (the king of gods and the weather god). The most important goddess is Ushas, she’s found in many hymns. Her sister is Ratri (night) and her brother is Chandra/Soma (moon) and sometimes she is married to Surya (sun). In her Vedic hymns she is considered the most beautiful of the goddess. She rides a chariot of either horses or cows so she could make way for Surya. She chases away demons and the dark. Interestingly, she is renewed or made young again everyday (reminding me of Ra’s journey). She also breaths all life. I’m very interested in the fact that in that she’s all seeing much like Helios is in Greek Mythology. And, she is sometimes the sister of the twin horse gods Ashvins (and health and medicine gods too), which also are theorized to be originally Indo-European.

9. Zorya - Slavic Mythology

Hahahaha, who decided they would also be known as the Auroras. I have a feeling it was some Western European with classical knowledge decided that. Anyway, one is the dawn and the other is the dusk and one is midnight. The dawn Zorya, named Utrennyaya, has been described as Perun’s wife (Perun is the law and weather god) or both her sister and her were the wives of Jarylo, the god of springtime (interesting). Utrennyaya’s job is to open the gates for the sun every morning. She was the goddess of horses, protection, exorcism, and the planet Venus. I like how there job was guard a chained dog who wants to eat Ursa Minor, because if that happens the end of the world would start. Zoryas are also protectors of warriors where they would show up like maidens with veils and shields of their favourite battles.  They also lived on a paradise island, much like Aušrinė (though the two cultures are neighbours).

So, what educated guesses can we make about the Hausos? The dawn goddesses is beautiful (who would have guessed? It’s not like sunrise is stereotypically the most beautiful time of the day? Sarcasm btw). Dawn goddesses usually have a story involving immortally and aging (see I didn’t just mention Tithonus because it was famous). Many are either springtime goddesses or somehow connected to the deity of the spring. Hausos might have also been a love goddess, since the other dawn goddesses will either be love goddesses or have many lovers (of course there were the apples that made you fall in love too). I don’t know where Wikipedia gets that she might be a weaving goddess. I get it. She weaves the the cloth like she weaves the day but I didn’t see weaving as a theme in enough goddesses (only one) to be confident in making an educated guess that the Indo-European dawn goddess would have anything to do with weaving.

Women in Mythology Series: Previous Morgiana  

Links to sources because I got lost in research a lot: 

1.  The Goddess Eostre: Bede’s Text and Contemporary Pagan Tradition(s)

2.  Indo-European Deities and the Rgveda

3. Wikipedia 

4.  The Routledge Dictionary of Gods and Goddesses, Devils and Demons

5.  SIGNS OF MORNING STAR AUŠRINĖ IN THE BALTIC TRADITION: REGIONAL AND INTERCULTURAL FEATURES 

6.  Encyclopedia of Goddesses and Heroines 

7.  Sun Myths in Lithuanian Folksongs

8.  Mother Worship: Theme and Variations 

9. Theoi 

10.  Greek and Roman Mythology, A to Z 

[sexymonstersupercreep]

stunning skin - super astra superficiem

== amit friedman == madison stubbington == gemma arterton == zoe barnard == alina kovalenko == vinette robinson == alexandra madar == aušrinė marija abramaitytė == chloe melton == berit heitmann ==

[a-chaotic-dumbass]

bestie i started an entire notebook just bc i got so lost in the sauce😭 so behold! one of the two family trees bc im still working on the third (ill take any excuse to info dump abt some of the characters xx)

Sohar family tree

going from top to bottom, talking abt the Sohar dynasty specifically:

Marijona Sohar was the reigning queen till the start of the story who's death was basically the catalyst for the war (also the titular ice queen🤭) because she was the only child of her father, after his death, she was set to inherit the throne by law. problem being that she had multiple uncles who were more than willing to usurp her, said uncles marrying themselves and their children off for alliances with neighboring countries. while the uprisings and the rebellions were defeated by Marijona and her husband Arturas and her position was mostly secure, the descendants of her uncles still had a claim to the throne, a claim which they stake after she dies of old age. (keep in mind that she was a prophet)

now, Marijona and Arturas had three children: Genovaite, Cirilis and Junda. she had married Genovaite off to Cairo Solstice(the de facto ruler of the Solace islands which is a major point in the trading routes, having a massive fleet. despite the rather small population of locals, being a major hotspot for trading ships meant lots of money which they used for mercenaries). (Genovaite would've been set to inherit the throne but Marijona needed their ships asap and didn't exactly have time to pop out another daughter so yk. some resentment there) now, thats all well and good, the alliance helping Marijona secure her throne with the first wave of rebellions, but the problems start by the end of Marijona's reign when she dies, because by then, Genovaite has three children with Cairo: Eimantas, Rytis and Audra(wont talk abt them now even tho theyre my pookies bc id need the solace family tree ready), and Cario's health starts to fail due to a plague, which happens around the same time that the first attacks were launched against Soharas. now, bc of his failing health, Genovaite refuses to send aid and shuts down the ports, a fact that her son Eimantas was vv upset with

then Cirilis! he's Marijona's heir despite being the second child, currently only the de facto ruler of Soharas bc despite Marijona's death, Arturas is still vv much alive and dying of cancer. he indeed has two wives, the first one being Sigrid Falkanberg and the second one being Yulija Balanda. his marriage with Sigrid was, again, arranged by Marijona, who wanted Niflheim's support, problem being that unlike Genovaite and Cairo, Sigrid and Cirilis's marriage is cold at best. after her first few miscarriages, Sigrid did bear a child Vele (my special pookie bear), but failed to conceive any more children afterwards and had very bad post partum depression, something that straigned her relationship with Cirilis even further. a few years after Vele's birth, Cirilis took a second wife Yulija Balanda, something Marijona wasn't pleased with but allowed. he was much more fond of Yulija and genuinely seemed to love her. she gave birth to a girl Elana and at the time of the story is pregnant with a boy Janas.

then the thirdborn is Junda! now, she never married and was basically raised as Cirilis's shadow, both to advise him and lead his armies. during the first rebellion, she was charged with bringing back a dragon by Marijona, only to go above and beyond and bring back Aušrinė after nearly besting them in a duel elden ring style.(which may or may not lead to a star crossed lovers scenario wink wink) thing is that at one point or another, Junda leads a surprise attack on one of the castles in which was were the heir to the enemy kingdom, his son and wife were hiding. while Junda's men did kill the heir and his wife as retaliation, she couldnt bring herself to kill the boy who was a toddler at most, afterwards defecting from Soharas and fucking off across the three seas with the boy (Junda returns later with the boy once he grows like the rightful king fairy tales) and in the process might just meet with Baldr 'Stormborne' Vilulf who i'll need a separate post for

now onto the last gen for now. Vele Sohar is Sigrid's and Cirilis's son and heir, being somewhere in his late teens by the time Marijona dies. he has a governess Vesta Matka, a woman who has formed a contract with the fire deity Gabija, the daughter of Sohadas, aka the only dragon to truly die who's bones r the mountains the kingdom of Soharas is built on, and two half siblings, Elana and Janas. (side note bc im p sure i mightve accidentally made all three of Cirilis's children a little autistic?? write what u know i suppose). thing abt Vele is that Sigrid was fiercely protective over him as a child, and despite her love for her son, wasnt the best mother figure, often encouraging him not to view Elana as his sister or to at least call the girl his half sister and alike, something that hurt his and Elana's relationship. Sigrid also had a strained relationship with Yulija for obvious reasons, and whenever Yulija tried to act as step-mother(?) to Vele, it only proved to upset Sigrid. Vele really loved his with his aunt Junda and governess though, both of the women acting as a sort of mother figures to him, Vesta especially due to her loss of her own child. when Junda disappeared, he was very upset, something that only worsened when the Winter Palace was taken, leading to Vele forming a contract with Aušrinė to save himself, leaving him stranded in the mountains, unaware if anyone of his family was alive and a new voice in his head

Elana! (also might be plagues with the autism curse which most of my characters seem to have) she's the daughter of Cirilis and Yulija and the half sister of Vele. she was a very quiet child, shy and demure, lacking the bravery and stubbornness of her half-brother. by the start of the story, Elana is somewhere from her early to mid teens. unlike Sigrid, Yulija was a more... loving? mother, spending time with Elana, gifting her a dove and promising to take Elana to Yulija's family's dutchy, something that Vele was pretty jealous over. still, Elana did love her brother and admired him in a way, though she was always scared of their grandmother, thinking her eyes to be odd, such a pale grey that they looked white. still, she loved their grandfather, and when she learned of his impending death so soon after she saw Cirilis be wrecked by Marijona's, she was terrified, and during Marijona's pyre, she was crying. after the fall of the Winter Palace, she manages to escape with her newborn brother Janas and governess Vesta, seeking refuge from a medic Cessair Bellamy (rur's pookie), while Yulija was taken hostage

the bitches i pull by making oc family trees