Chapter VIII: Part 8

Marjatta the petted damsel,
She who always lived a virgin,
Always greeted as a maiden,
Modest maid with locks unbraided,
Went to lead the herds to pasture,
And beside the sheep was walking.

On the hill the sheep were straying,
To the top the lambs were climbing, 50
On the plain the maiden wandered,
Tripping through the alder bushes,
While there called the golden cuckoo,
And the silvery birds were singing.

Marjatta the petted damsel,
Looked around her and she listened,
Sitting on the hill of berries,
Resting on the sloping hillside,
And she spoke the words which follow,
And in words like these expressed her: 60
"Call thou on, O golden cuckoo,
Sing thou still, O bird of silver,
Sing thou from thy breast of silver!
Tell me true, O Saxon strawberry,
Shall I long remain unhooded,
Long among the flocks as herd-girl,
On the wide-extending heathlands,
And the far-extending woodlands,
For one summer, for two summers,
Or for five or six of summers, 70
Or perchance for ten long summers,
Or the time fulfilled already?"

Marjatta the petted damsel,
For a while lived on as herd-girl.
Evil is the life of shepherd,
Far too heavy for a maiden;
In the grass a snake is creeping,
In the grass the lizards wriggling.

But not there a snake was writhing,
Nor in grass the lizards wriggling. 80
From the hill there cried a berry,
From the heath there cried a cranberry,
"O thou maiden, come and pluck me,
Rosy-cheeked one, come and gather,
Come with breast of tin to pluck me,
With thy copper belt to choose me,
Ere the slug should come to eat me,
Or the black worm should disturb me.

"There are hundreds who have seen me,
Thousands more have sat beside me, 90
Girls by hundreds, wives by thousands,
Children, too, that none can number;
None among them yet has touched me,
None has gathered me, the wretched."

Marjatta the petted damsel,
Went a very little distance,
Went to look upon the berry,
And the cranberry to gather,
With her skilful hands to pluck it,
With her beauteous hands to pluck it. 100

On the hill she found the berry,
On the heath she found the cranberry;
'Twas a berry in appearance,
And it seemed to be a cranberry,
But from ground too high for eating,
On a tree too weak for climbing.

From the heath a stick she lifted,
That she might pull down the berry;
Then from ground the berry mounted
Upward to her shoes so pretty, 110
From her pretty shoes arose it,
Upward to her knees of whiteness,
Rising from her knees of whiteness
Upward to her skirts that rustled.

To her buckled belt arose it,
To her breast from buckled girdle,
From her breast to chin arose it,
To her lips from chin arose it,
Then into her mouth it glided,
And along her tongue it hastened, 120
From her tongue to throat it glided,
And it dropped into her stomach.

Marjatta the petted damsel,
After this had chanced grew pregnant,
And it soon increased upon her,
And her burden soon was heavy.

Then she cast aside her girdle,
Loosely dressed, without a girdle,
Secretly she sought the bathroom,
And she hid her in the darkness. 130

Always was her mother thinking,
And her mother pondered ever:
"What has chanced to our Marjatta,
What has happened to our house-dove,
That she casts aside her girdle,
Always dresses loosely, beltless,
Goes in secret to the bathroom,
And she hides her in the darkness?"

And a baby gave her answer,
And the little child made answer: 140
"This has chanced to our Marjatta,
This befel the wretched creature,
She has been too long a herd-girl,
With the flocks too far has wandered."

And she bore her heavy burden,
And the pain it brought upon her,
Bore it seven months, bore it eight months,
Bore it through the ninth month also,
By the reckoning of old women,
And for half the tenth month also. 150

While the tenth month thus was passing,
Then the girl was filled with anguish,
Grievous sufferings came upon her,
And the weight oppressed her sorely.

For a bath she asked her mother,
"O my very dearest mother,
Make a warm place ready for me,
And a warm room ready for me,
Where the girl awhile may rest her.
In the house of suffering women." 160

But her mother gave her answer,
Answered thus, the aged woman:
"Woe to thee, O whore of Hiisi,
Tell me now with whom thou restedst,
With a man as yet unmarried,
Or beside a married hero?"

Marjatta the petted damsel,
Then replied to her in thiswise:
"Neither with a man unmarried,
Nor with any married hero, 170
But I sought the hill of berries,
And I went to pluck the cranberries,
And I took what seemed a berry,
And upon my tongue I laid it,
Quickly in my throat it glided,
And it dropped into my stomach.
Thus it is that I am pregnant,
Thus it comes that I am pregnant."

For a bath she asked her father,
"O my very dearest father, 180
Give me now a well-warmed refuge,
Make a warm room ready for me,
Where the suffering one may rest her,
And the girl endure her suffering."

But her father gave her answer,
Gave her back a shameful answer:
"Go thou forth from here, O strumpet,
Wander forth, O wench for burning,
To the bears' own rocky caverns,
To the caves where bears are lurking, 190
Thither forth to bear, O strumpet,
Bear thy children, wench of fire."

Marjatta the petted damsel,
Then returned submissive answer:
"Not at all am I a strumpet,
Neither am a wench for burning;
I shall bear a mighty hero,
And shall bear a noble offspring,
He shall be a mighty conqueror,
Strong as even Väinämöinen." 200

Then the maid was greatly troubled
Where to go, and how to journey,
Where a bath she might provide her,
And she spoke the words which follow:
"O my little damsel Piltti,
Thou the best of all my handmaids,
Find me now a bath in village,
Find a bath near reed-fringed brooklet,
Where the suffering one may rest her,
And the girl endure her suffering. 210
Go at once, and hasten quickly,
For my need is of the greatest."

Then the little damsel Piltti,
Answered in the words that follow:
"Where am I to ask a bathroom,
Who will help me to obtain it?"

Thereupon did our Marjatta
Answer in the words which follow:
"Go and ask a bath from Ruotus,
Near where issues forth the Reed-brook." 220

Then the little maiden Piltti
Listened to her words obedient,
Always ready, heedless never,
Always quick, avoiding gossip,
Like a mist, away she hurried,
To the yard like snake she hastened,
With her hands her skirts she lifted,
In her hands her dress she twisted,
And upon her course she hastened
Straight unto the house of Ruotus. 230
Hills re-echoed to her footsteps,
Shook the mountains as she climbed them,
On the heath the cones were dancing,
Gravel scattered o'er the marshes;
Thus she came to Ruotus' dwelling,
And the house she quickly entered.

In his shirt sat wicked Ruotus,
Eating, drinking like the great ones,
In his shirt at end of table,
In a shirt of finest linen, 240
And he asked as he was eating,
Grunted, leaning o'er the table,
"What have you to say, you beggar,
Wretch, why come you running hither?"

Then the little damsel Piltti
Answered in the words that follow:
"Here I seek a village bathroom,
Seek a bath near reed-fringed brooklet,
That relief may reach the suffering,
For the need is very pressing." 250

Then the wicked wife of Ruotus
Presently with arms a-kimbo,
Slouched along upon the flooring,
Swept to middle of the flooring,
And she asked upon her coming,
Speaking in the words which follow:
"Who is seeking for a bathroom,
Who is seeking for assistance?"

Said the little damsel Piltti,
"Needed 'tis for our Marjatta." 260

Then the wicked wife of Ruotus
Answered in the words that follow:
"Vacant baths are rare in village,
None at mouth of reed-fringed streamlet.
There's a bath upon the clearing,
And a stable in the pinewood,
Where the whore may bear her children,
And the vile one cast her offspring,
While the horses there are breathing,
Let her take a bath and welcome." 270

Then the little maiden Piltti,
Hurried back with rapid footsteps,
And upon her course she hastened,
And she said on her arrival:
"In the village is no bathroom,
None beside the rush-fringed streamlet,
And the wicked wife of Ruotus,
Only spoke the words which follow:
'Vacant baths are none in village,
None at mouth of reed-fringed streamlet. 280
There's a bath upon the clearing,
And a stable in the pinewood,
Where the whore may bear her children,
And the vile one cast her offspring,
While the horses there are breathing,
Let her take a bath and welcome.'
This was all she said unto me,
This is truly what she answered."

Marjatta the hapless maiden
When she heard, burst forth in weeping, 290
And she spoke the words that follow:
"Thither must I then betake me,
Even like an outcast labourer,
Even like a hired servant,
I must go upon the clearing,
And must wander to the pinewood."

In her hands her skirt she lifted,
With her hands her skirt she twisted,
And she took the bath-whisks with her,
Of the softest leaves and branches, 300
And with hasty steps went onward,
In the greatest pain of body,
To the stable in the pinewood,
And the stall on hill of Tapio.

And she spoke the words which follow,
And in words like these expressed her:
"Come thou to my aid, Creator,
To my aid, O thou most gracious,
In this anxious time of labour,
In this time of hardest labour. 310
Free the damsel from her burden,
From her pains release the woman,
That she perish not in torment,
May not perish in her anguish."

When at length her journey ended,
Then she spoke the words which follow:
"O thou good horse, breathe upon me,
O thou draught-foal, snort upon me,
Breathe a vapour-bath around me,
Send thou warmth throughout the bathroom, 320
That relief may reach the sufferer,
For the need is very pressing."

Then the good horse breathed upon her,
And the draught-foal snorted on her,
Over all her suffering body.
When the horse desisted breathing,
Steam was spread throughout the stable,
Like the steam of boiling water.

Marjatta the hapless maiden,
She, the holy little maiden, 330
Bathed her in a bath sufficient,
Till she had relieved her suffering,
And a little boy was born her,
And a sinless child was given,
On the hay in horses' stable,
On the hay in horses' manger.

Then she washed the little infant,
And in swaddling-clothes she wrapped him,
On her knees she took the infant,
And she wrapped her garments round him. 340
There she reared the little infant,
Thus she reared the beauteous infant,
Reared her little golden apple,
And her little staff of silver,
And upon her lap she nursed it,
With her hands did she caress it.

On her knees she laid the infant,
On her lap she laid the infant,
And began to brush his hair straight,
And began to smooth his hair down, 350
When from off her knees he vanished,
From her lap the infant vanished.

Marjatta the hapless maiden
Fell into the greatest trouble,
And she hurried off to seek him,
Seek her little boy, the infant,
And she sought her golden apple,
Sought her little staff of silver,
Sought him underneath the millstones,
Underneath the sledge while running, 360
Underneath the sieve while sifting,
Underneath the lidless basket;
Trees she moved, and grass divided,
Spreading out the tender herbage.

Long the little boy she sought for,
Sought her son, the little infant,
Sought him through the hills and pinewoods,
On the heath among the heather,
Searched through every tuft of heather,
And in every bush she sought him, 370
Roots of juniper updigging,
And of trees the branches straightening.

Then she thought to wander further,
And she went upon her wanderings,
And there came a star to meet her,
And before the star she bowed her.
"Star, whom Jumala created,
Know you nothing of my infant,
Where my little son is hidden,
Where is hid my golden apple?" 380

And the star made answer to her:
"If I knew I would not tell it.
He it was who me created,
Made me, through these days of evil
In the cold to shine for ever,
And to glimmer through the darkness."

Then she thought to wander further,
And she went upon her wanderings,
And the moon came next to meet her,
And she bowed herself before him. 390
"Moon, whom Jumala created,
Know you nothing of my infant,
Where my little son is hidden,
Where is hid my golden apple?"

And the moon made answer to her:
"If I knew I would not tell it.
He it was who me created,
Always in these days of evil
Through the night to watch all lonely,
And to sleep throughout the daytime." 400

Then she thought to wander further,
And she went upon her wanderings,
And there came the sun to meet her,
And she bowed herself before him.
"Sun, whom Jumala created,
Know you nothing of my infant,
Where my little son is hidden,
Where is hid my golden apple?"

And the sun made answer wisely:
"Well indeed I know your infant. 410
He it was who me created,
In these days of finest weather,
Golden rays to shed about me,
Silver rays to scatter round me.

"Well indeed I know your infant,
Know your son, unhappy mother!
There thy little son is hidden,
There is hid thy golden apple,
In the swamps to waistband sunken,
To his arm-pits in the marshlands." 420

Marjatta the hapless maiden
Sought her infant in the marshes,
In the swamps her son discovered,
And she brought him home in triumph.
Then the son of our Marjatta
Grew into a youth most beauteous,
But they knew not what to call him,
Did not know what name to give him,
But his mother called him Floweret,
And the strangers called him Sluggard. 430

And they sought a man to cross him,
And to sprinkle him with water;
And an old man came to cross him,
Virokannas to baptize him.

Then these words the old man uttered,
And in words like these expressed him:
"With the cross I will not sign him,
Nor will I baptize the infant,
Not till he has been examined,
And a judgment passed upon him." 440

Who shall dare to come to try him,
Test him, and pass sentence on him?
Väinämöinen, old and steadfast,
He the great primeval sorcerer,
He alone came forth to try him,
And to test him and pass sentence.

Väinämöinen, old and steadfast,
Sentence gave in words that follow:
"As the boy from marsh has risen,
From the ground, and from a berry, 450
On the ground they now shall lay him,
Where the hills are thick with berries,
Or shall to the swamps conduct him,
On the trees his head to shatter."

Then the half-month old spoke loudly,
And the fortnight-old cried loudly:
"O thou old and wretched creature,
Wretched old man, void of insight,
O how stupid is your judgment,
How contemptible thy sentence! 460
Thou hast grievous crimes committed,
Likewise deeds of greatest folly,
Yet to swamps they did not lead thee,
Shattered not thy head on tree-trunks,
When thyself, in youthful folly,
Gave the child of thine own mother,
That thou thus mightst 'scape destruction,
And release thyself in thiswise.

"And again thou wast not carried,
And abandoned in the marshes, 470
When thyself in youthful folly,
Caused the young maids to be sunken,
In the depths beneath the billows,
To the black ooze at the bottom."

Then the old man quickly crossed him,
Quick baptized the child with water,
As the king of all Carelia,
And the lord of all the mighty.

Then was Väinämöinen angry,
Greatly shamed and greatly angry, 480
And prepared himself to journey
From the lake's extended margin,
And began his songs of magic,
For the last time sang them loudly,
Sang himself a boat of copper,
With a copper deck provided.

In the stern himself he seated,
Sailing o'er the sparkling billows,
Still he sang on his departure,
And he sang as he was sailing: 490
"May the time pass quickly o'er us,
One day passes, comes another,
And again shall I be needed.
Men will look for me, and miss me,
To construct another Sampo,
And another harp to make me,
Make another moon for gleaming,
And another sun for shining.
When the sun and moon are absent,
In the air no joy remaineth." 500

Then the aged Väinämöinen
Went upon his journey singing,
Sailing in his boat of copper,
In his vessel made of copper,
Sailed away to loftier regions,
To the land beneath the heavens.

There he rested with his vessel,
Rested weary, with his vessel,
But his kantele he left us,
Left his charming harp in Suomi, 510
For his people's lasting pleasure,
Mighty songs for Suomi's children.

* * * * *

Now my mouth must cease from speaking,
And my tongue be bound securely,
Cease the chanting of my verses,
And my lively songs abandon.
Even thus must horses rest them,
When a long course is completed,
Even iron must be wearied
When the grass is mown in summer, 520
And the water-drops be weary,
As they trace the river's windings,
And the fire must be extinguished
When throughout the night 'tis burning.
Wherefore should our songs not falter;
As our sweet songs we are singing,
For the lengthy evenings' pleasure,
Singing later than the sunset?

Thus I heard the people talking,
And again it was repeated: 530
"E'en the waterfall when flowing
Yields no endless stream of water,
Nor does an accomplished singer,
Sing till all his knowledge fail him.
Better 'tis to sit in silence
Than to break off in the middle."

Now my song remains completed,
'Tis completed and abandoned.
In a ball I wind my lays up,
As a ball I cast them from me, 540
On the storehouse floor I lay them,
With a lock of bone secure them,
That from thence escape they never,
Nor in time may be untwisted,
Not unless the lock be opened,
And its jaws should be extended,
Not unless the teeth be opened,
And the tongue again is moving.

What would now avail my singing,
If the songs I sang were bad ones, 550
If I sang in every valley,
And I sang in every firwood?
For my mother lives no longer,
Wakes no more my own old mother,
Nor my golden one can hear me,
Nought can learn my dear old mother,
None would hear me but the fir-trees,
Learn, save branches of the pine-trees,
Or the tender leaves of birch-trees,
Or the charming mountain ash-tree. 560

I was small when died my mother,
Weak was I without my mother;
On the stones like lark she left me,
On the rocks like thrush she left me,
Left me like a lark to sing there,
Or to sing as sings the throstle,
In the wardship of a stranger,
At the will of a step-mother,
And she drove me forth, unhappy,
Forth she drove the unloved infant, 570
To a wind-swept home she drove me,
To the north-wind's home she drove me
That against the wind defenceless,
Winds might sweep away the orphan.

Like a lark away I wandered,
Like a hapless bird I wandered
Shelterless about the country;
Wearily I wandered onward,
Till with every wind acquainted,
I their roaring comprehended; 580
In the frost I learned to shudder,
And I learned to cry with freezing.

Even now do many people,
Many people I encounter,
Speak to me in angry accents,
Rudest speeches hurl against me,
Curses on my tongue they shower,
And about my voice cry loudly,
Likewise they abuse my grumbling
And they call my songs too lengthy, 590
And they say I sing too badly,
And my song's accented wrongly.

May you not, O friendly people,
As a wondrous thing regard it
That I sang so much in childhood,
And when small, I sang so badly.
I received no store of learning,
Never travelled to the learned.
Foreign words were never taught me,
Neither songs from distant countries. 600
Others have had all instruction,
From my home I journeyed never,
Always did I help my mother,
And I dwelt for ever near her,
In the house received instruction,
'Neath the rafters of my storehouse,
By the spindle of my mother,
By my brother's heap of shavings,
In my very earliest childhood,
In a shirt that hung in tatters. 610

But let this be as it may be,
I have shown the way to singers,
Showed the way, and broke the tree-tops,
Cut the branches, shown the pathways.
This way therefore leads the pathway,
Here the path lies newly opened,
Widely open for the singers,
And for greater ballad singers,
For the young, who now are growing,
For the rising generation. 620

NOTES TO RUNOS XXVI-L

(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."

"Seven monarchs' wealth in that castle lies stowed;
The foul fiends brood o'er them like raven and toad." (Scott.)

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:

"Bigger than the Big-Sea-Water,
Broader than the Gitche Gumee."

_Hiawatha_, xxi.

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.

29. "All with incredible stupendous force,
None daring to appear antagonist." (Milton.)

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:

Kuuluvilla karjan kellon,
Luona tiukujen tirinän.

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.

GLOSSARY OF FINNISH NAMES

(The dotted vowels are included with the others.)

AHAVA, _the cold spring East Wind_.

AHTI, _a name of Lemminkainen_.

AHTO, _the God of the Sea and of the Waters_.

AHTOLA, _the dominions of Ahto_.

ÄIJÖ, _the father of Iku-Turso_.

AINIKKI, _Lemminkainen's sister_.

AINO, _a Lapp maiden, Joukahainen's sister_.

ALUE, _name of a lake_.

ANNIKKI, _Ilmarinen's sister_.

ANTERO VIPUNEN, _a primeval giant or Titan, whom some commentators
suppose to be the same as Kaleva_.

ETELÄTÄR, _the goddess of the South Wind_.

HÄLLÄPJÖRÄ, _name of a waterfall_.

HÄME, _Tavastland_.

HERMIKKI (SINEWY), _name of a cow_.

HIISI, _the same as Lempo, the Evil Power, somewhat resembling the
Scandinavian Loki in character. His name is often used as a term of
reprobation_.

HIITOLA, _the dominions of Hiisi_.

HONGATAR, _the goddess of the Fir-trees_.

HORNA (HELL), _name of a mountain_.

IKU-TURSO, _a water-giant; the name is doubtless connected with the
Icelandic word Thurs, which means a giant, and which is also the name
of the letter þ, called þa in Old English_.

ILMA (AIR), _name of Ilmarinen's homestead_.

ILMARI, } } _the primeval smith; still used as a proper name in ILMARINEN, } Finland_.

ILMATAR, _the Daughter of the Air; the Creatrix of the world, and the
mother of Väinämöinen_.

ILPOTAR, _a name of Louhi_.

IMATRA, _the great falls or rapids in the river Vuoksi_.

INGERLAND, _usually known as Ingermanland_.

JOUKAHAINEN, } } _a young Laplander_. JOUKO, }

JOUKOLA, _the land of Joukahainen_.

JUMALA, OR UKKO, _God_.

JUOTIKKI (DRINKER), _name of a cow_.

JUUTAS, _a name probably derived from Judas. It is used as a name for
Hiisi, and also as a term of reprobation_.

KAATRAKOSKI, _name of a waterfall_.

KALERVO, _a chieftain, the brother of Untamo, and the father of
Kullervo_.

KALERVOINEN, _epithet of Kullervo_.

KALEVA, _the ancestor of the heroes, who does not appear in person in
the Kalevala_.

KALEVALA, _the land of Kaleva_.

KALEVALAINEN, _a descendant of Kaleva_.

KALEVATAR, OR OSMOTAR, _the daughter of Kaleva_.

KALMA, _Death personified; he is more often called Tuoni or Mana_.

KAMMO, _a rock, the father of Kimmo_.

KANKAHATAR, _the goddess of Weaving_.

KANTELE, _the Finnish harp or zither_.

KANTELETAR, _the Daughter of the Harp; name given by Lönnrot to his
published collection of Finnish ballads_.

KARJALA, _Carelia_.

KATAJATAR, _the nymph of the Juniper_.

KAUKO, } } KAUKOLAINEN, } _Names of Lemminkainen_. } KAUKOMIELI, }

KAUPPI, _a Laplander, skilled in making snowshoes_.

KEITOLAINEN, _the Contemptible One, one of the names of the Evil Power_.

KEMI, _name of a river_.

KIMMO, (1) _a stone_; (2) _name of a cow_.

KIPUTYTTÖ, _Maiden of Pain_.

KIRJO (_variegated, or dappled_), _name of a cow_.

KIVUTAR, _Daughter of Pain_.

KUIPPANA, _a name of Tapio_.

KULLERVO, } } _a hero, the son of Kalervo_. KULLERVOINEN, }

KUURA, _a name of Tiera_.

KUUTAR, _the Daughter of the Moon_.

KYLLI, } } _a maiden of Saari, whom Lemminkainen carries off and KYLLIKKI, } marries_.

LEMMINKAINEN, _a reckless adventurer_.

LEMPI (LOVE), _the father of Lemminkainen_.

LEMPO, or HIISI, _the Evil Power_.

LOKKA, _the mother of Ilmarinen_.

LOUHI, _the Mistress of Pohjola_.

LOVIATAR, _one of the daughters of Tuoni, and the mother of the
Plagues_.

LUONNOTAR, _Daughter of Creation, a name applied to Ilmatar, and other
celestial goddesses_.

LUOTOLA, _name of a bay_.

LYYLIKKI, _a name of Kauppi_.

MAIRIKKI, _name of a cow_.

MANA, or TUONI, _the God of Hades_.

MANALA, or TUONELA, _Hades_.

MANALAINEN = _Mana_.

MANALATAR, _Daughter of Mana_.

MANSIKKA (STRAWBERRY), _name of a cow_.

MARJATTA, _the mother of Väinämöinen's supplanter. She is usually
identified with the Virgin Mary_.

MÄRKÄHATTU (WET-HAT), _name or epithet of a cow-herd who has been
exposed to the rain_.

MELATAR, _the goddess of the Rudder_.

METSOLA, _the Woodlands, from metsa, a forest_.

MIELIKKI, _the Mistress of the Forests, the spouse of Tapio_.

MIMERKKI, _a name of Mielikki_.

MUSTI (BLACKIE), _a dog's name_.

MUURIKKI (BLACKIE), _name of a cow_.

NYYRIKKI, _the son of Tapio_.

OSMO, _a name of Kaleva_.

OSMOLA = _Kalevala_.

OSMOINEN, _an epithet of Väinämöinen_.

OSMOTAR, _the daughter of Osmo_.

OTAVA, _the constellation of the Great Bear_.

OTSO, _pet name for the bear_.

PAHALAINEN (THE WICKED ONE), _a name of the Evil Power_.

PÄIVÄTÄR, _the Daughter of the Sun_.

PAKKANEN, _the personified Frost_.

PALVONEN, _apparently the same as Tuuri_.

PANU, _the son of the Sun_.

PELLERVOINEN, _vide Sampsa_.

PIHLAJATAR, _the nymph of the Mountain-Ash tree_.

PILTTI, _the handmaid of Marjatta_.

PIMENTOLA, _a name of Pohjola_.

PISA, _name of a mountain_.

POHJA, _the North_.

POHJOLA, _the North Country_; (_a_) _A dark and dismal country to the
north of Lapland, but sometimes identified with Lapland itself_;
(_b_) _The castle or homestead of Louhi, to which the name of the
country itself was applied_.

PUHURI, _the North Wind_.

PUOLUKKA (CRANBERRY), _name of a cow_.

RUOTUS, _the headman of a village_. (_Herod, according to the
commentators._)

RUTJA, _a cataract, said to be the same as Turja_.

SAARELAINEN (THE ISLANDER), _an epithet of Lemminkainen_.

SAARI, _an island, especially the island now called Kronstadt_.

SAMPO, _a magic corn, salt and coin-mill_.

SAMPSA PELLERVOINEN, _the genius of agriculture_ (_from pellon or pelto, a
field_), _the servant or agent of Väinämöinen_.

SARA } } _names of Pohjola_. SARIOLA }

SAVO (SAVOLAKS), _a province of Finland_.

SIMA, _a Sound in Pohjola_.

SINETAR, _a nymph who colours flowers blue_.

"SOTKO'S DAUGHTERS"; _the protecting nymphs of ducks_.

SUOMI, _Finland_.

SUONETAR, _the nymph of the veins_.

SURMA, _Death, or the God of Death_.

SUOVAKKO, _name of an old woman_.

SUVANTOLA (_the land of still waters_), _a name of Väinölä_.

SUVANTOLAINEN, _an epithet of Väinämöinen_.

SUVETAR, _the goddess of Summer_.

SYÖJÄTÄR, _an ogress, the mother of the serpents_.

SYÖTIKKI (EATER), _name of a cow_.

TAMMATAR, _the goddess of the oak tree_.

TANIKA, _name of the builder of a castle_.

TAPIO, _the God of the Forests_.

TAPIOLA, _the dominions of Tapio_.

TELLERVO, _the daughter of Tapio, but in some passages apparently
identified with Mielikki_.

TERHENETAR, _the goddess of the Clouds_.

TIERA, _Lemminkainen's comrade in arms_.

TUOMETAR, _the goddess of the Bird Cherry_.

TUOMIKKI, _name of a cow_.

TUONELA, or MANALA, _Hades_.

TUONETAR, _the daughter of Tuoni_.

TUONI, or MANA, _the God of Hades_.

TUORIKKI, _name of a cow_.

TURJA, _Lapland; also name of a cataract_.

TURJALAINEN, _a Laplander_.

TURSAS, _vide Iki-Turso_.

TUULIKKI, _a daughter of Tapio_.

TUURI, _the builder of a house where honey is stored_.

UKKO (OLD MAN), _usually identified with Jumala, the God of Heaven, with
special authority over the clouds_.

ULAPPALA (_the country of the open sea_), _apparently the same as
Tuonela_.

UNTAMO } } (_a_) _the god of Sleep and Dreams;_ (_b_) _a turbulent UNTAMOINEN, } chieftain, the brother of Kalervo_.

UNTAMOLA, _the dominions of Untamo; sometimes used for Untamo himself_.

UNTO, _short for Untamo_.

UNTOLA, _the dominions of Unto_.

UVANTO } } _names of Väinämöinen_. UVANTOLAINEN }

VÄINÄMÖINEN, _the primeval minstrel and culture-hero, the son of Ilmatar_
(_the name, as pronounced, sounds like Vannamoenen_).

VÄINÖ, _short for Väinämöinen_.

VÄINÖLÄ, _the dominions of Väinämöinen_ (=_Kalevala_.)

VAMMATAR, _the Daughter of Evil_.

VELLAMO, _the goddess of the Sea and of the Waters, the spouse of Ahto_.

VIPUNEN, _vide Antero Vipunen_.

VIRO, _Esthonia_.

VIROKANNAS, _used as a proper name; apparently meaning the Wise
Esthonian_.

VUOJALAINEN, _a name of Lyylikki_.

VUOKSI, _an important river which flows into Lake Ladoga_.

THE END

RICHARD CLAY & SONS, LIMITED, BREAD STREET HILL, E.C., AND BUNGAY, SUFFOLK.