Vseslavichi

East Slavic folklore and tales

[mortheim]

Finished. My first personal piece after 9 months of learning to draw. One done, four more to go. But I'm not sure I've ever poured this much tenderness into something before... Weird feeling. My mind always resonated with a quote from DE: “I’m a deeply flawed individual, but I bring joy to the world." It also oddly resonates with Schopenhauer's compagnon de misère idea.

[mortheim]

[mortheim]

Sins and characters - the core of my work

So, at one point in life (around 25 years old), I understood what my sin was. Greed. A helpful one, as I discovered later, and one of the easier ones to manage. My form of greed isn't about wealth and status (though they became a byproduct of this), but about capturing minds and hearts and learning. But it is also a hindrance unless you can control yourself. You want all the attention, all that those people can give to you. Bleed them dry and make them stay no matter what. And it can be your downfall if you can't understand when it takes over or makes you act. And, tbh, most sins are useful in their own right.

Wrath is aggression, sure - but isn't it also raw material for motivation and courage? Wrath can command respect and even help people, because the world gives us plenty of things to be angry about ("punch a Nazi" is a decent example).

Lust? Don't get me started. The ability to open up to people, to actually enjoy them - that's an underrated skill.

Envy? That's ambition wearing a different coat. It pushes you to level up, to actually chase something instead of sitting comfortably. t.

Gluttony gets treated like it's only about food, but it's really about appetite in general — for experience, for pleasure, for more of everything good in life. And honestly? Wanting more, fully enjoying things instead of rationing yourself out of fear- that's not a flaw; that's being alive.

Sloth can be akin to serenity - knowing when to rest, when to not chase every single opportunity like your life depends on it. That's pacing. That's patience.

And pride - can talk about it a lot. Having standards for yourself, not needing anyone's permission to know your own worth- that's not arrogance; that's just self-respect. It's useful; it keeps you upright.

Basically, every single one of these works the same way: it's a trait meant to serve you, and it only becomes a sin when it stops being your tool and starts using you instead.

For me, this framework is genuinely useful for character work because it gives me a cleaner alternative to flaws. I can build a character around one core drive, then show it functioning as a strength under some conditions and a liability under others - same trait, different result.

[mortheim]

I just need it to save somewhere and talk about progress...

Tbh, the most chilling quote from Pratchett for me which reminds me that, if there are alternative timelines, I might be dead there, but I am still here and it is all that matters:

"...Seven eh em...Organize Defenders at River Gate...Seven twenty-five...Hand-to-Hand Fighting in Peach Pie Street...Seven forty-eight eight eight...Rally Survivors in Sator Square...Things To Do Today: Build Build Build Barricades...bingeley...Eight oh two eh em, Death of Corporal Littlebottombottom...Eight oh three eh em...Death of Sergeant Detritus...Eight oh threethreethree eh em and seven seconds seconds...Death of Constable Visit...Eight oh three eh em and nineninenine seconds...Death of death of death of...Death of Constable Dorfl...Eight oh three eh em and fourteenteenteen seconds...Death of Captain Carrot Ironfoundersson...beep...beep...Things To Do Today: Die..."

Anyway, an artist with whom I wanted to collaborate disappeared into the steppes a bit more than a year ago, so, in my mighty wisdom, I decided to learn how to draw myself. I think it was a good idea, cause there is that dog in me that always wants to learn something new and explore all the good that life has to offer. Unfortunately, this also means that I have to make hard decisions in life, because otherwise I can't be happy. And, as much as I would love to change the course of the story I am working on, it is still there, and it is still depressing and hard af. But, again, when did Russian authors make something worthy and not depressing? Anyway, here is my first personal work (WIP) after 9 months of learning how to draw. I am coming somewhere, but there is a long road ahead.

Otherwise, the road to healing will be a long one; stay the course. You will make it. Someday.

[mortheim]

Experimental USSR - Victory over the Sun

As much as I don't like the history of the 20th century (basically anything after WWI), I think stating that the early USSR was one of the most interesting countries in history wouldn't be an overstatement. One of the first countries that legalized gay marriage (taken away by Stalin later), literacy campaign (from 56% in 1916 to more than 80% in 1937), legalized abortions (undermined by Stalin), legalized divorce, providing maternity leave, equal rights, NEP... It was a bloody time, but a lot of things changed for the better for most people. I don't like the later USSR, but even then it still tried to provide good living conditions to most people. Central heating, housing, bathrooms in apartments, etc. Obviously, we can say a lot about how bad it was (for example, peasants didn't have passports until 1974, making the USSR a state with serfdom). But looking only at the bad things won't show us the full picture. This is why I want to talk about some experiments in the Soviet Union -cultural, social, and maybe even scientific. Today we will start with a play with costumes by none other than Malevich himself...

Victory over the sun.

"Victory Over the Sun" is an experimental opera staged in December 1913 at Luna Park in St. Petersburg. It was the result of collaboration between key figures of the Russian avant-garde: poet Alexei Kruchyonykh, composer Mikhail Matiushin, and artist Kazimir Malevich. They called themselves "budetlyani" (people of the future). The production was rooted in futurist ideas of radical departure from the past, a rejection of traditional art forms, and a drive to create something entirely new and unconventional.

The opera’s text was written by Alexei Kruchyonykh in a so-called "zaum" (smart-ass) language - a unique blend of sounds, words, and symbols meant to express new meanings detached from the logic and grammar of a conventional language. The Zaum language was intended as a way to break away from old literary and artistic canons, embodying the Futurist ambition of freeing art from its historical forms.

Mikhail Matiushin’s music was equally unconventional, far from traditional melodies and harmonies. It featured complex, dissonant, and unpredictable musical forms that challenged the audience's expectations of what an opera should sound like. The experimental use of dissonances and rhythms created an auditory landscape that heightened the futurist themes of the production. In this video, you can hear how it sounds.

Театр Стаса Намина - опера ПОБЕДА НАД СОЛНЦЕМ. Малевич, Крученых, Матюшин, Хлебников (Live). 2013

Сайт театра Стаса Намина - http://www.stasnamintheatre.ru/Реконструкция оперы "Победа над Солнцем" Казимир Малевич, Алексей Крученых, Михаил

Kazimir Malevich’s set designs and costumes became one of the most iconic aspects of the opera. Drawing inspiration from suprematism, Malevich rejected traditional depictions of space and reality. His stage design consisted of abstract geometric shapes that starkly contrasted with conventional theatrical art. The costumes were cubist and rectangular constructions, symbolizing mechanization and a rejection of the human figure.

Not only that but decorations were destroyed during the play. They were part of the play - not just a scenery. Here are some of the sketches of the costumes by Malevich. You can find more examples in this Wikipedia article.

The plot of Victory Over the Sun symbolizes futurism and modernism's triumph over the old world. In the opera, the Sun, representing the established order, is "captured" and caged by futurists who seek to destroy old norms and create a new world. The meaning was veiled and ambiguous, sparking debates and confusion among the audience. Some consider it science's victory over nature (you can somewhat compare it to a Dyson Sphere), while others thought that it dismantles the "Sun of Russian poetry - Pushkin.

The first performance caused an explosive reaction. The audience didn’t understand what was happening on stage - the libretto seemed absurd, the music cacophonous, and the set design too radical. The response was mixed, ranging from admiration to outright rejection. It was one of those moments when art challenged its viewers, offering a completely new aesthetic.

Victory Over the Sun had an impact on the development of avant-garde art, especially in Russia. It was during the work on this opera that Kazimir Malevich created the first version of his famous Black Square - a symbol of suprematism.

[mortheim]

About the equality in the USSR... During the interbellum period, there were a lot of media that promoted main goals of the communist party and state. One of those was freeing women from domestic servitude. But activists were often only willing to support slogans in words, while in practice, they refused to acknowledge the objective reality of the burden of domestic labor. I want to share a small part of Vladimir Varankin's novel "Metropolitan", where the bachelor communist Ivagin argues with his comrade's wife, who has fled to the countryside to escape the domestic servitude of city life (there she was able to find a job for the first time):

– I'm starting to fear you!

– Why?

– You’re already sending me to stand in line! On May 1st, I did all your errands, carried the kids, moved the decorations behind the stage during the children's celebration, hammered nails. Your daughter rides on my shoulders! And in the end... – he waved his hand.

– What, in the end? — Olga asked, not understanding.

– In the end, I'll never get married! You've completely discouraged me!

Olga laughed.

– And what did you expect? You’ll build socialism, and your wife will just look after the children and stand in line? Or maybe you’d prefer it the other way around? After all, someone has to do it!

– Why a man?

– Why a woman?

Can't lie, it is an entertaining read. Some of the points that the author makes can still be used today.

[mortheim]

Saints aren't nice - Paraskeva Pyatnitsa

Nearly all cultures were affected by their religion. Often by just knowing the religion of the country, you can guess some things that are valued in this society. And it isn't different in Russia. Orthodox Christianity made suffering one of the cornerstones of my culture. I would say that enduring hardships could be a national sport...

Anyway, Orthodox Christianity is rich in a lot of weird saints. Most of them are mixed with old, pagan, beliefs. And today's "guest" isn't an exception. Paraskeva Pyatnitsa can be considered part of the Slavic folklore, combining elements of Christian sainthood with remnants of pagan beliefs. Revered among Orthodox Slavs, she is based on both Saints Paraskeva of Iconium and Paraskeva of Serbia. However, in folk traditions, her role goes beyond Christianity, reflecting aspects of the pagan goddess Mokosh, who was linked to women’s work, fertility, and protection of the household.

Paraskeva became the personification of Friday, a day considered sacred and often tied to prohibitions around spinning, washing, and other household tasks. Those who disrespected these rules were believed to face her wrath, with punishments including illness, blindness, and flaying.

Russians prayed to Paraskeva Pyatnitsa for protection from the death of livestock, especially cows. The saint was also considered a healer of human ailments, especially the devil‘s obsession, fever, toothache, headache, and other diseases. In honor of Saint Paraskeva, there were special prayers worn around the neck and considered to be a protection against various diseases. Flowers, herbs, and other attachments to the image of Paraskeva-Patnitsa were also considered to be one of the most effective medical remedies and therefore were preserved from year to year as an important healing aid. In case of any illness, peasants boiled them in water and used this decoction to drink for various diseases.

In addition to her religious significance, Paraskeva’s folk image is both protective and fearsome. While traditional icons depict her as an ascetic figure in a red cloak, folk stories paint a wilder picture - showing her as a tall woman with loose hair and large breasts, a blend of both nurturing and punishing forces. In some regions, rituals like vodit' (lead) Pyatnitsu involved leading a woman dressed as the saint around the village, seeking her blessing for the harvest or livestock.

This blending of Christian and pagan elements made Paraskeva an important figure in both religious and rural life. Her feast days, especially October 14 (October 27, New Style), were celebrated with church services and the observance of traditional bans on work, particularly among women. In some regions, Paraskeva was also connected to the "12 Fridays" legend, marking sacred Fridays throughout the year for fasting and reflection. Some authors consider the echo of the Slavic pre-Christian beliefs some authors consider ‘idol’ sculptural images of saints preserved in some places even in the XIX - early XX centuries. The most frequent was the sculpture of Paraskeva Pyatnitsa. In Russia, her wooden sculptures were widespread - ‘wooden painted statue of Friday, sometimes in the form of a woman in oriental garb, and sometimes in the form of a simple woman in a ponyova and lapti’. The statue of Paraskeva ‘was placed in churches in special boxes and people prayed before this idol’.

Ultimately, this is one of the saints who is more like a minor pagan deity - she will punish you if you don't follow her rules, but she also can protect you from illness.

[mortheim]

Alexei Remizov - modernist storyteller

Alexey Mikhailovich Remizov was one of the brightest and most original figures in early 20th-century Russian literature, known for his experiments with language, his mythological thinking, and his interest in folk tales. Born in 1877 in Moscow, he was not only a writer but also an artist, which is reflected in his vivid and symbolic prose.

Remizov's work is filled with mysticism, fantasy, and a deep exploration of the human soul. His style is often described as "skaz" - he actively used folk motifs and idiomatic expressions. One of his most famous collections, "Posolon", demonstrates this blend. In it, Remizov merges myth and reality, drawing readers into a world where the line between the visible and the invisible is blurred:

People believe in the old, but the old is not what it seems! It was and will be something else - neither God nor man can understand it.

Remizov was also fascinated by medieval Russian culture and ancient chronicles. His works, such as "Limonar", are steeped in archaic language and reflect his attempts to revive spiritual traditions. In this piece, he draws on biblical themes and Christian philosophy:

"Every word is like a seed — you plant it, and it grows, bearing fruit. But that fruit is for the soul, not for worldly desires."

Remizov often experimented with form and language, breaking traditional narrative conventions. His prose is filled with rhythm and recurring motifs, creating a chant-like effect. An example is "The Word of the Ruin of the Russian Land", where he describes historical catastrophes from a metaphysical perspective:

"Ruin is not in what happened, but in the fact that the people lost their soul — and without a soul, there is no land."

His tales are an interesting blend of modern and old. There is a lot more to him other than his books, but they are the most important heritage he left.

With his rich literary legacy, several works stand out for their depth and uniqueness:

"Posolon" (1907) This collection of folk tales is one of Remizov's best-known works. In it, he masterfully uses fairy-tale elements, intertwining them with mythology and fantasy. At the center of the narrative are Russian folk stories, reimagined through the lens of symbolism and metaphorical language. Posolon captivates with the way it blurs the lines between reality and fantasy, and the narrative takes on a hypnotic rhythm that immerses the reader in an ancient and mystical world. This work is worth reading for its unique language and its ability to bring folk motifs to life.

"Limonar" (1911) In this collection, Remizov explores Christian and biblical themes, through which the human soul and its aspirations are revealed. Limonar is notable for its archaic form, reminiscent of ancient Russian chronicles and Christian didactic texts. The work attracts with its deep spirituality and the author's attempts to delve into eternal questions of faith and existence. It is a must-read for those interested in religious philosophy and medieval themes presented through an unusual authorial interpretation.

Unfortunately, it seems there are no translations of his works into English...

[mortheim]

A not-so-short absence...

Unfortunately, I have been busy lately. First, I got a job at a company I always wanted to work for. Interviews, onboarding, and all that jazz took quite some time. Second, I was solving a logistical nightmare of delivering 18-string gusli from Russia to Serbia. And it is kinda hard to pick a musical instrument when you have never played any.

Third, I was re-evaluating my posts. At the moment nearly all of them are about mythological creatures, but I wanted to share more historical facts and information. This is why I will change the schedule of posts a bit - 1 will be about mythology, 1 about history, and 1 will either be about my story or it will somehow involve both history and myths.

For this week, I have prepared three posts:

Impressionist, modernist, and storyteller. Quoting Kuprin: "He does not imagine the phenomena of real-life except through some ominous, ugly, fantastic and mysterious glass…. He is sincere to the point of naivety, he conjures, whispers, whispers and babbles strange frightening words with complete unbreakable faith…". His books might be interesting if you want to dive into the fairytales of a Russian author from the early to mid-20th century.

A saint, who could flay you if you spin threads on Friday. Mokosh of Orthodox Christianity.

Futuristic Opera from 1913. With costumes by none other than Malevich.

Overall work on the main part of the project goes slower than I expected. Because I was too naive to believe an artist who wanted 100% payment in advance. Never ever do this. Even if this person was recommended to you.

[mortheim]

Vasilisa Mikulishna - my favorite bogatyr

I will be honest with you - strong women are my weak spot. And I don't mean only physically - but in their principles, intelligence and maturity. In my childhood, I had several favorite characters - some wre obviously male, but among my top three would be two femalre heroines - one is Mulan and about the other one I want to talk today. People who are familiar with Slavic and Russian folklore knowabout Bogatyrs. Bogatyrs are the mighty warrior heroes known for their strength, bravery, and unwavering loyalty. These legendary knights, like Ilya Muromets and Dobrynya Nikitich, are celebrated for their heroic deeds and battles against evil forces. But less people know about their female counterparts who not only in no way inferior, but often even superior to their male peers. Among these legendary heroines, one stands out for me - Vasilisa Mikulishna.

Tale of Vasilisa Mikulishna

Vasilisa Mikulishna is dughter of Mikula Selyanovich - a bogatry known for his principle that you can wield power, but you shouldn't use it until it is necessary. She is celebrated as a clever and daring heroine. Vasilisa is wife of Stavr Godinovich, a nobleman who boasts of her intelligence and beauty, claiming she could outwit the mightiest of men. When Stavr’s pride lands him in trouble, leading to his imprisonment by prince Vladimir, Vasilisa decides to take matters into her own hands.

Disguising herself as a young warrior, Vasilisa dons armor and rides to Kiev, the capital, where she introduces herself as a foreigner (in one version - as a Tatar ambassador, in another - Polish prince). Her wit and wisdom quickly capture the attention of Prince Vladimir, who challenges her to various tests of strength and intellect. Vasilisa excels in each challenge, proving her abilities and earning the prince’s respect.

Rescue

The highlight of Vasilisa Mikulishna’s tale is her ingenious rescue of Stavr. There are two versions of what happens nest. In the first one, after impressing Prince Vladimir, she reveals her true identity and demands her husband’s release. Vladimir, impressed by her bravery and loyalty, grants her request. Vasilisa’s actions demonstrate not only her physical prowess but also her intelligence and strategic thinking, traits that set her apart in the world of Slavic folklore. In another one, Vasilisa misleads him, demands Zabava Putyatichna as her wife, and at the wedding feast this "Tatar ambassador" says that "court gusliars are bad" and demands to bring Stavr. She takes Stavr with her, leaves and then reveals herself to her husband, after which Vasilisa and Stavr go to Chernigov (or to Lithuania - in another version).

A Symbol of Strength and Wisdom

Vasilisa Mikulishna is more than just a warrior - she embodies the spirit of resourcefulness, loyalty, and equality. While being strong, she doesn't use brute force to save her husband and uses her wit to outsmart Kievan prince.

There is also a Soviet animation about this legend. It is somewhat good.

Also, if you know the artists of some of the pictures above - I would be grateful for the link! I couldn't tack those images :(

[mortheim]

Gusli - traditional slavic folklore instrument

Gusli is a traditional stringed instrument, with its origins dating back over a thousand years. Resembling a small harp or zither, gusli typically features a flat, wing-shaped wooden body with multiple strings.

Historically, gusli were played by guslars, bards of Slavic societies, who used it to accompany epic tales and songs during feasts and ceremonies. There are several types of gusli, including the wing-shaped, helmet-shaped, and table versions, each offering unique sounds.

One of the most famous tales involving the Gusli is the legend of Sadko, a skilled musician who played the Gusli so beautifully that he enchanted the Sea Tsar. Sadko’s music was said to calm the waters and charm even the creatures of the deep, giving him riches and kickstarting his career as a merchant. Here is an example of one of my favorite soundtrack from Heroes of Might and Magic IV played on gusli (by Tamara Ivanova):

[mortheim]

Gentle guardians of the forest - Gaevki

The forest is not only home to the fearsome Leshy but also to his more benevolent and protective descendants - Gaevki. These spirits, often described as the granddaughters of the Leshy, play an important role in maintaining the balance of nature within the woods.

Who are Gaevki?

Gaevki (гаёвки) are forest spirits known for their protective nature towards animals and the forest itself. They are depicted as young, delicate beings who embody the gentler aspects of the woodland. Unlike the more fearsome Leshy, Gaevki are not malevolent - they are spirits who watch over the forest’s inhabitants, ensuring that the balance of nature is preserved.

Appearance and behavior

Gaevki are often described as beautiful, ethereal young women. During the winter months, they are said to grow thick, white fur to blend in with the snowy landscape, shedding it in the spring when the forest comes back to life. Despite their gentle nature, they are known for their mischievous attitude, particularly when it comes to human visitors in the forest.

One of their most famous pranks involves stealing the clothes of young women who wander into the woods, forcing them to return home embarrassed. However, this trick is usually harmless.

Role in the forest

Gaevki are seen as the caretakers of the forest’s animals. They ensure that the creatures of the woods are protected and that the natural order is maintained. In Belarusian folklore, Gaevki are particularly close to the Leshy, often assisting him in his duties as the ruler of the forest. They might guide lost animals back to safety or help heal injured creatures.

Unlike the Leshy, who can be a dangerous trickster, Gaevki are more likely to help humans who show respect for the forest. They might lead a lost traveler back to the path or protect them from the more dangerous spirits that roam the woods.

Gaevki and the seasons

During the winter, when the forest is at its most vulnerable, Gaevki are believed to be especially vigilant. They protect the animals from the harsh cold and ensure that the forest remains a sanctuary even in the most challenging conditions.

Gaevki in regional folklore

In Belarus, Gaevki are well-known figures, closely associated with the deep, ancient forests. They are often linked to the concept of the "пуще" (pusche), or the untouched, primeval woods where nature reigns supreme. These spirits are considered protectors of the forest’s purity, ensuring that it remains unspoiled by human hands.

In Western Russia, Gaevki are sometimes seen as more playful spirits, reflecting the lighter side of the natural world. They might be involved in games with other forest creatures or even engage in friendly interactions with humans, as long as the latter show proper respect for the forest.

Gentle guardians

Gaevki may lack the imposing presence of the Leshy, but they are no less significant in Slavic spirit world. Their role as protectors of the forest and its creatures highlights the importance of balance in nature.

The Gaevki show us that the forest is not just a place of danger and mystery but also one of beauty, life, and gentle care.

[mortheim]

First steps - character concepts and art

Well, I found an awesome artist and started throwing money at him so he would make me character art. The first art I decided to get is for Lilia - life mage, backend lead, CrossFit sportswoman, and reenactor. Once her art is complete, I will make a post about her, including her background and where she stands at the beginning of her story. Also, the headband will go, cause it is a bit too much for a contemporary setting. But maybe some additional decorations related to her origin might appear.

[mortheim]

Leshy - So, what then is my name to you?

Leshy has a lot of names - not only in Slavic countries but even in Russia! Here are some of them...

[mortheim]

Zazovki: Lures of the forest

In the deep, mysterious forests, not all spirits are benign or merely mischievous. The Zazovki are some of the most dangerous and alluring spirits, known for their beauty and deadly charm.

Who are Zazovki?

Zazovki are forest spirits often depicted as stunningly beautiful young women with long, flowing hair. They are the embodiment of temptation, luring men into the depths of the forest with their enchanting presence. Their name comes from the word "зазывать" (zazyvat’), meaning "to call" or "to beckon," perfectly capturing their seductive and dangerous nature.

Deadly allure

Zazovki are known for their irresistible pull on men, especially those who wander alone in the forest. A Zazovka might appear out of nowhere, leading a man deeper into the woods with her enchanting voice and mesmerizing appearance. Rarely does anyone who follows a Zazovka return; those who do are often forever changed, haunted by the experience and drawn back to the forest by an uncontrollable urge.

In some tales, the men who follow a Zazovka are consumed by her love, either dying from exhaustion or being driven mad. Those who manage to escape are often found wandering aimlessly, unable to recall what happened, and are frequently drawn back into the forest, never to be seen again.

Regional variations

In some regions, Zazovki are closely associated with other water or forest spirits, like Rusalki. However, unlike the Rusalki, who are more commonly linked to water, the Zazovki are firmly rooted in the forest. They represent the untamed, wild aspect of the woods - a place where beauty and danger coexist.

In Western Russia and Belarus, Zazovki are sometimes thought to be the spirits of women who died young or tragically, particularly those who were unfaithful or met their end in the forest. Their restless spirits continue to haunt the woods, luring others to share their fate.

Zazovki’s victims

Men who follow the call of a Zazovka are often described as being in a trance, unable to resist the pull of the spirit. They wander deeper into the forest, led by the Zazovka’s song or by the mere glimpse of her figure moving among the trees. Those who do return are never the same—marked by their encounter, they are often disoriented, silent, and obsessed with the forest. In some stories, these men are found hanging from trees, having been driven to madness by the Zazovka’s unrelenting lure.

Protecting against Zazovki

There are few defenses against the allure of a Zazovka. Some believe that carrying certain herbs, like wormwood or St. John’s wort, can ward off their influence. Others say that avoiding the forest during certain times of the day, particularly dusk, when Zazovki are most active, is the best way to stay safe.

This is a short overview of these forest spirits. There is also another kind of female forest spirit - Gaevki, granddaughters of Leshy. But we will talk about them next time...

[mortheim]

Beware of the forest - Leshy

Leshy is one of the most powerful and enigmatic figures in Slavic folklore, a guardian of the forest with many faces. Known by various names - Lesovik (Forester), Leshak, Lesnoi Dedka (Gramps of the Forest) - he rules the wild with an unpredictable nature that varies across regions.

Who are you, mr. Leshy?

Leshy is a shapeshifter, able to grow as tall as the trees or shrink down to the size of a blade of grass. Sometimes he appears as a towering figure with greenish or blue skin, glowing eyes, and a long beard of moss. Other times, he takes on the form of a small, hairy old man, blending into the forest as just another part of the landscape.

He’s not just a trickster - he’s the master of all animals in the forest. Wolves and other creatures obey him without question. If a shepherd disrespects the forest or mistreats animals, Leshy might send wolves to attack his herd. Travelers who wander too deep into his domain might find themselves lost for hours, misled by paths that twist and change under Leshy’s influence.

The many faces of Leshy

In Northern Russia with its vast and dense forests, Leshy is a fearsome figure, towering and dangerous. In regions like Novgorod and Arkhangelsk, he’s seen as a powerful being with the ability to control the weather, especially during storms. His skin is sometimes described as blue, his eyes glowing eerily in the dark forest.

In Central Russia, in places like Tula and Yaroslavl, Leshy is more of a mischievous trickster. He often appears as an old man with a green beard and mismatched clothing. Locally, he’s known as "Muzhichok" ("little man"), a name that reflects a more familiar and less intimidating presence.

In Belarus Leshy, or "Gaun", is the protector of the ancient, untouched forests known as "puscha". He’s closely tied to the spirits of the forest, including his granddaughters, Gaevki. These beings, more benign than Leshy, protect forest animals and sometimes play harmless tricks on humans.

In Ukraine, Leshy blends with local spirits like the Polovik, becoming a guardian of both the forest and the fields. He’s less physically imposing but more cunning, often using his intelligence to outsmart humans rather than relying on brute force.

It is important to note, that this is just a short post about this spirit. There is much more to them than I would be able to post here, unfortunately. But I hope you will be motivated to learn about it!

[mortheim]

Poludnitsa - not only night is dangerous

While Slavic cultures became somewhat distinct, they have common roots and, because of this, similar mythological creatures. And today we will talk about one of these creatures - Poludnitsa (Spirit of Noon).

In Slavic folklore, both noon and midnight are mystical times when the boundary between the worlds of the living and the dead thins. This is when spirits from the Nav, the shadowy realm of dark deities, undead, and alternate laws, emerge. One such spirit is Poludnitsa, known for her dangerous presence in the fields at noon, potentially leading to heat stroke or worse for those who encounter her. Poludnitsa is the embodiment of midday heat, a spirit active during the hottest part of the day. Her name is derived from the word "polden'," meaning "midday". Encounters with her are dangerous, particularly for pregnant women and children, who might fall victim to her wrath or have their children swapped. In addition, it has long been noticed that people subjected to serious heat stroke often receive some unusual abilities, while becoming somewhat out of this world.

In folklore, Poludnitsa can appear as a young blonde woman or an ancient crone, though she is most often seen in her youthful form. She typically carries a scythe, a sickle, or in later myths, a red-hot frying pan, which either protects her from the sun or scorches the fields, depending on the tale.

Meeting Poludnitsa could mean facing riddles or a dance challenge. Solving her riddles or out-dancing her might earn a reward - if one survives. Her presence and influence vary across regions, with some believing she only threatens children, while others think she endangers those who rest at noon, luring them into a deep, near-unbreakable sleep. Some believe Poludnitsa was originally a fiery spirit meant to protect fields and farmers from evil. Over time, her image changed, possibly due to Christian influences, giving her a more sinister reputation. Researchers suggest that her negative portrayal emerged only in the last centuries, hinting at an older, more benevolent role. Modern interpretations see Poludnitsa as a field spirit, warning laborers against the dangers of midday heat while protecting the crops. Her true allegiance - whether to light or darkness - remains debated.