Perkons/Perun

Perkons

Perkons (Lithuanian Perkunas, Prussian Percunis, Russian Perun) - Thunder god - is one of the main deities in Baltic (i.e. Latvian, Lithuanian, Prussian) folk religion. Etymologically, the word perkons is derived from the Indo-European stems per(k) (Ivanov, Toporov 1974, 1985.) or per+g(q) (Muelenbach 1904, Endzelins 1951). Three possible interpretations of the word's etymology are known (Biezais 1972):

1. God of thunder and rain (Muelenbach, Wiedemann);
2. God of height, mountain, comparable to Gothic fairguni - "mountain". Hethic peruna - "rock", old Hindu parvata - "mountain" (Karsten, Ivanov);
3. God of oaks, perk-us as compared to Latin quercus - "oak" (Porzig, Hirt, Speht).

According to the archaeological data cult of Perkons in Baltic region was widely spread during the 2nd - 4th century CE along with the establishment of the agricultural society there. The first information about the cult of Perkons (Perkuns) practiced by Curonians (one of the Latvian tribes) can be found in the Livlaendische Reimchronic (1290). Perkuns, among other Lithuanian deities, is mentioned in the Russian addition of the Chronographie des Johannes Malalas (1261). In 1326 Peter von Dusburg mentions the sacral place Romove in Prussia, and these some sentences serve as a basis for the well-known Prussian pantheon, (re-)constructed by Simon Grunau in 1520. Percunis is one of the three central deities there.

This entry is based on Latvian folklore material as a notable source for the comprehension and reconstruction of Perkons' manifestations in Latvian folk religion.

The functional synonyms of Perkons' name in Latvian folklore are:

• Perkonins, Perkonitis - likely a diminutive form, characteristic of Latvian folk song (dainas) meter, and rarely used in other texts.
• Perkona tevs - father Perkons.
• Vecais tevs - Old father (see further)
• Dievins; - diminutive form of Dievs - the God, the a central figure in Latvian folk religion.

Although sometimes denoted with the same word - Dievins - each of the deities, Dievs and Perkons, maintain their own sphere of influence. As Latvian folk religion cannot be discussed in terms of a hierarchy of gods, a subordinate position of Perkons (e.g., in magic spells or some legend types), its substitution by Dievs (e.g., in the legends, where Perkons takes care of people's welfare), can be regarded as a display of the Christian syncretism. Formula Dievins in Latvian folklore serves also for denotation of mythic beings of lower strata, such as home spirits and spirits of the dead. The differentiation of meaning is determined by context. In the following example (LD 33700) clearly Dievins is Perkons.

Dievins ruc, Dievins ruc.

Zibenus met ozol....

(Dievins roars, Dievins roars,

(And throws lightning into an oak.)

Functions

1. Fertility god.

The origin of Perkons is closely connected with its natural appearance - rain, thunder, and lightning. The word perkons has two meanings in all three Baltic languages - "Thunder god" and "thunder". Catholic clergyman D. Fabricius writes in 1610: "During a drought, when there has not been rain, they worship Perkons in thick forests on hills and sacrifice to him a black calf, a black goat, and a black cock. When the animals are killed, then, according their custom, the people come together from all the vicinity, to eat and drink there together. They pay homage to Perkons by first pouring him beer, which is then brought around the fire, and at last pour it in this fire, asking Perkons to give them rain."

Consequently the main function of Perkons is promotion of fertility. All Perkons' family takes part in this process: the sons thunder, strike, lighten; the daughters and the mother (i.e. wife) sift rain; and the daughter-in-law thunders like Perkons himself. Obviously Perkons' family is created by differentiating the appearances of thunder phenomena. The origin of this greatest mythic family in Latvian folk religion is influenced both by the pattern of God's sons (Dieva deli) and Sun's daughters (Saules meitas) - the ancient mythical beings, having their parallels in Lithuanian, Hindu, and Greek mythology, and by the model of ordinary peasants' family.


In folksongs a peasant asks Perkons to bring rain, because the "shoots of barley are faded" (LD 33711) as well as thanks Perkons for the harvest in autumn. In some legend types traces of food offerings to Perkons are preserved. Examples:

1. To entice Perkons a man holds in his hand bread with butter or a honey pot. In the other hand there is an axe or a knife to kill Perkons. Perkons strikes the man (LFK 1552, 851.
2. Perkons drowns a woman named Baba, because she has violated the ritual norms, offering Perkons spoiled food or grass. (LFK 828, 21517). A food offering was used also to prevent thunder. Folk belief has it that during thunderstorms honeycombs must be put into the fire to make the clouds disperse (LTT 23472).

2. Persecution of a Devil.

The notable contributors to the Indo-Europeistic theories V.V. Ivanov and V.N. Toporov in their reconstruction of "basic Indo-European myth" about the fight between the Thunder god and the Devil (Dragon) (Ivanov, Toporov 1974) regard Perkons/Perkunas/Percunis as one of the two central figures of the myth. Latvian folklore material cannot serve as evidence of this hypothesis. In most of the texts, especially in folk tales, legends and magic spells, the international motifs dominate. There, Perkons does not fight with the Devil (Velns, Jods), but persecutes and kills him. The ready-made opposition of the Devil as the evil force to Perkons (frequently substituted by Dievs as the Christian God) as one who implements an absolute justice, is obvious result of the influence of Christian worldview. There is no folksong text with the direct reflection of the fight between Perkons and Velns, although a few allusions are met: a man kills the Devil (Jods) with a sword, hammered of sparkles made by Heavenly smith (Perkons) (LD 33731).

3. Participant of Heavenly Wedding

In the Latvian version of the Indo-European myth of the Heavenly Wedding, reflected in Latvian folksong material, God's son (Dieva dels) or Morning star (Auseklis) or Moon (Meness, masculine in Latvian) marries Sun's daughter (Saules meita, Sun - female in Latvian), and Perkons is a relative of the bride (sometimes of the groom). On his way to the wedding Perkons strikes the golden oak. The oak is the Thunder god's tree, not only in Latvian folk religion. There exist some hypothesis why Perkons strikes the oak. They were discussed, amongst others, by Zicâns in 1936. The most appropriate version for Latvian folksong material is that, by striking the oak, Perkons performs an exorcist act to expel evil spirits. (sic! Velns frequently hides under the roots of an oak, see beliefs, legends, etc.) In Latvian wedding songs, when a bride comes in her new husband's house, the husband's relative (also Dievs - God, Laima - Fortune), cuts a cross in the door-post with the same intention.

4. Heavenly Smith

Can be found only in a small group of folksongs. There are two opposite viewpoints of what deity is represented by the Heavenly smith. The first: it is an independent deity, comparable to Hephaestus in Greek, Volundr in Scandinavian and Ilmarinen in Finnish mythologies (Ivanov, Toporov, Gimbutas etc.). V. Toporov supposes that the Lithuanian deity Teljavelis, mentioned in the chronicles from 1252, reflects three archaic motifs, later related to a mythical smith with no name (Toporov 1970). Unfortunately, the connection of these motifs (Heavenly smith as a servant of Perkons; Heavenly smith hammers magic arms; Heavenly smith takes part in the fight of Perkons with Velns (Devil)) with those of Latvian folksong material is vague.


More plausible is the second point of view: the Heavenly smith is Perkons himself (H. Biezais, V. Greble etc.). The well-known riddle textually doubling the introductive formula of most of "Smith songs" - "Smith hammers in the heaven / Coal bursts in the sea" has an answer "Perkons" (LFK 884, 1912). One of the later versions of the "Smith songs" tells: "Perkons hammers in the heaven" (LTDZ 10495).

5. War god

This hypothetical function of Perkons (see Ivanov etc.) is probably rooted in Dumezil's division of the main Indo-European deities according their social functions: juridical power, defense (war affairs) and promotion of fertility (Dumezil 1986). Although Perkons is well armed, he is not involved in war affairs. Therefore, according Dumezil's division, he undoubtedly fulfils the role of a fertility god.

Appearance

In Latvian folklore Perkons appears most often as a well-armed rider, e.g., the riddle: "Golden horse, silver rider" has an answer "Perkons". The diversity of arms differentiates him from other Latvian deities. Perkons has a sword, an iron rod, a golden whip, a fiery club, also a gun, a knife and a specific one - a thunder-ball. Perkons uses his arms to create thunder and lightning and in persecution of the Devil.

Archaeologists have discovered that among other adornments, small axes as the symbols of Perkons were worn on the clothing of the ancient Balts. It seems that the idea of Perkons' axe has its origin in beliefs about Perkons' ball, well known also in the other parts of Europe. Latvian belief states: "Ancient sharpened stone axes are taken for thunder-balls and it is believed that they can heal illnesses." (LTT 23341)


Perkons' horse, on the one hand, belongs to the paradigm of folksong horses, ideal of which is a well-kept and a splendidly equipped young man's horse. On the other hand, in some texts description of Perkons' horse has a specific mytho-poetical background - it is "stone horse" (LD 33705), "led mare" (LD 33712), etc. Perkons can ride also a cloud or lightning. The chariot is a well-known attribute of a Thunder god (e.g., in Lithuanian, Hindu, Scandinavian, etc. mythologies) and is not characteristic for Latvian Perkons.


Perkons' portrait in Latvian folklore is formed using the traditional formulas: "old man" and "tiny man". The first of them in version Vecais tevs (Old father, LD 33719) appears in folksongs, but in versions "Old man with white beard" (LFK 720,2, LFK 941,2681), "Grey haired man with long beard", (LP vol.7, p.465) - in folk legends. Taking into account that this formula in Latvian folklore texts fits for portraying also God, Devil and the Old man - leader of flying lakes (sometimes concretized as God and Perkons) as well as Old man in magic spells, it belongs to the internationally recognized archetype of the Old man. The formula "tiny man" does not express doubts in Perkons power, although sometimes it has a lightly humorous connotation. In one legend type the formula obtains a special meaning, opposing Perkons as a "tiny man" to the Devil appearing as a "tall (black) man". Generally the formula "tiny man" is less characteristic for the description of Perkons than of God, Devil etc.

FROM: HERE

Article "Perkons" created on 03 March 1997; last modified on 08 April 2002 (Revision 2). 1724 words.
© MCMXCV - MMVI Encyclopedia Mythica™. All rights reserved.

MORE INFO:

Baltic God (Perkons):
Latvian Sky Deities
Perkons, or Perkunas, or Perkunis, or The Thunderer
Perkūnas - Wikipedia, the free encyclopedia
Perkons : Perkele

Slavic God (Perun):
Perun
Perun - Wikipedia, the free encyclopedia
Perun | Encyclopedia of Religion
Perun
Perun (outline-ish thing with info)
Moist Mother Earth: Slavic Myth and Religion

Saule

"Saule, my amber weeping Goddess
creating light like thread.
As "Saules Mat" my mother sun, daily blessing
your thankful world with light."
FOR MORE INFO: Saule

Saule ("the sun") is the most powerful of Latvian heavenly goddesses. She is the goddess of the sun and of fertility, the patroness of all unfortunate people, especially orphans (as the only one to substitute the mother, to warm the child; mother is compared to Saule speaking of kindness, and bride as speaking of beauty). She is the mother of Saules meitas or meita (plural or singular). She is said to live on the top of the heavenly mountain (some model of world), where she rides during the day in her chariot. At night she sails with her boat on the world sea. The motif of permanent motion is apparent in this image, as well as the idea of the sun shining somewhere else during the night. Of course, the diachronic aspect is to be taken into account. In several cases she appears as the ruler in heaven, especially in relations with Meness.

FROM: HERE
Article "Saule" created on 03 March 1997; last modified on 08 April 2002 (Revision 2). 153 words.
© MCMXCV - MMVI Encyclopedia Mythica™. All rights reserved.

The sun goddess Saule and her star-daughter, Saules Meita, are central to the mythology of Lithuania and Latvia, east of Poland on the shores of the Baltic Sea. Tender folk songs, called dainas, attest to the love the Baltic peoples had for their goddesses; a million dainas have been recorded and can be found in the folkloric archives in Vilnius, capital of Lithuania. The last European regions to become Christianized, the Baltic states held to their goddess traditions into the late middle ages. Even then, everyday life was filled with small rituals - like greeting the sun as she rose each morning - that connected the Baltic people to their ancient ways.

The story of Saule and her daughter is one of sorrow and pain, as well as fierce love and deep connection. It began at the dawn of time, when Saule married the moon-man Meness. At first the marriage was happy, as they rose together and traveled the skies each day in their chariots. Their first child was the earth; after that, countless children became the stars of heaven. Among these, Saule's favorite was her daughter, Saules Meita, sometimes called Valkyrine or Austrine, the star of morning.

For eons and eons, life was happy for the sun goddess and her family. But slowly, things grew strained. The moon became moody and withdrawn. He often refused to mount the sky in his chariot in the morning, claiming he was not feeling well. But Saule, a responsible mother to her world, never missed a day of work. Each morning, she bade a tender farewell to her family, kissed her husband sweetly, and took her brown horses into the air. She had many tasks to do as she traveled: nipping tall trees with her silver shears, so the forests would not block the sun; blowing clouds away from Lithuania so that they darkened other skies; finding lost items for her human children.

When the day ended, Saule bathed her weary steeds in the Nemunas River, then hitched them to the apple tree at the end of the earth. She sat there for awhile drawing to herself the souls of people who had died that day. Then she went to her sky-palace and checked on her family. Always the happiest moment of her day was seeing the smiling face of her lovely daughter

But one day, Saule found the, palace ominously quiet. Meness was nowhere to be found, and neither was Saules Meita. The sun goddess, growing ever more anxious, searched and searched. Finally, she found the girl, sitting dejectedly by a steam at the end of heaven. Saules Meita dangled one hand listlessly in the cold water of a fountain, and tears streamed from her beloved eyes. At first she refused to tell her mother what was bothering her, claiming only that she had lost a ring in the water. But finally Saule learned the whole bitter truth: that in her absence, the moon-man had raped her daughter.

Furious beyond words, Saule left her daughter and went to seek her husband. Without listening to his excuses, the sun goddess took a sword and slashed the moon's face leaving marks we can still see today. Then she banished him forever from her presence. Although they once traveled side by side through the daytime sky, they have never been seen that way since. When he must be near the sun, Meness hides his face in shame, causing the moon's dark phase. Only when he is across the sky from his former wife does he dare show his entire visage.

After that tragedy, Saule lived as a single mother, raising her star-children by herself. She remained as reliable as she had always been, lighting the sky for her earthly children.

<SNIP>
FOR MORE: The Sun, the Moon, and the Morning Star

Saule - Latvia & Lithuania
(Saul - a)

Saule wears silken garments,with a silver crown, with a silver crown, made of gilded leaves.
Saule crosses the lake, brilliant as tinsel, and polished slippers on her feet.
Goddess Mother Saule reached her hand above the river.
Her shawl, her gilt shawl, slipped from her shoulders.
I open the window to Saule,
I look out at Saule.
Ah! It’s too short this life that I live in her light.
The sun mother weaves shawls in the middle of the sky.
Two are solid gold the third is solid silver.
Saule, my amber weeping Goddess creating light like thread.
As "Saules Mat" my mother sun, daily blessing your thankful world with light.
FROM: HERE

More links:

• Saule --has "correspondences" and such
• Saule
• Lisa Hunt Art - Saule Pretty painting!
• Saule
• Saule - PaganWiki
• Saulė - Wikipedia, the free encyclopedia
• Saulė - Spinning and Weaving Goddesses
• Saule
• The Sun Goddess
• Ancient Lithuanian Mythology and Religion
• Lithuanian Paganism - Romuva
• The Basics of Lithuanian Paganism
• Global Lithuanian Net. Lithuanian Mythology and Religion Resources
• Ancient Lithuanian Mythology and Religion
• Romuva

Gabija

Gabija (also known as Gabieta, Gabeta) is the goddess of fire and hearth in the Lithuanian mythology. She is the protector of home and family, provider of happiness and fertility.[1] Her name is derived from gaubti (to cover, to protect)[1] or from St. Agatha (Russian: Gafiya).[2] Gabija is only mentioned in a list of Lithuanian gods by Jan Łasicki (published in 1615) and later encountered in Lithuanian folklore.[2]

Gabija could take zoomorphic forms of a cat, stork or rooster,[1] or she could appear as a woman clothed in red.[3] The fire of Gabija was greatly respected and cared for like a living creature. People would feed Gabija by offering bread and salt.[1] Fire had to be laid to bed – women would cover charcoal with ashes every evening so that fire would not wander around.[1] Just as Gabija was the protector of the house, mother of the household was the protector of fire.[4] Sometimes a bowl of clean water would be left near the hearth so that Gabija could wash herself.[3] If angered, Gabija would "go for a walk" burning the house. Much folklore describes ill fate of those who offended Gabija by stomping, spitting, or urinating on fire.[3]

From: Wiki

Gabija is the Hearth Fire Goddess – and all rituals start with offerings made to Gabija. She is tended by women only, given offerings by women only and banked at night by women only. She is one of several deities in which a large collection of women-only rituals exist. Just as Žemyna, Gabija must be carefully tended, since she provides the heat for cooking and the warmth for the house. Fire was one of the most sacred of elements to Lithuanians (the Greeks called us Fire-Worshippers). Gabija is always to be banked with pure water. It is believed that any impurities would get into Gabija’s eyes, therefore the water has to be as pure as possible, to keep from hurting her. If hurt Gabija would retaliate, by burning down the house.
A fire can never go out in the hearth, just quietly banked for the night. Only once a year could the fire be put out, during the time of Rasa or Jonines. During the Summer Solstice the sacred fire must be gotten from the spiritual centre of Lithuania. Long human chains existed, carrying the fire around the Lithuanian countryside.

The sacred cult of Gabija with its prehistoric roots has survived to this present. She has evolved through ornithomorphic, zoomorphic (cat) and anthropomorphic portrayals (red clothed woman, sometimes winged).
The name Gabija is derived from the verb “apgaubti”, to cover up. This refers to the process of putting Gabija to bed by carefully banking the coals and ashes for the night and uttering prayers that ask her to “stay put” and not wander. This was an important duty of the Lady of the House to perform.

Traditionally she is fed with salt and food. If a bit of salt or food falls into the fire while the woman is cooking she will say “Gabija buk pasotinta” – Gabija be satiated.

The Hearth Fire is the focus of all family rituals and rites of passage. Each ritual begins with invoking her presence without which rites would be possible. She accepts the sacrifices and acts as a mediator and messenger to the Other Deities. Gabija is not the reserved, passive maiden aunt archetype of Vesta or Hestia. Gabija is the vital centre of each temple, grove and home. She is the flaming symbol of all that which is truly alive, and deity and power to be treated with the utmost respect.

As the population grew a class of priestesses arose – Vaidelutės. They tended the sacred flame that burned for the “tauta”. Relieved of family duties and working in pairs, they tended the fire, as well as fed and cared for the Sacred Serpents (Zalciai).

From: here

Gabija (pronounced GA-bee-jah) is the Lithuanian Goddess of fire and the hearth. As Gabjauja, she was also Goddess of corn and other grains. When a follower laid out a fire or a meal, they would give an offering to Gabija as well—water for a fire, and beer for a meal. Gabija’s fire protected the home from thieves and demons, and could only be put out with pure water. With the advent of Christianity, Gabija was identified with St. Agnes. Her name is also seen as Gabieta or Gabeta.

From: here

Gabija: Gabija is Goddess of the Hearth fire. She is tended by women only, given offerings by women only and banked at night by women only. She was one of several deities in which a large collection of women-only rituals exists. Just as Zemyna, Gabija must be carefully tended, since she provides the heat for cooking and the warmth for the house. Fire was one of the most sacred of elements to Lithuanians, and Gabija was banked with pure water. It was believed that any impurities would get into Gabija’s eyes, therefore the water had to be as pure as possible, to keep from hurting her. As well, if she were hurt, she would retaliate, by burning the house.
A fire could never go out in the hearth, just quietly banked for the night. Only once a year could the fire be put out, during the time of Rasa. During the period of Rasa, the sacred fire must be gotten from the spiritual centre of Lithuania. Long human chains existed, carrying the fire around the Lithuanian countryside.

Read more: http://www.oocities.com/athens/delph...#ixzz0x7L1pzXa

Lithuanian goddess of the household hearth fire. Women, who propitiated her with offerings such as salt thrown into the fire, tended the hearth to ensure its fire did not go out except once a year during the time of Rasa ('Dew', the 14-day festival leading up to the summer solstice). Then, starting from a sacred central fire, women would pass the new fire from house to house across the country.


She complimented Gabjauja, the fire in the threshing barn (jauja). These fire goddesses also protected the family and the farm, the cattle and women’s chores in the whole.


From: here

The fire ritual

The Fire Ritual is the most important ritual in the Baltic religion.
"To this very day fire is sacred to all Lithuanians. No other phenomenon fits religion so well as fire. Only the flame turns wisdom to the path of spirituality" wrote the prominent Lithuanian philosopher, Vydunas.

During every traditional Baltic holiday a fire (ugnis) is lit, whether such is in an altar or bonfire, or by candle. Fire is the most important symbol of Lithuanian traditions. During ancient times, the Baltic people were known as fire worshipers. The Eternal Flame burned at Sventaragis Valley at the very center of Vilnius. Every household had a hearth, which was particularly respected by each member of the family, but cared for and safeguarded by the mother. The fire had greater meaning than merely the source of light and warmth. It symbolized the unbroken lifeline of the family and its ancestry. The Eternal Flame of the community served to unify not only its immediate members, but was also the unifying link with ancestors who had long since died and were now with the Gods. It was believed that numerous generations of the dead continued to live on at the hearth of the fire.

"Throughout all of Lithuania, people held fire to be sacred. Thus it was required to honour it and behave before it with respect. Coals had to be closely accumulated. Fire could be extinguished only with cold and clean water. Fire was not to be insulted. It was not to be harmed nor polluted. People were not to spit into fire, nor was it permitted to kick it or to stomp upon it. All that was considered sinful, and any such actions were sure to invite punishment, either while the person was still alive or after their death" (J. Balys, Lietuviu Tautosakos Lobynas (Treasure Chest of Lithuanian Folklore), 1951, pg.39).

"No live coals nor smouldering ashes were to be extinguished on holiday days for that was considered a sin – it was necessary to wait until the fire burned out on its own accord."(Salakas). "When salt is sprinkled on the fire and it begins to crackle, it is said: 'Sacred Gabija, be nourished.' " The expression "to make the bed for the fire" – meant that it was to be carefully edged and ashes poured around delicately (Laukuva).

"When the fireplace was being lit at home, everyone had to remain quiet and were not to turn away, even in the event they were to hear someone calling" (1854 by A. Kirkoras). A cup of clean water was to be placed near to the fire, in order that "the beloved little fire would have the means to wash itself." Ugnis, the fire, is honored in all Lithuanian celebrations and rites. When Ugnis is fed salt, it is said: "Sacred Gabija, be satiated."
To "make a bed" for the fire – means to set her up nicely, surrounded by stones, and cover her in ashes – "Sacred Gabija, forged – may you lay, kindled – may you shine!" A cup of pure water is placed near the fire, so that "Ugnis may wash herself." "Ugnis Gabija, gathered – may you sleep, uncovered – may you shine, and always be a helper of mine." "Ugnele, Ramute, sacred Gabija, help us." (Marijampole) "Ugnute, Ramute, sacred Gabija, our calmer, be still, be rapid. For ages and forever." (Marijampole) Here are the words of prominent Lithuania phylospher Vydunas:

"Blessed is the man, who seeks the way to the eternal Romuva,
And desires, in the light of everlasting fire
To live forever. Naught will stand against him.
May we see, what is eternal and sacred.
Throughout the ages, it will bless us all!"

The sacred cult of Gabija (the fire Goddess) with its prehistoric roots has survived to our present day. She has evolved through ornithomorphic, zoomorphic (the cat) and anthropomorphic portrayals (a woman clothed in red, sometimes winged). She is tended solely by women, traditionally the head woman of the household or clan.

The name Gabija is derived from the verb apgaubti, to cover up. This refers to the process of putting Gabija to bed by carefully banking the coals and ashes for the night and uttering prayers that entreat her to "stay put" and not to wander. This was an important duty of the mistress of the home, each evening. Repeating the prayers taught to her by her mother, she would carefully and lovingly cover the coals. To be neglectful or careless in this task would mean disaster for her home and loved ones, for under no circumstances was Gabija to be treated with disrespect or neglected. If angered, she would go "for a walk" leaving destruction in her path.
Gabija is "fed" traditionally with salt and numerous food offerings. If a bit of salt or food falls into fire while woman is cooking, she will say: "Gabija, be satisfied".

Prayers ask Gabija to live with us in peace and to stay put. It is customary to leave a bowl of clean water by the hearth, in case Gabija feels inclined to wash, saying: "Bathe and rest, Fiery One".
Should it be necessary to extinguish the flames, it can only be done by using clean water. Fire has eyes; thus no impurities can be thrown into the flames. Much folklore attests to the dire consequences for those who spit or stomp on her. Stray coals must be carefully retrieved and placed again in the hearth or stove.

The hearth fire was the focus of all family rituals and rites of passage with the head woman or male elder presiding. Lithuanians begin each ritual invoking her presence without which the rites would not be possible. She accepts the sacrifices and acts as a mediator and messenger to other deities. Her healing, protective and purifying powers are well documented in many other Indo-European societies. Here is not the reserved, passive, maiden aunt archetype of Vesta or Heslia. Gabija is the vital centre if each temple, grove and home. She is the flaming symbol of all that is truly alive on that planet and a deity and power to be treated with the utmost respect.

As population grew, a class of priestesses, known as vaidilutes, attended to the sacred eternal flame that burned for the family, for the tribe and, entirely, for the nation.

A set of days at the beginning of February are dedicated to the Goddess and the renewal of fire, the awakening of homestead gods.


February 2nd is the day of Perkunas. Visinski wrote about the Samogitian customs on this day. They would wrap a small wax candle, "perkunine", (candle of Perkunas), made with a thick linen thread with wax, wrapping it about the peace of wood. This type of "wrapped candle" can be made by simple wrapping a linen thread. It symbolizes the life (the linen thread), the power of the everlasting fire. The candle of Perkunas is lit near dying person, during funerals, or for protection from thunderstorms and other perils.

February 5th is the day of Gabija. Gabija is the guardian of the home hearth. Sacrifices of power to Gabija are bread, salt, water. To bless by fire – a "Perkunine" candle is carried thrice around the table and around the hearth. Then each family member is blessed with fire in the shape of a cross (sign of Perkunas) – holding it at the forehead, the back of the head, and under each ear. Such a ritual is known as strengthening by fire.
The fire for rituals was lit either on a hearth of stone or on an altar. Good oak logs were to be selected with care for the fire. A sutartine (archaic round refrain song) was chanted while lighting the fire:

The Fire is burning, tuta tuta
Gabija is burning …
On the mound
On the high hill
Fire Gabia
Shine as lit
Moulder as covered
Zemynele, dear earth
We are your children
Saule – sun, dear mother
We are your daughters
Menuo – moon, dear father
We are your sons
Stars, dear sisters
We are your sisters
Fire, Gabia
Shine as lit
Smoulder as covered
Give us strength
Unite us
Zemynele, dear earth
Help us prosper
Laima, destiny-giver
Bless us

The words can be improvised to express both desires, as well as wishes for others. All the participants to the ritual can approach the fire one by one, express their good will and offer their Contact with Gods and with one's ancestors is sought through the fire. Sacrificial donations to the fire can be bread, grains, beer grasses and flowers. Circling the Fire clockwise, three times, strengthens the ritual. All those who have gathered can also walk in a circle around the hearth

Fire in calendar holidays

The worshiping of fire, the fire rituals are observed in calendar and family holidays. Two important holidays – Kucios and Kaledos – mark the end of the year – when the world returns to darkness and non-existence. However, as death begets birth, the two holidays also herald the rebirth of nature and the return of the sun. The Lithuanians distinguish the two subsequent days, now celebrated on 24 and 25 December with a variety of ritual customs.

Indo-European cultures traditionally greet the New Year with rituals and tales that reenact and relate the creation of the world.
Adults begin their preparation for Kucios and Kaledos by placing a cherry twig in water on the day when bears start to hibernate, which is the first day of winter according to folklore. The twigs sprout roots in time for the holiday. Children play games symbolizing the planting of crops such as the one wherein girls imitate sowing, by strewing hemp seeds, which prompts dreams about future husbands.

The ancient calendar feast days are special because they help man experience the main segments of life: birth – maturity – old age – death. Such calendar helps man realize and live through the circle of life, all the while preparing for the trip to the other side. Folk calendar songs and rites reveal the secrets of the circle of life. Creation of the world and its dispersion, is celebrated in an ancient Lithuanian Christmas song:

A pear tree stands in the middle of the field, Kaleda
Oh! And a spark fell, Kaleda
Oh! And the blue sea spilled over, Kaleda
On that sea – a ship is sailing, Kaleda
In that ship – a chair stands, Kaleda
On that chair – a girl sits, Kaleda

This is a Southern Lithuanian winter solstice song. The word kaleda refers to the time of Winter solstice. A candle burns in a pear tree – in the world tree. The fire of the candle is the sacred altar fire. A spark fals, creating the sea – moving the sacred waters, awakening the universal force of life. The song is usually sung during Winter Solstice, when lighting a new fire for the new year.

The solemn feast of Kucios unites the living with the dead as well as all forms of life: people and animals. The house requires special preparation. The family hangs up an iconic "grove:" birds made of wood- straw or egg shells surrounding a straw sun. This grove as well as a multitude of burning candles invokes the souls of the dead (vele) who sit at a small table with bread, salt, and Kucia on it. The Kucia contains many traditional grains which symbolize regeneration: cooked wheat, barley, peas, beans, rye, poppy seeds, hemp seeds, etc. mixed with nuts and honey water. The Kucia feeds the souls of the ancestors. as well as the living. The living sit at another table, covered with hay and a table cloth. In earlier days, hay also used to cover the floor. Symbols of the life force, which sustain the human world, decorate the main table. This includes a bundle of unthrashed rye, which the family used the next day to bind around its apple trees.

Kucios, an exclusively nocturnal celebration, begins when the evening star appears in the sky. Before gathering at the ritual table, everybody bathes in saunas, makes up with their neighbors, and forgives their enemies. In olden days, the head of the household, wearing high black boots, a large black sash (juosta), and a prominent black hat – used to circle the farmstead three times. He would approach the house door after evervbody else had entered. To the question "Who is there?", he answered "Dearest God (Dievulis) with the Kucia begs admittance".


Once the family gathers, the eldest member (man or woman) says a traditional invocation and breaks the Kucia bread, which everybody gives to each other. According to the sixteenth century historian Praetorius, every member of the family, placing a loaf of bread on the floor, prayed: "Zemepatis (God of the homestead), we thank you for the good bread you give us. Help us work the fields while blessing you, that Zemynele (Mother Earth Goddess, sister of Zemepatis ) would continue to give us your good gifts." Then everyone, raising the bread to the sky, concluded with: "Nourish us".

After the exchange of the Kucia bread, each person sips some beer, spilling few drops onto the floor for the vele, the souls of the dead. Dinner follows. Kucios traditionally required 13 different foods, which echoed the 13 lunar months of the year. Under the influence of the solar calendar, the number changed to 12. The foods may not contain any meat or milk. The meal consists of Kucia (mixed grain dish described above), Kisielius (a type of cranberry jello), hot beet soup, mushroom dumplings, cabbage, fish, and seafood.

Animals partake in the ceremony by eating the same food that people eat. When people and animals used to live under one roof, everybody fed their household and farm animals from the table. On farms. families still feed their animals with the leftovers from Kucios. The families also share the food with bees and fruit trees.

After dinner, while everyone remains at the table, the children and young people pull straws of hay out from underneath the tablecloth. A long straw represents a long and prosperous life. The adults too would tell their own fortunes im a variety of ways.

Participants exchange wishes for each other by pouring grains into the hearth fire. The hearth becomes the sacred fire of the home. Each single grain sown in the fire grows and prospers. The family also ritually burns a birch wreath, stump, or log in the hearth, representing the old year The participants can also destroy evil by burning splinters they invest with meaning.

From: here

Other sites:
THE FEAST OF ST.AGNES --mentions the goddess