Читать книгу Attila Kagan of the Huns from the kind of Velsung - Сергей Юрьевич Соловьев, Сергей Юрьевич Выхин - Страница 6

Abashevskaya and Andronovskaya cultures, undoubtedly connected and being the culture of the Hans-Huns, began to develop in the Ob River basin, from where they spread up to Hellas and Denmark, China and India, but most of the people of this culture remained in the vastness of Eurasia, leaving the foundation of the present people of Russia.

The cult animal, along with the bear, was the goose-swan, mentioned in the tales of the Russian people inextricably. However, similar, even more likely, identical tales are observed in Pomerania and Denmark and Sweden, where the Huns-Hans reached the Bronze Age.

The name of this tribe itself is associated with a goose, because in German it is Hans-goose. And it is natural that tales and legends with a goose are numerous-Geese-Swans appear in many tales. But earlier, the goose was the subject of a cult – this animal, as in the myths of Apollo, who was also a native of the North, carried the soul of the deceased to the Land of the Dead. This is evidenced by the numerous statuettes of these birds in the graves of Scythians, Sarmatians and Huns. But in the Bronze Age, geese were depicted schematically, in the form of a meander.

The Saks from Altai, the Sarmatians, also accompanied the goose in the afterlife. Obviously, judging by the tales, he had to fly away with the soul of the deceased to his ancestral home, the distant North. In Moksha, Gus-matzi, -hh, the latter is close to the word HUNT.

Among the Saks, the swan was also a sacred creature, whose function was to deliver the soul of the deceased to the afterlife. Recall the team of Apollo swans.

Extra evidence that the Huns-Hans reached Hellas in the third millennium is also proved by the goose-swan cult associated with the cult of Apollo and Artemis.

Among the many living attributes of Apollo, the swan rightfully occupies the main place. The popularity of the Apollo and Swans motif has been attested throughout antiquity. This beautiful proud bird accompanies the divine twins Apollo and Artemis “the most beautiful inter-glorious descendants of Uranus” (Hes. Theog., 920). Sometimes a “golden Aphrodite” or her tomboy Eros appears on a swan (and more often on a goose, judging by a vase), but this is already late Hellenism).

Poets and philosophers often call the swan the bird of Apollo (H. h., XXI. 1 sq; Sapph. Frg. 147b, Plato, Phed., 85b.), “The vocal singer of God”, “the most melodious of birds” (Call. Hymn., II, 5; IV, 249), “the favorite of the muses” (Eur. Ipphig. T., 1103—1105), “the Pythian and Delosian” (Aristoph. Av., 870). “The long-necked joy of Apollo” calls the swan Bacchillides (Dyph., 16). The motive of the “swan song” was not known in antiquity; Homer, Hesiod, and also in Homeric hymns do not have it. On the contrary, the swan in the sacred places of Apollo constantly sings, glorifying the birth of God on Delos (Call., II, 250—254), or portending his appearance (II, 5; Aristoph. Av., 769—770), or singing in the land of Hyperboreans hymns during the rites. According to Elian (De nat. An., XI, 1), at that time clouds of swans flocked from the Riphean mountains, “they fly around the temple, as if cleansing it with their flight,” and then gracefully sit on the fence of the temple, “representing a sight majestic in multitude and beauty. “When the singers begin to praise God accompanied by the citharists, “then the swans together join in singing and in no way do they sing awkwardly or inaccurately”, masterfully performing a melody, like experienced singers, led by a choreographer. And all day long, “the aforementioned feathered singers collectively glorify and glorify God.”