Slavic Order

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A polytheistic sect that believes in Perun, the god of thunder, Rogg, the god of creation, Svarog, the god of fire, and Veles, the god of death and water. It has origins with the Olympian Order and is also influenced by the Asgardian Order. and the influence of the Tngrism, so many magical ritual styles are biased towards the three religions.

## Detailed introduction

Russian and Ukrainian mythology are Slavic myths that belong to the Indo-European mythology branch. Slavic mythological classics have not survived. The religious-mythological integrity of polytheism has disappeared during the Christianization period of the Slavs. The basic components of Slavic mythology can only be constructed based on second-hand written texts, folk creations, and physical materials.

The main sources of information on early Slavic mythology are medieval chronicles, historical records written by objective explorers in German and Latin (Balto-Slavic national mythology), and historical records written by Slavic authors (Polish and Czech tribes myths), valuable material aimed at combating polytheism (the Analects) and various historical texts (myths of the Eastern Slavs), and included in Byzantine writers (beginning with Procopius, 6th century AD ), as well as geographical works by medieval Arab and European writers. Late folk literature and ethnographic collections can provide extensive information on Slavic mythology. The same can be said for polytheistic information (certain plots, mythological characters and artifacts). These basically belong to the various periods following the "Proto-Slavic period", and are nothing more than some fragments of the entire Slavic mythology. In terms of age, there are relevant ceremonies, holy places (Arcona, near Novgorod The archaeological data of temples in Perun and other places) and certain statues (Zbruch idols, etc.) are consistent with the original Slavic period.

For restoring the original appearance of Slavic mythology, historical comparative studies with the mythological systems of other Indo-European peoples, especially the myths of the Baltic tribes, which are famous for their antiquity, are extremely important sources of information. . This comparison helps to reveal the origin of Slavic mythology and its series of titles and representations in the mythology of Indo-European peoples [including the main myth in Slavic mythology, that is, the myth about the battle between the god of thunder and rain and his opponent (monster) , different from the myths of Iran, Germanic and other Eurasian peoples, and later distinguished from Christian myths. All of the above have caused obvious changes in Slavic mythology. Slavic myths can be divided into several categories in terms of the functions of mythological characters, the relationship between mythical characters and the collective, the degree of individual incarnation, the characteristics of their time expression and their practical significance to people.

The characteristic of the superlative category is that the functions of the gods are extremely general (ceremonial-judicial functions, military functions, economic-natural functions), and are not unrelated to official worship (even the temples of early countries). Belonging to the highest category of Slavic mythology, they are the two gods of the original Slavs. After detailed research and construction, they are named Peruns ("Perun" and Veles ("Viles"), and there are many female images closely related to them. , its original Slavic name remains to be explored.

The above-mentioned gods were regarded only as embodiments of war-fighting and economic-natural functions. They are both characters in thunderstorm myths and are related to each other: Perun, the god of thunderstorms, lives on the top of the celestial mountain and keeps a close eye on the snake-shaped enemy living in the earth below. The cause of their discord was that Veles stole livestock, people, and, according to some myths, the wife of the God of Thunder. The chased Veles was forced to hide under trees and rocks, transforming into humans, horses and cows. As he battled with Veles, Perun split trees, smashed rocks, and fired bolts of electricity. Finally, he rained down the rain of fertility and finally won the victory. Scenarios like this are likely to reappear in myths related to other gods who appeared in later temples and were named after him (such as Sventovit).

Little is known about all the higher categories of Proto-Slavic gods, although there are certainly arguments for inferring that they formed what are called pantheons. In addition to the above-mentioned gods, there are other gods included in the temple, although their names are found in two different Slavic traditions. Svarog of ancient Rus (corresponding to fire is Svarozichi, that is, the son of Svarog), Zuarasiz of the Balto-Slavic people [try to compare with raroz of Czech and Slovak people (meaning "the dry one") ) is compared with Romanian sfarog (meaning "dry"; the latter helps to infer that this name belongs to the South Slavic auspicious form]. Ancient Rus' Dazbog and South Slavic Dazbog (see Serbian folk literature), can also provide evidence. The names of gods such as Jarila and Yarovitus (Latin Gerovitus) in ancient Russia have a much more complicated situation among the Baltic Slavic-speaking peoples. The reasons for this are much more complicated. The reason is: as the basis of such divine names, they are the old pronouns of the corresponding gods. These pronoun types also seem to correspond to the gods of the original Slavic temple (such as Mother Earth and other female gods).

Gods associated with economic cycles and seasonal rituals belong to a lower category. The same is true for the incarnation of the completeness of a small group of gods isolated from the world (Lord, Chur, etc. of the Eastern Slavs). Most female gods seem to fall into this category. These gods are closely associated with clusters (Mokoshi, etc.) and are sometimes less anthropomorphic than the highest-level gods.

The elements of the lower class have the highest degree of abstraction in their functions; this makes it possible to regard them as personifications of elements of fundamental opposition, such as fate, evil, truth, error, death, or as corresponding specific functions personification (such as Su De). Closely related to fate, luck, happiness, etc., it seems to be the same all-Slavic god, try: BorarA (meaning "rich", the literal meaning is "Borg", "luck"), y6orH (meaning "Poor", literally means "luckless", "no Borg"), He6or, he6ora in Ukrainian - "unhappy", "poor". "Bor" ("Borg") - is incorporated into the names of different gods, such as Dazhbog, Chernobog, etc. The other oldest Slavic materials and accounts of the mythology of Indo-European peoples can be regarded as a reflection of the ancient level of the mythological concepts of the proto-Slavs. Looking at these characters, many of them correspond to the time when fantasy stories were circulated, and even correspond to specific life situations, appearing in fantasy stories (such as "bad luck"). .

Those related to the beginning of the mythologized historical tradition are the characters in mythological narratives. Such characters are known to people only based on certain Slavic traditional materials, such as: the characters Kiy, Shek, and Horif in the legend of the East Slavic genealogy, and the characters in the legend of the West Slavic genealogy Che. He, Leahy and Clark, to name a few.

However, even for Proto-Slavic mythology, the construction of genealogical heroic figures is also a matter of course. The more ancient origins can be used to speculate on the images of the opponents of these heroes, such as snake-shaped monsters (the Nightingale Thief and Larogue-Larashek can all be regarded as their late mutations). About those who are good at change The mythological theme of the prince has so-called proto-Slavic characteristics (it is said that he was born with magical properties; see the Serbian narrative poem about the fire snake Uk and the Eastern Slavic narrative poem about Vseslav).

The characters in the fantasy stories seem to be those who participate in the ceremony with their mythical appearance and the rulers of lower-level spirits; Yaga Po, Kosi, Chudo-Udo, Lin Wang, Water King, and Neptune King. , all belong to it.

Those who belong to low-level myths include all kinds of non-individualized (often non-anthropomorphic) evil spirits, spirits, and animals; they are associated with the entire mythical space from the home to the woods, swamps, etc., such as the house spirits believed by the West Slavs, Lin Ling, Shui Ling, Rusalka, Vera, Fever Ghost, Mara, Mora, Kiki Mora, Judge; among animals, bear and wolf.

As a mythologized spirit, man corresponds to all the above-mentioned categories of Slavic mythology (especially in rituals). Take Polaznik as an example. The original Slavonic image of souls and elves makes people particularly eye-catching among other spirits (especially animals). Imagery such as this has deep roots in the mythology of Indo-European peoples.

According to the concept of the Slavs, the cosmic tree is an all-encompassing image; all the above-mentioned relationships are summarized in it (according to the concepts of many other peoples, the same is true). Looking at the various theories in Slavic folk works, those who have been given this function include: Viri, paradise tree, birch, white weapon, oak tree, pine tree, pepper tree, and apple tree. There are three main parts of the cosmic tree, with different animals belonging to them: branches and top - a bird (eagle, nightingale, magical bird, diver, etc.), as well as the sun and moon; trunk - bee; root - Underworld creatures (snakes, beavers, etc.). The whole tree can be compared with people, especially women; try looking at the trees or women's statues between two riders, birds, etc. in the Russian embroidery paintings of the North Branch). With the help of the so-called cosmic tree, the vertical three-dimensional structure of the universe is modeled. The so-called ternary structure includes three "kingdoms": heaven, earth and the underworld. The four-dimensional horizontal structure (north, west, south, east, the corresponding four winds), life and death (green, lush trees and dry trees. Trees in time series rituals), etc.

The universe is described as a basic and rich system of binary oppositions. The description of the space, time, society, etc. of the universe are all tied to the above system. The so-called binary opposition principle is sometimes reflected in mythical figures endowed with positive and negative functions, or in personified antagonists, in the form of benefits or disadvantages to the collective. Happiness (luck) - a misfortune (bad luck), it belongs to it. The original Slavic expression for the positive component of this confrontation means "good luck (luck)". In the concepts of Balto-Slavic peoples, divination rituals (divination of fortune and misfortune) are associated with the opposition between the white god and the black god; try to compare it with the concepts of luck and danger, pain and misfortune, gathering and separation in the folk creations of the Slavs. Comparable to personified image.

Life and death. In Slavic mythology, gods only grant life, fertility, and longevity; this is the goddess Ziva of the Balto-Slavic peoples and Rod of the Eastern Slavs. However, God can only bring death. Throughout Slavic mythology, the life-threatening plot is closely related to the Black God and Perun [try curses such as "Let the Black God (or Perun) take your life"]; with Triglav (seemingly the master of the underworld) ) and Perun (the one who kills opponent monsters) also seem to be related. Navi and Malena (Molena), as the "death" of mythical and legendary figures, as well as low-level phantom spirits [Mara (Mora), Zmora, Kikimora, etc.], are all diseases and deaths. incarnation. In Slavic mythology, the water of life and death, the tree of life and the egg of death hidden near it, the sea and the swamp from which death and disease emerge, are all seen as symbols of life and death.

Even numbers and odd numbers are the most abstract and stylized expression of the entire confrontation in Slavic mythology, and it is also an element of its expression. This contrast requires auspicious even numbers to be distinguished from unlucky odd numbers (such as even days and single days in the week): Thursday is associated with Perun, Friday Monday with Mokosi, Tuesday Monday with Plov (try with Saint (compared to Monday, Holy Wednesday, and Holy Friday). The number structure in Slavic mythology is as follows: ternary structure (the three levels of the cosmic tree and the god Triglav, try to compare it with the number "3" in folk creations), quaternary structure (the four-headed Zbro Strange Idol)

It is one of the four mythical figures of the Baltic-Slavic people - Yarovit, Ruevit, Porevit, and Porenut combined into one god), with a seven-element structure (the seven gods of the ancient Russian temple. It seems to be the ancient Rus' Semargarh). And the eleven-yuan structure ("12" can be regarded as imprisoned here). Veles incarnates as the God of the Sea, the God of the Ocean, the King of the Sea, his 12 daughters and his 12 fever demons, etc. The so-called positive category is reflected in plots such as "Spring is coming" and "The sun rises over the sea". As for the above contrast, there is another contrast placed above it, namely: dry and wet (later evolved into: dry Ilia and wet Ilia, dry Nikolai and wet Nikolai, and so on. These qualities are compounded in Perun-Thunder and Lightning. , god of fire and rain).

The contrast between fire and wetness is reflected in the plot of the confrontation between these natural phenomena and in such items as: the fire snake (see the Russian warrior song about Volkh Vse Slavievich, the story about the incantation, Serbian narrative poems about fire snakes and wolves), Firebird [the firebird in fantasy stories, the Slovak "firebird", the fear bird Lach in Russian spells (which can bring hot whirlwinds), etc.], Fire Mary Ya [associated with Ilia, the god of thunder and rain in Serbian and Bulgarian ballads, as opposed to Maria Mokrina (from "wet", etc.]. The so-called "fire of life" is found in many rituals Special functions, such as candle offerings, bonfire lighting rituals, rain-calling rituals ("Pelperuda" and "Dodora" of the South Slavs), well worship, etc. Fire and water are gathered in Perun and Ku Images such as Pala and the river of fire.

Day - the miraculous incarnation of the contrast between night and night, for those who do not sleep at night, for those who do not sleep at night, and for those who do not take naps, for the morning, noon, evening and midnight glow. Sventovet's horse, the day is white, the night Then the whole body is filthy.

In the contrast between spring and winter, spring has a special role; it is closely related to mythical characters, the incarnations of fertility, Yalila, Kostroma, Morena, etc., as well as the rituals of sending off winter and welcoming spring, as well as various plant and animal representations. Also not unrelated.

The contrast between the sun and the moon is presented in the mythical plot of the sun and moon's marriage. Svarog, Darborg, Hols, etc. are all sun gods. The image of the sun disk is one of the oldest images in all Slavic mythology; try to compare it with the sun at the end of the tree of the universe and the heliosphere.

The contrast between white and black, with some variations, such as: bright and dark, red and black. The white god and the black god are their manifestations in the temple; as far as divination, rituals and omens are concerned, white corresponds to positive factors, and black corresponds to negative factors (try to compare with white and black magic).

The contrast between near and far refers to space (horizontal) and time structure in Slavic mythology; try to compare it with the images of "one's own house"-"very far away place", roads, bridges, distant places, etc. in Russian folk tales and comparisons between "past" and "present". .

A house-a forest is the concrete embodiment of the contrast between near and far and the reality of the opposition of self and other; it is also present in humans and animals (such as bears), house spirits and other spirits associated with various parts of the house. , Lin Ling and other images.

The contrast between the old and the young makes the difference between adulthood, fertility and aging more obvious. First, try to compare it with the youth and the bald old man in various spring and autumn rituals (Badniyak and Bozhiqi). ) is compared to this magical duality. Images such as Granny Yaga, the bald old man, and the old man play a special role in Slavic mythology. Related to the contrast between the old and the young are the opposition between ancestors and descendants, as well as the ritual of recommending ancestors and "old people", as well as the adult and the child, the master and the slave (try to compare with the younger brother in Slavic folk (Compared with its role in creation).

The contrast between the sacred and the profane makes the category of the so-called sacred endowed with special powers (see the root "CBRT-", especially in such cases as CBeHtobht "Sventovit"), CBntorop ("Sveya Togor") "" and other magical names] are distinguished from earthly, secular categories that are not endowed with this power.

The above-mentioned combination of elements of Slavic mythology (including both basic contrasts and numerous mythological characters) is presented in various styles - narrative poetry, fantasy stories, spells, idioms about omens and curses, etc. Such as walking with sheep, chasing snakes, sacrificing the bull of Iria, cattle sacrifices, burnt animals, tendrils (such as Viles, Nicholas or Ilia), calling for rain, calling for stars, Yuri and Kupala festivals Such rituals can be used to construct numerous mythological plots and explore the connection between myths and rituals embodied in such plots.

Slavic polytheism has carnival-type rituals related to the Dionysian carnival rituals of ancient Greece, and its original appearance can be constructed. In addition to the explanation of types and categories, based on the combination of a series of unique details (the appearance of costumers, farcical funerals), it is possible to attribute such Slavic festivals to the so-called temporal costume rituals. (According to Vi●Pi Zani's hypothesis).

According to Joe DiMezier's conception, the above-mentioned rituals belong to the period of the Indo-European language community. Early medieval Latin documents describe farcical rituals (including recommendation ceremonies). According to the records, these rituals are seen not only among the Western Slavs (Kozma and other areas in the Volga River Basin), but also among the Southern Slavs (in the 13th century AD, Dimitri of Bulgaria visited "Russalia"). ” festival and its well-timed dramatic rituals and obscene sexual dances are described).

In unofficial folk culture, such rituals survived into the 19th-20th centuries and are found in all Slavic traditions. Consider, for example, the comical funerals of such mythical figures as Kostroma, Maslenitsa, Yalila, and Mara. This kind of funeral ceremony is seen both among the Eastern Slavs (in seasonal rituals, there are many zoomorphic representations of the so-called "ox death" type) and among the Czechs (a ceremony called "umrlc", held in the so-called " During the spring ceremony of "Death Week", an idol called "smrtna nedela" will be presented and songs will be sung, the scene is no different from that seen by the East Slavs), and seen by the Bulgarians "Russalia", "Russalia" Hermann" etc.).

The main god of thunder and war in Slavic polytheism is Perun. His status in Slavic polytheism is equivalent to that of Zeus in Greek mythology.

The mythological system of the late Proto-Slavic period (belonging to the early state system period) is extremely complete in the mythology of the Eastern Slavs and the Balto-Slavs. Early accounts of the myths of the Russian, Ukrainian and other Eastern Slavs can be traced back to chronicles. According to the "Chronicle", Grand Duke Vladimir Svyatoslavich tried to establish a national polytheistic temple in 980 AD.

On a hill in Kiev (located outside the Grand Duke's residence), there were erected the gods of Perun, Hors, Dazhborg, Stribog, Semargol (Semargol) and Mokoshi. idol. The god of thunder Perun and the "god of livestock" Veles (Volos) are regarded as the main gods of this temple. In terms of their geographical location, the two are in perfect contrast (Perun's idol is located on a hill, and Viles' idol is located at the foot of the hill, seemingly in Podola, Kiev); in terms of social functions, the same is true (Perun was regarded as the god of the Grand Duke's bodyguards, and Veles was regarded as the god of the other subjects of Rus).

Mokoshi, the only female god in the Kiev temple, is not unrelated to women's various tasks (especially spinning). Little is known about the other gods of this pantheon; however, they are all related to commonplace natural categories, e.g. Striborg seems to be associated with the wind, and Darzborg and Hors are associated with the sun. Associated with each other, Svarog is associated with fire. The last god of the temple, Semargal, has a rather hazy image. Some scholars believe that this phantom figure comes from Iranian mythology; other scholars believe that this phantom figure unites the seven gods of the temple. The relationship and hierarchy among the gods in the temple can be clearly understood by analyzing the rules of the order of the gods in the chronicles, such as: the relationship between Perun and Veles, Striberg and Da The connection between Zhborg and Svarog, the peripheral position occupied by Semarger or Mokoshi, etc.

In 988 AD, Vladimir accepted Christianity, which was followed by the destruction of idols and the outlawing of polytheism and its various rituals. However, remnants of polytheism are still visible. In addition to the pantheon gods, other mythological figures are known; the latter are usually found in later documents. Some of them are closely related to family and clan worship (Rhodes) and to seasonal rituals (Yalila, Kupala, Kostroma); some are found in less reliable sources (Troyan, Pei Replut); others are often the product of so-called "study myths."

Another type of similar titles such as "Dudola" and "Dudulitz" seem to be related to Perun's ancient pronoun. Regarding the image of Veles, we can indirectly speculate based on the description of Saint Sava, the guardian and protector of livestock of the Serbians. It seems that this image is incorporated by some attributes of the "animal god". The witch Mokoška is mentioned in Slovenian folktales. This shows that Mokosi was also known to the Southern Slavs.

The king of Darbog in Serbian folklore also shows that Darzhidbog of the East Slavs is known to the South Slavs. The concept of mythology of the Southern Slavs is likely to be expanded when it comes to the lower categories of the mythological system (especially the ritual category). The introduction of Christianity into the areas where Slavs lived (beginning in the 9th century AD) brought an end to the formal existence of Slavic mythology. Its higher classes have been completely lost; these mythical characters are either regarded as villains or confused with Christian saints: Perun and St. Elijah, Viles and St. Vlassi, Jarila and St. Yuri (St. George), etc. The lower categories of Slavic mythology, like the so-called general duality system, are extremely stable and form a complex combination with the dominant Christianity (the so-called "double faith").

First of all, the so-called monster theory remains in the world, that is, to Lin Ling [nemyk (Leshuk), nyIIeBHK (Pshevik) in Belarus; duch lesny (Duch Lesny), borowy (Borovy) in Poland; Ukraine IHCOBHK (Lisovik); Czech lesnoj pan (Lesnoy Pan), etc.], Shuiling [Polish topi-elec (Topielec), wodnik (Wodnik), Czech vodnik (vodnik)]. The Southern Slavs believe in a complex mythical image called "Vera" (Serbs); the Bulgarians call it "Samovila" and "Samodiva", which are spirits in the mountains, water and air. .

The whole Slavic field evil spirit is called "Poludnica"; the Eastern Slavs call it "Polevik", and so on. A large number of mythical figures are associated with houses (especially in the East Slavic areas): Russian house spirits (Dedko, Dedushko, Dobrokhote, Dobrozhir, Sushedeko) etc.), Khatny Didko in Ukraine, Khatnik and Gospodar in Belarus, skrzat in Poland, skritek kiat in the Czech Republic, and Try to compare it with the courtyard building wizards such as Bannik and Owinnik.

There are two completely different attitudes toward the spirits of the dead: on the one hand, the family protectors - ancestors, parents, and those who died of natural causes are respected by people; on the other hand, the frozen dead (those who suffocate). The sudden death or the Those who kill, those who commit suicide, those who drown, etc. are feared by people. Chur is among the protectors (ancestral spirits); Upel and Mafka are regarded as the dead who harm people. Belarusians still believe in a large number of evil spirits, namely Zredny, Mara, Kikimora, Antyutka, Nyachistik (also known as Sheshik, Tsmok, etc.). Diseases also have their incarnations; these incarnations become manifestations of various symptoms, such as shaking ghosts, burning ghosts, cold ghosts, mute ghosts, etc.' (Russian mantras have the concept of 12 types of cold and fever diseases, and in other Indo-European speaking peoples There are many counterparts in the tradition).

Not only that, the ancient tradition is reflected in a series of documents and classics such as this. A complex of basic categories of Slavic mythology is presented in it, with recourse to certain terms and crucial concepts from Christian mythology. The so-called religious poetry is one of the most representative genres of the Eastern Slavs. No matter in terms of its style or its musical performance, this kind of religious poetry can be regarded as the continuation of the Slavic tradition of ballad singing and the theme of Slavic mythology. For example, the ancient Russian "Book of Pigeons" contains concepts about the relationship between man and the universe, the microcosm and the macrocosm. These concepts correspond to the "Song of the Original Man" in the "Vedas" and can be traced back to the similar Indo-European mythology of the so-called creation of the world with the human body.

The theme of the struggle between "truth" and "falsehood" also originates from the mythology of the Indo-European speaking peoples. As far as the Western Slavs are concerned, the so-called mystery plays (such as the Yalila type of magical characters believed by the Eastern Slavs are presented in them) are regarded as a continuation of the ancient carnival tradition; try to compare it with the ancient Compared with the Czech mystery play "Unguen-tarius" (13th century AD), when presenting the concept of death, it resorted to pornographic plots and ridiculed death. Slavic Christianity drew heavily from Indian sources. The polytheistic traditions, mythological vocabulary and ritual procedures of the European-speaking peoples, and the Slavic people's healing spells are closely related to folk witchcraft. If you are suffering from an epidemic, you can resort to magic to get rid of it, or use talismans, incantations, or offer various sacrifices. The custom of using witchcraft to cure diseases is still seen in Slavic peoples in modern times.