Таң қызы – ежелгі грек құдайының шығу тегі мен эволюциясы

Greek goddess of the dawn
the Greek goddess
found in a tablet from Pylos; it has been interpreted as a shepherd's personal name related to "dawn", or dative form Āwōiōi. Heinrich Wilhelm Stoll offered a different (now rejected) etymology for ἠὼς, linking it to the verb αὔω, meaning "to blow", "to breathe." Lycophron calls her by an archaic name, Tito, meaning "day" and perhaps etymologically linked to "Titan". Karl Kerenyi observes that Tito shares a linguistic origin with Eos's lover Tithonus, which belonged to an older, pre Greek language.

All four of the aforementioned goddesses sharing a linguistic connection with Eos are considered derivatives of the Proto Indo European stem *h₂ewsṓs (later *Ausṓs), "dawn". The root also gave rise to Proto Germanic *Austrō, Old High German *Ōstara and Old English Ēostre / Ēastre. These and other cognates led to the reconstruction of a Proto Indo European dawn goddess, *h₂éwsōs. In the Greek pantheon, Eos, Helios and Zeus are the three gods that are of impeccable Indo European lineage in both etymology and status, although the former two were sidelined in the pantheon by non PIE newcomers. A common epithet associated with this dawn goddess is *Diwós Dhuǵh2tḗr, the 'Daughter of Dyēus', the sky god. In Homeric tradition however, Eos is never stated to be the daughter of Zeus (Διὸς θυγάτηρ, ), as she is instead the daughter of the Titan Hyperion, who plays little role in mythology or religion. Rather, a commonly occurring epithet of hers is δῖα, dîa, meaning "divine", from earlier *díw ya, which would have translated into "belonging to Zeus" or "heavenly". Eos's characterization as a lovestruck, sexual being who took many lovers is directly inherited from her PIE precursor. A common and widespread theme among Hausos's descendants is their reluctance to bring the light of the new day. Eos might have also played a role in Proto Indo European poetry. both goddesses were known for their erotic beauty and aggressive sexuality, both had relationships with mortal lovers, and both were associated with the colors red, white, and gold. Michael Janda etymologizes Aphrodite's name as an epithet of Eos meaning "she who rises from the foam [of the ocean]" and points to Hesiod's Theogony account of Aphrodite's birth as an archaic reflex of Indo European myth. On the other hand however, it is generally accepted that Aphrodite's name etymology is Semitic in origin, and its exact meaning and derivation cannot be determined. Evidence is also provided by an Italic red figure krater in which Aphrodite is shown holding a mirror beneath a solar disc while the Theban hero Cadmus slays the dragon, with a female figure nearly identical to Aphrodite being depicted on another krater labelled "ΑΩΣ", or Aṓs, the dawn; this shows that although Aphrodite is assimilated to Astarte/Inanna, in Greek artistic tradition she is sometimes presented in a similar matter to Eos. Aphrodite, like Eos, is predator and not prey, as no tales of men assaulting Aphrodite exist, but there are many where she abducts mortal men reversing the traditional theme of gods and men pursuing maidens, in the same fashion as Eos. Not only does Aphrodite abduct or seduce mortal men as Eos does, but even cites Eos' own adventures with Tithonus when she seduces Anchises. The two goddesses are presented as both maleficent and beneficent abductors, as they confer both death (maleficent) and preservation (beneficent) to their mortal lovers. The two goddesses exist almost side by side in the myth of Phaethon of Syria, with Eos as his mother and Aphrodite as his lover and abductor. Moreover, another telling point is how the name “Aoos” is recorded as both a name for Adonis, Aphrodite's East originating lover, and a son of Eos by Cephalus (like Phaethon) who became king of Cyprus, an island that was regarded as Aphrodite's birthplace. This suggest a mixture of Mycenaean and Phoenician religions on the island; it is possible that Aoos was originally a generic name used for Eos’ son or lover, which was then attached to Aphrodite in the form of a consort of the same name as she developed from Eos.

Eos is usually described with rosy fingers or rosy forearms as she opened the gates of heaven for the Sun to rise: the singer in the Homeric Hymn to Helios calls her ῥοδόπηχυν , "rosy armed", as does Sappho, who also describes her as having golden arms and golden sandals; vases depict her rosy fingered, with golden arms. She is pictured on Attic vases as a beautiful woman, crowned with a tiara or diadem and with the large white feathered wings of a bird. In Homer, her saffron colored robe is embroidered or woven with flowers. Mesomedes of Crete used χιονοβλέφαρος for her, "she who has snow white eyelids", while Ovid described her as "golden". The delicate and fragile beauty of her appearance seems to be in total contrast with the carnal nature that was often attributed to her in myth and literature.

According to Greek cosmogony, Eos is the daughter of the Titans Hyperion and Theia: Hyperion, a bringer of light, the One Above, Who Travels High Above the Earth and Theia, The Divine, also called Euryphaessa, "wide shining" and Aethra, "bright sky". Eos is the sister of Helios, the god of the sun, and Selene, the goddess of the moon, "who shine upon all that are on earth and upon the deathless gods who live in the wide heaven". Out of the four authors that give her and her siblings a birth order, two make her the oldest child, the other two the youngest.

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