DOCSLIB.ORG

Comparative-Mythology.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comparative-Mythology.Pdf COMPARATIVE MYTHOLOGY for MYFAROG Thank you for your interest in this project. Below (on page 2 and 3) is a list of names for the different pan-European deities. The PIE (proto-Indo-European) names are reconstructions of the Scandinavian names only! Listen in brackets are the names of the regions of Thulê (the world of MYFAROG), and their corresponding 'real world' inspirations (e. g. Roman and Etruscan for the region Troskenia). I am completely missing the Baltic, Basque, Celt-Iberian, Dacian/Thracian, Egyptian, Finnish, Iberian, Illyrian and Sanskrit names for the deities. What I want from you is that you make lists like those below, of the deities according to your culture, and then post this in the comment section of the Comparative Mythology YouTube video on my channel. You can list them in the same order as below, or with the PIE names next to the names you list. You can also post comments with suggestions to alternative names than those already listed by me or others. Don't worry about the gender of the deities; Originally they were all defined as hermaphroditic spirits, and were only later anthropomorphized and named as gods or goddesses. Some of them became gods, others goddesses, and they were not anthropormorphized the same way all over Europe. They are still the same though, and e. g. any god of justice defined as a goddess somewhere in Europe, is the same as the other deities of justice in Europe. Please list the gender of the deities only when they differ form the deities listen in the PIE column below. Note also that some deities are still hermaphroditic some palces in Europe. Note further, that some deities can be found in different versions in the same culture, although they are really the same. If so, please list both names for that deity, e. g. like this: Frigg/Freyja. The complete list of European deities will be posted on www.myfarog.org as a FREE PDF, to be used for MYFAROG or as a tool by those interested in European mythology. The purpose of this project, other than making MYFAROG more interesting for non-Scandinavians, is to cultivate YOUR interest in our OWN (i e. pre-Christian) cultural heritage, and also to create a common ground for all Europeans, that we all can stand on. Together. The date for this project, just before Halloween, is not a coincidence: Halloween is the day when you are supposed to find yourself, to recognize yourself, as you were in your previous lives. Here we together try to find our own deities, and to recognize them, as they were when we lived in the past. Our deities are not dead: they are still here in us. Bring them out! Bring them back to life! Varg Vikernes (The 29th of October, 2015) The sympathetic deities: Slavo-Scythian Roman Proto-Nordic Scandinavian Celtic Magyar Greek PIE Etruscan (Thulê) (Skanþinawîo) (Preþeniô) Sumerian (Ellinea) (Troskenia) (Skudia) Belus BalþuR Baldr Apollo Belenus Jarilo/Bielijbog Apollon Danu-Ana / Demeter / Erþo Erþi Jorðr Juno Matushka / Vesna "The Lady" Hera / Kybele Bacchus / Dionisos / Prius FraujaR Freyr Aengus Shiebog / Veles Liber Bakkhos Venus / Prio Fraujon Freyja Aine Shieba Aphrodite Libera Pirosite Furasitan Forseti Mars Smertrios Stribog / Dsarovit Ares (& Themis) Kadnus HadnuR Hoðr Pluto Arawan Trojan / Tshjornijbog Hades Kaimadalþas Dashdebog / Koljada HaimadalþaR Heimdallr (♂) Saturnus (♂) Amaethon (♂) Kronos (♂) (♀♂) / Bielijbog (♂) Mano Manan (♂) Máni (♂) Luna Blodwin Mesjats Selene Neptunus Nerþus NerþuR Njorðr (♂) Llyr (♂) Makosh (♀) Poseidon (♂) (♂) Sagio Sagon Sága Minerva Andraste Dodola Athene Skanþe Skanþe Skaði (♀) Diana (♀) Arduinna (♀) Dsievona (♀) Artemis (♀) Sunþon / Vesta / Sol Sowilus Sunna / Sol (♀) Brigandu (♀) Khors/Porevit Helios Sowili (♀) (♀) "Great Diwus TíwaR Týr / Tív Uranus Rod / Div Uranos Father" Dunus ÞunaR Þórr Juppiter Taranis Perun Zeus Wale Walan Váli Hercules Ogmios Obiti / Dashdebog Herakles Silvanus / Wîtanas WídanaR Víðarr Kernunnos Les / Div Pan Faun Woþanas WoþanaR Óðinn Mercurius Lugh Svarog Hermes The other deities: Slavo-Scythian Roman Proto-Nordic Scandinavian Celtic Magyar Greek PIE Etruscan (Thulê) (Skanþinawîo) (Preþeniô) Sumerian (Ellinea) (Troskenia) (Skudia) Akius AgijaR Ægir Oceanus Domnu Trepet Okeanos Audokomble Auþohumblon Auðhumblá Angerona n/a Tishiná (Kaos) Eus / Eustas AustaR Austr Aurora Brigandu Zaria Eos Beleþorn Balaþorn Bolþorn Typhon Domnu Zirnitra Typhon Buras BuraR Borr Prometheus Bur Bor Prometheus Perkunia Fergunio Fjorgyn Tellus Ethne Rodenika Gaia / Rhea Kelio Haljo Hel Pluto "White Lady" Marena Hades Eduno Íþund Íðunn Proserpina Epona Kostroma Persephone Leuke Lukan Loki Vulcanus Kredne Molnija Hephaistos Nes Nahti Nátt Nox Nos Notsj Nyx Skuldi Skuldi Skuld Morta Aerten Baba Jaga / Dolija Atropos Swertus SwartaR Svartr (Chaos) Kythrawl Ogon (Kaos) Wirþandi Wirþandin Verðandi Nona Aerten Baba Jaga / Dolija Klotho Hymne (& Wumias WumîaR Ymir Kythrawl Gol Hymne (& Kaos) Chaos) Wurþi WurþijoR Urðr Decima Aerten Baba Jaga / Dolija Lakhesis.
Load more

Recommended publications
  • Ancient Greece and Rome
    Spartan soldier HISTORY AND GEOGRAPHY Ancient Greece and Rome Reader Amphora Alexander the Great Julius Caesar Caesar Augustus THIS BOOK IS THE PROPERTY OF: STATE Book No. PROVINCE Enter information COUNTY in spaces to the left as PARISH instructed. SCHOOL DISTRICT OTHER CONDITION Year ISSUED TO Used ISSUED RETURNED PUPILS to whom this textbook is issued must not write on any page or mark any part of it in any way, consumable textbooks excepted. 1. Teachers should see that the pupil’s name is clearly written in ink in the spaces above in every book issued. 2. The following terms should be used in recording the condition of the book: New; Good; Fair; Poor; Bad. Ancient Greece and Rome Reader Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial—You may not use this work for commercial purposes. Share Alike—If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Byzantine Liturgy and The
    UNIVERSITY OF CALIFORNIA Los Angeles Byzantine Liturgy and the Primary Chronicle A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Slavic Languages and Literatures by Sean Delaine Griffin 2014 ABSTRACT OF THE DISSERTATION Byzantine Liturgy and the Primary Chronicle by Sean Delaine Griffin Doctor of Philosophy in Slavic Languages and Literatures University of California, Los Angeles, 2014 Professor Gail Lenhoff, Chair The monastic chroniclers of medieval Rus’ lived in a liturgical world. Morning, evening and night they prayed the “divine services” of the Byzantine Church, and this study is the first to examine how these rituals shaped the way they wrote and compiled the Povest’ vremennykh let (Primary Chronicle, ca. 12th century), the earliest surviving East Slavic historical record. My principal argument is that several foundational accounts of East Slavic history—including the tales of the baptism of Princess Ol’ga and her burial, Prince Vladimir’s conversion, the mass baptism of Rus’, and the martyrdom of Princes Boris and Gleb—have their source in the feasts of the liturgical year. The liturgy of the Eastern Church proclaimed a distinctively Byzantine myth of Christian origins: a sacred narrative about the conversion of the Roman Empire, the glorification of the emperor Constantine and empress Helen, and the victory of Christianity over paganism. In the decades following the conversion of Rus’, the chroniclers in Kiev learned these narratives from the church services and patterned their own tales of Christianization after them. The ii result was a myth of Christian origins for Rus’—a myth promulgated even today by the Russian Orthodox Church—that reproduced the myth of Christian origins for the Eastern Roman Empire articulated in the Byzantine rite.
    [Show full text]
  • Mythological Intertextuality in Nineteenth Century Ballet Repertory
    Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. ..........................................
    [Show full text]
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Druidic Syncretism and the Four Branches
    Appendix Druidic Syncretism and the Four Branches Archaeologists have sometimes described the black waters of the lower Thames as the ‘British Ganges’, alluding to the ritual depositions lavished upon it by its Iron Age and Late Bronze Age devotees. This is by no means the only comparison that might be made with the religious landscape of Hindu India. With its ‘ten thousand gods’; its elaborate calendrical systems; its sacred animals and food taboos and its adherence to the doctrine of reincarnation, the Brahmanic system offers a number of parallels with what we can ascertain about native British religious traditions from the combined testimony of the archaeological and literary evidence. Had the religious life of Iron Age Britain continued to develop in comparable isolation, we might expect something analogous to modern Hinduism to have evolved as the centuries progressed – a possibility that is enhanced by the shared Indo-European background (although the influence of local pre-Indo-European substrates in both cases should not be underestimated). One feature of the Hindu system that we can see beginning to emerge in the Gallo-Brittonic world was a marked tendency towards syncretism and public ritual, offsetting the tendency towards localism and diversity that otherwise characterised this essentially parochial religious culture. It was evidently under the auspices of an increasingly centralised druidic priesthood that certain pan-tribal cults were spread throughout the Celtic-speaking world in the Late Iron Age: notably those of Lugus (c.f. p. 498), Belenus (c.f. p. 273), Cernunnos (c.f. p. 36 n. 63), Epona (c.f. p.
    [Show full text]
  • Faunus and the Fauns in Latin Literature of the Republic and Early Empire
    University of Adelaide Discipline of Classics Faculty of Arts Faunus and the Fauns in Latin Literature of the Republic and Early Empire Tammy DI-Giusto BA (Hons), Grad Dip Ed, Grad Cert Ed Submitted in fulfilment of the requirements for the degree of Master of Philosophy October 2015 Table of Contents Abstract ................................................................................................................... 4 Thesis Declaration ................................................................................................... 5 Acknowledgements ................................................................................................. 6 Introduction ............................................................................................................. 7 Context and introductory background ................................................................. 7 Significance ......................................................................................................... 8 Theoretical framework and methods ................................................................... 9 Research questions ............................................................................................. 11 Aims ................................................................................................................... 11 Literature review ................................................................................................ 11 Outline of chapters ............................................................................................
    [Show full text]
  • Ukrainer.Pdf
    НАЦІОНАЛЬНОЇ АКАДЕМІЇ ДЕРЖАВНОГО УПРАВЛІННЯ ПРИ ПРЕЗИДЕНТОВІ УКРАЇНИ ОДЕСЬКИЙ РЕГІОНАЛЬНИЙ ІНСТИТУТ ДЕРЖАВНОГО УПРАВЛІННЯ МІЖНАРОДНИЙ ГУМАНІТАРНИЙ УНІВЕРСИТЕТ В. Г. ТАРАНЕЦЬ УКРАЇНЦІ: ЕТНОС І МОВА Монографія Одеса 2013 ББК Т УДК Рецензенти: Бондар О. І. – доктор філологічних наук, професор. Кожолянко Г. К. – доктор історичних наук, професор. Лесюк М. П. – кандидат філологічних наук, професор. Рекомендовано до друку Вченою радою Одеського регіонального інституту державного управління НАДУ при Президентові України Протокол № 170/4-7 від 11 квітня 2013 р. та Вченою радою Міжнародного гуманітарного університету Протокол № 7 від 4 квітня 2013 р. © В. Г. Таранець, 2013. © ОРІДУ НАДУ при Президентові України, 2013. © Міжнародний гуманітарний ун-т, 2013. © В. Д. Рома (обкладинка), 2013. 2 В. Г. ТАРАНЕЦЬ ТРИЛОГІЯ АРІЇ – РУГИ – УКРИ КНИГА ПЕРША Арії. Слов’яни. Руси: Походження назв Україна і Русь КНИГА ДРУГА Трипільський субстрат: Походження давньоєвропейських мов КНИГА ТРЕТЯ Українці: етнос і мова 3 Світлій пам’яті мого сина Володимира (1973-2011) п р и с в я ч у ю 4 Ми тут жили ще до часів потопу. Наш корінь у земну вростає вісь. І перше, ніж учити нас, Європо, На себе ліпше збоку подивись. Ти нас озвала хутором пихато. Облиш, твій посміх нам не допече, Бо ми тоді вже побілили Хату, Як ти іще не вийшла із печер... Борис Олійник 5 6 В. Г. ТАРАНЕЦЬ ВСТУП Проблема походження українців розглядається в світлі слов’янського етногенезу, що дає можливість звернутися до витоків давнього українського етносу та його мови. В основі нашого розгляду знаходиться концепція конвергенційного розвитку народів, згідно з якою праслов’яни, витворившись із індоєвропейської спільноти, являли собою первісно гетерогенну етномовну сукупність, яка на базі територіальної та язичницької близькості сформувалась у відносно єдиний етнос та надмову (койне), що постала у вигляді слов’янської прамови.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Aurora (Mythology)
    Aurora (mythology) 2 Usage in literature and music Aurora, by Guercino, 1621-23: the ceiling fresco in the Casino Ludovisi, Rome, is a classic example of Baroque illusionistic painting Aurora (Latin: [awˈroːra]) is the Latin word for dawn, and the goddess of dawn in Roman mythology and Latin poetry. Like Greek Eos and Rigvedic Ushas (and possi- bly Germanic Ostara), Aurora continues the name of an earlier Indo-European dawn goddess, Hausos. Aurora Taking Leave of Tithonus 1 Roman mythology 1704, by Francesco Solimena From Homer's Iliad: In Roman mythology, Aurora, goddess of the dawn, re- news herself every morning and flies across the sky, an- Now when Dawn in robe of saffron was has- nouncing the arrival of the sun. Her parentage was flex- tening from the streams of Okeanos, to bring ible: for Ovid, she could equally be Pallantis, signifying light to mortals and immortals, Thetis reached the daughter of Pallas,[1] or the daughter of Hyperion.[2] the ships with the armor that the god had given She has two siblings, a brother (Sol, the sun) and a sis- her. (19.1) ter (Luna, the moon). Rarely Roman writers[3] imitated Hesiod and later Greek poets and named Aurora as the mother of the Anemoi (the Winds), who were the off- But soon as early Dawn appeared, the rosy- spring of Astraeus, the father of the stars. fingered, then gathered the folk about the pyre of glorious Hector. (24.776) Aurora appears most often in sexual poetry with one of her mortal lovers. A myth taken from the Greek by Ro- man poets tells that one of her lovers was the prince of From Virgil's Aeneid: Troy, Tithonus.
    [Show full text]
  • Pogansko U Pricama Iz Davnine Ivane Brlic
    Pogansko u "Pričama iz davnina" Ivane Brlić Mažuranić Ivšić, Ivana Master's thesis / Diplomski rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Pula / Sveučilište Jurja Dobrile u Puli Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:137:730781 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-02 Repository / Repozitorij: Digital Repository Juraj Dobrila University of Pula SVEUČILIŠTE JURJA DOBRILE PULA FAKULTET ZA ODGOJNE I OBRAZOVNE ZNANOSTI IVANA IVŠIĆ POGANSKO U „PRIČAMA IZ DAVNINE" IVANE BRLIĆ-MAŽURANIĆ Diplomski rad Pula, 2016. SVEUČILIŠTE JURJA DOBRILE PULA FAKULTET ZA ODGOJNE I OBRAZOVNE ZNANOSTI IVANA IVŠIĆ POGANSKO U „PRIČAMA IZ DAVNINE“ IVANE BRLIĆ-MAŽURANIĆ Diplomski rad JMBAG: 0265004629, redoviti student Studijski smjer: Učiteljski studij Predmet: Dječja književnost Znanstveno područje: Humanističke znanosti Znanstveno polje: Filologija Znanstvena grana: Teorija i povijest književnosti Mentor: doc.dr.sc. Vjekoslava Jurdana Pula, 2016. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisana Ivana Ivšić, kandidat za magistru primarnog obrazovanja, ovime izjavljujem da je ovaj Diplomski rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio Diplomskog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava.
    [Show full text]
  • Stare Vatre Opet Plamte Srbinda
    EEKC “SFERA” STARE VATRE OPET PLAMTE TM SRBINDA DOWNLOADED FROM: WWW.SRBINDA.COM Izdavač / Published by: Ekološko-etnološki kulturni centar “Sfera” / Center Of Ecology, Ethnology and Culture “Sphere” Novi Sad, SERBIA, 2012 COPyRIght © 2012 by gORAN POlEtAN DESIgN & lAyOUt : SRBINDA All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the author. ISBN : 978-86-85539-17-6 CIP – Каталогизација у публикацији Библиотека Матицe српске, Нови Сад 821.163.41-14 ПОЛЕТАН, Горан, Stare vatre opet plamte / goran Poletan. – Novi Sad : Ekološko-etnološki kulturni centar ‘’Sfera’’, 2012. – 106 str. Način dostupa (URl) : http: //www.srbinda.com/. – str. 4- 6 : Predgovor / Aleksandra Marinković-Obrovski. Beleška o autoru: str. [107]. ISBN 978-86-85539-17-6 COBISS.SR-ID 274828295 PREDGOVOR Poruke predaka Stara vera Srba, ona u koju su verovali pre primanja hrišćanstva i koja je proisticala iz najdublje narodne prirode, većim delom je pred- stavljala religijski sistem usmeren ka poštovanju kulta predaka. To u isto vreme znači da su drevni Srbi ovaj kult na različite načine utkali u sva- kodnevni život, potkom koja je bila toliko snažna da je, pokazalo se, uspela da prebrodi i potonju promenu vere. Primanjem hrišćanstva, kult predaka nije izgubio na snazi i ne samo da je nastavio da postoji nego se u gotovo neizmenjenom obliku sačuvao do naših dana, u narodnim običajima kojih se često sa setom prisećamo prizivajući slike iz detin- jstva. Ko još ne pamti badnjedansko pijukanje oko kuće i posnu večeru na slami, ili priče o seoskoj svadbi kada je mlada ljubila ognjište ili, opet, sećanja na klanje petla na temelju nove kuće? Sve su to prežici kulta predaka naročito poštovanog u one dane kada se verovalo da su preci sa nama, tu, oko nas, da nas prate, čuvaju i poučavaju.
    [Show full text]