{"id":6177,"date":"2026-05-19T11:24:07","date_gmt":"2026-05-19T11:24:07","guid":{"rendered":"https:\/\/iwell-guard.com\/lada\/"},"modified":"2026-06-04T09:26:18","modified_gmt":"2026-06-04T09:26:18","slug":"lada","status":"publish","type":"page","link":"https:\/\/iwell-guard.com\/en\/lada\/","title":{"rendered":"Lada"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"6177\" class=\"elementor elementor-6177 elementor-3031 elementor-bc-flex-widget\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-181696a e-flex e-con-boxed e-con e-parent\" data-id=\"181696a\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-405cf75 e-flex e-con-boxed e-con e-child\" data-id=\"405cf75\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-4e51bd7 e-con-full e-flex e-con e-child\" data-id=\"4e51bd7\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b30b903 elementor-widget elementor-widget-heading\" data-id=\"b30b903\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h1 class=\"elementor-heading-title elementor-size-default\">Lada, Slavic Goddess of Love<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8919e13 elementor-widget elementor-widget-text-editor\" data-id=\"8919e13\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>In the Slavic <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span>, Lada is the goddess of love, beauty, marriage and spring. Unlike the gods of the Vladimir sextet, Lada is not directly attested in any medieval chronicle; her name first appears in late-medieval Polish sermon literature and in folk wedding and spring songs.<\/p><p>For this reason, her existence as an independent goddess is contested in current scholarship. Aleksander Br\u00fcckner regarded her as a mere song refrain, while Aleksander Gieysztor and Boris Rybakov saw her as a genuine goddess whose trace survived in folk <span class=\"iwg-fachbegriff\" data-tooltip=\"The passing on of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span>. This page presents both positions and follows today&#8217;s cautious consensus.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-75cc6ec e-con-full e-flex e-con e-parent\" data-id=\"75cc6ec\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9fa10d3 elementor-widget elementor-widget-html\" data-id=\"9fa10d3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t\t<div class=\"iwg-pill-row\"><span class=\"iwg-klasse-badge\" tabindex=\"0\" data-tooltip=\"God \/ goddess: Personified supreme power in the pantheon of a culture, with clearly defined domains: forces of nature, fate, war, fertility. Venerated through cults, sacrifices and temple institutions.\">God<\/span><a href=\"https:\/\/iwell-guard.com\/en\/slavic\/\" class=\"iwg-kultur-badge\" tabindex=\"0\" data-tooltip=\"Slavic mythology and folk religion, overlaid by Christianity from the 10th century onward.\">Slavic<\/a><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-3b72310 e-con-full e-flex e-con e-child\" data-id=\"3b72310\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-51a4bba elementor-toc--minimized-on-tablet elementor-widget elementor-widget-table-of-contents\" data-id=\"51a4bba\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;exclude_headings_by_selector&quot;:[],&quot;no_headings_message&quot;:&quot;Es wurden keine \\u00dcberschriften auf dieser Seite gefunden.&quot;,&quot;headings_by_tags&quot;:[&quot;h2&quot;,&quot;h3&quot;],&quot;marker_view&quot;:&quot;bullets&quot;,&quot;icon&quot;:{&quot;value&quot;:&quot;fas fa-circle&quot;,&quot;library&quot;:&quot;fa-solid&quot;,&quot;rendered_tag&quot;:&quot;&lt;svg class=\\&quot;e-font-icon-svg e-fas-circle\\&quot; viewBox=\\&quot;0 0 512 512\\&quot; xmlns=\\&quot;http:\\\/\\\/www.w3.org\\\/2000\\\/svg\\&quot;&gt;&lt;path d=\\&quot;M256 8C119 8 8 119 8 256s111 248 248 248 248-111 248-248S393 8 256 8z\\&quot;&gt;&lt;\\\/path&gt;&lt;\\\/svg&gt;&quot;},&quot;minimize_box&quot;:&quot;yes&quot;,&quot;minimized_on&quot;:&quot;tablet&quot;,&quot;hierarchical_view&quot;:&quot;yes&quot;,&quot;min_height&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"table-of-contents.default\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__header\">\n\t\t\t\t\t\t<h2 class=\"elementor-toc__header-title\">\n\t\t\t\tTable of Contents\t\t\t<\/h2>\n\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--expand\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__51a4bba\" aria-expanded=\"true\" aria-label=\"Open table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-down\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M207.029 381.476L12.686 187.132c-9.373-9.373-9.373-24.569 0-33.941l22.667-22.667c9.357-9.357 24.522-9.375 33.901-.04L224 284.505l154.745-154.021c9.379-9.335 24.544-9.317 33.901.04l22.667 22.667c9.373 9.373 9.373 24.569 0 33.941L240.971 381.476c-9.373 9.372-24.569 9.372-33.942 0z\"><\/path><\/svg><\/div>\n\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--collapse\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__51a4bba\" aria-expanded=\"true\" aria-label=\"Close table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-up\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M240.971 130.524l194.343 194.343c9.373 9.373 9.373 24.569 0 33.941l-22.667 22.667c-9.357 9.357-24.522 9.375-33.901.04L224 227.495 69.255 381.516c-9.379 9.335-24.544 9.317-33.901-.04l-22.667-22.667c-9.373-9.373-9.373-24.569 0-33.941L207.03 130.525c9.372-9.373 24.568-9.373 33.941-.001z\"><\/path><\/svg><\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<div id=\"elementor-toc__51a4bba\" class=\"elementor-toc__body\">\n\t\t\t<div class=\"elementor-toc__spinner-container\">\n\t\t\t\t<svg class=\"elementor-toc__spinner eicon-animation-spin e-font-icon-svg e-eicon-loading\" aria-hidden=\"true\" viewBox=\"0 0 1000 1000\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M500 975V858C696 858 858 696 858 500S696 142 500 142 142 304 142 500H25C25 237 238 25 500 25S975 237 975 500 763 975 500 975Z\"><\/path><\/svg>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-c166d20 e-con-full e-flex e-con e-child\" data-id=\"c166d20\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2f07478 iwg-hero-image elementor-widget elementor-widget-image\" data-id=\"2f07478\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_slawisch_lada-683x1024.webp\" class=\"attachment-large size-large wp-image-6178\" alt=\"Lada - gods from the Slavic tradition, historical and illustrative\" srcset=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_slawisch_lada-683x1024.webp 683w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_slawisch_lada-200x300.webp 200w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_slawisch_lada-768x1152.webp 768w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_slawisch_lada.webp 1024w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8e86c94 e-con-boxed e-flex e-con e-parent\" data-id=\"8e86c94\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-c069bd3 e-con-full e-flex e-con e-child\" data-id=\"c069bd3\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e6f0bd4 elementor-widget elementor-widget-heading\" data-id=\"e6f0bd4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Source Situation and Scholarly Dispute<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e7ffce5 elementor-widget elementor-widget-text-editor\" data-id=\"e7ffce5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>The oldest mentions of Lada come from Polish synodal decrees and sermon literature of the 15th century. The decree of the Synod of \u0141\u0119czyca (1420) prohibits dancing and singing at Pentecost and in doing so names the invocations &#8220;\u0141ado, \u0142ado!&#8221;.<\/p><p>Similar prohibitions appear in Jan D\u0142ugosz&#8217;s &#8220;Annales seu cronicae incliti Regni Poloniae&#8221; (1455 to 1480), which describes Lada as the Polish equivalent of Mars and places an entire Polish list of gods alongside her. This list is problematic for the history of <span class=\"iwg-fachbegriff\" data-tooltip=\"The academic discipline that studies religions comparatively and without confessional commitment.\" tabindex=\"0\">religion<\/span> because D\u0142ugosz partly constructed the Slavic <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span> on a Roman model.<\/p><p>Aleksander Br\u00fcckner (&#8220;Mitologia s\u0142owia\u0144ska&#8221;, 1918) firmly rejected the existence of Lada as a goddess. For him, &#8220;\u0142ado&#8221; is a song refrain, comparable to the German &#8220;lalala&#8221;, which was later wrongly personified by clergy. This skeptical position was long dominant in the 20th century and was largely adopted by Henryk \u0141owmia\u0144ski.<\/p><p>Aleksander Gieysztor (&#8220;Mitologia S\u0142owian&#8221;, 1982) and Boris Rybakov, by contrast, argued for the existence of Lada.<\/p><p>Gieysztor points to the frequency and distribution of the Lada invocations from the Baltic to the Balkans, to parallels in Latvian <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the transmitted stories about the gods of a culture.\" tabindex=\"0\">mythology<\/span> (Laima, goddess of fate), and to the structural necessity of a goddess of love and spring within the reconstructible <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span>.<\/p><p>More recent scholarship (Ji\u0159\u00ed Dynda, Michael Shkapa) tends toward a middle position: Lada was probably an East Slavic and Polish folk figure who did not necessarily belong to the official <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span> of Kievan Rus, but was anchored in folk religiosity.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-bccdfb9 e-con-full e-flex e-con e-child\" data-id=\"bccdfb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c180e27 elementor-widget elementor-widget-heading\" data-id=\"c180e27\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Name and Etymology<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cc6caec elementor-widget elementor-widget-text-editor\" data-id=\"cc6caec\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>The name &#8220;Lada&#8221; is derived from Proto-Slavic &#8220;*lada&#8221; (&#8220;beloved, woman, order&#8221;), with connections to Old Russian &#8220;lad\u044a&#8221; (concord, harmony), Serbian &#8220;lada&#8221; (woman, beloved) and Czech &#8220;ladn\u00fd&#8221; (graceful).<\/p><p>In Russian usage, &#8220;lad&#8221; has retained the meaning &#8220;peace, order, concord&#8221; into modern Russian. The etymological connection with the North Germanic Vanir goddess Frigg\/Frigga (from Indo-European &#8220;*priH-&#8220;, to love) has occasionally been discussed, but is not linguistically compelling.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d7756f3 e-con-full e-flex e-con e-child\" data-id=\"d7756f3\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ac25bc6 elementor-widget elementor-widget-heading\" data-id=\"ac25bc6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Function and Appearance<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-76d4728 elementor-widget elementor-widget-text-editor\" data-id=\"76d4728\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>As far as can be reconstructed from the folk-religious sources, Lada is the goddess of love, marriage, female beauty and spring. She is <span class=\"iwg-fachbegriff\" data-tooltip=\"The petitioning or invoking address to a deity or power.\" tabindex=\"0\">invoked<\/span> in spring songs, mentioned in the wedding <span class=\"iwg-fachbegriff\" data-tooltip=\"A fixed, recurring religious act.\" tabindex=\"0\">rite<\/span>, and celebrated in circle and round dances (&#8220;khorovody&#8221;).<\/p><p>In Ukrainian and Polish <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmitted folk culture with customs, narratives and songs.\" tabindex=\"0\">folklore<\/span> she is often the protective goddess of young girls and unmarried women, and her veneration coincides with the <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the customs handed down within a community.\" tabindex=\"0\">customs<\/span> of May. In the oldest surviving songs she frequently appears with a male companion figure named &#8220;Lado&#8221; or &#8220;Lel&#8221;, whose status as an independent god is likewise contested.<\/p><p>The visual arts began to refer to Lada only with the Romantic folk movement of the 19th century, depicting her as a fair-haired young woman in a white wedding gown, often with a wreath of flowers and accompanied by swans. This <span class=\"iwg-fachbegriff\" data-tooltip=\"The study of pictorial content and its meaning.\" tabindex=\"0\">iconography<\/span> is a modern construction and has no direct medieval models.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-3aecef9 e-con-full e-flex e-con e-child\" data-id=\"3aecef9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-073604c elementor-widget elementor-widget-heading\" data-id=\"073604c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Veneration and Folk Custom<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2bfbbe1 elementor-widget elementor-widget-text-editor\" data-id=\"2bfbbe1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>The most important trace of Lada is the <span class=\"iwg-fachbegriff\" data-tooltip=\"The petitioning or conjuring address to a deity or power.\" tabindex=\"0\">invocation<\/span> &#8220;\u0141ado, \u0142ado!&#8221; (also &#8220;Lada, Lada!&#8221; or &#8220;\u0141ado, \u0141ado, jary \u0141ado!&#8221;) in spring and wedding songs. These refrains are documented in large numbers in Polish, Ukrainian, Belarusian and Russian song collections of the 19th century.<\/p><p>In &#8220;Poeticheskiye vozzreniya slavyan na prirodu&#8221; (1865 to 1869), Aleksander Afanasyev gathered numerous examples. The critical folkloristics of the Soviet era (<span class=\"iwg-fachbegriff\" data-tooltip=\"Russian folklorist (1895-1970); main work Morphology of the Folktale (1928); structuralist analysis of fairy tales.\" tabindex=\"0\">Vladimir Propp<\/span>, Boris Putilov) examined part of these collections for authenticity and distinguished between archaic folk sources and literarily influenced ones.<\/p><p>In the May and Pentecost customs of many Slavic regions, girls&#8217; round dances, wreath-throwing and the setting adrift of wreaths were widespread practices in which Lada was invoked.<\/p><p>The Ukrainian &#8220;Hahilki&#8221; round dance, the Polish &#8220;Stado&#8221; and the South Slavic &#8220;Lazarice&#8221; <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the transmitted customs of a community.\" tabindex=\"0\">customs<\/span> belong to this complex. Whether these customs derive directly from an old <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the religious acts of veneration for a deity or sacred figure.\" tabindex=\"0\">cult<\/span> of Lada or are general vegetative spring rituals cannot be decided with certainty.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-18674c9 e-con-full e-flex e-con e-child\" data-id=\"18674c9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9d0dbb2 elementor-widget elementor-widget-heading\" data-id=\"9d0dbb2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Wedding and Family Cult<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-14b9873 elementor-widget elementor-widget-text-editor\" data-id=\"14b9873\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Lada appears in wedding songs as the protective goddess of the bride and of the young marriage. In some regions the bride was called &#8220;Lada&#8221;; the Polish love song &#8220;O \u0141ado, \u0141ado&#8221; is a classic example.<\/p><p>In South Slavic <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmitted folk culture with customs, narratives and songs.\" tabindex=\"0\">folklore<\/span>, &#8220;lada&#8221; remains a term of endearment for the beloved to this day. This linguistic trace supports the thesis of an original goddess of the marital order whose name passed into profane usage.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f2145b4 e-con-full e-flex e-con e-child\" data-id=\"f2145b4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9f9b361 elementor-widget elementor-widget-heading\" data-id=\"9f9b361\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Classification in the History of Religion and Parallels<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fcb18e9 elementor-widget elementor-widget-text-editor\" data-id=\"fcb18e9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Structurally, Lada corresponds to the functions filled in other Indo-European pantheons by goddesses of love and beauty: Freya (Germanic), Aphrodite (Greece), Venus (Rome), Lakshmi (Hinduism), Hathor (Egypt).<\/p><p>Unlike these, Lada is not secured by monumental <span class=\"iwg-fachbegriff\" data-tooltip=\"A structure that serves the veneration of one or more deities.\" tabindex=\"0\">temples<\/span> or dogmatic myths; her reality remains anchored in folk religion. This situation is not unusual in the history of religion: the Baltic Laima, too, who shares structural similarities with Lada, is primarily attested through folklore.<\/p><p>Vladimir Toporov brought together the Slavic Lada with the Latvian Laima and the Hittite Hannahanna in an Indo-European and Anatolian stratum; this deep-structuralist reconstruction is methodologically ambitious and in parts contested. Boris Rybakov attempted to place Lada within an archaic &#8220;Great Goddess&#8221; stratum of the Eastern Slavs; this construction, too, is regarded as overreaching.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f4cbc83 e-con-full e-flex e-con e-child\" data-id=\"f4cbc83\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2ab74d4 elementor-widget elementor-widget-heading\" data-id=\"2ab74d4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Afterlife and Modern Reception<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-93672af elementor-widget elementor-widget-text-editor\" data-id=\"93672af\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>In the 19th century, Lada became a prominent figure of Slavic Romanticism. Adam Mickiewicz, Juliusz S\u0142owacki and Ukrainian poets such as Ivan Franko referred to her in their works.<\/p><p>In the music of the 19th and 20th centuries (Mussorgsky, Stravinsky), allusions to Lada appear, especially in &#8220;The Rite of Spring&#8221; (1913), which alludes to the spring round dance. In the visual arts of Polish Modernism (&#8220;M\u0142oda Polska&#8221;), Lada is a recurring figure.<\/p><p>The modern Rodnovery movement (Neopaganism) has made Lada the central female <span class=\"iwg-fachbegriff\" data-tooltip=\"A being venerated as divine within a religion.\" tabindex=\"0\">deity<\/span> of a reconstructed pantheon. From the perspective of the history of religion, this revival is a new construction that draws on folk tradition and the Romantic collections, not on a continuous cult practice.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8d1ce2c e-con-full e-flex e-con e-child\" data-id=\"8d1ce2c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e2c2122 elementor-widget elementor-widget-heading\" data-id=\"e2c2122\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Sources<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-01e526c elementor-widget elementor-widget-text-editor\" data-id=\"01e526c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Synodal decree of \u0141\u0119czyca (1420). Jan D\u0142ugosz, &#8220;Annales seu cronicae incliti Regni Poloniae&#8221; (1455 to 1480), Book I. Polish sermon literature and synodal decrees of the 15th century. Ukrainian, Belarusian and Russian song collections of the 18th and 19th centuries, in particular the collections of Aleksander Afanasyev and Pavel Chubinsky.<\/p><p>Aleksander Br\u00fcckner, &#8220;Mitologia s\u0142owia\u0144ska&#8221;, Krak\u00f3w 1918 (critical, skeptical position). Aleksander Gieysztor, &#8220;Mitologia S\u0142owian&#8221;, Warsaw 1982. Boris Rybakov, &#8220;Yazychestvo drevnikh slavyan&#8221;, Moscow 1981 (with reservations).<\/p><p>Vladimir Toporov and Vyacheslav Ivanov, &#8220;Issledovaniya v oblasti slavyanskikh drevnostey&#8221;, Moscow 1974. Henryk \u0141owmia\u0144ski, &#8220;Religia S\u0142owian i jej upadek&#8221;, Warsaw 1979. Vladimir Propp, &#8220;Russkie agrarnye prazdniki&#8221;, Leningrad 1963. Ji\u0159\u00ed Dynda, &#8220;Slovansk\u00e9 pohanstv\u00ed ve st\u0159edov\u011bk\u00fdch latinsk\u00fdch pramenech&#8221;, Prague 2017. Michael Shkapa and further contributions in &#8220;Studia Mythologica Slavica&#8221;, Ljubljana since 1998.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-30567fb e-con-full e-flex e-con e-child\" data-id=\"30567fb\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-cd86711 elementor-widget elementor-widget-heading\" data-id=\"cd86711\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Br\u00fcckner Controversy<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6f71af9 elementor-widget elementor-widget-text-editor\" data-id=\"6f71af9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Aleksander Br\u00fcckner (1856 to 1939), the most important Polish Slavist of his generation, dominated the Lada question in the scholarship of the early 20th century.<\/p><p>In &#8220;Mitologia s\u0142owia\u0144ska&#8221; (1918) and in several detailed essays he held the thesis that &#8220;Lada&#8221; was not the name of a god but merely a song refrain, comparable to the onomatopoeic interjections &#8220;hej&#8221;, &#8220;dana&#8221; or &#8220;lalala&#8221; that occur in many Slavic folk songs.<\/p><p>Br\u00fcckner&#8217;s argument rested on the absence of any mention in the main medieval sources, on the appearance of similar refrains in non-religious contexts, and on the supposition that 15th-century clergy had misunderstood the unfamiliar refrain as the name of a god.<\/p><p>This skeptical position long dominated the image of Lada in 20th-century scholarship. Henryk \u0141owmia\u0144ski adopted it in essence in his classic work &#8220;Religia S\u0142owian i jej upadek&#8221; (1979), and more recent critical scholars of religion such as Stanis\u0142aw Urba\u0144czyk have also defended the Br\u00fcckner line.<\/p><p>The arguments for it are methodological caution in dealing with late folk evidence and an awareness that Slavic reconstructions of religion often rest on a weak source base.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-e39e6dd e-con-full e-flex e-con e-child\" data-id=\"e39e6dd\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a87e5c2 elementor-widget elementor-widget-heading\" data-id=\"a87e5c2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Counter-Position of Gieysztor and Rybakov<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dc51214 elementor-widget elementor-widget-text-editor\" data-id=\"dc51214\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Aleksander Gieysztor (&#8220;Mitologia S\u0142owian&#8221;, 1982) substantially modified the Br\u00fcckner thesis. He argues that the frequency and geographical distribution of the Lada invocations, from the Baltic to the Balkans, from Poland to the southern Balkans, can hardly be explained by a single onomatopoeic refrain.<\/p><p>The structural similarity with the Latvian Laima (goddess of fate and love) and the etymological connection to Proto-Slavic &#8220;lada&#8221; (beloved, woman) speak for a genuine goddess of love and the marital order who was anchored at least in West and East Slavic folk religion.<\/p><p>Boris Rybakov went even further and positioned Lada in his main works as the central mother deity of a reconstructed Slavic pantheon.<\/p><p>His argumentation is rich in material but methodologically problematic; many of his identifications (Lada with a spring vegetation goddess, with a protective deity of marriage, and with a cosmic creator) are regarded in present-day scholarship as excessive. Critical Slavic studies have rejected Rybakov&#8217;s maximalist position.<\/p><p>More recent scholarship (Ji\u0159\u00ed Dynda, Michael Shkapa, the circle of &#8220;Studia Mythologica Slavica&#8221;) tends toward a middle position: Lada probably existed as a folk-religious figure, but was not necessarily a member of the official East Slavic imperial pantheon of Kievan Rus. Her veneration was popular and rural, not courtly and cultic.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-48cf6e0 e-con-full e-flex e-con e-child\" data-id=\"48cf6e0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f412053 elementor-widget elementor-widget-heading\" data-id=\"f412053\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Polish Source Tradition: D\u0142ugosz<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-34152cb elementor-widget elementor-widget-text-editor\" data-id=\"34152cb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>A special role is played by the Polish list of gods given by Jan D\u0142ugosz in his &#8220;Annales seu cronicae incliti Regni Poloniae&#8221; (composed 1455 to 1480). D\u0142ugosz lists a Polish <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span> with the names Jesza (corresp. Jupiter), Lada (corresp. Mars), Dziedzi\u0142ela (corresp. Venus), Nyja (corresp. Pluto), Dziewanna (corresp.<\/p><p>Diana) and Marzanna (corresp. Ceres). This list is problematic for the history of religion: it clearly follows the Roman scheme of divine names and looks in part like a humanist construction in which D\u0142ugosz wished to attribute to the Poles a <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of the gods of a religion or culture.\" tabindex=\"0\">pantheon<\/span> equal to that of the Romans and Greeks.<\/p><p>It is notable that D\u0142ugosz identifies Lada as male (as Mars). This stands in contradiction to the folk-religious tradition, in which Lada is clearly female.<\/p><p>Present-day scholarship interprets this discrepancy partly as an indication of the figure&#8217;s dual gender (parallel to a male &#8220;Lado&#8221; and a female &#8220;Lada&#8221; in the songs), partly as evidence of the constructed nature of the D\u0142ugosz list.<\/p><p>Aleksander Br\u00fcckner regarded D\u0142ugosz as unreliable; Aleksander Gieysztor saw in him at least an important piece of circumstantial evidence for Polish folk religiosity of the late Middle Ages.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-23a1c53 e-con-full e-flex e-con e-child\" data-id=\"23a1c53\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-cad8e0c elementor-widget elementor-widget-heading\" data-id=\"cad8e0c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Lada and \u0141ado in the Wedding Songs<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e038e52 elementor-widget elementor-widget-text-editor\" data-id=\"e038e52\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>In the Polish, Ukrainian, Belarusian and South Slavic wedding songs, &#8220;Lada&#8221; (or &#8220;\u0141ado&#8221;) usually appears as an <span class=\"iwg-fachbegriff\" data-tooltip=\"The petitioning or conjuring address to a deity or power.\" tabindex=\"0\">invocation<\/span> in the refrain. The form varies: &#8220;\u0141ado, \u0142ado!&#8221;, &#8220;\u0141ado-\u0141ado, dany-\u0142ado!&#8221;, &#8220;Oj Lado moje&#8221;.<\/p><p>The fact that the <span class=\"iwg-fachbegriff\" data-tooltip=\"The petitioning or conjuring address to a deity or power.\" tabindex=\"0\">invocation<\/span> can take not only a female but also a male form (&#8220;\u0141ado&#8221; as a male vocative form) has led to discussion of a divine pair &#8220;Lada-\u0141ado&#8221;. Boris Rybakov and some more recent authors have reconstructed this pair figure; Aleksander Br\u00fcckner regarded it as a construction without historical basis.<\/p><p>The wedding songs themselves are transmitted in collections of the 18th and 19th centuries. Vuk Karad\u017ei\u0107, Aleksander Afanasyev, Pavel Chubinsky and other folklorists have gathered hundreds of examples.<\/p><p>In a typical passage the bride is declared to be Lada, or the bride&#8217;s parents are asked for a <span class=\"iwg-fachbegriff\" data-tooltip=\"The pronouncement of well-being and protection, often in a fixed linguistic form.\" tabindex=\"0\">blessing<\/span> &#8220;in the name of Lada&#8221;. How far these invocations have a religious background must be examined in each individual case; in many instances they are traditional formulas without an active religious function.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-1e28635 e-con-full e-flex e-con e-child\" data-id=\"1e28635\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6979cbd elementor-widget elementor-widget-heading\" data-id=\"6979cbd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Lada and the Latvian Laima<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0fd3f9b elementor-widget elementor-widget-text-editor\" data-id=\"0fd3f9b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>An important comparative figure is the Latvian Laima, the goddess of fate and birth in the Baltic pantheon. Laima is well attested in Latvian folk songs (dainas) and is invoked as the goddess of fate who determines the destiny of the newborn.<\/p><p>Structural parallels to the Slavic Lada are the connection with wedding and birth, the reference to spring, and the female, invocable character. Vladimir Toporov systematically evaluated this parallel in his Indo-European, Baltic and Slavic comparative research and posits a common Indo-European stratum behind both figures.<\/p><p>A further comparative figure is the Anatolian-Hittite Hannahanna (&#8220;Grandmother&#8221;), a mother goddess of fertility and birth. This deep-structuralist reconstruction remains hypothetical; it does show, however, that the Lada discussion is embedded, beyond the Slavic sphere, in a larger Indo-European field of research.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-af51c3d e-con-full e-flex e-con e-child\" data-id=\"af51c3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5af4973 elementor-widget elementor-widget-heading\" data-id=\"5af4973\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Lada in Modern Reception<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1828192 elementor-widget elementor-widget-text-editor\" data-id=\"1828192\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>With the rise of Slavic national Romanticism in the 19th century, Lada became one of the most prominent figures of the rediscovered paganism. Adam Mickiewicz, Juliusz S\u0142owacki, Cyprian Norwid and Ukrainian poets such as Ivan Franko referred to her in their works.<\/p><p>In the painting of the Polish &#8220;M\u0142oda Polska&#8221; movement (&#8220;Young Poland&#8221;, c. 1890 to 1918), Lada is a recurring figure; Stanis\u0142aw Wyspia\u0144ski and Jacek Malczewski took up Lada motifs.<\/p><p>In the music of the 19th and early 20th centuries, Lada is present in various East Slavic works, most significantly in Igor Stravinsky&#8217;s &#8220;The Rite of Spring&#8221; (1913), which alludes to the spring round dance.<\/p><p>In the contemporary Rodnovery and Neopagan movement, Lada is a central female principal deity. From the perspective of the history of religion, this modern veneration is to be assessed as a new construction.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9181f1b e-con-full e-flex e-con e-child\" data-id=\"9181f1b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-431306e elementor-widget elementor-widget-heading\" data-id=\"431306e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The South Slavic Lazarice Tradition<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7ec3ed8 elementor-widget elementor-widget-text-editor\" data-id=\"7ec3ed8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>A remarkable trace of the Lada tradition is found in the South Slavic &#8220;Lazarice&#8221; tradition, which is observed in Serbia, Bulgaria and Macedonia around the Orthodox feast of Lazarus (Lazareva Subota, on the Saturday before Palm Sunday).<\/p><p>Young girls, dressed in white folk costume and adorned with wreaths of flowers, go from house to house, sing spring and wedding songs with Lada invocations, and receive eggs, money and small gifts in return.<\/p><p>This tradition was still alive in many South Slavic villages in the 20th century and is maintained in some places to this day.<\/p><p>In the <span class=\"iwg-fachbegriff\" data-tooltip=\"The discipline that studies religions comparatively and without confessional commitment.\" tabindex=\"0\">study of religion<\/span>, the Lazarice tradition is a classic case of Christian-<span class=\"iwg-fachbegriff\" data-tooltip=\"Synonymous with heathen; belonging to a pre-Christian religion.\" tabindex=\"0\">pagan<\/span> overlay. The Christian name (Lazarus) was imprinted on a <span class=\"iwg-fachbegriff\" data-tooltip=\"Originating from the period before the spread of Christianity.\" tabindex=\"0\">pre-Christian<\/span> spring tradition centered on girls&#8217; round dances, Lada invocations and vegetation symbols.<\/p><p>Vuk Karad\u017ei\u0107 first documented this tradition in the 19th century; Sergej Tokarev placed it within his general theory of East Slavic spring religiosity.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-cfe4ebe e-con-full e-flex e-con e-child\" data-id=\"cfe4ebe\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9a5fe76 elementor-widget elementor-widget-heading\" data-id=\"9a5fe76\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Gender Roles and the Slavic Wedding Ritual<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2344387 elementor-widget elementor-widget-text-editor\" data-id=\"2344387\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Lada&#8217;s central role in the Slavic wedding <span class=\"iwg-fachbegriff\" data-tooltip=\"An ordered sequence of symbolic actions with religious or cultural meaning.\" tabindex=\"0\">ritual<\/span> sheds light on the function, in the history of religion, of gender-role constructions in pre-Christian Slavdom.<\/p><p>Unlike many Indo-European pantheons, in which the principal goddesses frequently also fulfill warlike or royal functions (Hera, Juno, Athena), Lada is a focused, gender-role-specific <span class=\"iwg-fachbegriff\" data-tooltip=\"A being venerated as divine within a religion.\" tabindex=\"0\">deity<\/span>: her sphere is that of the woman in marriage, love and family.<\/p><p>This functional limitation could point to a relatively late specialization or to a different structural logic of the Slavic pantheon.<\/p><p>In the Slavic wedding songs, broadly documented in the collections of Aleksander Afanasyev and Pavel Chubinsky, the bride is frequently addressed as &#8220;Lada&#8221;.<\/p><p>This identification of the bride with the goddess is a classic example of the ritual elevation of the wedding as a <span class=\"iwg-fachbegriff\" data-tooltip=\"Belonging to the divine and thereby withdrawn from everyday use.\" tabindex=\"0\">sacred<\/span> act, in which the bride attains divine status for the duration of the festival. In &#8220;Russkie agrarnye prazdniki&#8221;, Vladimir Propp described similar phenomena at harvest festivals and vegetation rites.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Lada, Slavic Goddess of Love In the Slavic pantheon, Lada is the goddess of love, beauty, marriage and spring. Unlike the gods of the Vladimir sextet, Lada is not directly attested in any medieval chronicle; her name first appears in late-medieval Polish sermon literature and in folk wedding and spring songs. For this reason, her [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":6178,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_yoast_wpseo_focuskw":"Lada","_yoast_wpseo_title":"Lada: Slavic Goddess of Love | iWell Guard","_yoast_wpseo_metadesc":"Lada is the Slavic goddess of love, beauty and marriage. Mother of Lel and Polel, counterpart to Marena and a goddess of spring.","_yoast_wpseo_meta-robots-noindex":"","_yoast_wpseo_canonical":"","_angie_page":false,"gefaehrdungsstufe":"","wesen_kultur":"","wesen_klasse":"","footnotes":""},"categories":[86,27,109,62],"class_list":["post-6177","page","type-page","status-publish","has-post-thumbnail","hentry","category-gods","category-goetter","category-slavic","category-slawisch"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.7 (Yoast SEO v28.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Lada: Slavic Goddess of Love | iWell Guard<\/title>\n<meta name=\"description\" content=\"Lada is the Slavic goddess of love, beauty and marriage. 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