Богиня Рассвета в Праиндоевропейской Мифологии

Dawn goddess in Proto Indo European mythology

or is the reconstructed Proto Indo European name of the dawn goddess in the Proto Indo European mythology. 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. Her attributes have not only been mixed with those of solar goddesses in some later traditions, most notably the Baltic sun deity Saulė, but have subsequently expanded and influenced female deities in other mythologies.

The reconstructed Proto Indo European name of the dawn, , derives the verbal root ('to shine', 'glow red', 'a flame') extended by the suffix The same root also underlies the word for 'gold', , inherited in Latin aurum, Old Prussian ausis, and Lithuanian áuksas. The word for the dawn as a meteorological event has also been preserved in Balto Slavic *auṣ(t)ro ( Lithuanian aušrà 'dawn', 'morning light', Proto Slavic *ȕtro 'morning', 'dawn', Old Church Slavonic za ustra 'in the morning'), in Sanskrit uṣar ('dawn'), or in Ancient Greek αὔριον ('tomorrow'). A derivative adverb, , meaning "east" , is reflected in Latvian àustrums ('east'), Avestan ušatara ('east'), Italic (compare Latin auster 'south wind, south'), Old Church Slavonic ustrŭ ('summer'), and Germanic *austeraz ( Old Norse austr, English east, Middle High German oster). The same root seems to be preserved in the Baltic names for the northeast wind: Lith. aūštrinis and Latvian austrenis, austrinis, austrinš. Also related are the Old Norse Austri, described in the Gylfaginning as one of four dwarves that guard the four cardinal points (with him representing the east), and Austrvegr ('The eastern way'), attested in medieval Germanic literature.

A common epithet associated with the Dawn is , the Daughter of , the sky god. Cognates stemming from the formulaic expression appear in the following traditions: 'Daughter of Heaven' in the Rigveda (as an epithet of Ushas), 'Daughter of Zeus' (probably associated with Eos in pre Homeric Greek), 'Daughter of Dievas' (an epithet transferred to a Sun goddess in the Lithuanian folklore). Also in northern Albanian folk beliefs Prende, a dawn goddess, is regarded as the daughter of the sky god Zojz.

The Dawn goddess is sometimes portrayed as un ageing and her coming as an eternal rebirth. She is ἠριγένεια ('early born', 'born in the morning') as an epithet of Eos in the Ancient Greek Iliad, and the Ancient Indian Rigveda describes Ushas, the daughter of Dyáuṣ, as being born from the harnessing of the Aśvins, the divine horse twins driving the chariot of the sun.

A widespread characteristic given to the Dawn is her 'brilliance'; she is generally described as a "bringer of light". Various cognates associated with the dawn goddess indeed derive from the Proto Indo European root , meaning 'to glow', 'shine'. The Vedic Ushas is described as bhānty Usásah ('the Dawn's shine'), the Avestan Ušå as uši bāmya ('shining dawn') and the Greek Eos as φαινόλις ('light bringing'), φαεσίμβροτος ('shining on mortals'), or λαμπρο φαής ('bright shining'), attested in an Orphic hymn to the Dawn. 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. 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). Eos is also 'saffron robed' (κροκόπεπλος) in Homeric poems, while Ushas wears crimson (rose red) garments and a "gleaming gold" veil. 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. Saffron, red and purple are colours also associated with the dawn by the Latin poet Ovid. efn|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). Ovid describes her "purple hand" (purpurea manu) and "saffron hair" (croceis Aurora capillis). In Metamorphoses, the Dawn is moving on "saffron wheels", and his poem Fasti tells of Aurora, "Memnon's saffron mother" (Memnonis lutea mater), as arriving on rosy horses (in roseis equis), 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). Ancient Greek poet Nonnus refers to the Dawn as "rose crowned" (ῥοδοστεφέος, rhodostephéos) in his poem Dionysiaca. In Lucretius's De Rerum Natura, Book V, Latin deity Mater Matuta "spreads the rosy morning" (roseam Matuta auroram differt), 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). In an Orphic Hymn (77/78), the goddess Eos is said to be 'blushing red' or 'reddening' (ἐρυθαινομένη). In the Lithuanian tradition, the sun is portrayed as a "golden wheel" or a "golden circle" that rolls down the mountain at sunset. 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. 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; in a Russian saying, the goddess Zorya is invoked as a krasnaya dyevitsa (красная девица 'red maiden'); in another story, the "red maiden" Zorya sits on a golden chair and holds a silver disk or mirror (identified as the sun); 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". 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.

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. 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. The spread hand as the image of the sun's rays in the morning may also be of Proto Indo European origin. 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 ). They are also similar with Latvian poetic songs where the Sun god's fingers are said to be 'covered with golden rings'. According to Martin L. West, "the 'rose' part is probably a Greek refinement." Another trait ascribed to the Dawn is that she is "wide shining" or "far shining" an attribute possibly attested in Greek theonym Euryphaessa ("wide shining") and Sanskrit poetic expression urviyắ ví bhāti ('[Ushas] shines forth/shines out widely').

Another common trait of the Dawn goddess is her dwelling, generally situated on an island in the Ocean, or sometimes in an Eastern house. In Greek mythology, Eos is described as living 'beyond the streams of Okeanos at the ends of the earth'. A more precise location is given in the Odyssey, by poet Homer: in his narration, Odysseus tells his audience that the Aeaean isle is "where is the dwelling of early Dawn and her dancing lawns, and the risings of the sun". 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. The Avesta refers to a mythical eastern mountain called Ušidam ('Dawn house'). The Yasnas also mention a mountain named Ušidarɘna, possibly meaning "crack of dawn" (as a noun) or "having reddish cracks" (as an adjective). 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. In the Baltic folklore, Saulė is said to live in a silver gated castle at the end of the sea, located somewhere in the east, In folksongs, Saule sinks into the bottom of a lake to sleep at night, in a silver cradle "in the white seafoam".

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. 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. 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. 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'. Saulė, a sun goddess syncrethized with the Dawn, also drives a carriage with copper wheels, a "gleaming copper chariot" or a golden chariot pulled by untiring horses, or a 'pretty little sleigh' (kamaņiņa) made of fish bones. Saulė is also described as driving her shining car on the way to her husband, the Moon. or a golden boat, In a Latvian folksong, Saule hangs her sparkling crown on a tree in the evening and enters a golden boat to sail away.

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). 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. Baltic sun goddess Saulė's horses are said to be of a white color; When she begins her nocturnal journey through the World Sea, her chariot changes into a boat and "the Sun swims her horses", which signifies that "she stops to wash her horses in the sea". 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.

is often depicted as the opener of the doors or gates of her father the heaven : the Baltic verse pie Dieviņa namdurēm ('by the doors of the house of God'), which Saulė is urged to open to the horses of the son(s) of God, is lexically comparable with the Vedic expression dvā́rau Diváḥ ('doors of Heaven'), which Ushas opens with her light. Another parallel could be made with the 'shining doors' (θύρας φαεινάς) of the home of Eos, behind which she locks up her lover Tithonus as he grows old and withers in Homer's Hymn to Aphrodite. and in Nonnus' Dionysiaca the Dawn goddess shakes off her sleep and leaves Kephalos' repose in order to 'open the gates of sunrise' (ἀντολίης ὤιξε θύρας πολεμητόκος Ἠώς). Other reflexes may also be present in other Indo European traditions. In Slavic folklore, the goddess of the dawn Zorya Utrennyaya open the palace's gates for the journey of her father Dažbog, a Slavic Sun god, during the day. Her sister Zorya Vechernyaya, the goddess of dusk, closes them at the end of the day. In a passage of the Eddas about Dellingr, a Norse deity of light, a dwarf utters a charm or incantation in front of 'Delling's doors' (fyr Dellings durum), which apparently means "at dawn". 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): 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.

In Indo European myths, is frequently depicted as a reluctant bringer of light for which she is punished. 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. The Divine Twins are often said to rescue the Dawn from a watery peril, a theme that emerged from their role as the solar steeds.

An expression of formulaic poetry can be found in the Proto Indo European expression ('it dawns'), attested in Lithuanian aušta and aũšti, Latvian àust, Avestan usaitī, or Sanskrit ucchāti. The poetic formula 'the lighting dawn' is also attested in the Indo Iranian tradition: Sanskrit uchantīm usásam, and Young Avestan usaitīm uṣ̌ā̊ŋhəm. A hapax legomenon uşád bhiḥ (instr. pl.) is also attested. Other remnants of the root are present in the Zoroastrian prayer to the dawn Hoshbām, and in Ušahin gāh (the dawn watch), sung between midnight and dawn. 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. 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)'". 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. The word is of Slavic origin, with the term for 'dawn' attached to the Romanian article le. 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.

Scholars have argued that the Roman name Aurēlius (originally Ausēlius, from Sabine 'sun') and the Etruscan sun god Usil (probably of Osco Umbrian origin) may be related to the Indo European word for the dawn. A figure in Belarusian tradition named Аўсень (Ausenis) and related to the coming of spring is speculated to be cognate to
Remnants of the root and its derivations survive in onomastics of the Middle Ages. A medieval French obituary from the 12th century, from Moissac, in Occitania, registers compound names of Germanic origin that contain root Aur (e. g., Auraldus) and Austr (e. g., Austremonius, Austrinus, Austris). Names of Frankish origin are attested in a "polyptyque" of the Abbey of Saint Germain des Prés, containing aust (sometimes host or ost ) and austr (or ostr > French out ). Germanic personal names in Galicia and Iberian toponyms with prefix aus , astr and aust (> ost ) also attest the survival of the root well into medieval times. A character named Gwawrdur is mentioned in the Mabinogion tale of Culhwch and Olwen. Stefan Zimmer suggests either a remnant of the Dawn goddess or a name meaning "(with) the color of steel", since gwawr may also mean 'color, hue, shade'. The name also appears in the Canu Aneirin under the variants Gwardur, Guaurud, Guaurdur, (G)waredur, or (G)waledur. All of these stem from the Middle Welsh gwawr ('dawn'; also 'hero, prince'). According to linguist Ranko Matasović, the latter derives from Proto Celtic *warī ('sunrise, east', Middle Irish fáir), itself from the PIE root ('spring'). 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 'she who brings the light through', from which also the Ancient Greek Περσεφάττα, a variant of Περσεφόνη (Persephone), is considered to have regularly descended. In Albanian folklore Prende is also called Afër dita – an Albanian phrase meaning 'near day', 'the day is near', or 'dawn' – which is used as a native term for the planet Venus: (h)ylli i dritës, Afërdita 'the star of light Afërdita' (i. e. Venus, the morning star) and (h)ylli i mbrëmjes, Afërdita (i. e. Venus, the evening star). The Albanian imperative form afro dita 'come forth the dawn' traces back to Proto Albanian 'come forth brightness of the day/dawn', from PIE According to linguist Václav Blažek, the Albanian word (h)yll ('star') finds a probable ultimate etymology in the root ('dawn'), specifically through ('morning star'), which implies the quite natural semantic evolution 'dawn' > 'morning star' > 'star'.

According to Michael Witzel, the Japanese goddess of the dawn Uzume, revered in Shinto, was influenced by Vedic religion. It has been suggested by anthropologist Kevin Tuite that Georgian goddess Dali also shows several parallels with Indo European dawn goddesses. A possible mythological descendant of the Indo European dawn goddess may be Aphrodite, the Greek goddess of love and lust. Scholars posit similarities based on her connection with a sky deity as her father (Zeus or Uranus) and her association with red and gold colours. In the Iliad, Aphrodite is hurt by a mortal and seeks solace in her mother's (Dione) bosom. Dione is seen as a female counterpart to Zeus and is thought to etymologically derive from Proto Indo European root .