Transcriber's Notes: — EVERYMAN'S LIBRARY EDITED BY ERNEST RHYS
1. Punctuation and accents have been made consistent.
2. All hyphenation irregularities have been retained as printed.
Whole book · 30 sections
1. Punctuation and accents have been made consistent.
2. All hyphenation irregularities have been retained as printed.
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ROMANCE
IN TWO STYLES OF BINDING, CLOTH, FLAT BACK, COLOURED TOP, AND LEATHER, ROUND CORNERS, GILT TOP.
London: J. M. DENT & CO.
New York: E. P. DUTTON & CO.
A ROMANCE, AND IT ME TOOK TO READ & DRIVE THE NIGHT
AWAY. CHAUCER
KALEVALARichard Clay & Sons, Limited,
BREAD STREET HILL, E.C., AND
BUNGAY, SUFFOLK.
| RUNO | PAGE | |
| XXVI. | Lemminkainen's Journey to Pohjola | 1 |
| XXVII. | The Duel at Pohjola | 21 |
| XXVIII. | Lemminkainen and his Mother | 32 |
| XXIX. | Lemminkainen's Adventures on the Island | 40 |
| XXX. | Lemminkainen and Tiera | 55 |
| XXXI. | Untamo and Kullervo | 68 |
| XXXII. | Kullervo and the Wife of Ilmarinen | 78 |
| XXXIII. | The Death of Ilmarinen's Wife | 92 |
| XXXIV. | Kullervo and his Parents | 100 |
| XXXV. | Kullervo and his Sister | 106 |
| XXXVI. | The Death of Kullervo | 116 |
| XXXVII. | The Gold and Silver Bride | 125 |
| XXXVIII. | Ilmarinen's New Bride from Pohjola | 132 |
| XXXIX. | The Expedition against Pohjola | 141 |
| XL. | The Pike and the Kantele | 152 |
| XLI. | Väinämöinen's Music | 161 |
| XLII. | The Capture of the Sampo | 168 |
| XLIII. | The Fight for the Sampo | 182 |
| XLIV. | Väinämöinen's New Kantele | 194 |
| XLV. | The Pestilence in Kalevala | 202 |
| XLVI. | Väinämöinen and the Bear | 212 |
| XLVII. | The Robbery of the Sun and Moon | 228 |
| XLVIII. | The Capture of the Fire | 238 |
| XLIX. | False and True Moons and Suns | 248 |
| L. | Marjatta | 259 |
| Notes to Runos XXVI-L | 275 | |
| Glossary of Finnish Names | 281 |
Argument
Lemminkainen, greatly offended that he was not invited to the wedding, resolves to go to Pohjola, although his mother dissuades him from it, and warns him of the many dangers that he will have to encounter (1-382). He sets forth and succeeds in passing all the dangerous places by his skill in magic (383-776).
Argument
Lemminkainen comes to Pohjola and behaves with the greatest insolence (1-204). The Lord of Pohjola grows angry, and as he can do nothing against Lemminkainen by magic, he challenges him to a duel (205-282). In the course of the duel Lemminkainen strikes off the head of the Lord of Pohjola, and to avenge this, the Mistress of Pohjola raises an army against him (283-420).
Argument
Lemminkainen escapes with all speed from Pohjola, comes home and asks his mother where he can hide himself from the people of Pohjola, who will soon attack him in his home, a hundred to one (1-164). His mother reproaches him for his expedition to Pohjola, suggests various places of concealment, and at length advises him to go far across the lakes to a distant island, where his father once lived in peace during a year of great war (165-294).
Argument
Lemminkainen sails across the lakes in his boat and comes safely to the island (1-180). There he lives pleasantly among the girls and women till the return of the men from warfare, who conspire against him (181-290). Lemminkainen flies from the island, much to the grief both of the girls and himself (291-402). His boat is wrecked in a violent storm, but he escapes by swimming to land, makes a new boat, and arrives safely on the shores of his own country (403-452). He finds his old house burned, and the whole surroundings laid waste, when he begins to weep and lament, especially for the loss of his mother (453-514). His mother, however, is still alive, having taken refuge in a thick forest where Lemminkainen finds her to his great joy (515-546). She relates how the army of Pohjola came and burned down the house. Lemminkainen promises to build a finer house after he has revenged himself upon the people of Pohjola, and describes his pleasant life in the island of refuge (547-602).
Argument
Lemminkainen goes to ask his former comrade-in-arms, Tiera, to join him in an expedition against Pohjola (1-122). The Mistress of Pohjola sends the Frost against them, who freezes the boat in the sea, and almost freezes the heroes themselves in the boat, but that Lemminkainen restrains it by powerful charms and invocations (123-316). Lemminkainen and his companion walk across the ice to the shore, wander about in the waste for a long time in a miserable plight, and at last make their way home (317-500).
Argument
Untamo wages war against his brother Kalervo, overthrows Kalervo and his army, sparing only a single pregnant woman of the whole clan. She is carried away to Untamo's people, and gives birth to her son Kullervo (1-82). Kullervo resolves in his cradle to take revenge on Untamo, and Untamo attempts several times to put him to death, but without success (83-202). When Kullervo grows up, he spoils all his work, and therefore Untamo sells him as a slave to Ilmarinen (203-374).
Argument
The wife of Ilmarinen makes Kullervo her herdsman and maliciously bakes him a stone in his lunch (1-32). She then sends him out with the cattle, after using the usual prayers and charms for their protection from bears in the pastures (33-548).
Argument
While Kullervo is in the pasture in the afternoon he tries to cut the cake with his knife which he completely spoils, and this goes to his heart the more because the knife was the only remembrance left to him of his family (1-98). To revenge himself on the mistress, he drives the cattle into the marshes to be devoured by beasts of the forest, and gathers together a herd of wolves and bears, which he drives home in the evening (99-184). When the mistress goes to milk them she is torn to pieces by the wild beasts (185-296).
Argument
Kullervo escapes from the homestead of Ilmarinen, and wanders sorrowfully through the forest, where he meets with the Old Woman of the Forest, who informs him that his father, mother, brothers and sisters are still living (1-128). Following her directions he finds them on the borders of Lapland (129-188). His mother tells him that she had long supposed him to be dead, and also that her elder daughter had been lost when gathering berries (189-246).
Argument
Kullervo attempts to do different kinds of work for his parents, but only succeeds in spoiling everything, so his father sends him to pay the land-dues (1-68). On his way home he meets his sister who was lost gathering berries, whom he drags into his sledge (69-188). Afterwards, when his sister learns who he is, she throws herself into a torrent, but Kullervo hurries home, relates his sister's terrible fate to his mother, and proposes to put an end to his own life (189-344). His mother dissuades him from suicide, and advises him to retire to some retreat where he may be able to recover from his remorse. But Kullervo resolves before all things to avenge himself on Untamo (345-372).
Argument
Kullervo prepares for war and leaves home joyfully, for no one but his mother is sorry that he is going to his death (1-154). He comes to Untamola, lays waste the whole district, and burns the homestead (155-250). On returning home he finds his home deserted, and no living thing about the place but an old black dog, with which he goes into the forest to shoot game for food (251-296). While traversing the forest he arrives at the place where he met his sister, and ends his remorse by killing himself with his own sword (297-360).
Argument
Ilmarinen weeps long for his dead wife and then forges himself a wife of gold and silver with great labour and trouble (1-162). At night he rests by the golden bride, but finds in the morning that the side which he has turned towards her is quite cold (163-196). He offers his golden bride to Väinämöinen, who declines to receive her, and advises him to forge more useful things, or to send her to other countries where people wish for gold (197-250).
Argument
Ilmarinen goes to Pohjola to woo the younger sister of his first wife, but as he receives only insulting words in reply, he becomes angry, seizes the maiden, and starts on his homeward journey (1-124). On the way the maiden treats Ilmarinen with contempt, and provokes him till he changes her into a seagull (125-286). When Ilmarinen comes home, he relates to Väinämöinen how the inhabitants of Pohjola live free from care since they possessed the Sampo; and also tells him how badly his wooing has prospered (287-328).
Argument
Väinämöinen persuades Ilmarinen to go with him to Pohjola to bring away the Sampo. Ilmarinen consents, and the heroes start off on their journey in a boat (1-330). Lemminkainen hails them from the shore, and on hearing where they are going, proposes to join them, and is accepted as a third comrade (331-426).
Argument
The Sampo-raiders come to a waterfall, beneath which the boat is caught fast on the back of a great pike (1-94). The pike is killed, and the front part is taken into the boat, cooked, and eaten (94-204). Väinämöinen makes the jaws of the pike into a kantele, on which several of the party attempt to play, but without success (205-342).
Argument
Väinämöinen plays on the kantele, and all living things, whether belonging to the air, earth, or water, hasten to the spot to listen (1-168). The hearts of all listeners are so affected by the music that tears fall from their eyes, and Väinämöinen's own eyes shed large drops which fall to the ground and trickle into the water, where they are changed into beautiful blue pearls (169-266).
Argument
The heroes arrive at Pohjola, and Väinämöinen announces that he has come to take possession of the Sampo, either with good-will, or by force (1-58). The Mistress of Pohjola refuses to yield it either by consent or by compulsion, and calls together her people to oppose him (59-64). Väinämöinen takes the kantele, begins to play, and lulls to sleep all the people of Pohjola, and goes with his companions to search for the Sampo; they take it from the stone mountain and convey it to the boat (65-164). They sail homewards well satisfied, carrying the Sampo with them (165-308). On the third day the Mistress of Pohjola wakes from her sleep, and when she finds that the Sampo has been carried off, she prepares a thick fog, a strong wind, and other impediments, to oppose the robbers of the Sampo, which reach the vessel, and during the tempest Väinämöinen's kantele falls into the water (309-562).
Argument
The Mistress of Pohjola equips a war-vessel and goes in pursuit of the robbers of the Sampo (1-22). When she overtakes them a fight ensues between the forces of Pohjola and Kalevala in which the latter conquer (23-258). Nevertheless the Mistress of Pohjola succeeds in dragging the Sampo from the boat into the lake, where it breaks to pieces (259-266). The larger portions sink in the lake, and form its riches, while the smaller pieces are thrown on shore by the waves, at which Väinämöinen is much pleased (267-304). The Mistress of Pohjola threatens to send all evil upon Kalevala, to which Väinämöinen pays no attention (305-368). The Mistress of Pohjola returns home in great distress, taking with her only a small fragment of the cover of the Sampo (369-384). Väinämöinen carefully collects the fragments of the Sampo on the shore, and plants them, hoping for continuous good fortune (385-434).
Argument
Väinämöinen goes to seek for his kantele which was lost in the lake, but cannot find it (1-76). He makes himself a new kantele of birchwood, on which he plays, and delights every creature in the neighbourhood (77-334).
Argument
The Mistress of Pohjola sends terrible diseases to Kalevala (1-190). Väinämöinen heals the people by powerful incantations and unguents (191-362).
Argument
The Mistress of Pohjola sends a bear to destroy the herds of Kalevala (1-20). Väinämöinen kills the bear, and a great feast is held in Kalevala in honour of the occasion (21-606). Väinämöinen sings, plays on the kantele, and hopes that a time of great happiness and prosperity is coming to Kalevala (607-644).
Argument
The moon and sun descend to listen to Väinämöinen's playing. The Mistress of Pohjola succeeds in capturing them, hides them in a mountain, and steals the fire from the homes of Kalevala (1-40). Ukko, the Supreme God, is surprised at the darkness in the sky, and kindles fire for a new moon and a new sun (41-82). The fire falls to the ground, and Väinämöinen and Ilmarinen go to search for it (83-126). The Virgin of the Air informs them that the fire has fallen into Lake Alue, and has been swallowed by a fish (127-312). Väinämöinen and Ilmarinen try to catch the fish with a net of bast, but without success (313-364).
Argument
The heroes prepare a linen net, and at length capture the fish which has swallowed the fire (1-192). The fire is found in the fish's belly, but flashes up suddenly, and burns Ilmarinen's cheeks and hands severely (193-248). The fire rushes into the forest, burns over many countries, and spreads further and further, till at length it is captured and carried to the dark dwellings of Kalevala (249-290). Ilmarinen recovers from his burns (291-372).
Argument
Ilmarinen forges a new moon and sun but cannot make them shine (1-74). Väinämöinen discovers by divination that the moon and sun are hidden in the mountain of Pohjola, goes to Pohjola and conquers the whole nation (75-230). He sees the moon and sun in the mountain, but cannot enter (231-278). He returns home to procure tools with which to break open the mountain. While Ilmarinen is forging them, the Mistress of Pohjola, fearing that it may go ill with her, releases the moon and sun (279-362). When Väinämöinen sees the moon and sun reappear in the sky, he salutes them, hoping that they will always go brightly on their course, and bring happiness to the country (363-422).
Argument
The virgin Marjatta swallows a cranberry and brings forth a boy (1-346). The child disappears and is found after a long search in a swamp (347-430). He is taken to an old man to be baptized, but the latter will not baptize the fatherless child until after due consideration (431-440). Väinämöinen comes to inquire into the matter, and advises that the ill-omened boy should be put to death, but the child reproaches him for his unjust sentence (441-474). The old man baptizes the boy as King of Carelia, at which Väinämöinen is grievously offended and leaves the country, but first declares that he will again make a new Sampo and kantele, and light for the people. He sails away in a copper boat to a land between earth and heaven, but he leaves behind his kantele and his great songs as a parting gift to his people (475-512). Concluding verses (513-620).
(These are by the translator, when not otherwise stated. K. K. indicates Prof. Kaarle Krohn, and A. M. Madame Aino Malmberg. For proper names, refer to the Glossary at page 281.)
RUNO XXVI
129. Literally, "his teeth."
230. In the Völuspá, we read of a Hall of Serpents in Naströnd, one of the Icelandic hells, composed of serpents wattled together, with their heads turned inwards, vomiting floods of venom in which wade murderers, perjurers, and adulterers.
271. Literally, "the toads."
A diabolical creature, half dragon and half frog, is described in a well-known Esthonian story.
427. Tetrao tetrix, known as the Black-cock and Grey-hen.
555. Virsta, a Russian word naturalized in Finnish.
617. This description recalls the serpents of Indian mythology, such as those described in the first book of the Mahabharata.
619. Such a passage might have suggested to Longfellow the following:
RUNO XXVII
208. Here commences a magical contest somewhat resembling the transformation scenes in the stories of the Second Calendar, and of Nooreddin and Bedreddin, in the 1001 Nights.
326. "I don't want to have a mess made upon my floor here, or any noise or shooting." (Tanta Coetzee, in Rider Haggard's Jess.)
RUNO XXVIII.
15, 16. His horse and sledge seem to have been transformed, like those of Joukahainen in Runo III.
195. In Finnish and Esthonian tales we often find persons transformed into trees and flowers; sometimes for purposes of concealment.
RUNO XXIX
242. "Grass-widows" are probably intended.
253-268. Even this old woman did not appeal to him in vain. We might compare with this passage Byron's Don Juan, VIII., cxxxi., cxxxii.
RUNO XXX
175, 187. Literally, "nails."
185. Pakkanen, Puhurin poika. Frost, the son of the North Wind.
389. The unmanly lamentations of the heroes over a fate that has not befallen them may remind us of Grimm's story of "Die kluge Else." It will also be noticed that the heroes are only concerned about their mothers; and Tiera has as little thought for his virgin bride as Lemminkainen has for Kyllikki.
RUNO XXXI
1. The tragedy of Kullervo is the favourite episode of the Kalevala in Finland, next to that of Aino. The preamble (lines 1-10) is the same as the opening of the Esthonian Kalevipoeg. The story of the Esthonian hero, though he was a king and not a slave, resembles that of Kullervo in so many respects that he must have been the same character originally.
19. I think the change of style, indicative of different authorship, in this episode is sufficiently obvious even in a translation. Many words used here do not occur earlier in the poem.
91-96. The same story is told of the infant Kalevipoeg.
107. Esthonians call dwarfs "Ox-knee people"; i. e. people as high as an ox's knee.
137. Like Simple Simon.
337. It is obvious that some of the youthful exploits of Kwasind (slightly varied, after Longfellow's manner) are imitated from those of Kullervo. (Compare also Runo XXXV., 11-68.)
RUNO XXXII
24. The rye-bread, on which the Finnish peasants largely subsist, is described as baked in very hard round loaves, like quoits, which are strung on a pole. But Kullervo's cake seems to have been prepared to look nice on the outside.
156-162. Does this refer to stories of witches milking cattle?
206. Of juniper wood.
498. Literally, an apple-berry. Probably a small crab-apple is intended.
513. I think wolves are here intended, not dogs.
533. In the Esthonian story of the Northern Frog, the monster is secured by an iron stake driven through the jaws. (Kirby's Hero of Esthonia, II., 253, 256.)
542. These elaborate and ineffectual prayers and incantations may be compared with the prayers of Achilles for the safety of Patroclus, in Iliad, XVI.
RUNO XXXIII
40. Wheat is used in the folk-songs as a term of endearment. (K. K.)
61, 62. The Esthonian Kalevipoeg was constantly instructed by the voice of birds.
285-290. In Esthonia this episode occurs in the story of the Royal Herdboy. (Hero of Esthonia, I., pp. 279-305.)
RUNO XXXV
2. Are blue stockings supposed to be an emblem of strength? Ukko is also represented as wearing them.
65. As Kalervo appears to have been a chief in his own right, it not very clear why, or to whom, he had to pay taxes.
107, 108. The lake of course was frozen.
153. As in several other instances in the Kalevala, this does not appear to be abduction in the modern sense, but merely marriage by capture.
214. There is another celebrated poem written by a Finn, but in Swedish, Runeberg's Kong (King) Fjalar, in which a similar chance meeting between a brother and sister forms the principal subject.
343. Sea-beasts are very rarely mentioned in the Kalevala, for nearly all aquatic animals referred to are lake- or river-fish. Here the allusion is probably to the story of Jonah.
RUNO XXXVI
80. Literally "the rest of his flesh." Having regard to the supposed powers of Finnish magicians, this passage is not to be taken merely as an impudent rejoinder, but as asserting powers which Kullervo actually claimed to be able to exert.
307. In an old English romance we read concerning the suicide of a sorcerer, "The ground whereon he died was ever afterwards unfortunate, and to this present time it is called in that country, 'a vale of walking spirits.'" (Seven Champions of Christendom, Part I., chap. xix.)
327. This reminds us of Sir Peter's "Sword of Vengeance." (Prior's Danish Ballads, I., pp. 269-275.)
341. The Esthonian Kalevipoeg was also slain, like Kullervo, by his own sword. (Hero of Esthonia, I., pp. 140, 141.)
RUNO XXXVII
56. Literally, their hatless shoulders.
61. Compare the account of the forging of the Sampo in Runo X.
RUNO XXXVIII
94. This might allude to the Viking practice of carving the Blood-Eagle on the backs of enemies; but Prof. Krohn remarks that this was unknown in Finland.
255. Here it seems that the mere fact of Ilmarinen having carried off the girl, even against her will, was enough to constitute her his lawful wife.
273. Ilmarinen's sword was less bloodthirsty than that of Kullervo; but it will be noticed that there is as little real chivalry in the Kalevala generally as in old Scandinavian literature.
RUNO XL
274. Literally, "at the tips of my ten nails."
RUNO XLI
238. Similar incidents are common in folktales. The reader will recollect the decoration of Mama, the Woodpecker. (Hiawatha, IX.)
RUNO XLII
1-3. Here again we notice a difference of expression, indicating a different authorship.
52. "Mistress of the mighty spell." (Southey.)
146. Compare Runo XX., lines 17-118.
295. Literally, his finger-bones.
403. Perhaps the cap had ear-flaps to be worn in bad weather.
RUNO XLIII
37, 38. This seems to be meant ironically.
115-120. This, or something similar, is a common device for impeding a pursuer in European fairy tales.
177. Pohjan eukko. Another epithet for Louhi.
383, 384. The Sampo being not only an unfailing corn, salt, and money-mill, but a palladium of general prosperity, Pohjola would naturally fall into famine and misery when nothing remained but an almost worthless fragment of the cover. It is possible that the story may refer to some great and permanent change for the worse of the climate of the North; either during the storms and earthquakes of the fourteenth century, which would connect it with the plague described in Runo XLV.; or perhaps to a much earlier period, when, as old Persian books tell us, the climate of some part of Asia (?) was changed from nine months summer and three months winter, to nine months winter and three months summer.
RUNO XLV
41. Loviatar represents the evil and destructive powers of Nature, as opposed to the beneficent powers, represented in the Kalevala under the twin aspects of Ilmatar and Marjatta.
117. This speech or invocation is not addressed to Loviatar, but apparently to some goddess similar to the Roman Lucina.
168. Dr. Russell says that the itch was more dreaded than the plague in Aleppo in the eighteenth century.
181. Pestilence has often been attributed to the anger of gods or demons; and Finland suffered severely from plague till well into the eighteenth century. But I am inclined to regard the plague described here as the Black Death, which must have ravaged Finland about 1350.
269, 282, 283. All these names have nearly the same significance, and might be rendered by "Dolores, our Lady of Pain."
RUNO XLVI
13, 14. The pestilence having abated at the approach of winter, the wild beasts naturally overran the devastated country. So I would interpret this passage.
25. Literally, three feathers, but the commentary gives the meaning adopted above.
81. For an account of bear-hunting in Finland, compare Acerbi's Voyage to the North Cape, I., pp. 288, 289.
168. Tapio is the lord of the forest here alluded to, according to the commentary.
246. The word here rendered "charge" literally means "bundle" or "package."
313. Probably the Danish Sound.
377. A honeyed forest perhaps means a forest abounding in honey-dew.
565, 566. These lines are rather musical:
RUNO XLVII
15, 16. There is a Finnish ballad relating how the sun and moon were stolen by German and Esthonian sorcerers, and recovered by the son of Jumala. (Kanteletar, III., 2; translated by Mr. C. J. Billson, Folklore, VI., 343, 344.)
37. Compare the story of Maui stealing the fire in New Zealand legends.
128. Lake Ladoga seems to be intended.
233. Does this refer to tides? Tides can hardly be known in Finland, except by hearsay; the Baltic itself is almost tideless.
RUNO XLVIII
137, 138. Neptune's trident?
169. Here a different epithet is applied to Väinämöinen.
283. Probably Polyporus igniarius or P. fomentarius, both of which are much used for tinder.
302. He appears to have thought that Panu was in league with the Fire.
RUNO XLIX
83. This is Rhabdomancy, or divination by rods.
417. Literally, at the end of our thumbs.
RUNO L
1. Marjatta korea kuopus.
Literally, Marjatta the elegant darling; an expression occurring nowhere else in the Kalevala. The story in the present Runo seems to exhibit a veneer of Christianity over Shaman legends. Even the name Marjatta, notwithstanding its resemblance to Maria, seems to be really derived from the word marja, a berry. An old writer says that the favourite deities of the Finns in his time were Väinämöinen and the Virgin Mary.
188. That is, a criminal who deserves to be burnt at the stake.
199, 200. She already recognizes her unborn son as an Avatar.
289. The word here rendered "hapless" properly means "little."
465. This is the only passage in the Kalevala in which Väinämöinen is spoken of as ever having been young; though he is occasionally called young in variants.
465-468. This passage apparently alludes to Väinämöinen having sent Ilmarinen to Pohjola by a trick.
471-474. This must allude either to the fate of Aino, or to some story not included in the Kalevala.
501. In Esthonian legends, Vanemuine is not an Avatar and culture-hero, but the God of Music, who withdrew from men on account of the ribaldry with which some of his hearers received his divine songs. (Hero of Esthonia, II., pp. 80-85.) Longfellow also makes Hiawatha depart in a boat after the conclusion of his mission.
613, 614. These expressions remind us of the Buddha "breaking down the rafters and the roof-tree" preparatory to reaching Nirvano.
(The dotted vowels are included with the others.)
Ilmari,
Ilmarinen,
}
the primeval smith; still used as a proper name in Finland.
Joukahainen,
Jouko,
}
a young Laplander.
Kauko,
Kaukolainen,
Kaukomieli,
}
Names of Lemminkainen.
Kullervo,
Kullervoinen,
}
a hero, the son of Kalervo.
Kylli,
Kyllikki,
}
a maiden of Saari, whom Lemminkainen carries off and marries.
Sara
Sariola
}
names of Pohjola.
Untamo
Untamoinen,
}
(a) the god of Sleep and Dreams; (b) a turbulent chieftain, the brother of Kalervo.
Uvanto
Uvantolainen
}
names of Väinämöinen.
THE END
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BREAD STREET HILL, E.C., and
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