The Hyperboreans are descendants of the Titans, witnesses and participants in the Titanomachy. This is directly indicated by ancient authors: "The Hyperboreans were of titanic origin … They grew up from the blood of the former titans." Let us recall that the sea near Hyperborea was called Kronid, after the head of the "party" of titans Kron, the father of Zeus. Yes, and Cronus himself, apart from the late pro-Olympic version of the overthrow to Tartarus, continued to rule on the Isles of the Blessed, not much different from paradise on earth and located again at the latitude of Hyperborea. Life on the Isles of the Blessed, as it was presented and described by ancient authors, almost completely coincides with the descriptions of the life of the Hyperboreans.
As already mentioned many times, among the titans - the masters of the North of Eurasia - there was also Iapetus (Iapetus), who became the prototype of the biblical Japheth, from whose son Mosokh (Moschus, Mosca) came the Muscovites - residents of Moscow and Muscovy. In the ancient tradition, this era of the Titans was called the "golden age" - the kingdom of happiness, goodness, justice and abundance. Among the Russian people, the memory of the Golden Age has been preserved in the form of a fabulous image of the Golden Kingdom - a source of wealth, well-being and prosperity.
Apollo is the classic Sun God. Its cosmic-stellar essence is also due to its origin. Mother Leto gave birth to her sun-bearing son on the island of Asteria, which means "star". Sister Leto was also called Asteria (Star). There is a version that the cult of Apollo was re-introduced to the Mediterranean during the time of Ancient Rome. The cult of the common Indo-European Solntsebog was brought here by the Proto-Slavic tribes of the Wends, who founded and named the modern cities of Venice and Vienna.
The history of the emergence and consolidation of Olympic cults also fully confirms the thesis put forward. One of the late antique historians and writers Pausanias (II century AD) in his famous work "Description of Hellas" (X, 5, 4-10) gives the following amazing details of the appearance of one of the main sanctuaries of Ancient Greece - the Temple of Apollo at Delphi … First, the Hyperboreans appeared here, among them was the future first Delphic priest, who, by a "strange coincidence," had the Slavic-Russian name Olen.
By the way, the name of the ancestor of all ancient Greek tribes and a single people - Ellina is also a Greekized form of the common Indo-European word "deer" and the word "deer", which is close to it in meaning and origin. Olen - Hyperborean and his companions were sent to Delphi by Apollo. This suggests an ingenuous conclusion: the (future) God himself was far away at that time - most likely, in Hyperborea, from where the embassy left. Becoming a prophet and soothsayer, Olen [s] erected the first temple in Delphi: first, a wooden one, similar to a shack, writes Pausanias (his model, made of wax and feathers, Apollo will later send as a gift to Hyperborea), and only after a long time, after many fires and destruction, that stone temple was rebuilt, the pitiful remains of which have survived to this day.
Latona is the Latinized name of the Titanide Leto, the mother of the twins Apollo and Artemis, the only one of the Titanic tribe who was subsequently admitted to Olympus. The name Leto and the entire history of the birth of her children are another confirmation of the Hyperborean roots of ancient Greek mythology, and its close ties with the views of other peoples descending from the Hyperboreans. First, Leto is the daughter of the titans Koy and Phoebe, and the titans live in the North (Diodorus Siculus directly indicates that the homeland of Leto is Hyperborea). Secondly, Leto is not just the name of the ancient Greek demigoddess, but also the native Russian word “summer”, meaning the season (hence “letb” is a synonym for time itself). The root basis of this word is common Indo-European. Its meaning is multifaceted: including the season between spring and autumn, but also the season,corresponding to a continuous sunny day in the polar regions. The northern affiliation of the concept "summer" is also indicated by the fact that when the consonants "t" and "d" (or "t" can be considered as a muffled "d") alternate, "ice" is obtained.
But that's not all. The root “years” underlies a whole family of words and concepts with the meaning of “fly”. And again the analogy with the Hyperboreans as a flying people arises. Lucian has preserved a description of a flying Hyperborean magician who visited Hellas: in front of the amazed spectators, he flew through the air, walked on water and walked slowly through the fire42. The Titanide Leto herself was flying, when, pursued by a jealous Hero, rushed from the borders of Hyperborea around the world to seek refuge where she could be relieved of her burden. She found such a place on the island of Delos, where the sanctuary of Apollo subsequently arose, where the Hyperboreans constantly sent their gifts. Flying, naturally, were the children of Leto-Latona - Artemis and Apollo. The sun god Apollo Hyperborean was often depicted as flying to his homeland in a chariot,harnessed by swans, or on the "apparatus" with swan wings.
A. Pindar directly calls the Hyperboreans "servants of Apollo" (Pind. Ol. 3. 16-17). In general, in the representation of the Greeks, the image of Apollo has undergone significant changes. It would seem that the Solntsebog at all times was the bearer of beauty, embodying it in his own appearance, poetry, and music. But no! It is enough to compare the classical image of Apollo with the archaic, more than far from being perfect (from the customary-traditional point of view). The above drawing of the struggle between Hercules and Apollo, perhaps dating back to their Hyperborean past, is probably closer to primitive petroglyphs than to classical samples. Attention is also drawn to totem attributes: a snake and a mushroom, which in most ancient cultures - from Siberia to South America - have a phallic meaning.
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The swan is a symbol of Hyperborea. Sea deity Forky - the son of Gaia-Earth and the prototype of the Russian Sea Tsar was married to the titanide Keto. Their six daughters were born in the Hyperborean limits. Initially, they were revered as beautiful Swan Maidens (only much later, for ideological reasons, they were turned into ugly monsters - Grai and Gorgons). The discrediting of the Gorgons followed the same scheme and, apparently, for the same reasons as the attribution of opposite signs and negative meanings during the disintegration of the common Indo-Iranian pantheon into separate religious systems, when the "devi" and "ahura" (light divine beings) become " devas "and" asuras "- evil demons and bloodthirsty werewolves. This is a worldwide tradition inherent in all times, peoples and religions without exception. Until recently, the demonization of political opponents was an effective means of ideological struggle in Russia. How else to explain the transformation by Stalin of former comrades-in-arms in the party into monsters of the human race, which immediately entailed their physical destruction? What then can be said about deep antiquity!
Apparently, even before the migration of proto-Hellenic tribes to the South began, some of them underwent a reorientation to new ideals and values. This was especially evident in the example of the most famous of the three gorgons - Medusa (Medusa). Like many other well-known names of mythological characters, Medusa is a nickname meaning "mistress", "mistress". The daughter of the Sea King Forkias, beloved of the lord of the sea element Poseidon, the beautiful-faced Swan Maiden Medus ruled over the peoples of the northern lands and seas (as Hesiod put it, “near the end of the night”). But in the conditions of the prevailing matriarchal relations, Power did not get along with Wisdom: Athena became Medusa's rival. The sparse fragments of ancient legends make it possible to restore only the general outline of the unfolding tragedy43. The two warrior maidens did not share the power over Hyperborea. The struggle was fierce - not for life, but for death. The first act of annihilation of the rival was the transformation of the beautiful Swan Princess Medusa into a hideous monster with boar tusks, hair from snakes and a look that turned all living things into stone. This act, most likely, symbolizes the split of the proto-Hellenic ethnic and ideological unity and the splinter of that part of the future founders of the great ancient Greek civilization, who, perhaps, under the influence of a natural disaster and under the leadership or patronage of the Virgin of Athens, moved from North to South and within the limits of life by no means one generations reached the Balkans, where, after erecting a temple in honor of Athena, they founded the city that still bears her name. The first act of destroying the rival was the transformation of the beautiful Swan Princess Medusa into a disgusting monster with boar tusks, hair from snakes and a gaze that turns all living things to stone. This act, most likely, symbolizes the split of the proto-Hellenic ethnic and ideological unity and the splinter of that part of the future founders of the great ancient Greek civilization, who, perhaps, under the influence of a natural disaster and under the leadership or patronage of the Virgin of Athens, moved from North to South and within the limits of life by no means one generations reached the Balkans, where, after erecting a temple in honor of Athena, they founded the city that still bears her name. The first act of destroying the rival was the transformation of the beautiful Swan Princess Medusa into a disgusting monster with boar tusks, hair from snakes and a gaze that turns all living things to stone. This act, most likely, symbolizes the split of the proto-Hellenic ethnic and ideological unity and the splinter of that part of the future founders of the great ancient Greek civilization, who, perhaps, under the influence of a natural disaster and under the leadership or patronage of the Virgin of Athens, moved from North to South and within the limits of life by no means one generations reached the Balkans, where, after erecting a temple in honor of Athena, they founded the city that still bears her name.the split of the proto-Hellenic ethnic and ideological unity and the spin-off of that part of the future founders of the great ancient Greek civilization, who, perhaps, under the influence of a natural disaster and under the leadership or patronage of the Virgin of Athens, moved from North to South and, within the limits of life, reached the Balkans for more than one generation, where, having erected a temple in honor of Athena, they founded a city that still bears her name.the split of the proto-Hellenic ethnic and ideological unity and the spin-off of that part of the future founders of the great ancient Greek civilization, who, perhaps, under the influence of a natural disaster and under the leadership or patronage of the Virgin of Athens, moved from North to South and within the limits of life reached the Balkans for more than one generation, where, having erected a temple in honor of Athena, they founded a city that still bears her name.
But women's vengeance knows no bounds. It was not enough for Athena to morally destroy Medusa - she also needed the head of her rival. That is why, some time later, she sends back to Hyperborea her half-brother Perseus and, according to the testimony of many, she herself accompanies him. Fraudulently, Perseus and Athena dealt with the unfortunate Medusa together: at the instigation of Pallas, the son of Zeus and Danae cut off the gorgon's head, and Athena tore off her rival's skin and pulled it on her shield, in the center of which she placed the image of the head of the unfortunate Sea Maiden. Since then, the shield of Athena has been called "gorgonion".
The face of Medusa also adorned the aegis (armor or cape) worn by Zeus, Apollo and all the same Athena.
The unbridled cruelty of the Olympian Gods was extremely sophisticated, although it must have reflected the most common norms of behavior of that distant era. After the canonization of the Olympians, in the memory of subsequent generations, the elements of bloodlust seemed to be erased. The nickname of Athena - Pallas - is considered sweet-sounding and poetic. And few people remember that it was received on the battlefield, where the merciless Warrior Maiden tore the skin from the giant Pallas (Pallant) alive, for which Athena was assigned the seemingly so poetic epiclesis (nickname) - Pallas. Other Olympians also resorted to killing exercises. The punishment to which Apollo subjected the Phrygian Marsyas, who decided to compete with the Sun God in playing the flute, is well known: the skin of the opponent was also ripped off alive. The symbol of the defeated Medusa continued to play a magical role for the Hellenes in subsequent centuries. Her images were very often placed on pediments and carved stone slabs in temples.
From the point of view of archeology of meaning, the root basis of the name Medus is also of interest. The word "honey" in the sense of sweet food produced by bees from nectar sounds the same in many Indo-European languages. Moreover, similar in sound terms words meaning "honey" are found in the Finno-Ugric, Chinese and Japanese languages. Perhaps it is permissible to speak of the totemic meaning of "honey" or "bee" for some pre-Indo-European ethnic community. (As for the names "metal", "copper", the entire spectrum of concepts associated with the words "medicine", "medium", "meditation", "meteorology", "method", etc., the names of Medea and Midas, the people Medes and the countries of Media, as well as Mitania, then they are all interconnected with the common ancient root base "honey".) Thus, in the phrase Gorgon Medus, four Russian roots appear: "mountains", "gon", "honey","Mustache" ("knot"). Two of them evoke memories of the Mistress of the Copper Mountain, and the mountain essence of the gorgon leads to a possible reading (or interpretation): Gorynya, Gorynishna, although the Indo-European semantics of the root base of "mountains" ("gar") is polysemantic, and in the Russian language a whole a bouquet of meanings: "to burn", "grief", "bitter", "proud", "throat", "city", "hump", etc.
The memory of the Gorgon Medus among the peoples who at all times inhabited the territory of Russia has never been interrupted. The Serpentine Virgo Goddess, who, along with Hercules, was considered by the Greeks to be the progenitor of the Scythian tribe, is nothing more than a transformed image of Medusa. The best proof of this is not the free arrangement of myths in Herodotus' History, but the original images found during the excavation of burial mounds.
Until recently, similar faces of serpentine maidens in the form of traditional Russian Sirins were also found on the pediments and platbands of northern peasant huts. One of these carvings adorns the folk art department of the State Russian Museum (St. Petersburg).
Another image of Medusa has survived in Russian culture: in the 18th century popular prints, she appears as Meluza (Meluzina) - literally “shallow” (see V. Dahl's Dictionary): the vocalization of the word with the replacement of consonants is made according to the type of folk rethinking of a foreign language word "Microscope" and its transformation in Russian dialects into a "small scope". Unambiguously associated in the popular worldview with the sea, the Russian Medusa-Meluza turned into a fabulous fish, without losing, however, neither human nor monstrous features: in popular prints she was depicted as a royal maiden with a crown on her head, and instead of serpentine hair she had legs and a tail turned into a serpent. There is practically nothing fishy in the very image of the Russian Meluza-Medusa - the fish simply surround it, testifying to the marine environment. Looks like,that the Russian pictorial version is much closer to that original pre-Hellenic archetype of the beautiful Sea Princess, who was turned into a miracle Yudo in the process of the Olympic religious revolution. The memory of the ancient Hellenic-Slavic Medusa is preserved in the medieval legends of the Virgin of the Gorgonia. According to Slavic legends, she knew the language of all animals. Later, in the apocryphal manuscripts, the female image of the Gorgon turned into the “beast Gorgon”: its functions remained largely the same: it guards the entrance to paradise (that is, in other words, it is the guardian of the passage to the Isles of the Blessed).she knew the language of all animals. Later, in the apocryphal manuscripts, the female image of the Gorgon turned into the "beast Gorgon": its functions remained largely the same: it guards the entrance to paradise (that is, in other words, it is the guardian of the passage to the Isles of the Blessed).she knew the language of all animals. Later, in the apocryphal manuscripts, the female image of the Gorgon turned into the “beast Gorgon”: its functions remained largely the same: it guards the entrance to paradise (that is, in other words, it is the guardian of the passage to the Isles of the Blessed).
Medusa appears in a slightly different guise and with different functions in the famous ancient Russian “serpentine” amulets. The magical nature of the head of Medusa, depicted in the serpents radiating from her in all directions, does not raise any doubts, its protective and protective purpose is the same as on the shield of Pallas Athena or the aegis of Zeus. (The cultural idiom that has survived to this day "under the auspices" essentially means "under the protection of the Gorgon Medusa" in its essence.) later finds is extremely difficult. In the Christian era, the ineradicable belief in the magical power and effectiveness of the face of Medusa was compensated bythat on the reverse side of the medallion with her image there were reliefs of Christian saints - the Mother of God, Michael the Archangel, Kozma and Demyan, etc.
Until now, no satisfactory explanation has been given for the origin and purpose of the Russian "serpentines". The modern reader knows practically nothing about them: in the last half century - with a few exceptions - a reproduction of the same medallion, however, the most famous one, which once belonged to the Grand Duke Vladimir Monomakh, which he lost while hunting and was found by chance only in the last century, has been published. … In fact, “serpentines” (including those of Byzantine origin) are known, described and published in many44. And from each of them the magical gaze of the Guardian Virgin of the Gorgon Medusa, which is a taboo totem, looks at us.
The image of the Swan Maiden Gorgon Medusa reveals the most typical features of totem symbolism - the heritage of the almost unattainable depths of human prehistory, preserved to this day in accordance with the unwritten laws of the transmission of traditions and beliefs from generation to generation. The Hyperborean times are irrevocably a thing of the past - however, the symbols they gave birth to. Among them is the swan - one of the birds most revered by the Russian people. Together with the falcon, he became almost the personification of Russia. And not only impersonation. According to the Byzantine historian of the 10th century, Emperor Constantine Porphyrogenitus, the very territory where the ancient Russians lived was called Lebedia. Subsequently, this gave Velimir Khlebnikov the right to call the new Russia "The Swan of the Future." In the same way, the Slavic-Scythians, described by Herodotus, were called "chipped",that is, "with [o] hammers" - from the Russian word "falcon". In the transmission of Arab geographers, who described our ancestors long before the introduction of Christianity, their self-name sounded almost in Herodot's way: "Sakaliba" ("falcons"). Hence the famous "Saki" - one of the names of the Slavic-Scythians - "wanderers" - nomads.
Why exactly a swan and why are the falcon two so different birds, in constant struggle with each other? The falcon attacks, pursues; the swan is saved, protected. But is it always like this? Not at all! In Pushkin's "The Tale of Tsar Saltan", which is entirely built on the images and plots of Russian folklore, the Swan-bird finishes and drowns the villain-kite. In folk symbolism, a kite is the hypostasis of a falcon, and all birds of prey are one. In "Zadonshchina" - the Word of Zephany the Ryazan, falcons, gyrfalcons, hawks collectively personify the warriors of Dmitry Donskoy and are listed separated by commas: before there were eagles). Then Alexander Blok will repeat this: "Above the enemy's camp, as it happened, // And the splash and pipes of swans." The swan is also largely a collective symbol. In Russian folklore, the undivided image of "geese-swans" is generally considered the norm. In "Zadonshchina" they were superimposed on the Mamaev horde. Historically, this is understandable: a similar bird-beast symbolism is common.
Where did it come from? Like other “eternal images”, the Russian swan and the Russian falcon are the legacy of those ancient beliefs and customs of human prehistory, when humanity itself, its proto-language and proto-culture were undivided, and instead of the modern palette of peoples, the world of totems, totemic thinking and totemic attachments reigned. In those distant times, people did not separate themselves from nature, they saw in animals and plants their own kind - defenders and allies
Dmitry SvaRod