Chapter 1

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Transcriber's note:

[=a] indicates a with macron [)a] indicates a with breve [)e] indicates e with breve]

Everyman's Library Edited by Ernest Rhys

Romance

KALEVALA

Translated from the Finnish by

W. F. KIRBY, F.L.S., F.E.S.

In 2 Vols. Vol. 1

KALEVALA

The Land of the Heroes

VOLUME ONE

London: J. M. Dent & Sons Ltd. New York: E. P. Dutton & Co. Inc.

All rights reserved Made in Great Britain at The Temple Press Letchworth and decorated by Eric Ravilious for J. M. Dent & Sons Ltd. Aldine House Bedford St. London First Published in this Edition 1907 Reprinted 1914, 1923, 1936

INTRODUCTION

The _Kalevala_, or the Land of Heroes, as the word may be freely rendered, is the national epic of Finland, and as that country and its literature are still comparatively little known to English readers, some preliminary explanations are here necessary.

On reference to a map of Europe, it will be seen that the north-western portion of the Russian Empire forms almost a peninsula, surrounded, except on the Norwegian and Swedish frontiers, by two great arms of the Baltic Sea, the Gulf of Bothnia and the Gulf of Finland; the two great lakes, Ladoga and Onega; the White Sea, and the Arctic Ocean. In the north of this peninsula is Lapland, and in the south, Finland.

The modern history of Finland begins with the year 1157, when the country was conquered from the original inhabitants by the Swedes, and Christianity was introduced. Later on, the Finns became Lutherans, and are a pious, industrious, and law-abiding people, the upper classes being highly educated.

During the wars between Sweden and Russia, under Peter the Great and his successors, much Finnish territory was wrested from Sweden, and St. Petersburg itself stands on what was formerly Finnish territory. When what was left of Finland was finally absorbed by Russia in 1809, special privileges were granted by Alexander I. to the Finns, which his successors confirmed, and which are highly valued by the people.

The upper classes speak Swedish and Finnish; and the lower classes chiefly Finnish. Finnish is upheld by many Finns from patriotic motives, and there is a considerable modern literature in both languages. Translations of most standard works by English and other authors are published in Finnish.

The Finns call their country _Suomi_ or Marshland; and it is often spoken of as the Land of Ten Thousand Lakes. The language they speak belongs to a group called Finnish-Ugrian, or Altaic, and is allied to Lappish and Esthonian, and more distantly to Turkish and Hungarian, There are only twenty-one letters in the alphabet; the letter J is pronounced like Y (as a consonant), and Y almost as a short I. The first syllable of every word is accented. This renders it difficult to accommodate such words as _K[=a]l[)e]v[)a]l[=a]_ to the metre; but I have tried to do my best.

The Finlanders are very fond of old ballads, of which a great number have been collected, especially by Elias Lönnrot, to whom it occurred to arrange a selection into a connected poem, to which he gave the name of _Kalevala_. This he first published in 1835, in two small volumes containing twenty-five Runos or Cantos, but afterwards rearranged and expanded it to fifty Runos; in which form it was published in 1849; and this was speedily translated into other languages. Perhaps the best translations are Schiefner's German version (1852) and Collan's Swedish version (1864). Several volumes of selections and abridgments have also appeared in America and England; and an English translation by John Martin Crawford (in two volumes) was published in New York and London in 1889.

Schiefner used a flexible metre for his translation, which resembles the original as closely as the different character of Finnish and German would permit, a metre which had previously, though rarely, been used in English. His work attracted the attention of Longfellow, whose "Song of Hiawatha" is only a rather poor imitation of Schiefner's version of the _Kalevala_, some of the lines being almost identical, and several of the characters and incidents being more or less distinctly borrowed from those in the Kalevala. The incidents, however, are generally considerably altered, and not always for the better.

It will be seen that Lönnrot edited the _Kalevala_ from old ballads, much as the poems of Homer, or at least the _Iliad_ and _Odyssey_, are said to have been put together by order of Pisistratus.

In the preparation of my own translation, the flexibility of the metre has permitted me to attempt an almost literal rendering; without, I hope, sacrificing elegance. The simplicity of the Finnish language and metre would, in my opinion, render a prose version bald and unsatisfactory. My chief difficulty has been to fit the Finnish names into even a simple English metre, so as to retain the correct pronunciation, and I fear I have not always succeeded in overcoming it satisfactorily. I am greatly indebted to Prof. Kaarle Krohn and Madame Aino Malmberg of Helsingfors, for their kindness in looking over the whole of my typewritten translation, and for numerous suggestions and comments. Of course I am solely responsible for any errors and shortcomings which may be detected in my work.

I have added short notes at the end of each volume, and a glossary of proper names at the end of the book, but a detailed commentary would be out of place in a popular edition. The Arguments to each Runo are translated, slightly modified, from those in the original.

The religion of the poem is peculiar; it is a Shamanistic animism, overlaid with Christianity.

The _Kalevala_ relates the history of four principal heroes: Väinämöinen, the Son of the Wind, and of the Virgin of the Air; a great culture-hero, patriarch, and minstrel, always described as a vigorous old man. The Esthonians call him Vanemuine, and make him the God of Music.

His "brother" Ilmarinen appears to be the son of a human mother, though he is also said to have been "born upon a hill of charcoal." He is a great smith and craftsman, and is described as a handsome young man.

The third hero, Lemminkainen, is a jovial, reckless personage, always getting into serious scrapes, from which he escapes either by his own skill in magic, or by his mother's. His love for his mother is the redeeming feature in his character. One of his names is Kaukomieli, and he is, in part, the original of Longfellow's "Pau-Puk-Keewis."

The fourth hero is Kullervo, a morose and wicked slave of gigantic strength, which he always misuses. His history is a terrible tragedy, which has been compared to that of OEdipus. He is, in part, the prototype of Longfellow's "Kwasind." He is the principal hero of the Esthonian ballads, in which he is called Kalevipoeg, the son of Kaiev (Kaleva in Finnish), the mythical ancestor of the heroes, who does not appear in person in the _Kalevala_. The history of the Kalevipoeg will be found in my work entitled _The Hero of Esthonia_, published by Nimmo in 1895, in two volumes. However, the Esthonians make him not a slave, but a king. In the _Kalevala_ we meet with no kings, but only patriarchs, or chiefs of clans.

The principal heroines of the _Kalevala_ are Ilmatar, the Daughter of the Air, the Creatrix of the world, in the first Runo, whose counterpart is Marjatta, the mother of the successor of Väinämöinen, in the last Runo; Aino, a young Lapp girl beloved of Väinämöinen, whose sad fate forms one of the most pathetic episodes in the _Kalevala_; Louhi, the Mistress of Pohjola, or the North Country; and her daughter, afterwards the wife of Ilmarinen. The character of the daughter of Louhi presents three phases, which illustrate more than anything else the composite character of the poem, for it is impossible that any two can have been drawn by the same hand.

Firstly, we find her as the beautiful and accomplished daughter of the witch, playing the part of a Medea, without her cruelty.

Secondly, we find her as a timid and shrinking bride, in fact almost a child-bride.

Thirdly, when married, she appears as a wicked and heartless peasant-woman of the worst type.

The heroes are all skilled in magic, and to some extent are able to command or propitiate even the gods. A peculiarity of Finnish magic is what is called "the word of origin."

To control or banish an evil power, it is sufficient to know and to repeat to it its proper name, and to relate the history of its creation.

Before concluding the Introduction, it may be well to give a brief summary of the principal contents of the fifty Runos of the poem.

Runo I. After a preamble by the bard, he proceeds to relate how the Virgin of the Air descended into the sea, was tossed about by the winds and waves, modelled the earth, and brought forth the culture-hero Väinämöinen, who swims to shore.

Runo II. Väinämöinen clears and plants the country, and sows barley.

Runo III. The Laplander Joukahainen presumes to contend with Väinämöinen in singing, but is plunged by him into a swamp, till he pledges to him his sister Aino; after which he is released, and returns home discomfited. But Aino is much distressed at the idea of being obliged to marry an old man.

Runo IV. Väinämöinen makes love to Aino in the forest; but she returns home in grief and anger, and finally wanders away again, and is drowned while trying to swim out to some water-nymphs in a lake. Her mother weeps for her incessantly.

Runo V. Väinämöinen fishes up Aino in the form of a salmon; but she escapes him, and his mother advises him to seek a bride in Pohjola, the North Country, sometimes identified with Lapland, but apparently still further north.

Runo VI. While Väinämöinen is riding over the water on his magic steed, Joukahainen shoots the horse under him. Väinämöinen falls into the water, and is driven onwards by a tempest, while Joukahainen returns to his mother, who upbraids him for shooting at the minstrel.

Runo VII. Väinämöinen is carried by an eagle to the neighbourhood of the Castle of Pohjola, where the chatelaine, Louhi, receives him hospitably, and offers him her beautiful daughter if he will forge for her the talisman called the Sampo. He replies that he cannot do so himself, but will send his brother Ilmarinen, so Louhi gives him a sledge in which to return home.

Runo VIII. Väinämöinen, on his journey, finds the daughter of Louhi sitting on a rainbow weaving, and makes love to her. In trying to accomplish the tasks she sets him, he wounds himself severely, and drives away till he finds an old man who promises to stanch the blood.

Runo IX. The old man heals Väinämöinen by relating the origin of Iron, and by salving his wounds.

Runo X. Väinämöinen returns home, and as Ilmarinen declines to go to Pohjola to forge the Sampo, he causes a whirlwind to carry him to the castle. Ilmarinen forges the Sampo, but the maiden declines to marry him at present, and he returns home disconsolate.

Runos XI.-XV. These Runos relate the early adventures of Lemminkainen. He carries off and marries the beautiful Kyllikki, but quarrels with her, and starts off to Pohjola to woo the daughter of Louhi. Louhi sets him various tasks, and at length he is slain, cast into the river of Tuoni, the death-god, and is hewed to pieces; but is rescued and resuscitated by his mother.

Runos XVI.-XVII. Väinämöinen regrets having renounced the daughter of Louhi in favour of Ilmarinen, and begins to build a boat, but cannot complete it without three magic words, which he seeks for in vain in Tuonela, the death-kingdom, but afterwards jumps down the throat of the dead giant, Antero Vipunen, and compels him to sing to him all his wisdom.

Runos XVIII.-XIX. Väinämöinen and Ilmarinen travel to Pohjola, one by water and the other by land, and agree that the maiden shall make her choice between them. She prefers Ilmarinen, who is aided by his bride to perform all the tasks set him by Louhi.

Runos XX.-XXV. The wedding is celebrated at Pohjola, an immense ox being slaughtered for the feast; after which ale is brewed by Osmotar, "Kaleva's most beauteous daughter." Every one is invited, except Lemminkainen, who is passed over as too quarrelsome and ill-mannered. Before the bride and bridegroom leave, they have to listen to long lectures about their future conduct.

Runos XXVI.-XXX. Lemminkainen is enraged at not being invited to the wedding, forces his way into the Castle of Pohjola through the magical obstacles in his path, and slays the lord of the castle in a duel. He flies home, and his mother sends him to hide in a distant island where all the warriors are absent, and where he lives with the women till the return of the men, when he is again obliged to fly. He returns home, and finds the whole country laid waste, and only his mother in hiding. Against her advice, he persuades his old comrade Tiera to join him in another expedition against Pohjola, but Louhi sends the Frost against them, and they are driven back in great distress.

Runos XXXI.-XXXVI. A chief named Untamo lays waste the territory of his brother Kalervo, and carries off his wife. She gives birth to Kullervo, who vows vengeance against Untamo in his cradle. Untamo brings Kullervo up as a slave, but as he spoils everything he touches, sells him to Ilmarinen. Ilmarinen's wife ill-treats him, and he revenges himself by giving her over to be devoured by wolves and bears, and escapes to the forests, where he rejoins his family. One of his sisters has been lost, and meeting her accidentally and without knowing her, he carries her off. She throws herself into a torrent, and he returns home. His mother advises him to go into hiding, but first he makes war on Untamo, destroys him and his clan, and again returns home. Here he finds all his people dead, and everything desolate; so he wanders off into the forest, and falls on his own sword.

Runos XXXVII.-XLIX. Ilmarinen forges himself a new wife of gold and silver, but cannot give her life or warmth, so he carries off another daughter of Louhi; but she angers him so much that he changes her into a seagull. Ilmarinen and Väinämöinen, who are afterwards joined by Lemminkainen, now undertake another expedition to Pohjola to carry off the Sampo. On the way, Väinämöinen constructs a kantele or harp of pikebone, and lulls Louhi and her people to sleep; but she pursues the robbers, and first the kantele is lost overboard, and then the Sampo is broken to pieces and lost in the sea. Väinämöinen saves enough to secure the prosperity of Kalevala, but Louhi only carries home a small and almost useless fragment. Väinämöinen then makes a new kantele of birchwood. Louhi brings pestilence on Kalevala, then sends a bear against the country, and lastly, steals away the sun and moon, hiding them in the stone mountain of Pohjola. Väinämöinen drives away the plagues, kills the bear, and renews fire from a conflagration caused by a spark sent down from heaven by the god Ukko. Ilmarinen then prepares chains for Louhi, and terrifies her into restoring the sun and moon to their original places.

Runo L. The virgin Marjatta swallows a cranberry, and brings forth a son, who is proclaimed King of Carelia. Väinämöinen in great anger quits the country in his boat, but leaves the kantele and his songs behind him for the pleasure of the people.

* * * * *

As a specimen of the Finnish language, I quote the original text of a few lines from the charming passage at the commencement of Runo VIII (lines 1-16):--

Tuo oli kaunis Pohjan neiti, Maan kuula, ve'en valio, Istui ilman wempelellä, Taivon kaarella kajotti Pukehissa puhtaissa, Walkeissa vaattehissa; Kultakangasta kutovi, Hopeista huolittavi Kultaisesta sukkulasta, Pirralla hopeisella.

Suihki sukkula piossa, Käämi käessä kääperöitsi, Niiet vaskiset vatisi, Hopeinen pirta piukki Neien kangasta kutoissa, Hopeista huolittaissa.

The _Kalevala_ is very unlike any poem familiar to general readers, but it contains much that is extremely curious and interesting; and many beautiful passages and episodes which are by no means inferior to those we find in the ballad-literature of better-known countries than Finland.

W. F. KIRBY.

_Chiswick, May_ 1907

CONTENTS OF VOL. I

RUNO PAGE

INTRODUCTION vii

I. BIRTH OF VÄINÄMÖINEN 1

II. VÄINÄMÖINEN'S SOWING 10

III. VÄINÄMÖINEN AND JOUKAHAINEN 20

IV. THE FATE OF AINO 35

V. VÄINÄMÖINEN'S FISHING 48

VI. JOUKAHAINEN'S CROSSBOW 55

VII. VÄINÄMÖINEN AND LOUHI 61

VIII. VÄINÄMÖINEN'S WOUND 71

IX. THE ORIGIN OF IRON 78

X. THE FORGING OF THE SAMPO 93

XI. LEMMINKAINEN AND KYLLIKKI 106

XII. LEMMINKAINEN'S FIRST EXPEDITION TO POHJOLA 117

XIII. HIISI'S ELK 130

XIV. LEMMINKAINEN'S DEATH 137

XV. LEMMINKAINEN'S RECOVERY AND RETURN HOME 149

XVI. VÄINÄMÖINEN IN TUONELA 166

XVII. VÄINÄMÖINEN AND ANTERO VIPUNEN 177

XVIII. VÄINÄMÖINEN AND ILMARINEN TRAVEL TO POHJOLA 193

XIX. THE EXPLOITS AND BETROTHAL OF ILMARINEN 211

XX. THE GREAT OX, AND THE BREWING OF THE ALE 224

XXI. THE WEDDING FEAST AT POHJOLA 240

XXII. THE TORMENTING OF THE BRIDE 251

XXIII. THE INSTRUCTING OF THE BRIDE 264

XXIV. THE DEPARTURE OF THE BRIDE AND BRIDEGROOM 286

XXV. THE HOME-COMING OF THE BRIDE AND BRIDEGROOM 300

NOTES TO RUNOS I-XXV 319

RUNO I.--BIRTH OF VÄINÄMÖINEN

_Argument_

Prelude (1-102). The Virgin of the Air descends into the sea, where she is fertilized by the winds and waves and becomes the Water-Mother (103-176). A teal builds its nest on her knee, and lays eggs (177-212). The eggs fall from the nest and break, but the fragments form the earth, sky, sun, moon and clouds (213-244). The Water-Mother creates capes, bays, sea-shores, and the depths and shallows of the ocean (245-280). Väinämöinen is born from the Water-Mother, and is tossed about by the waves for a long time until he reaches the shore (281-344).

I am driven by my longing, And my understanding urges That I should commence my singing; And begin my recitation. I will sing the people's legends, And the ballads of the nation. To my mouth the words are flowing, And the words are gently falling, Quickly as my tongue can shape them, And between my teeth emerging. 10

Dearest friend, and much-loved brother, Best beloved of all companions, Come and let us sing together, Let us now begin our converse, Since at length we meet together, From two widely sundered regions. Rarely can we meet together, Rarely one can meet the other, In these dismal Northern regions, In the dreary land of Pohja. 20 Let us clasp our hands together, Let us interlock our fingers; Let us sing a cheerful measure, Let us use our best endeavours, While our dear ones hearken to us, And our loved ones are instructed, While the young are standing round us, Of the rising generation, Let them learn the words of magic. And recall our songs and legends, 30 Of the belt of Väinämöinen, Of the forge of Ilmarinen, And of Kaukomieli's sword-point, And of Joukahainen's crossbow: Of the utmost bounds of Pohja, And of Kalevala's wide heathlands.

These my father sang aforetime, As he carved his hatchet's handle, And my mother taught me likewise, As she turned around her spindle, When upon the floor, an infant, At her knees she saw me tumbling, 40 As a helpless child, milk-bearded, As a babe with mouth all milky. Tales about the Sampo failed not, Nor the magic spells of Louhi. Old at length became the Sampo; Louhi vanished with her magic; Vipunen while singing perished; Lemminkainen in his follies. 50

There are many other legends; Songs I learned of magic import; Some beside the pathway gathered; Others broken from the heather; Others wrested from the bushes; Others taken from the saplings, Gathered from the springing verdure, Or collected from the by-ways, As I passed along as herd-boy, As a child in cattle pastures, 60 On the hillocks, rich in honey, On the hills, for ever golden, After Muurikki, the black one, By the side of dappled Kimmo.

Then the Frost his songs recited, And the rain its legends taught me; Other songs the winds have wafted, Or the ocean waves have drifted; And their songs the birds have added, And the magic spells the tree-tops. 70

In a ball I bound them tightly; And arranged them in a bundle; On my little sledge I laid it, On my sleigh I laid the bundle; Home upon the sledge I brought it, Then into the barn conveyed it; In the storehouse loft I placed it, In a little box of copper.

In the cold my song was resting, Long remained in darkness hidden. 80 I must draw the songs from Coldness, From the Frost must I withdraw them, Bring my box into the chamber, On the bench-end lay the casket, Underneath this noble gable, Underneath this roof of beauty. Shall I ope my box of legends, And my chest where lays are treasured? Is the ball to be unravelled, And the bundle's knot unfastened? 90 Then I'll sing so grand a ballad, That it wondrously shall echo, While the ryebread I am eating, And the beer of barley drinking. But though ale should not be brought me, And though beer should not be offered, I will sing, though dry my throttle, Or will sing, with water only, To enhance our evening's pleasure, Celebrate the daylight's beauty, 100 Or the beauty of the daybreak, When another day is dawning.

I have often heard related, And have heard the song recited, How the nights closed ever lonely, And the days were shining lonely. Only born was Väinämöinen, And revealed the bard immortal, Sprung from the divine Creatrix, Born of Ilmatar, his mother. 110

Air's young daughter was a virgin, Fairest daughter of Creation. Long did she abide a virgin, All the long days of her girlhood, In the Air's own spacious mansions, In those far extending regions.

Wearily the time passed ever. And her life became a burden, Dwelling evermore so lonely, Always living as a maiden, 120 In the Air's own spacious mansions, In those far-extending deserts.

After this the maid descending, Sank upon the tossing billows, On the open ocean's surface, On the wide expanse of water.

Then a storm arose in fury, From the East a mighty tempest, And the sea was wildly foaming, And the waves dashed ever higher. 130