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The Baltic-Finnish region - from

Estonia in the south to Finnish and


Russian Karelia in the north - is one
of those areas where ancient epic
survived long enough to be recorded.
The folk r oetry of the Finnish peoples
made its major impact on the world
with the publication of the Kalevala in
the middle of the nineteenth century.

The Kalevala, which came to be seen


as the 'national epic’ of the Finns, is in
reality a collection of epic fragments
edited and arranged by Elias Lönnrot
into a series of loosely linked narrative
sequences. The main body of authentic
mater-! that forms the basis of Finnish
folk poetry studies remains almost
completely unknown outside Finland;
even there, it is readily available only
to scholars. The need for access to
authentic specimens of folk poetry has
been felt all the more acutely in recent
years as interest in oral tradition has
grown. It is this need that the present
Anthology is designed to meet. The
editors have attempted to produce a
work that will satisfy the requirements
of scholars and students and give
pleasure to me general reader.

The ;*"oice and arrangement of the


poems illustrate the main historical
stages of development - from ancient
myths about the origin of the universe
to an eighteenth-century elegy sung to
army recruits as they left home. The
poems bring alive the vanished world
of the hunters and fishermen of
Finnish and Russian Karelia, and of the
serf bound to the land in Ingria. The
poems take the reader back into an
age when shamanism was still
prevalent and show how Christianity
slowly replaced the old beliefs. Above
all, the poems remind us of the power
of the human imagination and of man’s
need for art, a need that survives and
finds a rich response even in the most
primitive and deprived conditions.
Finnish
Folk Poetry
Epic
Finnish Folk

PUBLICATIONS OF THE FINNISH LITERATURE SOCIETY 329


Poetry-Epic
An Anthology
in Finnish and English

EDITED AND TRANSLATED BY

M a tti Kuusi
Keith Bosley • M ichael Branch

FINNISH LITERATURE SOCIETY • HELSINKI


1977
The publication of this work
was made possible by a special grant from
the Finnish Ministry of Education to the Finnish Literature Society
and the Nordic Institute of Folklore

© 1977 Finnish Literature Society


ISBN 951-717-087-4

Designed by Urpo Huhtanen

Printed by Suomalaisen Kirjallisuuden Kirjapaino Oy


Helsinki, Finland
CONTENTS

TO THE READER ..................... 10 13 SAMPO II


The Sampo II ............................ 121
TRANSLATOR’S PREFACE . . . . 17
14 SAMPO III
INTRODUCTION......................... 21 The Sampo III ............................ 122
PRONUNCIATION ..................... 80 15 SAMPO IV
The Sampo IV ............................ 128
1 ALKUSANAT 16 KOSINTA I
Prologue........................................ 81 The Courtship I ............................ 135
2 LUOMINEN I 17 KOSINTA II
The Creation I ............................ 83 The Courtship II ......................... 139
3 LUOMINEN II 18 KOSINTA III
The Creation I I ............................ 85 The Courtship I I I ........................ 147
4 LUOMINEN III 19 LAHJA I
The Creation III ......................... 87 The Gift I .................................... 150
5 LUOMINEN IV 20 LAHJA II
The Creation IV ........................ 89 The Gift II ................................ 156
6 HAAVA 21 KULTAMORSIAN I
The Wound ................................ 93 The Golden Bride I ..................... 160
7 TEHTÄVÄT 22 KULTAMORSIAN II
The Tasks.................................... 96 The Golden Bride I I ..................... 163
8 SEPPÄ 23 KANTELE I
The Smith.................................... 98 The Kantele I ............................ 167
9 TULI 24 KANTELE II
Fire ...........................................
99 The Kantele II ............................ 170
10 KILPALAULANTA I 25 KANTELE III
The Singing Match I .................. 102 The Kantele I I I ............................ 172
11 KILPALAULANTA II 26 MERIMATKA I
The Singing Match II ................. 106 The Voyage I ................................ 174
12 SAMPO I 27 MERIMATKA II
The Sampo I .................................. 110 The Voyage II ............................ 179

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28 SANAT I 44 RUTSA I
The Spell I ....................... 183 The Incest I ................................ 252
29 SANAT II 45 RUTSA II
The Spell I I ....................... 186 The Incest I I ................................ 254
30 TUONELANMATKA 46 KYLVÄJÄ I
The Visit to Tuonela........... 191 The Sower I ................................ 256
31 AURINKO JA KUU I 47 KYLVÄJÄ II
Sun and Moon I ............... 195 The Sower II ............................ 259
32 AURINKO JA KUU II 48 KARHU
Sun and Moon II ............... 197 The Bear .................................... 262
33 AURINKO JA KUU III 49 TAMMI I
Sun and Moon I I I ............... 200 T heO akI.................................... 263
34 LEMMINKÄINEN I 50 TAMMI II
Lemminkäinen I ................... 205 TheO akll ................................ 266
35 LEMMINKÄINEN II 51 ISO HÄRKÄ
Lemminkäinen II ............... 212 The Great Ox ............................ 268
36 LEMMINKÄINEN III 52 ISO SIKA
Lemminkäinen I I I ............... 221 The Great Pig ............................ 269
37 KAUKAMOINEN I 53 HIRVI I
Kaukamoinen I ................... 224 The Elk I .................................... 271
38 KAUKAMOINEN II 54 HIRVI II
Kaukamoinen I I ................... 232 The Elk II ................................ 273
39 VALA I 55 HIRVI JA KÄÄRME
The Bond I ...................... 238 Elk and Snake ............................ 276
40 VALA II 56 ONGINTA
The Bond I I ...................... 240 The Fishing ................................ 277
41 ORPO I 57 LÄHTÖ I
The Orphan I ................... 243 Leavetaking I ................................ 279
42 ORPO II 58 LÄHTÖ II
The Orphan II ................... 246 Leavetaking II ............................ 281
43 ORPO III 59 LUOJAN VIRSI I
The Orphan I I I ................... 249 The Messiah I ............................ 283

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60 LUOJAN VIRSI II 76 MATALEENA II
The Messiah I I ............................ 292 M agdalenll................................ 339
61 LUOJAN VIRSI III 77 ORJA JA ISÄNTÄ I
The Messiah III ......................... 296 Serf and Master I ......................... 341
62 LUOJAN VIRSI IV 78 ORJA JA ISÄNTÄ II
The Messiah IV ......................... 301 Serf and Master II ....................... 344
63 PYHÄ TAPANI 79 ORJA JA ISÄNTÄ III
St Stephen.................................... 309 Serf and Master III ..................... 346
64 PYHÄ KATRIINA I 80 HIIHTÄVÄ SURMA I
St Catherine I ............................ 312 Death on the Prowl I ..................... 351
65 PYHÄ KATRIINA II 81 HIIHTÄVÄ SURMA II
St Catherine II ............................ 313 Death on the Prowl II ................. 352
66 PYHÄ HENRIK I 82 LESKI I
St Henry I .................................... 315 The Widow I ............................ 354
67 PYHÄ HENRIK II 83 LESKI II
St Henry II ................................ 321 The Widow II ............................. 355
68 PUU 84 ELINAN SURMA
The Tree .................................... 325 The Death of Elina ..................... 357
69 METSÄ 85 USKOLLINEN MORSIAN I
The Forest.................................... 326 The Faithful Bride I ..................... 365
70 LÖYTÖLAPSI I 86 USKOLLINEN MORSIAN II
The Foundling I ......................... 327 The Faithful Bride II ................. 367
71 LÖYTÖLAPSI II 87 MORSIAMEN KUOLEMA I
The Foundling II ......................... 328 Death of the Bride I ..................... 369
72 NEITOJA LOHIKÄÄRME I 88 MORSIAMEN KUOLEMA II
The Maid and the Dragon I .... 331 Death of the Bride I I ..................... 370
73 NEITOJA LOHIKÄÄRME II 89 PAPIN TAPPAJA
The Maid and the Dragon II . . . . 332 The Priest-Killer ......................... 373
74 NEITOJA LOHIKÄÄRME III 90 TUNKEILIJAN TAPPAJA
The Maid and the Dragon III . . . . 334 The Intruder-Killer ..................... 376
75 MATALEENA I 91 MIEHENSÄ TAPPAJA
Magdalen I ................................ 336 The Husband-Killer ..................... 378

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92 HYLÄTTY I 108 MENETYS III
The Forsaken Maid I ................. 380 The Loss III ............................ 419
93 HYLÄTTY II 109 MENETYS IV
The Forsaken Maid I I ................. 382 The Loss IV ............................ 421
94 HYLÄTTY III 110 TANSSI
The Forsaken Maid III ............. 384 The Dance ................................ 422
95 VAIMONSA TAPPAJA I 111 MEREN KOSIJAT I
The Wife-Killer I ..................... 386 The Suitors from the Sea I ......... 425
96 VAIMONSA TAPPAJA II 112 MEREN KOSIJAT II
The Wife-Killer I I ..................... 388 The Suitors from the Sea I I ......... 427
97 TYTÄRTENSÄ TAPPAJA I 113 KAUKAISET KOSIJAT
The Daughter-Killer I ................. 391 The Suitors from A far................430
98 TYTÄRTENSÄ TAPPAJA II 114 LIKAINEN NEITO
The Daughter-Killer II ............. 394 The Foul Maid ........................ 432
99 TYTÄR 115 VARAS KOSIJANA
The Daughter ............................. 397 The Thief as Suitor ................... 434
100 POIKA 116 KELVOTON
The Son .................................... 399 The Useless Bridegroom ............. 437
101 ÄITI 117 KURKI I
The Mother................................ 402 The Crane 1................................ 439
102 KUOLEVA NEITO I 118 KURKI II
The Dying Maid I ..................... 405 The Crane II ............................ 440
103 KUOLEVA NEITO II 119 AAMUVIRKKU
The Dying Maid I I ..................... 407 The Early Riser ...........................441
104 HIRTTÄYTYNYT NEITO I 120 MIEHELLE MENIJÄ
The Hanged Maid I ................. 410 Finding a Husband ..................... 444
105 HIRTTÄYTYNYT NEITO II 121 OLJAMISSA KÄYNTI
The Hanged Maid II ................. 414 The Unwelcome Visitor ............. 447
106 MENETYS I 122 ONNETON NUORIKKO I
The Loss I ................................ 416 The Unhappy Bride I ............. 450
107 MENETYS II 123 ONNETON NUORIKKO II
The Loss I I ................................ 418 The Unhappy Bride II ............. 453
124 VEDENKANTAJA I 140 KUOLINSANOMAT I
The Water-Carrier I ................. 455 News of Death I ........................ 494
125 VEDENKANTAJA II 141 KUOLINSANOMAT II
The Water-Carrier II ................. 461 News of Death II ..................... 497
126 NEITO JA VENE I 142 SOTURI
The Maid and the Boat I ......... 465 The Warrior ............................ 499
127 NEITO JA VENE II 143 KAARLE-HERTTUA
The Maid and the Boat II ......... 467 Duke Charles ............................ 502
128 NEITO JA VENE III 144 JAAKKO PONTUS
The Maid and the Boat I I I ......... 471 Jacob Pontus ............................ 506
129 POIKA JA PILVI I 145 IIVANA
Boy and Cloud I ........................ 474 Ivan........................................... 508
130 POIKA JA PILVI II 146 KAARLO XII
Boy and Cloud I I ......................... 476 Charles X I I ................................ 510
131 NEITO JA PILVI 147 REKRYYTTI
Maid and Cloud ........................ 477 The Conscript ............................ 512
132 KADONNUT SUKA 148 LOPPUSANAT
The Lost Brush ........................ 479 Epilogue .................................... 517
133 KADONNUT HANHI I COMMENTARY ......................... 519
The Lost Goose I ........................ 481 NAME INDEX ............................ 578
134 KADONNUT HANHI II MOTIF IN D E X ............................ 590
The Lost Goose II ..................... 483
KALEVALA AND KANTELETAR
135 KADONNUT VELI I CONCORDANCE ................. 595
The Lost Brother I ..................... 485
SOURCE INDEX ......................... 596
136 KADONNUT VELI II
COLLECTION LOCALITY
The Lost Brother I I ..................... 487
IN D E X .................................... 598
137 SOTAANLÄHTÖ I
COLLECTOR IN D E X ................. 600
The Warrior's Departure I 489
BIBLIOGRAPHY ......................... 603
138 SOTAANLÄHTÖ II
The Warrior's Departure II . . . . 490 ACKNOWLEDGEMENTS .......... 607
139 SOTAANLÄHTÖ III
The Warrior's Departure III . . . . 492

9
TO THE READER

( r T he composition of a country girl, a native of Ostro Bothnia, and


the servant of the magister or the clergyman of the village, where
she had constantly resided. It is composed on the occasion of her lover’s
absence, in a style of natural simplicity, strong sentiment, and bold
figure, to attain which, more cultivated understandings sometimes
labour in vain. This little piece, considered as the production of a girl
who could neither write nor read, is a wonderful performance. It is
nature’s poet delivering the dictates of her heart in the words which
love has suggested, and “snatching a grace beyond the reach of art” .
This Finnish Sappho, amidst all the snows of her ungenial climate,
discovers all the warmth of the poetess of Lesbos.’ Thus, in his Travels
through Sweden, Finland, and Lapland to the North Cape, in the years 1798
and 1799 (1802), the Italian-born Joseph Acerbi describes the folk
poetry that was still sung in the distant north and whose very existence
was unknown to the outside world. Within a few years it had reached
a large public through translations of the Travels into French, German
and Dutch. The poem Acerbi describes with such enthusiasm provided
the inspiration for Goethe’s Finnisches Lied and references to it recur
many times in the writings of men of letters. Acerbi’s account height­
ened the interest in folk poetry that had been growing in Europe since
the middle of the 18th century, and Finland came more and more to
be seen as an area of Europe where a native artistic tradition thought
to embody ‘the national spirit’ survived relatively intact.
This outlook also inspired the exponents of the emerging Finnish
national movement and led finally to the publication of Elias Lönnrot’s
Kalevala (1835) and Kanteletar (1840-1841). Although both works draw
on folk poetry - the first on epic, the other on lyric - neither properly
represents the authentic folk poetry tradition. The second and much
enlarged edition of the Kalevala, published in 1849, was to be of even
greater importance, both for the Finnish national movement and for the
study of folk poetry. The new edition with its numerous translations has
come to embody the Finnish epic tradition for most readers ever since.
Scholars and students of folk poetry, however, realized long ago that

10
Lönnrot’s Kalevala and Kanteletar could not form the basis for the proper
investigation of folk poetry. This realization, towards the end of the
19th century, led to the collection of authentic materials, an under­
taking that has continued for more than 100 years. A part of the
material cast in the traditional Kalevala metre has already appeared
in print; the 33 volumes of Suomen Kansan Vanhat Runot (‘The ancient
poems of the Finnish people’, 1908-1948) contain a large body of the
material collected in Finland, Karelia and Ingria. But this monument­
al work is not easily available and, in any case, is designed to meet
the needs of the scholar rather than of the general reader. Even for
many Finns, the language of the poems - the dialects of Finland, Kare­
lia and Ingria - present an often insurmountable barrier. V. Yevseyev’s
Karel'skie epicheskie pesni (‘The epic songs of Karelia’, 1950), Karjalan
Kansan Runot (‘The poems of the Karelian people’, 1976) and other
anthologies in Karelian and Russian provide specimens of poetry in
the same metre, recorded more recently in Soviet Karelia, but these,
too, require a knowledge of either Russian or the Karelian dialects.
For the folklorist unversed in these languages the problem is all the
greater. He is likely to be aware that the Kalevala and Kanteletar are
not authentic folk poetry, but apart from fragments translated in schol­
arly publications he has no opportunity to study original materials.
While his own methods of research may well derive from those evolved
by the great Finnish folklorists, he can come no closer to the poetry
that produced these methods than translations of the Kalevala and the
far fewer translations of poems from the Kanteletar e.g. Hermann Paul,
Kanteletar, die Volkslyrik der Finnen (1882), Jean-Luc Moreau, La Kan-
télétar (1972) and Erich Kunze, Kanteletar. Alte Volkslieder und Balladen
aus Finnland (1976).
The present work, then, is intended to meet several needs. For the
general reader, both in Finland and elsewhere, it is a response to a
growing interest in authentic oral tradition; it will also enable the
reader to appreciate the Kalevala for what it really is - an outstanding
literary compilation. For the scholar and student of folk poetry who do
not read Finnish, the present work aims to provide a representative
selection of the distinctive themes and motifs of oral tradition in Finland,
Karelia and Ingria. Lying between Scandinavia and Russia, both of

11
which posses an epic tradition that can be studied in translation, the
poetry of the Baltic-Finnish area deserves more attention, if only to
throw light on the dissemination of themes and motifs in the north and
to illustrate the extent to which eastern and western tradition are re­
lated, and not related. But Finnish folk poetry has an interest far be­
yond this area in respect of typological studies, a further important
consideration in the preparation of the present work.
‘Finnish’ and ‘Epic’ require definition. The traditional term ‘Finnish’
can be misleading. A more precise geographical description of the
source of the poems in the present book would be ‘Finnish-Karelian’.
‘Finnish’ in the sense that it is used here is a cultural-historical term
first employed in the late 18th century by the Finnish scholar H. G.
Porthan to denote that body of indigenous poetry which did not con­
form to the metrical and rhyme patterns of poetry that derived from
classical models, i.e. the poetry in what has become known as ‘Kale­
vala metre’. Porthan adopted this usage at a time before the distinctive
differences between the Finnish and Karelian dialects were properly
understood. The term was taken up outside Finland and continues to
denote in many parts of the world poetry in the Kalevala metre, irre­
spective of dialect.
The problem of terminology is compounded by several other factors.
The geographical area in which the largest number of Karelian speak­
ers live is the Kalinin (formerly Tver) district, to the north of Moscow,
an area in which Kalevala poetry is rare. The Karelian dialects are
also spoken in the northern and eastern parts of the Baltic-Finnish
region and form the base from which most of the Ingrian dialects
evolved. On the other hand, many of the poems in the Karelian
dialects were transmitted from Finland proper. Hence while ‘Finnish-
Karelian’ would be a more accurate geographical term, it would raise
as many problems as it would solve: neither ‘Finnish’ nor ‘Finnish-
Karelian’ can properly denote all the geographical, linguistic and
historical factors involved in the study of the oral tradition of Finland,
Karelia and Ingria.For these reasons the editors thought it wisest to
retain the traditional term. There is the risk that any other would
only magnify the difficulties that already face the reader in attempting
to follow the dissemination and disintegration of Kalevala epic.

12
The usual sense of the term ‘epic’ - narrative poetry portraying
events larger than life in a serious manner - is extended in the present
work to include poetry which applies the characteristics of epic, such
as hyperbole, enumeration, stock epithet, to humbler themes. One of
the remarkable features of Finnish folk poetry is that it survived until
comparatively recently despite successive waves of foreign influence:
it is the aim of the present work to show how it adapted to them and,
in some areas, slowly disintegrated. In a relatively advanced state of
disintegration, the themes and motifs of the epic tradition survived as
a vehicle for lyrical sentiments - the poetry described in this book as
lyrical epic.
The study of folk poetry is customarily concerned with two tasks:
to ascertain the possible origin and dissemination of themes and motifs,
and to appreciate a poem as a work of art. The editors of the present
work have also had to consider a third factor - the role of folk poetry
in shaping the Finns’ sense of national identity, the ensuing confusion
of authentic folk poetry with compilations such as the Kalevala and
the Kanteletar, and the cult that grew up around them.
It was these three considerations that determined the content and
shape of the present work. All the poems were taken from Suomen
Kansan Vanhat Runot in order to allow the interested reader to examine
them in the context of related poems not included in this book (a
source index is provided to facilitate further study of this kind). In
most cases the poems have been reproduced in the form in which they
were originally recorded; in some cases, however, the orthography has
been standardized according to contemporary usage. Where a col­
lector made an obvious error in noting down a poem, this has been
corrected in the light of comparative material. Apparent errors by a
singer, however, have not been adjusted, for such features often played
an important role in the shaping of new forms of a poem and as such
are a valuable illustrative feature. Where they make the narrative
difficult to understand, an explanation will be found in the Line Com­
mentary.
The influences that shaped and conditioned Finnish folk poetry are
discussed in the Introduction, which also attempts to disentangle folk
poetry scholarship from Kalevala Romanticism and to show how one

13
gave rise to the other. More detailed information for the appreciation
of the poems is given in the Commentary, the contents of which fall
into two categories: extrinsic and intrinsic. The former discusses the
background and dissemination of a poem, while the latter concen­
trates on the interpretation of the text in question. Where it will help
the reader to follow the narrative, an analysis is provided of a poem’s
underlying idea and structure. The Line Commentary clarifies points,
mainly of linguistic and ethnographical detail, that might otherwise
be obscure or confusing. In writing the Introduction and Commen­
tary, the editors have sought to provide no more than the amount of
information necessary to appreciate each individual poem.
As far as possible, the plates have been selected from photographs
taken when folk poems were still being sung as part of local tradition.
Each of the series of plates is devoted to an area where folk poetry
survived and illustrates the environment, the living conditions, the
kind of tasks from which poets drew their imagery, and how the poems
were performed. The editors readily admit that one of their aims in
selecting the illustrations was to emphasize the contrast between the
epic scale and the reality of everyday life.
The information provided by the map, which shows each district
from which the poems in the Anthology were recorded, is correlated
by an alphabetical index of place-names with a cross-reference to the
relevant poems. The traditional forms of village names (usually Fin­
nish) have been retained in those cases where they are already com­
monly used in the literature of folk poetry research. Where place-names
have conventional English equivalents, these have been used in pre­
ference to more literal translations, e.g. Archangel Karelia instead of
‘Viena Karelia’. Otherwise, the editors have as far as possible used
the present-day local names; where transliteration has been necessary,
the system recommended by the editors of the Slavonic and East European
Review (London) has been followed, as also in the rendering of Russian
words and book titles.
Terminology presented various problems. With the general reader
in mind, the editors have tried to avoid terms that will be familiar
only to the specialist. Where this was not possible, every effort has
been made to incorporate specialist terminology in such a way as to

14
be self-explanatory. However, three words require elaboration at the
very outset: ‘variant’, ‘redaction’ and ‘poem’. In discussing the poss­
ible origin, development and dissemination of poems, ‘variant’ de­
notes a single specimen of a poem as noted down by a collector. A set
of ‘variants’ may represent either a ‘redaction’ or a ‘poem’, both of
which in this usage are theoretical concepts. ‘Poem’ is a collective term
denoting all the ‘variants’ and ‘redactions’ that derive from a single
idea or set of ideas expressed in poetical form, e.g. The Creation; ‘re­
daction’ refers to a particular form or development of that idea repre­
sented by ‘variants’ which are relatively close to each other.
It would be impossible to name all those who have helped us with
this book. It is difficult even to define precisely the roles of each of
the three who were most closely involved. Broadly speaking, Matti
Kuusi selected the poems, drafted the Introduction, and compiled the
Motif Index and Concordance. Keith Bosley translated the poems.
Michael Branch translated the Introduction, drafted the Commentary,
and guided the work through each stage of production. Each of us,
however, has been closely associated with the others’ work. We all
owe an immense debt of gratitude to Miss Senni Timonen, research
assistant to the Kalevala Poetry Project (Finnish Academy). She gave
us the benefit of her wide knowledge of Kalevala poetry, helped with
the drafting of the Introduction, the Commentary and the Indexes,
and was a constant source of advice and pertinent suggestions.
We should like to express our thanks to Professor Lauri Honko,
Director of the Nordic Institute of Folklore, University of Turku, for
his encouragement and advice on the requirements of scholars and
students in the Nordic countries. Professor Robert Austerlitz of Colum­
bia University, New York, commented on the first drafts of the trans­
lations of the poems. We are indebted to Professor Peter Foote of
University College London for his advice on Scandinavian influences
and orthography, and to Dr W. F. Ryan of the Warburg Institute in
the University of London for similar assistance with Russian matters.
M r Timo Leisiö of the Music Information Centre, Helsinki, allowed
us to consult and use his study of Finnish folk music while still in
manuscript. Professor Pertti V irtaranta of the University of Helsinki
provided constant encouragement and support and, together with Mr

15
Tuomo Tuomi and Miss Raija Länsimäki of the Lexical Foundation
(Sanakirjasäätiö), Helsinki, gave expert guidance on the standardiza­
tion of orthography. Professor Veli-Mikko Korhonen of the University
of Helsinki made many helpful suggestions for the improvement of
the paragraphs on the Finno-Ugrian background. Emeritus Professor
Ruben Nirvi, Helsinki, advised us on numerous matters concerned
with Ingria and the Ingrian dialects. Miss Corine Plough, London,
read the whole manuscript and made many suggestions for its improve­
ment and Miss Laura Kaatia, London, drew our attention to points
that required interpretation and which might otherwise have escaped
us. The editors were also glad of the opportunity to consult manu­
script translations by Mrs Eija Kennerly of most of the poems in the
present work. We extend our warmest thanks to all these people and
also to the staff of the Finnish Literature Society in Helsinki, partic­
ularly to Mr Urpo Vento, its patient secretary.
Sole responsibility for errors and misunderstandings is, of course,
ours.

M a t t i K u usi K e it h B o sl e y M ic h a e l B r a n c h
Helsinki and London, January 1977

16
T R A N S L A T O R ’S PREFACE

Both language and poetry, which is language for its own sake, are
universal: that is why translation is possible. Poetry presents the
problems of translation at their most acute, and the only hope a poet
has of being alive in another language is through being translated by
another poet into the latter’s native language. This is even more im­
portant than a knowledge of the source language: a poet can make
himself into some kind of scholar - or, failing that, can work with a
scholar - but a scholar cannot make himself into any kind of poet if
he is not one already. The poetry in the present work was translated
by a poet with experience of translating from several languages, in­
cluding Finnish; the drafts were criticized by scholars, then returned to
the translator for a final version. The aim was to write English poems
which would also give as accurate an account as possible of the Finnish
originals.
Accuracy in this field is a largely relative business: not only are a
high proportion of the native woodnotes so wild that they have never
been caught by a dictionary or reached the ears of many Finns, the
very structure of the material is outside the experience of most anglo­
phone readers. This is folk poetry in epic mode, and whatever the
translator does cannot but sound odd at times. 19th-century scholars,
both in Finland and elsewhere, made much of a comparison with
Homeric poetry: if we allow for the more primitive nature of the
Finnish material, in its being both more magical and more homespun,
such a comparison will at least prepare the reader for the conventions
of lengthy story-telling in verse and will therefore throw light
on some of the problems facing the translator into English.
The western world’s discovery of Kalevala metre led to its imi­
tation in languages ill suited to it both by translators and by poets
such as Longfellow, who in the Song of Hiawatha confined himself to
its basic trochaic tetrameter; but such is the metre’s flexibility in
Finnish that it can even turn itself inside out and yet preserve its
identity, as in se seppä joka jumala (8:9) where every trochee appears
to have become an iambus. Hence the use of a regular trochaic

17
tetrameter in English translation not only imposes crippling limita­
tions, it in fact misrepresents the original. O f course, the translator
is under no obligation to imitate the metre of his original: indeed,
any attempt to do so usually ends in a double failure — failure to
translate well, and failure to produce a living poem in the target
language. The translator of poetry, then, can either make a plain
proce version or draw upon the resources of his own ear to find a
corresponding metre in his own language. After much listening and
many false starts, the present translator arrived at a syllable-based
metre reminiscent of the medieval Welsh cywydd\ I was reassured
when my metre imposed syntactic patterns similar to those of K a­
levala metre. The other main feature of Kalevala poetry - allitera­
tion - was more problematic. Finnish has fewer consonants than
its Indo-European neighbours, which means that the same consonants
come round more often: there is so little room for manoeuvre in the
Finnish line that any attempt at matching alliteration in English
would have taken me too far from the original.
The translation of material into a language which has nothing
comparable can be done either by a drastic naturalisation process
(Homer into ballad metre) or by ‘stretching’ the target language to
say something new - thus, one hopes, widening its expressive range;
in adopting the latter method, as I have done, one must beware of
lapsing into broken language. The tension is perhaps most noticeable,
in the present case, in the stock phrases used for introducing direct
speech. One such phrase is itse tuon sanoiksi virkki which, as dictionaries
point out, means little more than ‘he/she said’. Word for word (that
is, in broken English) it reads ‘himself/herself this/that into-words
uttered’, which I have rendered ‘he himself put this in words’. Simi­
larly a reply will be prefaced with vasten vastaeli, which, as its form
suggests, is tautological: the vast- root corresponds roughly to English
counter-; the first word is adverbial, the second is a verb. Again, ‘he
replied’ gives the sense, but the form demands something closer to the
King James Bible (1611) - ‘he answering said’ or even ‘he answering
replied’. Sometimes, instead of vasten (or vassen), one finds varsin or
vaiten: varsin, meaning ‘indeed’, presents no problem, but the meaning
of vaiten is uncertain; I have fallen back on ‘indeed’.

18
One of the initial problems in translating nouns was the Finnish
use of diminutives, and in translating verbs the interchange of tenses
and the elaborate use of stem modifiers. Concerning diminutives, I
found myself being as inconsistent as my originals, slipping in the
occasional ‘little’ or ‘dear’ as a sweetener. There is a similar incon­
sistency, both in the originals and in the translations, of verb forms:
in narratives I found it preferable to use past tenses more regularly
than the originals, because tense is not so sharply defined in a language
which will often indicate time when by a noun inflexion or an adverb;
the Finnish verb goes to greater pains to indicate manner and time
how long, a feature I coped with as best I could.
Before discussing individual words, I had better say a little about
proper names. Where these are Finnish personal and place names,
they have been preserved except where their meaning is essential to
the context. For example, in the Finnish, the same name can occur,
depending on the use of diminutives, in several different forms: while
the translation cannot achieve the effect of this variation, it reproduces
the Finnish forms to show, at least, that something is happening in
the source language. Personal names have been translated only when
they refer to saints; and the few cow-names, though native Finnish,
have been translated to avoid their being mistaken for personal names.
Not surprisingly, the speech of a society living in a landscape of
forests and lakes which are frozen solid half the year or more is rich
in areas where English is not: for example, petäjä, mänty and honka can
all be translated ‘pine’, and grass withered because it has lain under
frozen snow is simply kulo. Different ways of life are reflected: Väinä­
möinen is a tietäjä, literally ‘knower’, a man skilled in magic - in
English he can only be a ‘wise man’ or a ‘sage’ (I preferred the for­
mer); Ilmarinen is a takoja, literally ‘forger’ - English has to be con­
tent with ‘craftsman’ (there being another word for ‘smith’). More
subtly, the dictionary translates the verb veistää ‘to whittle’, but since
this is an everyday chore it is better rendered merely ‘to make’ or
‘to shape’. Such matters are translator’s commonplaces, ofxourse; but
certain words either resist negotiation or demand special terms. The
noun sampo has been left untranslated for reasons the commentary
will make clear; likewise kantele, a kind of zither. The most troublesome

19
word which demanded translation was the adjective kirjo', this is re­
lated to kirjava, meaning multicoloured. Many things are kirjo, from
a decorated sleigh {kirjo korja) to the mysterious cover {kirjokansi) of
the equally mysterious sampo: because the word stands somewhere be­
tween the glittering artifice of the Greek daidalos and the numinous
radiance of the Welsh gwyn - where no English word is to be found
- I have had to settle for a stenographic ‘bright’ (cf. Latin clarus),
reserving this word for that. The adjective ainoa, applied to a person,
means ‘only’ in the sense of unique and therefore precious - for ex­
ample, ‘my ainoa brother*, when there is clearly more than one: since
Finnish has so many ways of expressing endearment, I have followed
the dictionary here in the hope that the context will supply the over­
tones. The noun-adjective kesti refers to rich and unscrupulous for­
eigners, usually Hanseatic merchants, the nearest English equivalent
of which seems to be ‘H un’ or ‘Hunnish*. The noun morsian describes
the state of a woman from the moment of betrothal until some time
after the wedding ceremony: ‘betrothed’ sounds archaic, ‘fiancee’ be­
longs to modern urban society - neither has the same semantic field
as the Finnish; ‘bride’ has had to serve. Similarly sulho and its dimi­
nutive sulhanen, which have been rendered ‘bridegroom’ or ‘suitor’. Tulla
and mennä, the ordinary verbs ‘to come’ and ‘to go’, followed by an
allative {mennä miehelle, literally ‘to go to a man/husband*), often mean
‘to marry’: these have been rendered as literally as the context would
permit. The noun linna has had to be translated both ‘castle’ and
‘town’, according to context and dialect: this is a fortified burh as
against a trading-post, kaupunki, a word that reached Finnish through
Germanic (cf. German kaufen) and is the modern word for town. The
noun päivä usually means ‘sun’, which is how I have translated it (in
modern Finnish it generally means ‘day’); when it is found together
with aurinko, the modern word for sun, I have rendered the latter ‘day­
light’. Finally in what can only be a random list, the noun selkä raises
special problems: its basic meaning is ‘back’ (of a body), and by ex­
tension a sheet of open water; but what to do with selällä seitsemännellä
‘on the seventh selkä’) when Väinämöinen is fishing? Here I have trans­
lated it ‘water’ and hoped for the best.
K e it h B osley

20
IN T R O D U C T IO N

T heFinnsearliest reference to a people who may have been related to the


dates from 98 AD. In the concluding chapter of his Germaniay
Tacitus describes a people called the Fenni. Located somewhere in the
North-East Baltic area they are described as living in unparalleled
filth and poverty. They have no permanent homes, live by hunting
and food-gathering, an activity in which the women also share, and
build their temporary homes in trees as protection against ‘the fury of
wild beasts’. Tacitus ends his description: ‘Secure against the passions
of men, and fearing nothing from the anger of the gods, they have
attained that uncommon state of felicity, in which there is no craving
left to form a single wish’.
To whom Tacitus was referring is uncertain. Most scholars would
agree, however, that these barbarians were not the ancestors of the
present-day Finns or Estonians, but were possibly ancient Lapps, a
linguistically and in some respects culturally related people. Unknow­
ingly Tacitus wrote this passage at one of the most significant periods
in the history of the peoples who speak languages that go back to a
common tongue known to philologists as ‘Proto-Finnic’, i.e. Finnish,
Karelian, Vepsian, the Ingrian dialects, Vote, Estonian and Livonian.
It was the period that saw the diffusion of this common language into
separate dialects as those who spoke it moved in different directions
in search of food and livelihood. As they dispersed they took with
them not only a common language but also a common culture which,
like their languages, was to develop and gradually acquire separate
national characteristics; this common origin helps to account for some
features of the folk poetry of these peoples.
It is necessary, however, to go back much further into history to
appreciate fully the nature of this common heritage; back at least
another 3000 years (scholars do not agree on how many millennia)
and to an area much further east. Somewhere in a region bounded
on the west by the headwaters of the Rivers Kama and Volga and
on the east by the Urals lived a small group of people who spoke a
language which scholars call Proto-Finno-Ugrian. No one knows how

21
long this group remained together, but it was long enough for a
language of some sophistication to evolve and for the group to come into
close contact with peoples who spoke Indo-European dialects. No his­
torical records and only little reliable archeological evidence survive
to tell us anything about the life this group led. Linguistic evidence,
however, suggests that it was a Stone Age hunting and food-gathering
culture and as such partly or even totally nomadic. In time the unity
of this people was broken and after separation the original language
began to develop in different ways to produce the family of languages
nowadays known as Finno-Ugrian, which embraces Hungarian at one
extreme and Finnish at the other.

Finno-Ugrian Background

The development of a Proto-Finno-Ugrian dialect into Finnish has


been reconstructed in some detail. After the break-up of the proto­
language, one group moved to the north-west and for several centuries
its members must have remained in close contact with each other.
This period, the Finno-Permian, saw further developments in language
structure and vocabulary before a further split occurred and a group
migrated far to the west and eventually settled down to a less nomadic
existence in an area not far from where Moscow stands today. This
third period is called the Finno-Volga and must have lasted many
centuries. During it yet another development - and from the point of
view of Finnish folk poetry a particularly significant development -
began to occur. Speakers of Finno-Volga dialects probably spread as
far west as the region south of the Gulf of Finland, corresponding
approximately to present-day Estonia. A change in their pattern of
life, most likely the adoption of a more settled agricultural existence,
led to a sharper definition of local dialects and gradually to the emerg­
ence of new languages. Thus contacts among the various Finno-Volga
groups became more distant and finally ceased. Those in the west
probably remained together for some five hundred years (much longer,
according to some authorities) and this later period of development
is known as the Proto-Finnic.

22
Philologists believe the process of development from Proto-Finno-
Ugrian to Proto-Finnic lasted some two to three thousand years; while
ethnographers and archeologists suggest different time-scales, all are
in general agreement about the relative chronology of this process of
evolution towards Proto-Finnic. Each stage in this process was followed
by internal development within the separate language groups, often
accompanied by further migration. The stock from which the Finno-
Permians separated, the Proto-Finno-Ugrian group, was itself to divide
when one group began to move away towards the south. In the course
of four thousand years the language spoken by these peoples was car­
ried over a broad arc stretching from the vicinity of the Urals, touching
the northern Caucasus region until it emerged towards the end of the
first millennium AD in the area which the Romans called Pannonia.
From the various dialects of this language there evolved the language
known today as Hungarian. The descendants of the peoples left be­
hind, the Ob-Ugrians, spread in relatively recent times to occupy deso­
late areas of North-West Siberia where they are known as the Ostyaks
(Chanti) and Voguls (Mansi). On the Finno-Permian side, some of
those left behind after the separation of the Finno-Volga group appear
to have stayed in the same region (the Votyaks or Udmurt), while
others gradually moved further north through the forest belt, even
reaching the taiga zone (the Zyryans or Komi). The eastern descend­
ants of the Finno-Volga group are known today as the Mordvins and
the Cheremis (or Mari).
The subsequent evolution of the Proto-Finnic group was more com­
plicated. Very soon after the disintegration of the Finno-Volga peoples,
one group broke away and migrated into the Fenno-Scandinavian area
by a route that probably took them north of Lakes Onega and Ladoga
and some of them into Finland. Their linguistic descendants, the
Lapps, numbering about 32,000, are scattered over a vast belt that
extends from the Kola Peninsula in Russia to the west coast of Norway.
It is not difficult to correlate the present homes of the Lapps with the
interpretation put by many scholars on the Fenni described by Tacitus.
In relatively recent times Lapps were still found in areas far to the
south of their present homes; curiously, the word Häme, the name of
a province in southern Finland (see Map), is cognate with the Lapps’

23
national name Sabme and clearly points to an area of location much
further south in ancient times (cf. also Lapland in Name Index). Some
scholars would argue that Lapp is not so closely related to Proto-Finnic,
but that both Languages derive from Finno-Volga.
Once the Proto-Finns had settled south of the Gulf of Finland, they
appear to have lived as a stable and fairly compact group for several
centuries. Gradually, however, as expansion took place separate dia­
lects began to form; philologists identify at least seven. At the western
extreme a dialect took shape that is known nowadays as Livonian and
is spoken by some 500 people on the Kurland Peninsula. To the east
of Livonian a dialect evolved that was to become Estonian and is now
spoken by some 1,007,000 people. Groups of people who spoke dialects
close to Estonian were to migrate across the Gulf of Finland to South-
West Finland. The speakers of the dialect east of Estonian appeared
to have remained in the same area and their language, Vote, is
still spoken by some 60 people.
Several groups migrated at various different times into what is
nowadays Finland proper. Two groups crossed the Gulf of Finland
and settled in the coastal regions and hinterland. The ancestors of the
Häme Finns were the first of these two groups followed later by the
South-West Finns. The ancestors of the Karelians and Savo Firnis
migrated into Finland overland, along the Karelian Isthmus and
northwards between Lakes Ladoga and Onega. Within the area of
present-day Finland the four main dialect groups - South-West Fin­
nish, Häme, Savo, Karelian - combined partly by natural development
and partly through the conscious efforts of scholars and writers in the
19th and 20th centuries to form Modern Standard Finnish, one of
the two official languages (the other being Swedish) of the Republic
of Finland (population approximately 4,638,000). It is uncertain
whether the most easterly group of the Baltic-Finns, the Vepsians,
numbering approximately 16,000, have lived since ancient times in
their present homes between and to the south of Lakes Ladoga and
Onega or whether they are descended more recently from a group
closely related to Old Karelians in the Ladoga region.
The main features of this pattern of distribution were probably
established by 1000 AD. Since then, however, several migratory move­

24
ments have occurred within the so-called Baltic-Finnish area and have
a particular relevance to the transmission of cultural influences. The
Ingrian Finns are thought by some scholars to have reached their
homes to the north, east and south-west of present-day Leningrad as
the result of three waves of migration. The earliest, probably in the
Middle Ages, brought Karelians into the area, followed later by settlers
from Savo and the northern part of the Karelian Isthmus, and who
are known today as the Izhors, Savakko and Äyrämöinen Finns
respectively. In the 16th and 17th centuries there was considerable
migration westwards from Savo; some of the migrants crossed the Gulf
of Bothnia and found new homes in the Swedish province of Värmland.
It is necessary to reject the romantic and still prevalent belief that
the Baltic-Finns are descended from the peoples who spoke the Proto-
Finno-Ugrian language and that generation after generation of the
same stock gradually carried the language westwards. To understand
what probably happened, it is necessary to think in terms of a con­
tinuing process by which speakers of one language form a new group
with speakers of another language, with borrowing and merging of
language and culture. In the case of the Finno-Ugrian languages there
is much evidence of a process of gradual merging and acculturation
as a result of which a group of more advanced culture adopted the
language of another group, while the latter assimilated the other’s
more developed way of life.
It is impossible to determine how often this process occurred during
the 3,000 years that separate Proto-Finno-Ugrian and Proto-Finnic.
In the evolution of the Baltic-Finns, however, it probably happened
twice and in ways that are of particular significance in understanding
their culture, especially their folk poetry. The first of these contacts
with a people of more advanced culture was with groups of the most
eastern branch of the Ancient Balts, an Indo-European group which
in the millennium before the Christian era extended deep into Russia.
A Balt tribe, or tribes, adopted Proto-Finnic as their language, effecting
certain phonological, morphological and syntactical changes as un­
familiar sounds and constructions were assimilated. As this new form
of Proto-Finnic evolved, the native speakers began to adapt, as far
as they could, their own speech and where this was not possible, yet

25
further changes occurred. O ut of this long process of change and
assimilation a new language gradually emerged. Linguistic assimila­
tion was almost certainly paralleled by cultural assimilation - but in
the opposite direction; in the process of merging, the more advanced
culture of the Balts dominated, and evidence of this can be seen in
the Balt loanwords for social, administrative and agricultural innova­
tions.
This process occurred again, probably about 200 BC, when the
speakers of Proto-Finnic came into contact with an East Germanic
tribe, or tribes. Again the language underwent a series of changes,
again there was an influx of new concepts, particularly in connection
with social organisation, agriculture and warfare. Comparison of com­
mon features in the language structure, the vocabulary and folk poetry
of the Baltic-Finns shows that they were still a relatively compact group
at the time of this second period of merging and acculturation.
It is against this background that the significance of Tacitus* observa­
tion about the Fenni must be considered. If it tells us anything, it is
that these people were on the very periphery of Tacitus’ world and
that communication with them was probably of the most tenuous
kind; they were barbarians. Paradoxically, it was these very factors
that made possible the survival of cultural traits, in particular ancient
beliefs and folk poetry, which in most parts of Europe were sooner
or later lost as a literate culture based on derivatives of the Graeco-
Roman tradition took root. The geographical isolation of the Baltic-
Finnish peoples was reinforced by linguistic isolation as Europe
emerged from the Dark Ages and cultural ideas became tied increas­
ingly to particular languages.
Until as late as the 19th century, Finland was a backwoods where,
if it happened at all, it took decades, even centuries, for new ideas,
inventions and social change to penetrate from the outside world.
Every ounce of energy went into the struggle to support a bare and
primitive existence, as the old Finnish proverb says: ‘He who whips
the ox’s buttocks has no time to study books’. Far away from the main
sea routes, with trading centres only at river estuaries, the small hunt­
ing and fishing settlements of North-East Europe lived at subsistence
level. The conditions of life were in no way comparable to those of

26
settlements on the southern and western shores of the Baltic. In the
rare cases where wealth did accumulate, the leaders of the local popula­
tion - merchants and officials - ceased to regard Finnish as their
mother tongue. Indeed, the local language became an object of con­
tempt and the fiercest resistance to its elevation to a national language
in the 19th century came from inside Finland. Tacitus’ laconic account
typifies attitudes held by most of those few Finns who did acquire
education in the West European tradition and through the medium
of Latin and Swedish. The belief prevailed that they belonged to a
nation without a history and without links to other peoples, and there
was widespread private and sometimes publicly expressed distrust of
the possibility, even the wisdom, of developing such an isolated, bar­
barian language. Paradoxically it was probably this resistance towards
the development of Finnish that contributed to the survival of Finnish
folk poetry.

Early Interest in Folk Poetry

Attempts to overcome this disdain go back many centuries. Bishop


Mikael Agricola (1510-1557), who introduced the Reformation into
Finland, made great efforts to raise the status of the language of the
majority of his fellow-countrymen. His Finnish translation of the
Prayer Book (1544) contains an aphorism reminiscent of Luther: ‘He
who understands the minds of all men will understand the Finnish
language’. In a society in which local and family pride were foremost,
it is not surprising that those who strove to lift Finnish out of obscurity
did so by attempting to demonstrate the ancient greatness of the
language; it was variously claimed to be related to the ‘holy languages’
Hebrew and Greek, to be the language of the original inhabitants
of Northern Europe, and, in the 19th century, shown in its wider
linguistic context to come from a group of languages that was spoken
over a geographical area comparable to that of the Indo-European
languages. Daniel Juslenius (1676-1752), author of the first Finnish
dictionary (1745), stated that ‘our language is not so poor as is gener­
ally thought’, and in many of his writings extolled its beauty. 25

27
years after the appearance of Juslenius’ dictionary, Finland’s leading
scholars formed the Aurora Society to promote interest in matters
Finnish. Their enthusiasm emerges clearly from a poem, published in
1771 in the first issue of their periodical {Åbo Tidningar), which
began: ‘You people of Scythian stock and oldest born of the North’.
Curiously, Finnish folk poetry survived despite the efforts of those
men - primarily the clergy - who in the 16th, 17th and 18th centuries
did respond to Bishop Agricola’s pleas to develop and use Finnish.
For more than two hundred years after Agricola many members of
the Church did their best to stamp out the folk poetry sung by their
parishioners and found powerful support from the fellows of Finland’s
only university, the Academy in Turku (founded in 1640); folk poetry
was associated with pagan practices and it was, therefore, the duty
of Christians to persuade the people to abandon it. Bishop Agricola
himself was one of those who warned in his Finnish Psalter (1551) of
the evils of worshipping the ancient deities and heroes, eleven of whom
he mentioned by name. The hostility of the clergy emerges clearly
from the preface to Jacobus Finno’s hymn book of 1582: ‘Because
there were no sacred songs for the people to learn, they began to
practise pagan rites and to sing shameful, lewd and foolish songs . . .
[they] sing them to pass the time at their festivals and on journeys, they
hold contests with them, they defile and debauch the young with wick­
ed thoughts and shameful speech, they tempt and encourage them to
live a lewd and filthy life and to practise wicked ways. And because
the devil, the source of all wickedness, also inspired his poets and
singers, into whose minds he entered and in whose mouths he shaped
the right words, they were able to compose songs easily and quickly
which could be learned by others and remembered more quickly than
divine and Christian songs could be learned and remembered.’

Towards the Kalevala

Almost two centuries were to pass before the attitude of educated


people began to change from one of contempt to one of curiosity and
finally of enthusiasm. The ideas that inspired Bishop Thomas Percy’s

28
Reliques of Ancient English Poetry (1765) and Johann Herder’s Stimmen
der Völker in Liedern (1st ed. 1778) found a response in Finland when
in 1766 a young academic, Henrik Gabriel Porthan (1739-1804),
roundly condemned those of his contemporaries who did not share
his admiration for Finnish folk poetry. Porthan, who was to become
the most distinguished Finnish scholar and teacher of his day, person­
ally inspired several of his contemporaries and his students to under­
take a serious study of folk poetry. He himself wrote about prosody
and in 1789 his close friend, Christfrid Ganander (1741-1790), pub­
lished Mythologia Fennica, an encyclopaedia of phenomena associated
with folk beliefs and poetry.
Interest in folk poetry grew stronger in the early years of the 19th
century, especially after the annexation of Finland by Russia in 1808-
1809 and the granting of the status of an autonomous Grand Duchy.
By this time, a sense of national consciousness had taken root among
students and scholars at the university in Turku and there was a
growing desire to discover more about the country’s ancient history
as a step towards defining the ‘national identity’. The study of the re­
lated languages and folk poetry made up the principal means by which
young men attempted to reconstruct their country’s past. By the 1820s
young scholars were already undertaking long journeys beyond the
eastern frontiers of Finland into Russia to gather the information they
needed.
One of those whose attention focused primarily on folk poetry was
a doctor of medicine, Elias Lönnrot (1802-1884). After publishing
several short studies and collections of folk poetry, he brought out in
1835 the work which finally established the importance of Finnish
folk poetry (and with which it has generally been associated ever
since) Kalevala, or old poems of Karelia from the ancient times of the Finnish
people. The first edition contained 32 epic poems (12,078 lines) and
was followed by the enlarged and definitive edition of 50 poems (22,795
lines) in 1849. In 1840 Lönnrot published as a companion volume
the Kanteletar, a collection of 652 lyrical poems and ballads.
Lönnrot had collected the greater part of the material for these
works while practising medicine in the Kajaani district of Eastern
Finland. In this capacity he had to travel long distances and frequently

29
crossed the frontier into Archangel Karelia where he met singers of
folk poetry and noted down their poems. Lönnrot undertook eleven
such expeditions and, travelling much of the time on foot, he covered
some 13,000 miles and collected 65,000 lines of Kalevala-type poetry.
It was from the heroic epic he had found in Archangel Karelia and
from sources that had been collected earlier that he constructed the
1835 Kalevala. The idea of putting the material together to form a
long, coherent epic sprang from the practice of the singers he had
met and from contemporary literary thinking. He was familiar with
F. A. Wolf’s theory of the origin of the Iliad and Odyssey which seemed
to him to be sustained by the tendency he had observed among singers
in Archangel Karelia to combine several epic poems into long, them­
atically linked sequences.
Lönnrot’s contemporaries believed that he had discovered a long-
lost epic in the backwoods of Karelia and that he had done little
more than put it on paper. In fact, Lönnrot had introduced consider­
able changes into the poems he had used in order to bring them into
a narrative sequence and to achieve thematic coherence. He had
removed many Christian and other relatively recent features and had
changed the names of persons and places. The adventures attributed
to Lemminkäinen, for example, combine in one character the feats
of several heroes. According to one calculation, one-third of the total
number of lines in the 1835 Kalevala was modified or revised by
Lönnrot; more than 600 lines appear to have been composed by Lönn­
rot himself, for no corresponding variants have ever been discovered.
While in terms of its basic components the Kalevala has its origin in
folk poetry, its overall shape and structure are the work of Elias
Lönnrot.

The Romantic View

The appearance of the Kalevala was a turning-point in Finnish cultural


history. It marked the establishment of a movement that finally saw
Finnish acquire equal status with Swedish as a national language.
For many decades after Finland’s union with Russia, Swedish had

30
remained the language of culture, administration and commerce. While
the question of russification was considered, no serious moves were
made towards this until the end of the 19th century. On the con­
trary, the Russian authorities did not discourage anything that served
to weaken traditional ties with Sweden and the decades following
the publication of the Kalevala saw a protracted struggle between
those Finns who wished to promote Finnish as a national langu­
age and those who wished to retain Swedish. The leadership of the
former was assumed by J. V. Snellman (1806-1881), a student of
Hegel, who gave the necessary impetus to the campaign to achieve
equal language rights for the majority of the inhabitants of Finland.
In this struggle they pointed to the Kalevala as proof that Finnish
could be developed into a language of civilisation and culture, and the
epic became the cornerstone of the ensuing Finnish cultural move­
ment. Schoolchildren had to spend four years studying it; many people
could recite from it by heart. It was set to music and became a pop­
ular subject for the visual arts. Ice-breakers, restaurants, even com­
mercial firms took their names from the Kalevala or places and char­
acters mentioned in it. Writers, artists, scholars, students, and philo­
sophers went off to Karelia to follow in Lönnrot’s footsteps and to see
for themselves the primitive scenery and the people they imagined
the Kalevala to depict. Many of Finland’s greatest talents - including
the writers Aleksis Kivi, Eino Leino, the composer Jean Sibelius, the
painter Akseli Gallen-Kallela, and the sculptor Wäinö Aaltonen -
drew inspiration from the Kalevala and the cult that grew up around it.
For many decades the Kalevala was seen as a primary source of
information about the ancient Finns’ history, mythology, way of life,
and their understanding of the world around them. Like the tales of
Homer and the Scandinavian Edda, the Kalevala continues to be the
subject of scholarly and quasi-scholarly works that attempt to analyse
its historical significance. Numerous theories have been advanced to
explain who Väinämöinen really was and where Pohjola was situated.
Although Julius Krohn showed convincingly, as early as 1885, that
‘the printed Kalevala, skilfully compiled though it is, cannot serve as
the basis of scholarly research’, amateurs have not been deterred from
using it as the starting-point for fantastic flights of imagination into

31
Finnish antiquity. While in Finland serious folklorists and historians
abandoned this approach long ago, scholars outside Finland, espe­
cially if they do not read Finnish, may still look to Lönnrot’s epic as a
source of information about ancient Finnish poetry. The results
are as reliable as if Liszt were used as a primary source for research
into Hungarian folk music.
Despite the warnings of scholars and even the suggestion that gen­
uine folk poetry might be of far greater interest and aesthetic quality,
the prevailing attitude remained for many years one of unqualified
admiration. Typical of the unquestioning attitudes were statements
such as ‘For me the Kalevala poems have been so sacred that listening
to them is like resting one’s weary head against some ancient, immov­
able support’ (Gallen-Kallela, 1899) and ‘The most remarkable poetic
achievements of the North should not be sought in the works of Bell­
man, Stagnelius or Runeberg. No, they are to be found in the Kale­
vala and the Kanteletar. These are the miraculous creations of the intelli­
gence of the heart’ (from the unpublished papers of the Swedish
poet Vilhelm Ekelund, 1880-1949). But such attitudes on the part
of intelligent and educated people need to be seen in the light of
the political situation.
The years 1890-1917, which saw increasing intervention by the
Tsarist authorities in Finnish affairs, leading at times to the suspension
of traditional rights and privileges, was a time of powerful growth of
interest in the Kalevala and in Karelia: the oppressed people sought
hope for the future from a glorious past. When faced with the reality
of independence in 1918, however, economic, social and military
matters took precedence and interest in the Kalevala began to fade.
More recently, thanks to a growing disenchantment with modern
urban life, interest in the Kalevala, in Karelian romanticism, and in
folklore has begun to revive.

In the Shadow o f the Kalevala

Despite the uncritical acclaim of most Finns, there was nevertheless


a small group of Finnish scholars, contemporaries of Lönnrot, who

32
realised that the Kalevala was not wholly representative of genuine
folk epic. D.E.D. Europaeus (1820-1884), one of the young men who
helped to assemble and arrange the material for the 1849 edition of
the Kalevala, expressed his regret in 1855 that it was ‘crammed too
full of all kinds of variants and unimportant details,’ and, he con­
tinued, ‘it contains many features that have been made up by the
compiler himself. . . In their original form the poems are unified,
lively, and full of imagination.’ Europaeus complained that the orig­
inal poems had been spoiled by Lönnrot’s attempts to reshape them,
to fill gaps with lines taken from other poems, and by the compiler’s
elaboration of some themes at the expense of others; Europaeus was
especially critical of the tendency to diminish the part played by the
supernatural.
While scholars such as Europaeus appreciated the relationship be­
tween the Kalevala and genuine folk poetry, the sheer size of Lönnrot’s
epic overshadowed their reservations. To what could they point to
justify their criticisms apart from their own personal experience as
collectors? There was very little that could be set against the Kalevala
as evidence of how the poems were performed by contemporary singers
and even less from earlier times. Neither rune-stones nor ancient manu­
scripts survived to show how Finnish folk poems were performed in
pre-Christian times. The earliest surviving documentary source, a 13th
century Karelian lightning spell recorded on a piece of birchbark, was
discovered in 1957 in the vicinity of Novgorod. Bishop Agricola’s
Prayer Book (1544) contains the earliest version of a Finnish proverb,
a weather prophecy, and a chant that lists the gestation periods of
various animals, while the earliest example of a poem is a spell against
the plague, a couplet in the accounts book of the Korsholm Crown
Estate, noted down in 1564.
About 1615, the exiled Swedish poet Johannes Messenius (1579—
1636) copied from the papers of Sigfrid Aronus Forsius (ca 1550-1624)
a Latin version of the legend of Bishop Henry and Lalli that was
known in the Köyliö district of South-West Finland; a corresponding
Finnish verse legend was recorded by not later than 1682 (cf. Poems
66, 67). The first Finnish grammar, Eskil Petraeus’ Linguae fennicae
brevis institutio (1649) includes eight popular Finnish riddles as illus­

33
trative material. The earliest examples of Kalevala-type lyric poems
are found in a collection compiled in the 1660s by Henrik Florinus
(1633-1705) and published in 1702; two poems used in bear rites were
published by Petrus Bång (1633-1696) in 1679. Daniel Juslenius
(1676-1752) was the first to publish a version of a Finnish ballad,
Death of the Bride (Poem 87), in his fanciful account of the history of
Turku (1700). The earliest manuscript of the historical poem Duke
Charles (Poem 143) dates from 1699.
The first example of old Kalevala epic to catch the attention of
Finnish scholars appears to have been variants of the poems about
Väinämöinen’s voyage and the playing of the kantele (cf. Poems 23-27).
Versions of these poems had begun to find their way into poetry and
dissertations in the 18th century. But many of these had been for­
gotten, or were not readily available, and in any case their fragmentary
information was eclipsed by Lönnrot’s epic.

On the Cultural Periphery

A further difficulty faced by Europäern and those who shared his


views was that the efforts of the Lutheran clergy to stamp out folk
poetry, together with the gradual spread of West European culture
from Sweden, had largely eliminated the old tradition from Finland
proper, where it existed only in fragments and in a few isolated dis­
tricts. The areas where it survived were those that represented the
cultural periphery in the 19th century, areas to the east of the boundary
of the Grand Duchy which were still isolated either geographically
or linguistically, or for both these reasons, from the unifying cultural
influences that had spread over most of Europe - the periphery of the
Swedish and Russian spheres of influence in the far north: the region
east of the frontier of the Grand Duchy of Finland, in the western
districts of Archangel Karelia, midway between Oulujärvi in the west
and the southern shores of the White Sea in the east (see Map). It is
a region of lakes, marshes and forests where communications were
arduous (see Plates 1, 10). In the 19th century its inhabitants still
supported themselves by hunting, fishing, rudimentary - often burn-

34
beat - agriculture and, like their forefathers, eked out a meagre live­
lihood as pedlars of small wares, travelling long distances on foot in
Finland undeterred by officials who tried with little success to stop
this illegal trade. It was an area into which the Lutheran Church
had not penetrated. The Christianity of these Karelians was that of
the Russian Orthodox Church, which tolerated folk poetry and did
not frown so severely on surviving pagan practices. A second area
which was similarly isolated from Western influences and whose in­
habitants also belonged to the Russian Church, was Olonets and La­
doga Karelia, the region around the northern shores of Lake Ladoga
extending north into Olonets and north-west to the Finnish-Russian
frontier (see Map). It was mainly in these areas, Archangel Karelia
in the north and Ladoga and Olonets Karelia further south, that the
heroic epic was still being sung by men, and occasionally by women,
in the 19th century. It is interesting to note that the areas where the
Novgorod bylina tradition survived most strongly, among the Russian
settlers on the shores of Lake Onega and the White Sea, were not far
away.
A third area in which Kalevala-type poetry continued to flourish
into the 19th century was the Karelian Isthmus and Ingria. While the
tradition of male singing died out along the south-east shore of the
Gulf of Finland, the singing tradition survived among the womenfolk
of three areas in particular: Narvusi, Soikkola, and Hevaa, each of
which is isolated at the tip of a cape. These women did not retain
the practice of singing relatively long narrative epic sequences, but
used fragments of epic in an allusive style to express personal senti­
ments (concerning their lyrical epic patchwork technique see pp. 71-72).
It was linguistic rather than geographical isolation that sheltered the
Ingrian Finns and those on the Karelian Isthmus from the penetration
of new ideas. The oldest group, the Izhors, clung to their old ways
in a virtually unchanged form, although nominally they belonged to
the Russian Orthodox Church. O f particular interest are the large
numbers of Lutheran Finns who migrated from areas in Eastern Fin­
land to Ingria with the expansion of Sweden in the 17th century. They
brought with them their poems, customs and other traditions which,
because of the religious difference, generally survived in their old form

35
largely untouched by the traditions of their linguistically related Rus­
sian Orthodox neighbours and escaped the excesses of the movement
that stamped out most folk poetry in mainland Finland.
Lönnrot was not the first person to realize that a wealth of folk
poetry survived across the frontier in Russia. This fact had been well
publicized by an Ostrobothnian doctor of medicine, Zachris Topelius
(1781-1831). Paralysed by a stroke and unable to move beyond the
confines of his home in Uusikaarlepyy on the coast of the Gulf of
Bothnia, he used to invite the Karelian pedlars to sing their poems to
him and published a selection of them in five slim volumes: Suomen
Kansan Wanhoja Runoja ynnä myös Nykyisempiä Lauluja (‘Old poems and
more modern songs of the Finns’, 1822-1831). In the preface to the
last volume Topelius described where collectors should look for poems:
‘The only area where the old customs and the old tales of the menfolk
survive untouched by outside influences and are sung as part of the
daily round is beyond the frontiers of Finland, in a few parishes of
the Province of Archangel - especially in the parish of Vuokkiniemi.
There the Väinämöinen songs can still be heard, there the kantele and
the sampo [!] still echo and it is from there that I have with great care
obtained my best songs.’
It was this that led Lönnrot and others to Archangel Karelia and
gave birth to the 1835 Kalevala. In the following years Lönnrot and
his disciples, including Europaeus, explored the two other regions
described above, the fruits of which are embodied in the second edition
of the epic. It was to all three regions that Europaeus, and before
long others, urged that collectors should return and undertake a more
thorough and exhaustive collection of folk poetry materials. It is un­
certain whether Europaeus’ motives were those of the modern folk­
lorist, who treats every piece of material as worthy of attention and
study, or whether he thought that by assembling and publishing oral
literature in a different way from that adopted by Lönnrot, the na­
tional cause (of which Europaeus was a prominent exponent) would
be better served. Whatever his motives, his ideas gradually found sup­
port. Towards the end of the 19th century the collection of folk poetry
assumed the proportions of a national movement and literally thou­
sands of scholars have since taken part in it. Perhaps the most impor-

36
tant were the great collectors at the turn of the century, whose work
provided the foundations and demonstrated the techniques of subse­
quent collection - men such as J . Länkelä (1833-1916), V. Porkka
(1854—1889) and V. Alava (1870-1935), who saved the poetry of In-
gria from extinction, and A. A. Borenius-Lähteenkorva (1846-1931),
the first scholar to prove that many of the poems in Archangel Kare­
lia had been transmitted from areas further south or west.

The Folk Poetry Archives

The work of collection begun in the late 19th century has continued,
though not always on the same scale, to the present day. There
have been periods when it assumed the proportions of a national duty.
The measures taken by the Tsarist authorities at the end of the 19th
century to reduce Finland’s constitutional privileges and to russify
administrative and cultural institutions evoked a powerful creative
response from scholars, artists, writers and musicians. Assisted by
hundreds of volunteer collectors, scholars assembled a huge mass of
material which was deposited in the archives of the Finnish Literature
Society in Helsinki.
The result of this work is one of the largest collections of oral tra­
dition in the world. The archives of the Literature Society contain
some two and a half million items: of these 86,800 are songs and
poems in Kalevala metre; the remainder is made up of rhymed folk­
songs (129,400), incantations (52,400), spells, beliefs and omens
(336.900) , games (187,400), nonsense verses, chants, laments (9,300),
fairy tales (96,300), religious legends (1,600), supernatural tales
and memorates (103,200), historical and local tales (77,800),
aetiological stories and myths (7,700), imitations of natural sounds
(8.900) , proverbs (766,500), riddles (117,300), folk tunes (23,200), and
ethnographical descriptions (54,000). This collection is complemented
by the 1,425,000 proverb variants in the archive of the Department
of Finnish Language at the University of Helsinki, by the wealth of
ethnographical materials in the National Museum in Helsinki, and by
various other smaller archives. O f particular importance is the collec-

37
tion of Kalevala-metre poetry and other items of Karelian tradition
assembled by scholars at the Language, Literature and History Re­
search Institute at Petrozavodsk in the Soviet Union.
It is the relatively small proportion of materials in Kalevala
metre that have in the past received the closest attention and of which
part, some 1,270,000 lines, has been published in the 33 volumes of
Suomen Kansan Vanhat Runot. Kalevala-metre poetry embraces five main
genres: epic; lyric - with the overlapping lyrical epic (see p. 71);
incantations; festival poetry (poetry sung as the accompaniment to
wedding, bear and annual ceremonies, also including the oral accom­
paniment to games and dances); cradle songs, nonsense and occa­
sional poetry, and metrical proverbs and riddles. Although epic in
this form makes up only a small part of the whole, it is aesthetically
the most outstanding item and from the point of view of Finnish cult­
ural history the most significant. Within this genre the most impressive
creations are the pagan mythical heroic poems; it is these that formed
the substance of Lönnrot’s Kalevala and with which the present An­
thology opens. Not only are they the poems that have won the greatest
acclaim and admiration, but they have also stimulated both the most
far-reaching academic debates and the most ambitious flights of ima­
gination.

The Study o f Folk Poetry

To the layman, folk poetry research may well appear to be the grave­
yard of a succession of new, bold theories and counter-theories. Never­
theless, decades of serious study, the endless postulation, testing, rejec­
tion or modification of theories, have led to an understanding of folk
tradition far in advance of that which existed in the late 19th century
when scholars began to doubt the authenticity of the Kalevala both
as a source of history and of folk poetry. Many once-controversial
problems have been solved and no longer excite interest, and new and
more accurate ways of studying folk poetry have been developed.
The main task of the scholar is to explain the significance of each
facet of the material before him. He tries to identify the probable shape

38
and content of the archetype, its idea and function, and then to ascer­
tain its historical development. Once this analysis has been completed,
it is necessary to show which themes, motifs and stylistic traits in the
poem as a whole are primary - indicating the estimated degree of
certainty - and how different redactions and variants evolved. The
scholar must also attempt to relate what he discovers to other texts
on the basis of those characteristics of theme, stylistic features and
overal lform which link it to, or distinguish it from, other poems,
stylistic periods or traditions. It is possible to identify in Kalevala
poetry certain chains of transformations which form part of a long
and consistent line of development and exist side by side with timeless
or ephemeral features. The former enable the scholar to ascertain a
poem’s position within a regular succession of stylistic periods.
One or two age criteria alone are not enough to date a poem.
Every available factor must be considered, however contradictory and
confusing each may appear to be. These factors include the geograph­
ical distribution of a poem, the degree of disintegration, names of peo­
ple and places, imagery, themes, the amount of person and milieu
description, the general structural balance, datable stylistic features,
and the probable function and context of the poem. Consideration
must also be given to the other poems with which the subject of the in­
vestigation has been combined or from which it has borrowed phrases
or passages, and motifs. The final result is rarely simple because a poem
can regularly display the characteristics of two or several historical
periods. The interpretation of folk poems is also complicated by the
fact that the materials with which scholars work are often in obscure
dialects, the poems have not always been noted down accurately, and
frequently they contain words, phrases and names which even the
singers did not understand.
A theoretical approach that permitted considerable advances to be
made in the analysis of folk poetry was the historical-geographical
method - also known as the ‘Finnish method’ - conceived by Julius
Krohn (1835-1888) and further developed by his son Kaarle Krohn
(1863-1933) and Antti Aarne (1867-1925). The method, which has
been described as ‘Darwinism adapted to folklore* (e.g. by Hautala),
was based on a theory of diffusion and sought by analysis of the con­

39
tent and distribution of as many variants as possible to separate prim­
ary from secondary features and to reconstruct the ‘original form’
of a poem, and then to determine the chronology of its development and
the routes of its transmission and diffusion.
While this approach continues to help explain the course of diffusion
at a given stage in a poem’s development, today not even the most
optimistic scholar believes he can arrive at the ‘original form’ of a
poem. By the careful study of his sources and the literature of the
subject, and by seeking points of comparison around the world he
attempts to identify the original thematic content of a poem and its
subsequent stages of development. Against this background a clearer
picture is now emerging of the history and development of many poems.

D ating and Redaction Analysis

When an archeologist discovers a prehistoric object his first task is to


ascertain its date. He has various methods at his disposal including
such refined techniques as pollen analysis, fluoride measurements and
carbon dating. Calculating the age of an ancient poem is more com­
plicated, for a folk poem rarely dates from a single period. Even the
first singer to compose a specific narrative sequence almost certainly
incorporated passages or lines from other poems; his version was then
reshaped and modified by later singers. The folklorist is faced, there­
fore, not with a thousand-year-old or two-thousand-year-old poem but
often with as many as a hundred or more variants which have evolved
in different ways in different areas; the characteristics of the poem
from which they evolved are only very vaguely discernible through
layers of features from many later periods. A poem noted down in the
18th, 19th or 20th century can be compared to the numerous strata
of a burial mound in which many generations of men and their arte­
facts have been buried, although even this does not fully depict the
magnitude of the scholar’s task because the strata of a folk poem do
not occur in a relatively clearly defined historical order - it is as
if the burial mound had been disturbed by a bulldozer.
The most reliable method of dating is redaction analysis. When all the

40
primary variants and redactions of a poem have been assembled and
the secondary elements excluded by source criticism analysis, the
scholar is able to classify the variants according to type. Without losing
sight of the overall shape of the poem, the various themes and motifs
are examined to establish the relationship between the variants: which
components may derive from the early form of the poem and which
are the result of separate, later development, how different redactions
have evolved in the upheavals of cultural change and migration, which
redaction each variant belongs to, and what process of interweaving,
layering and re-creation has produced the surviving poem.
When the scholar attempts to distinguish between early and secon­
dary features, he examines primarily the frequency with which a
particular feature occurs in variants; other indications of originality
include the wide distribution of a particular feature, its close associa­
tion with other traits already known to be ancient or found in an area
where ancient poetry traditionally survived, or even if the informant
was by repute a singer of old songs. The absence of many obviously
borrowed features can also indicate the antiquity of a poem; similarly
the antiquity of the underlying idea, language and style, and the
degree to which a feature has itself stimulated new developments are
further criteria of originality.
Without such analysis it is impossible to decide which parts of the
surviving item represent the original features of a poem or to throw
light on its main theme, function, structure, and the specific character
of its motifs and stylistic traits. With this approach the scholar can
deduce with some degree of accuracy the relative age of a poem.
Another efficacious means of dating is analysis of the degree of dis­
integration. Poems do not change evenly or steadily; the rate of change
is determined by the nature of the subject. The content and shape
of a poem composed to amuse change more easily than those of a
myth or ritual poem, a loosely constructed expression of feeling more
quickly than a poem cast in a tight symmetrical mould. The longer
a poem develops, the further its most distantly related forms are from
each other. The occurrence of a large number of obviously related
lines in an Estonian and a Finnish poem does not always mean that
the poems go back to a common ancient origin; on the contrary, such

41
a similarity is generally an indication of relatively recent borrowing.
If, however, certain images, motifs, or features are only vaguely dis­
cernible in corresponding Estonian and Karelian poems, the possi­
bility of a common origin is far more likely, however great the overall
difference between the surviving forms.

Source and Stratification

The magnitude of the task of deciding when a particular theme was


worked into a poem and became part of oral tradition can be illus­
trated by a brief survey of possible places of origin and the cultural
influences to which poems were subsequently exposed. It is necessary
first to emphasize the distinct regional differences in Finnish folk
poetry. West Finnish epic, in so far as it survives, dates mainly from
the Middle Ages, often tied to Christian festivals and feast days. Epic
from Savo and Northern Finland generally takes the form of narrative
magic poetry. In Ingria and South Karelia, ballads and lyrical epic of
a personal nature are more common than the mythical and heroic epic
which predominates in Archangel Karelia and in the northern parts
of Olonets and Ladoga Karelia. Functional criteria of this kind can
give some indication of the degree and nature of exposure to certain
cultural influences, but they alone cannot give any firm information
about age.
Nor, as discussed above, is the geographical area over which a poem
is distributed any longer regarded as a definitive criterion of age and
place of origin. The fact that a poem is known in Finland and Estonia
or from Archangel Karelia in the north right down to South Estonia
is not in itself an indicator of age. Poems as thematically different as
The Creation (Poems 2-5), The Golden Bride (Poems 21, 22), The Voyage
(Poems 26, 27), The Great Ox (Poem 51), The Fishing (Poem 56), The
Tree (Poem 68), Serf and Master (Poems 77-79), The Suitorsfrom the Sea
(Poems 111, 112), The Crane (Poems 117, 118), The Water-Carrier
(Poems 125, 126) and The Maid and The Boat (Poems 127, 128) were
at one time thought to have been transmitted by the ancestors of the
Finns when they left their ancient homes south of the Gulf of Finland,

42
on the grounds that certain of these poems are not known in Ingria.
Such an approach is no longer accepted. While certain themes can
be tied to particular periods - though even this must be done with
considerable reservations - scholars no longer think of a distinct, dat­
able, common ‘Estonian-Finnish’ poetry period.
The current view is that migration in both directions continued
until very recent times and it is possible to show, for example, how
comparatively recent movements carried poems from South Finland
to Kuusalu in Estonia and the Narvusi Peninsula in Ingria, from South-
East Finland to the Savakko and Äyrämöinen Finnish settlements of
Ingria, and even from North Finland to North-West Archangel Kare­
lia, and vice versa. Yet even though this migration continued and
flourished on a large scale, it is nevertheless impossible to say with
any degree of accuracy when and how and which poems (or fragments)
were transmitted. It is not known which poems the North Kainuu
ancestors of the Perttunens, the Malinens, the Kettunens, the Karja-
lainens - the most famous Archangel Karelian singing families -
brought with them from the west and which they learned locally, or
from Karelian fur-traders from further east. Since the singing of Kale­
vala poetry had almost died out in West Finland by the late 18th century
and since the refrain poetry that survived among the serfs of Estonia
and Ingria was exposed to considerable change, there is little basis on
which comparative research can attempt to discover which of the
Finnish-Estonian poems originate from Estonia and which from West
Finland, or which took shape in the ancient cultural centres of Ladoga
Karelia and Ingria.
Even the fact that collectors have recorded a poem only in Archan­
gel Karelia and not in the western or southern poetry areas is not in
itself evidence of its place of origin, since it could easily have been
forgotten or overlooked by collectors in other areas. The Bond (Poems
39, 40), for example, was remembered in the 19th century by only
two families, one in Archangel and the other in Olonets Karelia; in
both cases it was remembered by people who lived in a backwoods
milieu supporting themselves by hunting, fishing, rudimentary agri­
culture and peddling. Yet it is obvious that the poem, with its numer­
ous nautical associations, must have taken shape in a very different

43
milieu. If a poem cannot be shown to have a Scandinavian, Russian
or Balt origin, and if its theme, or other internal evidence, does not
indicate place of origin, then the scholar can generally do no more
than conclude that it could have originated anywhere in the Baltic-
Finnish area.
While such conclusions make it necessary to abandon theories that
formerly provided convenient and superficially convincing explana­
tions for the origin and diffusion of Kalevala poems, they do on the
other hand help to elucidate one of the most striking features of this
poetry - its remarkable homogeneity over a vast area (conceptually
all the larger when the arduousness of travel is taken into account).
The reader of the present Anthology will be struck by the frequency
with which stock phrases and passages recur in every part of the Fin­
nish area. In the light of current thinking about the complexity and
scale of migration in the Baltic-Finnish area, it becomes easier to
understand how such poetic unity was possible.

Style and Theme

From what has already been said, it can be seen that any attem pt to
place a date on an individual poem has little meaning in itself. It
could even be argued that in one sense the ‘age’ of a poem is no more
than the number of years that have passed since it was last sung. It
is, however, possible to ascertain the approximate period at which the
various component parts of a poem took shape, approximately how
and when they were brought together, and what changes have taken
place since that time. Such an assessment is based on criteria of style
and theme. Four main stylistic periods of Kalevala poetry can be
identified. While dates are suggested for the periods when a given style
was dominant, it must be recognized that once a style had been
adopted the continued use of earlier styles was not necessarily excluded
nor, conversely, was the reinterpretation of a poem in a later style.
Furthermore, this chronology is primarily relative and does not apply
consistently in every region.
The oldest period style, Early Kalevala (varhaiskalevalainen), seems
to have been in use during the late Proto-Finnic era up to the time
when the ancestors of the Finns were establishing new homes on the
northern shores of the Gulf of Finland. The predominant cultural
influences of the age were Ancient Balt (cf. p. 25). Traces of poetry
in this style are found throughout Estonia, Finland and Karelia. It
was the period when ancient myth poems and aetiological epic were
first composed in Kalevala metre. Other kinds of poetry that appear
to have taken shape at this time include laments, lyric poetry, wedding
poetry, and curses.
The second period style, Middle Kalevala (sydänkalevalainen), appears
to have developed steadily and flourished during the first millennium
of the Christian era. Characteristic Middle Kalevala stylistic features
are the increasing use of dialogue and a more flexible syntactic struc­
ture. Germanic cultural influences predominate. It is this style that
characterizes many central themes found throughout Finland and
Karelia: Väinämöinen occurs as the main hero, there is an abundance
of epic concerned with adventure and the sea, and a noticeable re­
alism in the depiction of people and milieu. Some of the finest products
of the Kalevala tradition, such as the account of the construction and
playing of the kantele (Poems 23-24), appear to date from this period;
the Middle Kalevala style continued to influence the structure of
poems right through to the early Middle Ages.
With the conversion to Christianity - which happened in West Fin­
land by 1200 AD, but in Karelia considerably later - a new period
style emerged: Medieval Kalevala (keskiajan-kalevalainen). Christianity
became the dominant cultural influence and pagan epic was adapted
to serve the purposes of Christian teaching. Legends, ballads and re­
frain songs were cast in Kalevala metre and told of love and death, con­
soled the poor with the assurance of reward in heaven, and castigated
sexual impropriety. It was the time of infiltration of Slav themes into
Ingria and Karelia, first from White Russian and later from Russian
tradition.
The end of the Medieval Kalevala period saw a renewed handling
of this poetic form which reached its peak in the Late Kalevala (myö-
häiskalevalainen) period. The traditional metre finally began to lose its
vigour and poets employed it with less skill; the influence of rhymed

45
poetry, spreading mainly from the West, becomes apparent. Thematic­
ally, this period saw the emergence of poems about war and the ab­
sence of a loved one. It was also the period when the old epic poems
began to be sung in new ways: in Karelia singers started to combine
them in long sequences, in Savo they were incorporated into incan­
tations, while in Ingria and on the Karelian Isthmus the ancient epic,
or fragments of it, was used by women to express lyrical sentiments.
The Late Kalevala period coincided with the end of the Roman Cath­
olic era and the introduction of the Reformation. Gradually folk poetry
in Kalevala metre became local in content and lost its epic scale. In
the 19th century in particular, it was adopted as the poetic medium
both for artistic and popular broadside verse.
O f all the ancient prosodic forms known in Fenno-Scandinavia, the
Kalevala poetic tradition proved to be the most resilient and flexible.
Each generation of poets recast the old songs and composed new ones.
Some reshaped their spells, curses, legends, and ballads partly with
traditional themes and materials and partly with the themes and ma­
terials that were new in their day, while others preferred to compose
in the style and tradition of the old heroic poetry. Hence the Finnish
poems that survived long enough to be recorded represent an accu­
mulation of influences, themes and styles over a period of more than
two thousand years.
The poems in the present Anthology have been selected to illustrate
the thematic and stylistic development outlined above; as far as pos­
sible - though not always - the order of presentation represents the
strata of cultural phenomena which either prevailed in the Finnish
area when the poems took shape or which penetrated the geographical
and linguistic isolation of the Baltic-Finns. The themes are generally
expressed as belonging to one of the following types of poetry, listed
in order of antiquity

1. Myth poetry, which describes cosmogonic acts of creation at the


beginning of time, the creation of the world and of human, animal and
plant life, with particular reference to those factors which condition
man’s relation to his environment such as the need to ensure fertility
and to protect himself.

46
2. Magic and shaman poetry, in which the characters achieve their
ends by magic, and which tell of a shaman’s journey to the otherworld
in search of a particular object or item of knowledge.
3. Adventure poetry, often about journeys in search of wives or plunder,
and about escape to a place across the sea.
4. Fantasy poems, in which a wondrous animal, mermaid or small
child is threatened.
5. Christian legends.
6. Ballads, narrative poetry and lyrical epic.
7. Historical war poetry.

M yth Poetry

Features that have points of comparison with myths from distant parts
of the world and are otherwise unknown or very rare elsewhere in
Europe can be found in this category. Poems in the Baltic-Finnish
area that describe how the world originated from an egg (Poems 2-5)
represent an aetiological tradition that is known from the Eastern
Mediterranean to the Pacific. The shaping of the primeval seabed, the
work of Väinämöinen as he drifts in the sea (Poems 12-15), and to
which he refers in the singing competition with Joukahainen (10:31;
11:9), shares common features with the Asian Indian myth of a boar
that roots up the seabed. Indian mythology also has tales that are
similar in content to the myth of the freeing of the sun and the moon
from the belly of a fish (Poem 5). The description in Fire (Poem 9)
of how animals carry the spark is a myth known in many parts of the
world and has been compared to myths recorded in the Bay of Ben­
gal region and among the Indians of North-West America. The myth
of The Oak (Poems 49, 50) is found over roughly the same area as
myths describing the creation of the world from an egg. Myths about
the origin of the bear (Poem 48) are known throughout the Arctic
region. Yet another myth known in many parts of the world is that

47
of the birth of the primeval human couple from a tree stump or sap­
ling rooted in the primeval sea or river; in Finnish folk poetry this
survives as obscure fragments in two Ingrian poems (11:16-24; 41:
1-8). Other mythical themes include those of the construction of the
primeval boat, the kantele and the seine-net (Poems 9, 22-29), and
of the release of the sun and the moon from captivity (Poems 31-33).
Most of the themes mentioned above are found in poems that prob­
ably took shape during the late Proto-Finnic period. A link between
this and the later period may possibly be provided by the characters
of Väinämöinen and Ilmarinen. The role played by these two heroes
varies from period to period (see Name Index). The extent to which
Väinämöinen has entered Finnish mythology is illustrated by the fact
that when a Finn looks at the night sky he still sees ‘Väinämöinen’s
Scythe’ (Orion) and his ‘Birchbark Shoes’ (Pleiades). The smith Ilma­
rinen is associated in Kalevala epic with the construction of the sky,
the sampo and the kantele; he is the striker of the primeval spark, the
builder of the first forge - a clearly defined culture hero and smith,
a northern Hephaistos. While Ilmarinen is the dominant hero in Kare­
lian folk poetry and Väinämöinen in poetry from Savo and West
Finland, their dual role in Fire (Poem 9) is not necessarily a secondary
feature: there are examples in the ancient mythology of other peoples
of two culture heroes who either compete or work together. Some
scholars have suggested that Väinämöinen may not originally have
occurred in the oldest myth poems, but emerged later during the Middle
Kalevala period and, as the most important hero in Kalevala epic,
was only then associated with themes that go back to the earliest
stratum of poetry.

M agic and Shaman Poetry

In the centuries immediately before the Christian era, the ancestors


of the Baltic-Finns came into contact with ancient Germanic tribes,
most probably the East Goths. Etymological and ethnographical evi­
dence underlines the abundance and significance of the cultural in­
fluences from this source. The proportion of loans from Old German­

4fl
ic, and later from Old Norse and Swedish, is high. Examples of bor­
rowings from Old Germanic include Finnish runo ‘poem’, which orig­
inally meant ‘singer of poetry’; other examples illustrate the impact
of the Ancient Germans on the evolution of technical concepts and of
society in general, e.g. ‘plough’, ‘sword’, ‘spear’, ‘gold’, ‘iron’, ‘cop­
per’, ‘tin’, ‘trade’, ‘power’, ‘to govern’, ‘to judge’ and ‘king’ all came
from this source.
Once these new influences had been assimilated and the ancestors
of the Finns had begun to settle the coastal areas of mainland Finland,
the Middle Kalevala period began. Deities assumed the role of cul­
tural heroes and the old mythical poems were revised and reshaped;
characters and emotions became more human and acquired a dram ­
atic quality. The poem about the playing of the kantele (Poems 22-24)
is the most striking example of this development. While it continues
to draw on simple, primitive myth poems, it grows into an exultant
ode to man’s artistic powers. The influence of the Ancient Germans
and their descendants is also noticeable in fundamental changes in
attitudes towards life, and these are reflected in Kalevala epic. The
world became a battlefield, the hero had to have an opponent - either
a rival or an enemy. Men competed and fought, as in The Singing Match
(Poems 10, 11), took prisoners and plundered, as in The Sampo (Poems
12-15), and competed for their brides, as in some versions of The
Courtship (e.g. Poems 17, 18). In each case the means by which the
heroes achieve their ends are magical.
Allied to these are poems about heroes who also use magic, not in
warfare or against mortal enemies, but to complete a task. The Wound
(Poem 6) and The Spell (Poems 28, 29) are typically shamanistic, while
The Visit to Tuonela (Poem 30) - despite its Christian frame - is a vivid
description of what was believed to happen when a shaman’s soul
travelled to the otherworld in search of knowledge. Features of these
poems have parallels with shamanistic beliefs in many parts of the
world. The lack of shamanistic and adventure poems, with which the
former are often intertwined, in the poetry of the Estonians and their
eastern neighbours the Votes, has given rise to the theory that the
poems took shape in Finland and Karelia during the Middle Iron Age
(400-800) or even during the Viking period (800-1100).

49
Adventure Poetry

A possible link between shamanistic poetry and the later Viking period
is Lemminkäinen (Poems 34-36). In some variants the hero is obviously
a shaman, while in others he has become confused with the boisterous
Viking Kaukamoinen (Poems 37, 38). Contact with the Varangians
as they travelled eastwards into Russia led to the Karelians’ under­
taking similar expeditions, and it is these that are thought to have
inspired poems such as Kaukamoinen and The Bond (Poems 39, 40). The
latter has had to be reconstructed from fragments discovered in two
Karelian forest villages; the same themes can also be discerned in an
Ingrian description of a voyage (Poem 26). The lively, impetuous
dialogue of the main characters in Poem 39 and the attitude of Teuri,
another Viking, towards his newly married wife in Poem 40 both em­
phasize the same basic theme: travel and adventures at sea were more
attractive than a wife and home.
Reminiscent of the hylini of the Novgorod area, the main themes of
these adventure poems are feasting, fighting and the island of Saari
inhabited by hundreds of women and their jealous menfolk. An out­
standing product of the same period is The Courtship I (Poem 16):
while its structure was borrowed from Väinämöinen epic poems, the
portrayal of milieu and character is completely lacking in mythical
features and is as exuberant and as real in its ethnographic and psy­
chological detail as The Voyage (Poems 26, 27). The tasks that have
to be performed by the suitor, and which are generally incorporated
in other variants of The Courtship (e.g. Poems 17, 18), comprise le­
gendary motifs; another variant of the theme of the suitors’ tasks is
The Gift, a Karelian version of the Ivan Godinovich bylina (Poems
19, 20).
A characteristic thematic feature of the Viking period was the con­
centration on people and personal relationships. Where supernatural
beings and events are found in these poems, they are secondary fea­
tures. In the poems from the earliest strata of Finnish poetry, the male
characters are stiff and impersonal, while the women are hardly more
important than a horse or some other possession. In The Courtships on
the other hand, the inquisitive, quarrelsome washer-girl, who barters

50
information for trinkets, is vividly portrayed; and the dialogue be­
tween Ahti and Kyllikki in The Bond is remarkably true to life.
Features that epitomize the jaunty, masculine poetry of the Viking
age are Kaukamoinen’s harsh reply when his mother asks whether
he has been abused by women, and his erotic adventures among the
maids of the Island (Poems 37, 38); similarly the wedding-night epi­
sode in The Bond (Poem 40) and the reply of Teuri’s father when
asked if his son will go to war: ‘Teuri has no time for war:/he has
married a young wife/ has taken his own mistress./ The nipple’s still
unfingered/ the buttocks unwhipped/ the loins untickled’ (40: 32-37)
(yet despite this Teuri does go to war). In this period of Finnish poetry,
erotic love was regarded as a proper subject for song and was treated
boisterously and without embarrassment. There is no suggestion of
the dark, fateful powers, or the elevated red-black sexual themes that
characterize the later Christian ballads and legend poems. The psy­
chologically convincing character depiction in the poems from the
Viking period is paralleled by the ethnographic realism. Numerous
realistic minutiae of daily Viking-age life can be found not only in
the teasingly light dialogue of The Courtship variants (Poems 16-18),
but also in Kaukamoinen’s nagging mother (Poems 37, 38), and in
the bitter exchanges between Ahti and Kyllikki (Poems 39, 40).
The frequent use of dialogue is the stylistic feature that most clearly
distinguishes the poetry of the Viking age from earlier epic. A charac­
teristic of the dialogue structure is the stating of each question or
request three times. The first two times a straight refusal or a lie is
given in reply; the questioners only receive a satisfactory answer the
third time they ask. This stylistic device, which is a particularly im­
portant dating criterion, is used twice in variants of The Courtship (18:
8-48, 92-125) and of Kaukamoinen (37: 8-80, 159-191), and once in
The Bond (39: 17-47). The passage describing Joukahainen’s attempts
to ransom himself from Väinämöinen first with gold, then with a
stallion, and finally with his sister (Poem 10) is also an addition from
the Viking period to an older poem that was found only in Karelia.
The same dialogue structure can be seen in The Visit to Tuonela when
Väinämöinen asks the daughters of Tuoni to ferry him to the other-
world (Poem 30).

51
The Arrival o f Christianity

The spread of Christianity to Finland, Karelia and Ingria was gradual.


Archeological evidence discovered along the west coast of Finland
shows that the pagan practice of cremating the dead only began to
give way to burial at the beginning of the 11th century. During the
latter half of the 12th century, crusades into Finland and Karelia were
launched from both east and west; nevertheless, as late as the 16th
century both the Bishop of Turku, Mikael Agricola, and the Arch­
bishop of Novgorod, Makari, expressed concern about the regrettable
survival of paganism in the more remote areas of their provinces.
The early Romanic Catholic missionaries to Finland adopted the
practice of participating in pagan rituals and gradually investing them
with a Christian content - ‘that the people, seeing that their sanctuaries
were not destroyed, might banish false beliefs from their hearts and
hasten the more boldly to familiar places to learn about the true God
and to worship Him.’ (Pope Gregory the Great). The first churches
were usually built on sites of pagan worship. The success of the attempts
to assimilate the old customs varied. Rituals associated with rites of
passage - birth, name-giving, betrothal and marriage, death and burial
- and the hunting and killing of a bear continued to be performed
as before, probably because they did not contain any overtly obvious
reference to witchcraft or pagan worship; hence poetry associated with
these rituals escaped conscious adaptation to Christian practice. There
were also other neutral areas into which Christianity did not penetrate:
priests and monks did not hear the songs the often ill-used daughter-in-
law sang to herself as she milled flour, the songs that bands of travellers
sang as they camped overnight, or what children sang as they played.
On the other hand, there is no doubt that for a period the annual
pagan festivals with all their accompanying rites and songs - e.g.
The Sower (Poems 46, 47), The Tree (Poem 68) - represented a rival
belief with which the Christian priests had to compete. Ancient Fin­
nish creation myths also proved difficult to stamp out and Christian
priests attempted to separate them from their pagan function by re­
interpreting them to convey the new religion.

52
Assimilation

A period of so-called ‘barbarian Christianity’, a time when Christian


ideas began to enter the Baltic-Finnish area, long before the formal con­
version of the inhabitants and the establishment of the Church, left its
mark on Lemminkäinen (Poems 34—36), an adaptation of a shamanistic
theme. The obstacles which the main character meets on his way to the
celebrations at Päivölä are those that the spirits of Arctic shamans
were thought to meet on their way to the otherworld, while the mon­
sters are reminiscent of medieval vision poetry. Lemminkäinen’s death
and his mother’s attempt to restore him to life appear to be a later
addition superimposed on what was also originally a poem about a
shaman hero; the new theme can be compared both to the death and
resurrection of Jesus and the Osiris myths. The warning Lemminkäi­
nen delivers at the end of the poem (35: 275-306) is striking evidence
of Christian influence.
One of the methods employed by the early missionaries in Finland
to spread their teaching was the reinterpretation of popular folk poems
to convey a Christian message. Not only Väinämöinen (Poem 31)
and the smith’s (i.e. culture hero’s) daughter (Poem 32), but also ‘the
one Son of God’ (Poem 33) occur as the main character in Sun and
Moon. The poems about Väinämöinen’s search for wood with which
to build his boat and the account of his voyage were recast as Christian
legend poems, which conclude with the son of God banishing a monster
(Poems 26, 27). A direct attack on pagan beliefs is mounted in Leave-
taking (Poems 57, 58) in which the two-week-old child of M arjatta
(or Maria) refutes the condemnation of him by Väinämöinen and
consigns the latter to the depths of the sea. In The Fishing (Poem 56)
Väinämöinen is deliberately denigrated; he is portrayed as a senile
old man who does not know the difference between a maid and a fish.
An especially illuminating example of the adaptation and recasting
of poems is that of The Great Pig (Poem 52), a Christian parody of
The Great Ox (Poem 51), a ritual poem which sometimes survived as
an incantation to cure burns; in his parody, the poet mocks the timid­
ity of the supreme pagan deity, Ukko, and the ‘other gods’.
In Savo, the original ritual function of the old epic poems was gener­

53
ally lost and they survived only as parts of incantations or as poems
sung specifically for entertainment. St Stephen (Poem 63) and the Sääks­
mäki Whitsuntide series (Poems 75, 76, 85, 86, 92-94) appear to be
examples of poems performed as part of Catholic festivals and which
preserved their ritual framework relatively intact. The latter were poss­
ibly once part of spring fertility rites and as such would have parall­
els in many parts of Europe (comparable, for example, to the Eng­
lish custom of ‘beating the bounds’); the emphasis in these poems on
the hazards of promiscuity is a transformation which reveals the at­
tempts of local priests to reinterpret annual fertility rituals which they
could not wholly eliminate. Examples of other poems which retained
a ritual function are few. One such is the Ingrian Sower (Poems 46, 47),
which maidens sang in an enclosed area on 29th June as a prayer to
Ukko for favourable weather and good crops. There is also evidence
that The Sampo (Poems 12-15) was performed in some areas at the time
of spring and autumn sowing and may have had a similar function.

From O ld Legend Poetry to Proletarian Christianity

Poems from the medieval Catholic period (ca 1100-1540) have sur­
vived in far greater numbers than from the pagan era. Christian legend
poems reveal the impact of influences not only from Sweden and Rus­
sia, but also from further afield, as young men travelled south to study
at the universities of Western Europe. The dominant themes during
the early Middle Ages were miraculous events, in which divine inter­
vention temporarily suspended or reversed the laws of nature (e.g.
Poems 64, 65): a berry causes conception, heavenly bodies perform
particular acts or speak (Poems 59-62), the Creator calms a storm
and banishes the leviathan (Poems 26, 27), a roasted cock and the
bones of an ox testify to the birth of Christ, shoots grow from a knife-
handle (Poem 63), Christian rites cause a withered forest to grow
again (Poem 69). At this period secular and non-secular poems were
kept firmly apart.
The Messiah (Poems 59-62), dealing with the birth, life and resur­
rection of Jesus, survived among Russian Orthodox Karelians and

54
Ingrians and certain parts of these variants can be compared to Byelo-
russian-Ukrainian tradition. St Stephen (Poem 63) is the only poem
in this category to survive in West Finland, where it was used as the
accompaniment to a mumming ceremony performed on 26th Decem­
ber. The oldest parts of The Messiah and St Henry (Poems 66, 67), and
the description of the Creator’s voyage (Poem 27) have all the noble,
inspirational gestures of an austerely sketched imaginary world: ‘It is
for me to depart / as of old for the hired man / or for the serf, the
hireling’, sighs the Virgin Mary to her young maid (59:209-211).
In contrast, the Jesus who in The Death of Elina (Poem 84) is an ‘old man’
(1. 203), a ‘herdsman among willows’ in Magdalen (75: 27) and ‘like
any other stranger / stranger, traveller’ in The Messiah (62: 225-226)
belongs to a much later period. Golden vessels in Magdalen (Poems
75, 76) and in The Widow (Poems 82, 83) no longer shine with the
joy of heavenly victory; they have become symbols of sinful ostenta­
tion and mark the dissemination of a very different kind of Christianity.
Two features distinguish medieval Catholic Finnish legends from re­
lated themes elsewhere in Europe: the Kalevala poetic form and,
above all, the predominating influence of the Mendicant Friars. While
the doctrines of asceticism and celibacy as such found little support in
Finland and Scandinavia, the belief in the glory of poverty and the
wickedness of wealth was extremely popular. The Dominicans, one of
the most important of the Mendicant Orders, established a monastery
in Turku in 1249 and in Viipuri in 1392 and from these centres spread
through Finland.
Documents from the 14th century show that occasionally in Fin­
land, and elsewhere in Scandinavia, the mendicant Dominicans and
local established clergy came into conflict. The latter complained that
the Dominicans collected alms that were rightfully theirs and they
tried to prevent the Mendicant Friars from setting up temporary altars,
often in the open, by a roadside or on a bridge, where they held im­
promptu services and heard confessions. The extent of the Dominicans’
influence was such that their liturgy was adopted in Finland and it
is their vigorous, self-denying ethic that per meates medieval Finnish
religious folk poetry. A vivid illustration of the conflict between the
friars and the local clergy is the episode of the bridge and the church

55
in The Messiah (62:195-217): Jesus refuses to show his respect to the
church but bows instead to the bridge, a reference to their impromptu
services.
The mendicant ethic is apparent in several other poems. Serf and
Master (Poems 77-79) and The Widow (Poems 82, 83) both describe
the arrogant conduct and consequent humiliation of the wealthy. The
former, one of the most radical poetic products of this ethic, is absolute
and wholly without mercy in its condemnation of earthly possessions.
The legend of Mary Magdalen (Poems 75, 76), the Dominicans’ pa­
tron saint, was adapted in two different ways in the Baltic-Finnish
area. The Ingrian text preserves a more traditional interpretation
(Poem 76), while the West Finnish version (Poem 75) reflects the
Dominicans’ teaching; the social and even linguistic (i.e. Swedish vis-
a-vis Finnish) contrast between the rich woman and Jesus, disguised
as a poor herdsman, emerges very forcefully. Similar features, sugges­
ting disapproval of social inequality, are found in the final episode
of Sun and Moon (Poems 32, 33) and in the master-servant relationship
in St Stephen (Poem 63). Leavetaking (Poems 57, 58), The Great Pig
(Poem 52), The Orphan (Poems 41-43) and The Incest (Poems 44, 45)
are further illustrations of the same basic theme: the weak, the poor
and the humble overcome the powerful, the rich and the proud'.

Ballads

The ballad - in the Finnish area the secular counterpart of the verse
legends - reached Scandinavia by not later than the 13th century.
The Provencal balada, the Italian bailata, was a dance-song; in the
Faroes, ballads still function as the accompaniment to line and ring
dances. Traditionally, the lead singer, or pair of singers, sang two- or
four-line stanzas, which were then repeated by all the other dancers
in the line or ring. The ballad reached the Finnish area mainly from
the west, although there is also evidence of its entering from the east,
at a time when Kalevala epic was still flourishing, even in West Fin­
land. It was only later, in the 16th century (in certain areas possibly
in the late 15th century) that poets started to cast their ballads in

56
other poetic styles. Motifs and descriptions of milieu leave no doubt
that the small number of ballads in Kalevala metre took shape in the
medieval Catholic period. The melody, metre, rhyme, repetition for­
mulas, and probably also the strophic structure of the Scandinavian
ballads changed or were lost as the poems were recast in the style of
Kalevala poetry with its alliteration and parallelism.
The most marked difference between the ballad and the poetry of
earlier style periods is found in structure and in the treatment of
erotic themes. Although the poets of the Viking era sang about women
and love, their approach was characterized by masculinity, a robust
joy in life and psychological realism. In the Finnish ballad, love be­
came a romantic, destructive, fateful power. The characters in the
ballad are rigid stereotypes, dialogue - and sometimes monologue -
plays a greater role and the dénouement is nearly always tragic: a
maid kills the stranger who attempts to seduce her (Poem 90); in­
advertent incest is followed by suicide when the truth comes to light
(Poems 44, 45); the attempt by a priest sworn to celibacy to seduce
a maid ends in his death (Poem 89); sexual advances drive a girl to
suicide by hanging (Poem 124); a girl conjures a storm to destroy her
seducer, an unscrupulous Hanse merchant (Poems 92-94); a young
nobleman takes his own life after hearing that his wife has died (Poems
87, 88).
In theme and attitude the ballads in Kalevala metre are mostly
cautionary. The dramatic conflict is generally between a man and a
woman. Myth and fairy tale motifs play a noticeably minor part in
these uncompromisingly didactic, fateful, blood-red and death-black
poems. The most original, and artistically most satisfying, is the story
of Annikainen, the subject of one of the ballads sung as part of the
Sääksmäki Whitsuntide festival (Poems 92-94). The ‘stranger’, a young
merchant forbidden by the rules of the Hanse League to marry anyone
of a different nationality, spends the winter with Annikainen. When
he sails away the abandoned girl raises a storm to destroy him; this
ungodly conclusion was omitted from the version sung under the super­
vision of the clergy at Ritvala, but it survived in the variants sung
in the eastern parts of the Finnish area. The women closest in character
to Annikainen are Kirsti, who murders the priest who tries to seduce

57
her (Poem 89) and Kaisu, who stabs her seducer to death (Poem 90).
The poets’ sympathy is clearly on the side of these wronged and deter­
mined women. The long poem about Klaus Kurki, who kills his inno­
cent wife Elina, his small son and his best servant by burning them
alive (Poem 84) is a unique creation which brings together the ballad
and the legend. Based on a local tale, it was originally a five-act
drama which employed the ballad technique, but ended in the style
of a medieval legend poem.
While violent death and seduction abound in Finnish ballads, the
evil deeds are performed with a surprising amount of modesty
and elegance, and with little reference to bloodshed. The Finnish
versions of the Magdalen legend (Poems 75, 76), and The Faithful
Bride (Poems 85, 86) illustrate this feature. This may perhaps be partly
attributed to the fact that the songs were performed by girls of tender
years, under the supervision of the local clergy. Nevertheless, in com­
parison with the ballad (and the poetry tradition as a whole) of Scan­
dinavia and Russia, there is a clear tendency in the Finnish area to
avoid gruesome detail. There is rarely any trace of the interest in
the techniques of killing that is apparent in Germanic poetry.
Exceptions to this tendency to avoid overt brutality are several
poems of Russian origin: The Gift (Poems 19, 20), The Wife-Killer
(Poems 95, 96), The Daughter-Killer (Poems 97, 98), The Lost Brother
(Poem 136), and News of Death (Poems 140, 141) are all products of
a different tradition and are characterized by their sentimental, re­
tarded description of brutalities, dismembered bodies and weeping
relatives. The Wife-Killer and The Daughter-Killer are typical of the
East European poem that purports to warn against the consequences
of crime. It has been shown that all the main motifs of The Wife-
Killer were borrowed from an Ingrian translation of a Russian ballad:
‘You poisoned your own brother, / brother of your own flesh, / you
might also poison your husband’, declares the male character of the
original Russian folk song to the girl whom he has provoked to com­
mit a crime (cf. 96:69-72). In the final episode of The Daughter-Killer,
the mother tries in vain to persuade her three drowned daughters to
return from the sea after the daughter-in-law, for whose sake they
were murdered, has proved incapable of performing the household

58
tasks. The pie which Iivana makes from the breasts of his murdered
young wife in The Gift (Poems 19, 20) and gives to his mother-in-law
to eat, is an outstanding example of this predilection for brutality.

Refrain Poems

A typical structural feature of the ballads in the eastern part of the


Finnish area is nucleus and frame repetition. Refrain songs as such
were especially popular amongst the Slavs and this appears to have
been the source of this structural device. It was used not only for
poems composed in Karelia and Ingria, but also for ballads and le­
gends that were transmitted from West Finland. It was in this form
that a number of poems, originally of Scandinavian origin, were pre­
served, albeit in a fragmented form, long after they had been forgotten
in Finland proper.
Nucleus repetition, which is also common in Estonia, is represented
by the ‘coming-weeping-home’ formula. The main character suffers
some misfortune and returns home in tears. When asked why he or she
is weeping, the incident is repeated in the same terms as first described.
This type of repetition is a characteristic of some twenty poems in
the Finnish area and provides the structure of The Hanged Maid (Poems
104, 105) and The Loss (Poems 106-109).
Frame repetition assumes various forms, most of which appear to
be derivatives of the ‘climax-of-relatives’ formula. The underlying idea
of these poems, which are generally elegies sung by women, has to
be seen against the background of the extended family institution in
the eastern parts of the Finnish area, where three or four generations
often lived under the same roof, ate together and shared in all the
work. The elegies were sung by daughters and daughters-in-law, tra­
ditionally the least esteemed members of the family, and dramatize the
sorrow and hardships they suffered. The formula is employed to ex­
press feelings of love or hate for the love-partner - betrothed or hus­
band. The basic theme is the comparison by the singer of four relatives
with the love-partner, e.g. father, mother, brother, and sister (or
father-, mother-, brother-, and sister-in-law) being compared to the

59
betrothed or husband. The comparison is achieved by making each
of the four relatives respond, or be treated, either positively or nega­
tively in respect of an identical, repeated situation - the relatives may
all show sympathy or antipathy, benefit or be spared a certain fate;
the concluding stage is the opposite response or fate of the love-partner.
In Death on the Prowl (Poems 80, 81) and The Unhappy Bride (Poems
122, 123) the formula is used to express hatred of the husband, whereas
in The Water-Carrier I I (Poem 125) and The Maid and the Boat III
(Poem 128) it expresses the girl’s love of her betrothed. In some poems
another relative can be substituted for the love-partner (e.g. The Water-
Carrier /, Poem 124). Possible derivatives of this formula that are also
used for frame repetition poems include the comparison of suitors in
The Suitors from the Sea (Poems 111, 112) and The Suitors from Afar
(Poem 113), and The Thief as Suitor (Poem 115).

A fter The Reformation

The middle of the 16th century saw the emergence of the Finnish
literary language and marked the beginning of the decline of the Kale­
vala poetry tradition. It was not cause and effect: both were the re­
sult of the Reformation. The decline in folk poetry must be seen in
the context of many changes wrought by or in association with the
introduction of Protestantism. The cultural vandalism of Gustav Vasa
(1497-1560) played an important part. The artistic treasures of the
churches were taken and melted down in the Stockholm mint, mon­
asteries were turned into stables and granaries. The efforts of fanatical
Protestant clerics to destroy everything connected with the Church of
Rome had its immediate effect on ritual and on the wealth of cer­
emonial poetry associated with it. In West Finland, poetry-singing sur­
vived, in so far as it survived at all, usually in songs to accompany the
daily tasks, in local tradition such as The Death of Elina, or in popular
adaptations of ecclesiastical ceremony such as the Sääksmäki Whitsun­
tide festival. By the late 16th century, the Finnish language had begun
to lose its position as the vernacular of the aristocracy and the leading
burghers of Turku and Viipuri even before Sweden’s Charles IX
(1550-1611) had eliminated the political opposition of the Flemings,
the Kurkis, the Tavasts, the Särkilahtis, and other noble Finnish fami­
lies. The gifted boys who were educated in the schools set up by
the Lutheran Church consciously composed verses that conflicted with
the ancient tradition. Centuries were to pass before this new, educated
section of society was able to produce poetry that compared in quality
to, for example, The Forsaken Maid (Poems 92-94) or The Death of
Elina (Poem 84).
In Finland proper, the decades following the introduction of the Re­
formation saw the linguistic and cultural alienation of many young men.
They adopted Swedish as their first language. Though their numbers
were small, their significance was immense: they represented the irre­
placeable creative minority; gifted, critical and appreciative of aes­
thetic values, they were the men who followed literature, art and
philosophy outside Finland. Instead of adapting foreign ideas to a
Finnish context, they began to implant them in their alien form.
The old poetic tradition survived in the more distant parts of the
Finnish area - survived, but no longer flourished, and scarcely de­
veloped. Finland was entering an era of violent conflict and the most
striking of the later poems are chronicles of war, the ‘historical poems’.
In style and content they are close to Swedish popular poetry and
skämtvisa. The basic theme is repeated over and over again in the same
predictable stock phrases: the ‘good Duke Charles’ (Poem 143), the
‘noble Jacob de la Gardie’ (Poem 144), ‘Master Ivan’ (Poem 145),
‘famous King Peter’ (i.e. Peter the Great of Russia), or some other
leader equips a fleet and sails to Turku, Viipuri, Narva, or Riga.
When the customary insults have been exchanged, the conquering
forces begin to fire their guns, ‘noble swans begin to chant’, ‘closed
pipes to roar’, ‘open throats to bellow’. The enemy is terrified, the
boastful foe is humiliated, and the poet’s malicious delight has full
play. The last examples of spontaneous creation of folk poems in the
Kalevala epic style also concerned military themes and date from the
18th century. They are elegiac accounts of conscription into the Russian
army, sung to console the departing young men and their families
(Poem 147).

61
Kalevala M etre

While thematic and stylistic differences can be associated with parti­


cular parts of the Baltic-Finnish area or with certain historical periods,
the unifying factor that runs through Finnish folk poetry, to a large
extent irrespective of place and time, is its prosodic structure. The so-
called Kalevala metre and alliteration, the two most distinctive fea­
tures, are governed by rules that apply, with only minor local varia­
tion, in every area where Kalevala poetry was sung. The metre appears
to date back to the Proto-Finnic period and survived among the Esto­
nians, the Votes, the Ingrians, most of the Karelians, and the Finns;
it was not used on the eastern periphery of the Baltic-Finnish area,
i.e. among the Vepsians and the eastern groups of the Karelians, nor
by the Lapps. Where it was used, it served for more than 2,000 years
as the main prosodic form for epic, lyric and festival poetry, and for
incantations, and often for proverbs and riddles.
Kalevala poetry is cast in unrhymed, non-strophic trochaic tetra­
meters, e.g.
Ruven/nenko // laula/mahe
šoanen/ko ša/nelo/mahe (1:1-2)
Metrical opposition is achieved by three degrees of syllabic stress:
strong, weak, and neutral. Long syllables (i.e. syllables containing a
long vowel or diphthong, or a short vowel followed by a consonant)
with a main stress in speech are metrically strong, while short syllables
with a main stress are metrically weak; all syllables without a main stress
are neutral. A long syllable with a main stress in speech, i.e. strong, can
occur anywhere in the first foot., but only in the rising (i.e. stressed) part
of the second, third or fourth foot and correspondingly a short syllable
with a main stress, i.e. weak, only in the falling part of the foot, e.g.
sormi/j-ormi/en vä/lihc (1:6)
A syllable without a main stress, i.e. neutral, can occur anywhere in
a line. A special feature is the freer syllabic arrangement of the first
foot, in which three, or even four syllables (provided in the latter case
they are weak) can occur and a short stressed syllable can be in a
rising position, e.g.
hyvän on / toise/na ke/ralla (1:3)

62
and a long stressed syllable in a falling position, e.g.
kuin aijka to/sin tu/levi (cf. 1:40)
There are two main types of Kalevala line: a normal and a broken
trochaic tetrameter (murrelmasäe). In the normal tetrameter, word-
and foot-stress fall on the same syllable, with a caesura between the
second and third feet, e.g.
niin kuin / kahta // kantel/voista (1:12)
In a broken tetrameter at least one syllable with a main stress occurs
in a falling position and as a result the line does not usually have a
caesura, e.g.
kolmi/e Ao/van o/vie (1:14)
Word-order is also governed by certain rules. A noun, for example,
cannot be separated from its attribute either by the insertion of other
items or by an enjambment:
Laula/vat La/pinni / lapset (1:15)
could not be sung as
Lapset / laula/vat La/pinni
for this would be in conflict with the rules governing word-order, nor as
Lapset / Lapin/ni laujlavat
for a short syllable with main stress would occur in a rising position
and a long syllable in a falling position. Within the framework of these
various rules of stress and word-order singers tended to place short
words in the first half of the line and longer words in the latter half.
A line such as
suulta suurukselliselta (1:20)
is far more common than
petäjäisessä pesässä (1:17)
The Kalevala metre - the combination of normal and broken tro­
chaic tetrameters - probably owes its origin to two once wholly separate
metres which came into contact more than 2,000 years ago. The nor­
mal tetrameter with a caesura between the second and third feet was
probably borrowed from the Ancient Balts, while the broken tetra­
meter is possibly the result of the fusion of the Balt metre with the metre
in which the poetry of the Proto-Finns was once cast, a prosodic form
which it has not been possible to reconstruct. The proportion of nor­
mal to broken tetrameters in traditional Kalevala poetry is roughly

63
equal. The free variation of these two kinds of lines gives the metre
its tension and prevents it from becoming monotonous. It is also the
most characteristic difference between the Kalevala metre and other
trochaic tetrameters and explains why the latter are so unsuitable for
the translation of Finnish folk poetry (cf. pp. 17-18).
A curious feature of Kalevala metre is that short syllables with a
main stress, which are normally treated as metrically strong in tro­
chees, occur in the falling part of the foot - thus creating stress patterns
that are very different from those of the spoken language. This feature
was probably the result of the tight syllabification of the metre - the
fact that only two syllables could occur in the second, third and fourth
feet. Were the metre based on the metrical opposition of a long stressed
and a short unstressed syllable, with the former always in a rising
position and the latter falling, it would be impossible, for example, to
incorporate a five-syllable word such as taitavammille (148:32), which
has a long first and a short final syllable, and a very common three-
syllable word such as virteni (148:33) would be able to occur only
with the first syllable beginning in the falling position of the first foot.
Hence the syllabic structure of the metre permits the ready use of the
whole range of the vocabulary of Finnish.
Many of the lines in the present Anthology appear not to conform
to these rules. Sometimes this is because a singer borrowed lines from
a poem in a different metre (e.g. 63:54-55), sometimes the singer
momentarily shifted into prose in the excitement of the narrative (e.g.
62:109). In most cases, however, the apparent conflict with the rules
given above is the outcome of linguistic change since the poem was
first sung. An example of this kind of change can be seen in the couplet:
Yhren tuiskasit tulleen
toisen vetkasit vetteen (75:41-42)
At one time, the last word of each line had an extra syllable, i.e. tule-
hen, vetehen (the loss of intervocalic -A- is a regular feature of Finnish)
and in this form both lines met the requirements of the traditional
metre. It is only in certain poems from the later periods of Kalevala
poetry that the operation of the old rules shows the influence of other
metrical forms. Poem 84, for example, begins with a line of dactyls
and trochees based on first syllable stress:

64
Elina neitty aittahan meni
In other variants this opening is expressed by a couplet in the tradi­
tional metre, e.g.
Elinainen neitty nuari Elinainen the young maid
meni aittaham mäjelle went to the shed on the hill
Similarly, it is possible to discern in Ladoga Karelian poetry a con­
flict with the traditional metre in the occurrence of a short stressed
syllable in a rising position, e.g.
Kydy on kui oma veikko (123:40)
Comparison with variants again suggests that earlier singers used
a traditional couplet in Kalevala metre in place of a single line, e.g.
Parempi kyty minulla Better my brother-in-law
kuin veikko omassa koissa than brother in my own home
Throughout the Finnish area Kalevala poetry is characterized by
alliteration, although it is more common in lyric than in epic; poets
and singers deliberately chose words with this in mind and often the
requirement of alliteration was more important than meaning (the
present editors have not commented on obscure or fantastic images
where they arise from this). Three degrees of alliteration occur in
Kalevala poetry. In contrast, for example, to ancient Scandinavian
poetry, it favours strong rather than weak alliteration - the repetition
of the same combination of consonant and vowel or of the same vowel.
However, weak alliteration - the repetition of the same consonant
only - also occurs. A further contrast with Scandinavian poetry is the
lack of any fixed rules demanding its use.
The frequent occurrence of strong alliteration in Kalevala poetry is
thought to have been influenced by the phonemic structure of Proto-
Finnic. As only eleven consonants occurred in word-initial positions
and could combine with eight vowels, the maximum number of vowel
and consonant-vowel combinations with which a word could begin
was 96, a much lower number than in Indo-European languages. The
alliterative pattern of the Kalevala line is free, but obviously allitera­
tion favours adjacent words. There is also a tendency for alliteration
to occur in the functionally most important words, so that it is found
most often at the beginning of a line.

65
S tylistic Formulas

Stylistic formulas which predominate in Kalevala poetry are parallel­


ism and repetition, and the use of stock epithets, features typical of
oral tradition all over the world. Parallelism is second only to allitera­
tion as one of the distinctive conventions of Kalevala poetry. The
opening lines of the Prologue (Poem 1) provide a clear illustration of
the principal rules that governed the composition of parallel sets of
lines: the repeated line, or lines, must not contain anything that does
not have a corresponding component in the first line. In echoing the
first line, the repeated line has to parallel each separate item, apart
from verbs and particles (cf. 1:5 -6 ,12-13). In early epic poetry, parall­
elism appears to have consisted principally of the repetition of the
idea of the first line of the set. Later, however, forms of parallelism
evolved in which the main idea could be repeated in the first line
(e.g. 1:8—9) or in which the repeated line elaborated the main idea
and contributed to the narrative flow (e.g. 1:50-52). Long sets of
parallel lines that are sometimes found in combined sequences of poems
(e.g. 59:23-27) and elaborative parallelism used to form lists (e.g.
59:34—40; 60:11-15) are comparatively rare in epic poetry; they were
probably inspired by the poet-singer’s conscious need to retard the
flow of the narrative and thereby heighten the tension, and not by
traditional parallelist conventions. The repetition of a word, or words,
in successive lines is a more recent development in Kalevala poetry
which became especially popular in Ingria (e.g. Poems 77-79).
The stylistic feature closest to parallelism is repetition. Two kinds
of repetition - nucleus and frame - have already been discussed (see
pp. 59-60) in connection with ballads. Repetition also occurs as a struct­
ural formula in many other kinds of poetry. It provides, for example,
the dialogue framework in poems from the Viking period such as The
Sampo IV (Poem 15) and The Courtship II (Poem 17) and in the early
Christian description of Väinämöinen’s journey to Tuonela (Poem 30),
while certain medieval Christian poems are characterized by contrast­
ive repetition (e.g. 62:187-200 and Poems 77-79, 83). Apart from
being an essential aid to the memory, repetition was almost certainly
an integral part of various ceremonies which involved movement on

66
the part of the participants. This particular function survived most
clearly in Ingria where the poems continued to be sung as the accom­
paniment to games and dances until comparatively recent times.
Another common repetitive feature of Finnish folk poetry is the use
of epithets and stock phrases to describe certain common actions. Väi­
nämöinen is the tietäjä iänikuinen ‘the everlasting wise man’, Ilmarinen
the takoja iänikuinen ‘the everlasting craftsman’. Stereotyped phrases
are used to introduce whatever they say - sanan virkkoi, noin nimesi ‘he
uttered a word, spoke thus’, itse tuon sanoiksi virkkoi ‘he himself put this
in words’ - or to describe how they travel or sense danger - ajoa karet-
televi ‘drove rumbling away’, jo tunsi tuhon tulevan, / hätäpäivän päälle
saavan ‘felt his doom coming / his day of distress dawning’. In this
respect Kalevala-epic user stylistic conventions that are universal in
epic poetry.
The oldest strata of heroic epic are restrained in their use of figura­
tive language and it is the body of poetry about the origin and playing
of the kantele which marks the first break with this tradition. These
poems are bold in their personification of nature and use of simile;
the description of how all the creatures of the forest, air and water
came to listen to Väinämöinen’s playing reveals a poet of stature and
by the standards of its time is highly unconventional. The Old Ger­
manic kenning, the metaphoric periphrasis characteristic of the Scan­
dinavian sagas whereby the sea is called, for example, ‘whale-road’,
a ship ‘foamy floater’, occurs only rarely in Kalevala epic; figurative
language of this kind was restricted to ritual poetry and incantations
(cf. Poem 48). The old Finnish poets produced some of their finest
poetry by singing plainly about everyday things; the ethnographical
and psychological realism which resulted from this approach imbued
their work with a freshness, and often a poignancy, that can still be
sensed today (e.g. Poems 16, 17, 81, 84).
In so far as Kalevala epic is characterized by any metaphorical de­
vice, it is the mensural hyperbole, although even the numerous exam­
ples of this are firmly rooted in local detail - the home or the surround­
ing forests and lakes. The mensural was a favourite device for evoking
length of time, great wealth or distance, and depth of emotion. The
time Antero Vipunen has been in his grave is expressed by the size

67
of the trees that have grown from parts of his body (28:28-30; 29:20-
25). A mensural which occurs as a stock passage in numerous poems
describes the years a girl has spent in her parents* home with the image
of her skirts wearing away the threshold and her head-dress the door
lintel (e.g. 61:8-21; 75:6-15). The size of an ox is expressed by the
time it takes for a squirrel to run down its tail or a swallow to fly be­
tween its horns (34:191-194; 51:3-10). Similar hyperbole expresses a
mother’s g rief- rivers swell from her tears, birches grow on their banks
and cuckoos sing in the birches (104:87-118).

Poets and Singers

There is an important distinction between poet and singer, and it is


also possible to speak of a third person - the poet-singer. At one time
scholars paid little attention to the personality of either the poet or the
singer. For long into the 19th century, the Romantic notion prevailed
that folk poetry was somehow the embodiment of the national spirit;
it was seen as the cumulative creation of the people and the singers
were regarded as no more than vehicles of transmission. Hence although
a great many singers are known to have provided scholars with poems
and many are known by name, personal details have been recorded
only in more recent times.
Today scholars accept that each poem was created by an individual
poet; they were people of special gifts, the kind of men and women
who in present-day society would probably be distinguished writers
and poets. Through text analysis the scholar can gain some impression
of the poet’s environment, his level of civilization, his familiarity with
other forms of poetry, his moral attitudes and religious convictions.
But further than this he cannot go. It is only rarely that some trait
provides a glimpse of the poet’s personality (cf. p. 557). During the
time that scholars have been actively engaged in the collection of Kale­
vala epic poetry, no one has been found who was still actively creating
new poems. One Mateli Kuivalatar, an old woman from Ilomantsi
interviewed by Lönnrot in 1838, claimed to have composed poems as
a young woman. If this is true, then it means that the tradition was
still alive in East Finland, as well as in Ingria, at the end of the 18th
century. An imitative popular style of poetry (rahvaanrunous), however,
survived into the 20th century and was frequently used, for example,
in broadside publications. Ephemeral in content and lacking the spon­
taneity and artistic quality of authentic Kalevala poetry, it owes its
survival largely to the printing press. Most poets had an imperfect
command of metre and their application of other prosodic and stylistic
devices was generally stiff and contrived.
In the authentic tradition the original poet’s creation was memor­
ized and handed on by other singers. Most scholars agree that singers
were not themselves poets. A poem transmitted in this way changed
when a singer forgot a passage; then he might improvise, borrow from
another poem, or simply omit the passage in question (cf. Poem 29).
Poems were also confused with others of similar content and in time
many of the characteristic features of the early form of a poem were
eroded. The scope and pace of change of this kind varied according
to place, time, local tradition, and the personality of the individual
singer. The re-creation of a poem by a poet-singer could be stimulated
by several factors, in addition to the individual’s creative impulse. One
of the most important of these factors was the penetration of new ideas.
The Christian adaptations of pagan poems are the most obvious ex­
amples of this kind of stimulus. The variants and redactions of The
Voyage (Poems 26, 27) illustrate the process of change: God replaces
a pagan hero - originally Väinämöinen - as the main character, and
the obstacle on which the ship runs aground changes from a pike to
a sea-monster. In Sun and Moon the liberator in the pagan poems, the
smith’s daughter, is replaced by ‘the one son of God’. Perhaps the
most obvious illustration of this process is The Great Pig (Poem 53),
the Christian parody of The Great Ox (Poem 52). The result of this
process of re-creation was not the replacement of an old poem by a
new one, but the creation of yet another poem, or the elaboration of
an older one, and the enrichment of the total stock of materials avail­
able to successive generations of poet-singers and poets.
Another important factor that could stimulate the creation of new
redactions and poems was the way in which the ever-increasing body
of material was used. In the north, especially in Archangel Karelia,
singers tended to link poems that were originally separate into narra­
tive sequences. Usually constructed around a well-known hero about
whom several poems already existed, the singer would then attribute
to him acts originally associated with other heroes. Some poet-singers
would attempt to shape these sequences into a untied whole, while
others would leave the various parts as obvious surrogate passages.
A typical example of the latter is The Sampo IV (Poem 15), a sequence
of poems about Väinämöinen which contains passages from The Court­
ship I (Poem 16), The Sampo I (Poem 12), The Creation IV (Poem 5),
Fire (Poem 9), and The Singing Match I (Poem 10). Another popular
Karelian sequence of poems about the same hero was compiled from
themes connected with the building of the primeval boat and the
playing of the kantele. The Spell I I (Poem 29) displays features of Väi-
nämöinen’s journey to the otherworld (Poem 30) and of his visit to
Antero Vipunen (cf. The Spell /, Poem 28), the running-aground from
The Voyage I (Poem 26), and the construction of the kantele (Poems
23-25); the sequence concludes with the theme of The Singing Match
(Poems 10, 11). To give some cohesion to the narrative, the poet-singer
depicts Joukahainen as Väinämöinen’s rival in the episodes of launch­
ing the boat, killing the pike and playing the kantele, roles that tra­
ditionally the lesser hero never performs. The poems about the adven­
tures of Lemminkäinen (Poems 34-36), Kaukamoinen (Poems 37, 38)
and Ahti Saarelainen (Poems 39, 40) took shape in a similar way.
Kaleva’s son (Kullervo in the Kalevala) has likewise attracted themes
that once were not connected with him. The Messiah (Poems 59-62)
is an example of how this tendency to link poems about heroes also
applied to later themes.
Changes in content and presentation were inevitable when poems
were joined together in this way. Such changes usually occurred where
the material from one poem shifted to that of another. To illustrate
this particular process of change the editors of the Anthology have
often included as part of a thematic series a variant that has not been
worked into a chain. Examples of these are the somewhat faded variant
of The Sampo (Poem 13), which survived among the ancestors of the
Savo Finns who migrated to Värmland in the 17th century (see p.
25), and the obscure version of Lemminkäinen (Poem 36). The them­

70
atic structure of the main cycles of the Kalevala is largely a reflec­
tion of this northern practice of joining poems into sequences, and
indeed Lönnrot referred to this particular style of singing as justifica­
tion of the way in which he had compiled his epic.
The formation of separate poems into sequences with a relatively
clear narrative flow was not, however, the only way in which singers
and poet-singers drew on the stock of poetic material available at any
one time, nor was it the only way in which new variants and redactions
could evolve. When a poet-singer began a poem he would generally
have in mind a narrative theme (though this would not preclude the
spontaneous shift to another in the course of singing) and could select
the fabric to convey the theme by an allusion technique, e.g. by using
surrogate passages and stock phrases. Such a process could occur con­
sciously or unconsciously. The use of such material is a very local art;
it presumes of the listeners a familiarity with the underlying narrative
and the stock of poems that provide the fabric. Where this form of
composition occurred consciously, it may in some areas have had its
own aesthetic function; the listeners’ enjoyment lay in the skill with
which the singer chose and juxtaposed his materials more than in the
underlying narrative.
A poem that took shape in this way, probably unconsciously, and
then became established as a new work is The Son (Poem 100), which
shares a common origin with The Elk (Poems 53, 54). The original
theme described how a man, whose epithet was lappalainen ‘the Lapp’,
slowly constructed (at various times of the year) a pair of skis, set off
on them, and after a very long journey and three unsuccessful at­
tempts finally caught an animal. In The Son this has combined with
a poem about a mother who laments the sufferings of childbirth, to
produce a new theme about a son who hunts various animals in order
to repay his mother’s sufferings in giving birth to him. The poet-singer
expressed this theme with a series of stock phrases and surrogate pass­
ages including fragments from The Elky The Kantele (Poems 23-25),
News of Death (Poem 140), and a hunter’s spell.
This patchwork method of composition was most marked in Ingria
where stock passages and phrases were used freely and very often to
express lyrical feeling. There it was an idea rather than an actual poem

71
which generally spread from one area to another. Local singers would
convey the idea with their own stock of poetic material, often draw­
ing both framework and substance from quite other poems than those
which transmitted the idea to their area. It is this that makes it so
difficult to analyse the origin and structure of poems from Ingria,
for this patchwork construction did not exclude the possibility of a
poem, or parts of a poem, from becoming established in the repertory
of singers in another area and gradually being transmitted to other
parts of the Baltic-Finnish area.

Performance

The occasions when Kalevala epic was sung, and the singers and their
style of singing, were many and varied. Certain generalisations can be
made, although each must be carefully qualified. Men tended to sing
heroic epic, while women preferred refrain songs, legends, ballads and
lyrical epic. Nevertheless, in Karelia, at least in more recent times,
women also sang certain kinds of heroic epic. In Ladoga Karelia, for
example, it appears that more variants of poems such as Lemminkäinen
(Poems 34-36), The Voyage (Poems 26-27) and The Orphan (Poems
41-43) were recorded from men, whereas The Messiah (Poems 59-62)
was largely preserved by women. The tendency to prefer specific types
of poetry offers an explanation why the poems more typically sung by
women survived in most parts of the Finnish area, whereas those sung
by men were found principally in the northern part of that area. Wom­
en, because they had fewer contacts with the world beyond their homes,
preserved the old traditions far longer than their menfolk. In the south­
ern part of the Finnish area, the population density was greater; as serfs
the men had obligations that brought them more frequently into touch
with people who did not speak the Finnish dialects and thus eroded
the basis of their own culture. The greater degree of disintegration of
the poems sung by women could also be explained by their contact -
though not so close - with other cultures. Further north, men had to
travel long distances, but it was through wilderness; their contacts with
outsiders were generally with people who preserved, or at least had

72
known, the same tradition. Their womenfolk had correspondingly fewer
contacts with people of a different culture. The Plates from Karelia
(see Plates 1-27) and Ingria (see Plates 28-39) illustrate this contrast
in milieu.
As already mentioned, very few records survive about the person­
ality of the earlier singers. Scant details about West Finnish healers
can be extracted from reports of witch-trials dating from the 17th
century. The men and women who preserved the tradition in the 19th
and 20th centuries were for the most part the ordinary people of K a­
relia and Ingria - illiterate and Russian Orthodox by religion. In the
northern area, singing prowess clearly ran in families; the Perttunens,
the Malinens, the Sissonens, the Shemcikkas all produced several gen­
erations of renowned singers. Further south, the survival of the tradi­
tion depended far more on individual women, about whom, regret­
tably, so little is known; the notes of 19th-century collectors sometimes
record a singer’s name, rarely anything more.
The singing tradition appears to have survived as an integral part
of daily life; it was a local tradition in which people sang to themselves
or their own groups. Professional singers or minstrels were not known
in the Finnish area until the end of the 19th century (see Plates 24—26),
when they began to travel around the country and to perform for
payment in responce to the romantic, nation-wide enthusiasm for
the Kalevala - it is even possible to speak of a ‘Kalevala cult’ and
‘Karelianism’ (see pp. 31-32) - that gripped the Finns at the turn of
the century. Both the motive and style of such performances, however,
were no longer wholly traditional.
In the form in which the genuine tradition survived, men and women
sang - either in groups or alone - as they worked in the fields, hunted,
fished, or attended to domestic duties (cf. Plates 7, 13, 18, 19, 28). In
the evening the men and women sang and listened to each other as
they performed household tasks, the women spinning (cf. Plate 5, 35)
or weaving, the men carving or mending their nets (cf. Plate 17).
Certain songs continued to be associated with particular festivals (see
pp. 53-54). The poems often served as entertainment when neighbour­
ing groups met. It is known that in some parts of Karelia, for example,
singing contests were held, a custom that possibly goes back to the

73
Proto-Finnic period. They were especially popular in Estonia where
they formed part of wedding ritual, and they have also been recorded
in Latvia.
One of the finest descriptions of such an event was noted down in
1834 by Lönnrot in Archangel Karelia: ‘Frequently, when several
singers are present at a festival, a singing contest would be held, and
friends and acquaintances would lay bets on who would win. Arhippa
Perttunen [the singer of Poems 1:23—4-7, 12, 27, 28, 37, 59, 60] said
that the people of his village often persuaded him to take part in con­
tests and he could not remember ever being beaten.’ It was the custom
for the first contestant to sing a poem, after which his opponent had
to reply with a similar poem of about the same length. They continued
in this way until one of them had exhausted his store of poems (cf.
Poems 10, 11). ‘If the singers performed badly,’ Lönnrot continued,
‘the audience would laugh at their struggles to have the last word.
Such a contest is like a squabble between two hens: the one who clucks
longer claims to have won.’ On the other hand, if two good singers
were competing, the contest could continue until one of them fell asleep.
The traditional form of male singing, which possibly dates from the
time when the poems still retained a ritual function, was the so-called
‘hand-in-hand position’ (see Plate 10). Records of this style of singing
are rare. The best known is that left by Porthan, who described in
the late 18th century how male singers always performed in pairs to
the accompaniment of the kantele. The task of the fore-singer - the
laulaja “singer’ or päämies ‘leader’ - went to the man who remembered
the poem better. He would begin solo, but would be joined by the
after-singer - the säestäjä ‘accompanist’ - when he reached the third
or fourth foot; the line was then repeated by the after-singer alone to
give the fore-singer time to shape the following line. The fore-singer
joined the after-singer at the third or fourth foot of the repeated line
and then went on to sing the next line solo. The singers sat side by
side, holding each other’s right hand and swaying backwards and for­
wards in time to the rhythm; a wooden tankard was within reach of
the singers’ left hands. This style of singing, which has parallels else­
where in the world, died out in the Finnish area during the 19th
century.

74
The way of singing that survived in the northern area was generally
that of one singer alone. Some scholars believe that the male pair style
of singing was also practised further south, although there is no firm
evidence of this. In the female tradition, except where a woman sang
alone to pass the time or to console herself, the role of after-singer was
generally performed by a group. The traditional way of singing the
Sääksmäki Whitsuntide songs was for the leading row of girls to sing a
line, which was then repeated by those behind (see Plate 40). This
custom survived until the 1880s and was probably typical of a medieval
West Finnish female tradition; it can be compared to a way of singing
practised in Ingria where girls sang as they walked hand in hand
through the village. There were also other forms of group-singing in
Ingria; it could accompany a ring dance - with one girl standing in
the middle of a circle - and sometimes girls divided into two groups
to sing, or they might sit on swings (see Plate 36).

The Kantele

Epic poems were customarily sung but incantations were recited.


Musical accompaniment was often provided by the kantele (the name
appears to derive from an ancient Balt loan, cf. Lithuanian hankies, a
kind of zither). The oldest known type of the instrument had five
copper strings which were tuned to either the major or minor scale
between the tonic and dominant of the pcntachordic melody of the
song. According to popular belief, the strings of the earliest type of
kantele were made of horse or human hair. Poems about the origin of
the kantele (Poems 23-25) describe how the player sat with the instru­
ment across his knees; if he was performing indoors, he would often
place it on a table (see Plate 22). In the authentic folk poetry tradition
the kantele appears to have fallen out of use by the 19th century; its
popular identification with the singing tradition is largely a result of
late 19th-century Kalevala Romanticism.
The melody to which Kalevala poetry was sung was simple. One
of its most common forms was reproduced by Acerbi:

75
This five-beat measure predominated in Finland and Karelia, it was
common in Ingria, but rare in Estonia. Its special character derives
from the long final notes which draw out the last foot of the line.
Even more common, and probably older, is the four-beat type of
melody:

The melismas are characteristic of most of the melodic developments


of the four- or five-beat types. Both the rhythm and melody of the
ancient indigenous type of tune varied from area to area. In Karelia
the tunes remained simple, often monotonous, while in Ingria there
were numerous examples of local variation and the tendency to develop
more complicated series of melodies, partly a result of Russian in­
fluence. The melodies can be classified as of one or two lines in length
and as major or minor, although these differences have no real signi­
ficance: a singer might perform the same song in either the major
or the minor; likewise, the five-stringed kantele could be tuned accord­
ingly. O f the published melodies almost three-quarters are in the
minor.
Collectors’ field notes alone, and in more recent times recordings,
do not do full justice to the technical range and scope of the singers
of Kalevala poetry. Reports survive of singers who were able to give
a versatile, highly expressive performance from a simple melody. I. K.
Inha (1869-1930), the author of several outstanding books based on his
travels in Karelia, wrote of one Vasselei, a centenarian from Archangel
Karelia: ‘He sang his poem to a melody that was peculiarly light,
lively and sparkling. I have never heard anything more beautiful. He
varied and repeated the melody in so many ways that there was never
a moment when it seemed monotonous. Sometimes, as he sang the
lines of one of the longer passages, the melody seemed to grow simpler
and simpler as if he were hurrying the story along and would finally

76
swing between two notes; as he approached the point where he would
pause to gather his thoughts, he sang the remaining lines to the full
melody which he embellished with wonderful, sonorous phrases, which,
though I was fully aware of their beauty, I was unable to note down
precisely. Handled in this way, the essentially simple melody of the
epic poem acquired a vitality and richness that gave it an entirely
new quality.*

77
FE N N O -SCANDINAVIA
AND
NORTH-WEST RUSSIA
showing where the poems in the present
work were collected and other places
mentioned in the book. The inset map
shows the traditional provinces of Finland
and Karelia, the larger map the Baltic-
Finnish area. In the latter, the villages
which were especially rich sources of folk
poetry, and towns, are marked in small
letters; small capitals are used to show
administrative districts, the geographical
areas by which poems are generally
identified.
PRONUNCIATIO N

T hea single
orthography used in this book is phonetic. Each letter represents
sound. If it is written twice, it indicates, in the case of vowels,
that the sound is double the length of the single sound; where conso­
nants are written twice, they are at syllable junctures and should be
pronounced twice. Native English-speakers should take special care not
to lengthen short consonants between two vowels, for this can some­
times change the meaning of a word. In normal spoken Finnish, the
main stress always falls on the first syllable of a word, with decreasing
secondary stress on the third and fifth syllables (provided they are not
in the final syllable of the word); the requirements of the Kalevala
metre, however, can alter this stress pattern and the reader should
consult pp. 62-65 for further information.

CONSONANTS f, 1, m , n, r are similar to the corresponding sounds


of English; b, d, k, p, t, as in English but without aspiration; g occurs
in loanwords when it is pronounced as in goat; in the cluster ng, the
combined sound as in singer; h as in hat at the beginning of a syllable
and loch at the end of a syllable; j as y in yoke] s is always voiceless;
š as in shoe] tš as ch in church] z as j in French jour.

VOWELS a as in father] e as in pet] i as in hit] o as in hot] u as in pull]


y as in French tu, German über] ä as in bad; ö like its German coun­
terpart, or as in French peu.

80
1

ALKUSANAT
Prologue

T ) uvennenko laulamahe n hall I start to sing


J\_šoanenko šanelomahe O shall I begin to recite
hyvän on toisena kerällä with a good man as partner
kahen kašvinkumppalina? two who grew up together?
6 Pankamaš käsi kätehe Come, let us put hand in hand
šormi Sormien välihe and finger in finger-gap
haka toisehen hakahe. each grip in the other’s grip.
Sana Siulta, toini miulta One word from you, one from me
kieli kemppi kummalta, splendid speech from both:
io Suutana Sovittelemma we will shape our mouths
Säveltänä Seätelemmä we will pitch our tunes
niin kuin kahta kantelvoista like two kanteles
veräjiä viittä kuutta like five or six gates
kolmie kovan ovie. three doors of a hut.

* *

is Laulavat Lapinni lapset Even the Lapp children sing


vesimaljan juotuahan after draining water-mugs
petäjäisessä pesässä in their nests of pine
honkasessa huonehessa. in their rooms of fir:
Miksi en minähi laula why don’t I sing too
so suulta suurukselliselta with my well-fed mouth
oluelta ohraselta full of barley beer
ruualta rukihiselta? of meal made from rye?

* *

Itse laulan, millon kuulen I myself sing when I hear


kuta kuulen, niin kujerran and what I hear I carol -
26 ennen saatuja sanoja words I found before
opetuita luottehia. charms I have been taught:
Omat on saamani sanani my own finding are my words

81
I A lk u sa n a t
i P rologu e

omat tieltä tempomani my own snatching from the road


päistä heinän hieromani my grinding from the grass tops
30 kanarvoista katkomani. my snapping from the heather.

Olin piennä paimenessa When small I was a herdsman


lassa karjan katsonnassa, as‘ a child minding cattle
menin siilon mättähälle I went then to a hummock
kiven kirjavan sivulle to the side of a bright rock
36 paaen paksun lappehille. the edge of a thick boulder:
Niin saoin sanoa saatu I found words by the hundred
pantu aitan parven päähän put them up in the shed loft
kukkaroh kultaseh in a purse of gold
vaskiseh vakkaseh. in a copper box.

«o Kuin aika tosin tulee When the time is truly come


aukoan sanasen arkun I’ll open the chest of words
kirjokannen kiimahutan the bright lid slam back
poikkipuolin polvilleni. right across my knees.
Ei sampo sanoja puutu There’s no lack of sampo-words
46 luottehia Lemminkäinen: Lemminkäinen-charms:
luottehillen lahoovi he will rot upon the charms
virsillen vanhanoo. grow old upon the verses.

Ladun hiihan laulajille I’ll ski a trail for singers


osaaville tien ojennan: for the skilled set out a road:
60 tästä tänne tie menevi from here to here the road goes
tie menevi, maa matavi the road goes and the land crawls
ura uusi urkenevi. a new track leads off.

1-14 M iih k a li P erttu n en


Latvajärvi, Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1877

15-22 S in g e r u n know n 23-47 A r h ip p a P erttu n en


Suomussalmi, Kainuu Latvajärvi, Vuokkiniemi, Archangel Karelia
K. Saxa, recorded before 1823 E. Lönnrot, 1834

48-52 M is h i Sissonen
Ilomantsi, North Karelia
D. E. D. Europaeus, 1845

82
2
LUOMINEN I
The Creation I

K esoilintu kieloi lintu


päivöilintu pääsköilintu Asummer bird, a song-bird
a sun-bird, a swallow-bird
lenteli kessoisen päivän fluttered on a summer day
sykysyisen yön pimmeeän a dark autumn night
a etsien maalta maatakseen searching for land to lie on
lehtoa levätäkseen a grove to rest in
murtoa muniakseen. for some brushwood to lay eggs:
Saant ei maalta missä maata it found no land to lie on
lehtoa ei missä levätä no grove to rest in
10 murtoa ei missä munia. nor yet brushwood to lay eggs.

Lensi rannoilen meroilen It flew to shores, flew to seas


rannoilen liki vettooja to shores by water
liki vettä valkeaista. beside white water:
Niin löysi kolme mätästä it found three hummocks
ia niin muni kolme munnaista and it laid three eggs
kolmeen mättähän nenään. on the three hummocks.
Yksi mätäs oli sinniin One hummock was blue
toin mätäs oli punnain the second was red
kolmaas kelloin karvalliin. the third was yellow:
20 Mikä mätäs oli sinniin which hummock was blue
siihen sinniisen munnaisen, on it a blue egg
mikä mätäs oli punnain which hummock was red
siihen punnaisen munnaisen, on it a red egg
mikä oli kelloin karvalliin which one was yellow
2A siihen keltaisen munnaisen. there a yellow egg.

Tuli suuri Ukon tuutsa Ukko’s great cloud came


meroin vinkura vihhain the sea’s angry howl
meroin aitoi aivoin äksy, the sea’s right fierce wave
vieretti munat vettoin rolled the eggs in the water
30 laski pesän lainehen. dropped the nest into the waves.

83
2 L uom inen I
T h e C reation I

Pääsköilintu päivöilintu The swallow-bird, the sun-bird


lensi hän suotta seppoilaan flew straight to the smith’s dwelling
lensi hän seppiin paijaan: flew to the smithy:
“Seppyeen selvyeen “O my smith, my clever man
36 tarkka entiin takkooja, careful craftsman of old times
taoit ennen, taoit eglen you hammered once, yesterday,
niin taoi tänäi päin hammer too today
taoi rautain harraava hammer a rake of iron
piit valleele vaskisista cast the prongs out of copper
40 paa varsi vaahteriin!” fashion the shaft from maple!”

Takoi rautaisen harraavan He hammered an iron rake


pani varren vaahterisen fashioned the shaft from maple
vaskisista piit valleeli. out of copper cast the prongs.

Pääsköilintu päivöilintu The swallow-bird, the sun-bird


46 haravoi meroin kokkoon raked up all the sea
kaikki ruokot meroista all the reeds out of the sea
ja kaikki kaislat kaislikosta. all the rushes from their bed.
Löysi puolet ruskeaista It found a part from the yolk
toisen puolen valkeaista another part from the white
äo kolmaas kelloin karvallista: and a third from the yellow:
mikä puolet oli ruskeaista which part was the yolk
se kuuksi kumoittamaan, became the moon for gleaming
mikä puoli valkeaista which part was the white
se päivöiksi paistamaan, became the sun for shining
aa mikä kelloin karvallista which was the yellow
se pilviksi pakeneviksi. became scudding clouds.

P a r o i, S a k u 's w if e
Hevaa, Kaprio, Ingria
V. Porkka, 1883

84
3
LUOMINEN II
The Creation I I

Pääskyläine päivälintu
yölintu lepakkolintu Aswallow-bird, a sun-bird
a night bird, bat of a bird
lenteli kesosen päivän fluttered on a summer day
syksysempä yöm pimiän, a dark autumn night
6 etsi maata maatuksensa searching for land to lie on
lehtoa levätäksensä. a grove to rest in:
Ei saant maata linnum maata found no land for bird to lie
lehtoo ei linnu levätä. no grove for a bird to rest.
Lensipä suurelle mäelle Now, it flew to a great hill
10 korkialle kukkulalle: flew to a high peak:
näkipä laivasem merellä it saw a ship on the sea
punamastin purjehtivan, a red-mast sailing
lensipä laivan kannem peälle it flew on to the ship's deck
laivan keulalle kemahti, on the ship’s prow alighted
ie valoi vaskisen pesäisen it cast a nest of copper
muni kultaisem munaisen. laid an egg of gold.

Toi Jumala suuren tuulen God brought a great wind


lännen kolkalta lähätti: sent from the western comer:
laiva kaatu kallellensa the ship went into a list
so sysäyty syrjällensä. heeled over on to its side.
Muna vierähti vetenä The egg rolled in the water
pesä pyörähti perästä the nest trundled after it
merem mustaha mutana down into the sea’s black mud
säkiä saven sekana. down among the heavy clay.

26 Tuoho saari siunahuntu There a blessed island sprang


saaren päälle sorja nurmi on the island lovely grass
nurmen päälle nuori neito. upon the grass a young maid.
Tuota käivät kaik kosissa: All went to woo her:
käivät pipit, käivät papit masters went, pastors went, slim
30 käivät hovi hoikat herrat gentlemen-in-waiting went
käivät Ruotsista rovastit rural deans from Sweden went

85
Luom inen I I
3 T h e Creation I I

sekä Naarin nappisaksat. ' and Naan's haberdashers.


Eipä neito nuoille männyt. The maid would not go to them.

Tuli viimein Nurmi-Tuomas, Finally Turf Thomas came


35 pani neitosen rekenä put the maiden in his sledge
löipä ohjalla oria struck the stallion with the reins
helmiruoskalla hevoista: the horse with the beaded whip:
hepo juoksi, tie heläji the horse ran, the road rang out
reki rautane ramaji the sledge of iron rumbled
m kangas kultanen kumaji the golden heathland echoed
vemmel piukki pihlajaine. the rowan collar-bow squeaked.

L o v iisa K a rva n en
Valkeasaari, Ingria
A. A. Borenius, 1877

86
4
LUOMINEN III
The Creation I I I

Lappalainen laiha poika


piti viikkoista vihoa T hefor Laplander, the lean boy
ages harboured hatred
piäl on vanhan Väinämöisen against old Väinämöinen
kauvan aikaista katsetta. for long bore ill-will.
5 Vuolipa piiliä pinohon He cut a pile of arrows
kolmesärvistä kokohon of three-edged arrows he cut
kokonaista vuotta kolme. a whole lot, for three whole years.

Ruojapa piiliä piteli The cripple took an arrow


ramma jousta jou’usteli the lame one flexed the bow taut
io ampui veri sokian, and the blind man shot
ampui päivän Pohjolahan shot a day at Pohjola
toisen suurehen Savohon another at great Savo
ampui päinnä kolmantena he shot upon the third day
ampui kohti koillisehen: he shot towards the north-east.
is jopas ampui Väinämöisen Now he shot Väinämöinen
oikeahan olkapiähän in the right shoulder
vasempahan kainalohon under the left arm
läpi luin, läpi lihojen through the bones, through the
läpi lämpimäin lihojen. flesh, through the warm flesh.

so Tuossa suistui suin lumehen Then on his face in the snow


suin lumehen, päin vitihin he fell, headlong in the flakes
käänty kämmenin merehen. his palms turned towards the sea.
Täällä kupli vuotta kuusi Here he bubbled for six years
sieryi seitsemän kesäistä he bobbed for seven summers
2 B merta kuutta kuohutteli he roused six seas to fury
seitsemättä selvitteli. and he softened a seventh:
Tuo kasvoi Imandran soari that Imandra Island grew
vanhan Väinön polven päähän. on the knee of old Väinö.

Sotka lintu on suora lintu A scaup-duck, straight-flying bird


30 lentelööpi liitelööpi flew, glided about

87
Luom inen I I I
4 T h e C reation I I I

etsivi pesän tilaista: it searched for a nesting-place:


jo löyti pesän tilaisen now it found a nesting-place
tuohonpa Imandran saareen there on Imandra Island
vanhan Väinön polven piähän. on the knee of old Väinö.
36 Valopa vaskisen pesäsen It cast a nest of copper
muni kultaisen munasen and it laid an egg of gold
vanhan Väinön polven piähän. on the knee of old Väinö.

Lekahutti lämpiähe He shifted his knee


järähytti jäsentä: he jolted his limb:
40 järyipä vaski paloiksi the copper was smashed to bits
muna kultainen muruiksi. the golden egg to pieces.

Mi munassa ylistä kuorta What was the egg’s upper shell


ylisiksi taivasiksi, became the heavens above
mi munassa alista kuorta what was the egg’s lower shell
46 alisiks on moa-emiksi, became mother earth below
mi munass on valkiaista what was the white of the egg
nepä on kuuksi taivosella, became the moon in the sky
mi munass on ruskiaista what was the yolk of the egg
ne on päiväks taivosella, became the sun in the sky
60 mi munass on kirjavaista what on the egg was mottled
nep on taivosen tähiksi, became the stars of heaven
mi munass on mustukaista what on the egg was blackish
ne on pilviks taivosella. became the clouds in the sky.

I iv a n a S h em eik k a
Suistamo, Ladoga Karelia
O. A. Hainan, 1893

88
LUOMINEN IV
The Creation I V

V aka oli vanha Väinämöini


vesti vuorella venoista Sturdy old Väinämöini
built a boat on a mountain
kallivolla kalkutteli: beat it upon a boulder:
ei kirves kivehe koske the axe did not touch the rock
s kasa ei kaita kallivoho. nor the blade strike the boulder.
Viimein lipsahti lihaha At last it slipped into flesh
polvehe pyhän urohon in the holy hero’s knee
kyntehen Kalevan poijan. the nail of Kaleva’s son.

Eik ollun sitä mätästä There was no hummock


10 ku ei tullun tulvillahe that was not flooded
eik on vuorta korkieta and no high mountain
ku ei tullun tulvillahe that was not flooded
varpahasta vanhan Väinön from the toe of old Väinö
polvest on pyhän urohon. from the holy hero’s knee.

ib Korja on kultani kulettu A golden sleigh was prepared


hopiaini pyörä pyöri a silver wheel whirled
ratas rautani ratatti. the track of iron clattered:
Tuop on vanha Väinämöini now, that old Väinämöini
kohennakse korjahase raised himself into his sleigh
20 rekehes heän reutuvove flung himself into his sledge
ajoa karettelove. drove rumbling away.
Ajo kymmenen kyleä He drove through ten villages:
kyl on puolen kymmenettä, half way through a tenth
kysy kynnyksen takova he asked across the threshold
26 alta ikkunan anove: inquired under the window:
“Onkos on talossa tässä “Is there any in this house
uron tuskan tuntijova who can know a hero’s pain
vaivojen valittajova who can partake of troubles
suonikosken sulkijova who can close a vein’s rapids
so synnin puun puhelijova who can speak of a tree’s birth
synnin rauvan tietäjeä?” who knows the birth of iron?”
5 Luom inen I V
T h e C reation I V

Akka varsin vastajeli: An old crone indeed answered:


“ Ei ole talossa tässä “ There is no one in this house
uron tuskan tuntijova who can know a hero’s pain
35 vaivojen valittajova who can partake of troubles
suonikosken sulkijova who can close a vein’s rapids
synnin puun puhelijova who can speak of a tree’s birth
synnin rauvan tietäjeä.” who knows the birth of iron.”

Tuop on vanha Väinämöini Well, that old Väinämöini


40 itse niin sanoiksi virkki: himself put this into words:
“ Tuop on kuitenkin tulove “ Be that as it may, now comes
tuho vanhan Väinämöisen old Väinämöini’s downfall
laulajan ijänikusen.” the everlasting singer.”

Kohennaksen korjahase He raised him into his sleigh


45 rekehes heän reutuvove flung himself into his sledge
ajo soita, ajo maita drove through marshes, drove through lands
jo ajo meren selällä drove on the clear stretch of sea
ammuin nähtyjä ahoja. through clearings seen long ago.
Ajo kymmenen kyleä He drove through ten villages:
50 kyl on puolen kymmenettä, half-way through a tenth
kysy kynnyksen takova he asked across the threshold
alta ikkunan anove: inquired under the window:
“ Onkos on talossa tässä “ Is there any in this house
uron tuskan tuntijova who can know a hero’s pain
55 suonikosken sulkijova who can close a vein’s rapids
vaivojen valittajova who can partake o f troubles
synnin puun puhelijova who can speak of a tree’s birth
synnin rauvan tietäjeä?” who knows the birth of iron?”

Ukkopa verkkuo rauvasta rakenti An old man built a net of iron


so teräksestä heän teköve. of steel he made it.
Tuonp on sanoikse virkki: Now, he put this into words:
“ On sulettu suuremmatki - “ Still bigger things have been closed -
jovet suista, järvet päistä rivers from mouths, lakes from ends
kapejista kannaksista.” and from narrow necks of land.”

65 Pohjon akka kyittösilmä The slit-eyed crone of Pohjo


piti viikoista vihoa for ages harboured hatred
kaiken aijaista karehta. anger all the time.
Syöksi miestä syömen kautti She struck the man by the heart

90
5 Luom inen I V
T h e Creation I V

läst on lämpöistä lihoa through the warm flesh, from


70 vasemesta kainalosta under the left arm
oikiehe olkapeähä. to the right shoulder.

Sormin sortih lainnehes He sank, fingers to the waves


kämmenin merehe keänty he turned, palms seaward
sormin sortih lainnehisse: he sank, fingers to the waves:
75 “Kule sielä kuusi vuotta “Wander that way for six years
selupa seitsemen keseä drift there for seven summers
ympäri yheksän vuotta and throughout nine years -
kaikitenki kaksitoista. or even for twelve.
Kuhu vierret venymällä Which way you roll to stretch out
so siih on Sinervon apajan, there a bluish hole shall be
kuhu nosset istumahe which way you rise to sit up
siihe luokoh luotopäitä the top of a shoal shall form
karipäitä kasvattoaha.” the top of a reef shall grow.”

Tuop on vanha Väinämöini Now, that old Väinämöini


85 sormin heän merehe sortu sank, fingers seaward
kämmenin merehe keänty he turned, palms seaward
sormin sortih lainnehisse. he sank, fingers to the waves.

Kokko rukka kurja lintu A poor eagle, wretched bird


lintu kurja Tuijan moalla wretched bird in Turja Land
90 liitelöve loatelova glided and hovered
katsovi pesän sijova, it looked for a nesting-place
keks on mustasen meressä spied a black speck on the sea
sinervöisen lainnehella. a bluish speck on the wave:
Katsovi pesän sijova it looked for a nesting-place
95 kulosista kutkutteli, scratched at the dry grass
muni heän kolme munaista and it laid three eggs
kolme kultaista munova. laid three golden eggs.
Hierelöve hautelove. It rubbed them, it sat on them.
Tuopa vanha Väinämöini Now, the old Väinämöini
loo kuuli polveh polttavakse: felt his knee burning:
kuin on puosti polviehe as he shook his knee
munaset vetehe vieri. the eggs rolled in the water.

Tulipa hauki hankotellen A pike came prowling


vejen koira konkotellen, a water-dog lumbering:
105 nieli heän kolme munova it swallowed up the three eggs

91
5 Luom inen I V
T h e C reation I V

kolme kultaista munova. gulped down the three golden eggs.


Kokko rukka kurja lintu The poor eagle, wretched bird
lintu kurja Turjan moalla wretched bird in Turja Land
kuin on kerran kuopasihe the first time it lunged -
no ilman lintu liitasihe the bird of the air glided -
vast on suomuja sukasi, it no more than brushed the scales
kuin on toisen kuopasihe the next time it lunged
vastapa vatsoa revitti, it only tore the belly
kuin on kerran kolmannene when the third time came
ns halkasi mahan on hauvin. it split the pike’s guts.

Katselove keäntälöve: It looked, it turned it over:


“Miks on muuttunut munani "What have my eggs changed into
kuks on soatu soalehene! what has become of my catch!
Mi munassa valkieta What was the white of the egg
iso se päiväkse paistamalle, is now the sun for shining
mi munassa ruskieta what was the yolk of the egg
se kuukse kumottamalle is now the moon for gleaming
se tähekse taivosella, is now the stars of heaven
mi munass ylistä puolta what was the egg’s upper half
iss vaskisekse taivosekse, is now the copper heavens
mi munass alaista puolta what was the egg’s lower half
rautasekse moaemäkse.” is now iron mother earth.”

Ohvo Hannonen
Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1871

92
6
HAAVA
The Wound

T uulikki Tapion neiti


hoikka Honkelan miniä T uulikki, maid of Tapio
Honkela’s slim daughter-in-law
Salakaarron kaunis vaimo Salakaarto’s lovely wife
istu ilman vempeleellä sat on the air’s collar-bow
6 taivon kaarella kajotti. glimmered upon the sky’s arch.

Sano vanha Väinämöinen: The old Väinämöinen said:


“Tuletkos minulle neiti?” “Will you come to me, maiden?”
Neiti taiten vastajaapi: The maid knowingly answered:
“Sitte sun mieheksi sanosin “ I’d speak of you as a man
10 urohoksi arvelisin think of you as a hero
jossas jouhen halkaseisit if you split a hair
veittellä kärettömällä with a knife that had no edge
ilman tutkamettomalla, with a blade that had no point
munan solmuhun vetäsit pulled an egg into a knot
is solmun tuntumattomaksi.” so the knot could not be felt.”

Vaka vanha Väinämöinen Sturdy old Väinämöinen


halki jouhen halkaseepi split a hair in two
veittellä kärettömällä with a knife that had no edge
ilman tutkamettomalla, with a blade that had no point
so munan solmuhun vetäävi pulled an egg into a knot
solmun tuntumattomaksi. so the knot could not be felt.

Sano vanha Väinämöinen: The old Väinämöinen said:


“Tuletkos minullen neiti?” “Will you come to me, maiden?”
Neiti taiten vastojaapi: The maid knowingly answered:
25 “Emmon sulle ennen tullo “No, I will not come to you
ennen kuin venosen veistät before you have carved a boat
kehrävarteni muruista from bits of my spinning-shaft
kalpimeni kappaleista pieces of my carding-knife
kirvon käymätä kivehen with your axe not on the rock
30 kasan kalkahuttamata.” your blade-tip making no noise.”

93
6 H aava
T h e W ou n d

Vaka vanha Väinämöinen Sturdy old Väinämöinen


veisti vuorella venettä carved a boat on the mountain
kalkutteli kalliolla: pounded away on the crag:
ei kirves kivehen koske his axe did not touch the rock
35 eikä kalka kalliohon. beat upon the crag.
Viimen liuskahti lihaan At* last it slipped into flesh
varpahaseen Väinämöisen into Väinämöinen’s toe
polvehen pyhän urohon. in the holy hero’s knee.

Veri tulvana tuleepi The blood came forth like a flood


«o hurme juokseepi jokena: the gore ran like a river:
ei ollu sitä mätästä there was no hummock
eikä vuorta korkiata and no high mountain
jok ei tullu tulvillehen that was not flooded
varpahasta Väinämöisen all from Väinämöinen’s toe
46 polvesta pyhän urohon. from the holy hero’s knee.

Vaka vanha Väinämöinen Sturdy old Väinämöinen


rekehensä reutoaksen into his sledge dragged himself
vierretäksen korjahansa, rolled himself into his sleigh
ajo tuonne toitualle drove off to another house
60 tuonne kylmähän kylähän. away to a cold village.
Yli kynnyksen kysyyvi: Across the threshold he asked:
“Lieneekö talossa taassa “Would there be within this house
tämän tulvan tukkiata anyone to stem this flood
salpoa tämän satehen?” someone to check this deluge?”
55 Lausu lapsi laattialta A child spoke up from the floor
paarna pieni pankon päästä: a baby from the hearth-bench:
“ Ei ole talossa taassa “There is not within this house
tämän tulvan tukkiata anyone to stem this flood
sortajata suonikosken. to subdue a vein’s rapids:
60 Mene toisehen talohon!” go off to another house!”

Vaka vanha Väinämöinen Sturdy old Väinämöinen


ajo toisehen talohon. drove off to another house.
Yli kynnyksen kysyyvi: Across the threshold he asked:
“Lieneekö talossa taassa “Would there be within this house
66 tämän tulvan tukkiata anyone to stem this flood
salpoa tämän satehen?” someone to check this deluge?”

Lausu äiä pöyvän päästä An old man from the table-head

94
6 H aava
T h e W ou n d

paarta laulo, pää jätisi: spoke, a beard sang, a head wagged:


“Sulettiin on suuremmatkin “Still bigger things have been closed
70 jalommatkin jaksettunna - still greater things been achieved -
joet suista, salmet päistä rivers from mouths, straits from ends
selät niemien nenistä open waters from capes, necks
kannakset kapeimmista.” of land at their narrowest.”

S in g e r unknow n
Kemi, North Ostrobothnia
Z. Topelius, 1803 or 1804

95
7
TEHTÄVÄT
The Tasks

uo seppä Jumalan luoma


takoja iänikuinen T hat smith, God’s creature
the everlasting craftsman
takovi taputtelevi was hammering, was tapping
selvällä meren selällä. upon the clear stretch of sea.
5 Paino paian palkeheksi He used his shirt for bellows
housunsa hohottimiksi, his breeches for puffing air
pani oijat lietsomahan he set serfs to blow
palkkalaiset painamahan hirelings to work the bellows
itse päältä katsomahan. and himself looked on.
10 Lietso päivän, lietso toisen They blew a day, another
kohta kolmatta rupesi. soon they started on a third:
Katso seppä: kaunis pirtti. the smith looked - a handsome room.

Seppä tunkihen tupaha The smith squeezed into the house


kahen kattilan välille in the space between two pots
is kolmen koukun kääntimille. where three hooks turned to and fro.

“Tules tyttinen minulle!” “Come, O little girl, to me!”


“En minä tule sinulle. “No, I will not come to you.
Tao kansi taivahalle Fashion a vault for the sky
jott ei tunnu vasaran jälki on which is no hammer-mark
20 eikä pihtien pitämät.” nor trace of where tongs have held.”

Tako kannen taivahalle, He forged a vault for the sky


ei tuntunt vasaran jälki and there was no hammer-mark
eikä pihtien pitämät. nor trace of where tongs had held.

“Tules tyttinen minulle!” “Come, O little girl, to me!”


25 “ En minä tule sinulle. “No, I will not come to you.
Ammus tähti taivahalta Shoot a star down from the sky
oikiattasi käettä without using your right hand
vasemetta peikalotta!” without using your left thumb!”

96
7 T e h tä v ä t
T he T asks

Se seppo Jumalan luoma The smith, God’s creature


30 ampu tähen taivahalta shot a star down from the sky
oikiattasa käettä without using his right hand
vasemetta peikalotta. without using his left thumb.

“Tules tyttinen minulle.” “Come, O little girl, to me!”


“En tule minä sinulle. “No, I will not come to you.
36 Tapa nainen ennen naitu Kill the wife you have wedded
ennen juohettu emäntä the mistress you have brought home
tapa lapset ennen saahut!” kill the children you have had!”

Se seppo Jumalan luoma The smith, God’s creature


tappo naisen ennen naiun killed the wife he had wedded
40 ennen juohetun emännän the mistress he had brought home
tappo lapset ennen saahut. killed the children he had had.

“Tules tyttinen minulle!” “Come, O little girl, to me!”


“En tule minä sinulle. “No, I will not come to you:
Tapoit naisen ennen naiun you have killed your wedded wife
46 ennen juohetun emännän: the mistress you had brought home
tahoit tappoa minua.” and you will want to kill me.”

Seppä kahta kämmentänsä: The smith wrung his hands: “Poor me


“Pahoin oon tehnyt mie poloinen I have done an evil thing
lähin huoran houkutuksih I have fallen for a whore
60 pahan vaimon vaikutuksiin for an evil woman’s whim:
tapoin naisen ennen naiun!” I have killed my wedded wife!”

S in g er unknown
Korpiselka, Ladoga Karelia
D. E. D. Europäern, 1846

97
8
SEPPÄ
The Smith

Yöllä Synty Ilmollini


päivällä mäni pajahe, Bybynight bom, Ilmollini
day went to the smithy
Soan on lukkuja takouve forged a hundred locks
tuhannen avoamia. and a thousand keys.
5 Ei ole Seppä Sen parempi No smith is better than he
eikä ni tarkempi takoja and no craftsman more careful
još Synty Sysimäjellä though bom on a charcoal hill
kašvoi hiilikankahalla. brought up on a coal-black heath.
Se Seppä joka jumala That smith is a god:
10 joka on taivosen takonut he has forged the sky
ilman koaret kalkutellut: beaten out the air’s arches
ei tunnu vasaran jälki and there is no hammer-mark
eikä ni pihtien pitely nor trace of where tongs have held
hoararauvan hallitsenta. where forked iron has guided.

M iih k a li P erttu n en
Latvajärvi, Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1877

98
9
TULI

ski tulta Ilmarinen lmarinen struck


Ivälähytti Väinämöinen I fire, Väinämöinen
päällä taivosen kaheksan flashed above eight heavens, in
ilmalla yheksännellä. the ninth sky: a spark
5 Kirposi tulikipuna dropped down through the earth
läpi maan, läpi Manalan through Manala, and
läpi reppänän retusen through the smoke-hole caked with soot
läpi lasten kätkyettä, the children’s cradle
rikko rinnat neitosilta it broke maidens’ breasts
10 poltti parmahat emolta. and burned the mother’s bosom.
Emo sen enämmän tiesi: The mother knew more of it:
sen on miesteli merehen. she shoved it into the sea
Ei neiti Manalle joua lest the maid go to Mana
tulen tuiki polttamihin lest the fire should burn her up
is panun nihki paistamihin. lest the flame roast her.

Tuo ange Aluenjärvi That gloomy Lake Alue


kolmitse kesässä yönä three times on a summer night
kuohu kuusien tasalla foamed as high as the spruces
noissa tuskissa tulosen in the torment of the fire
20 valkiaisen voakahissa. the flame’s overwhelmingness.

Uipi on siliä siika A smooth whitefish swam


nieleepi tulikipunan: and swallowed the spark:
tuli tuska nieliälle torment to the swallower
vaikia vajottajalle. came, hardship to the gulper.
25 Uipi on halja hauki A grey pike swam up
nieleepi siljan siian, swallowed the whitefish
uipi on kulja kuuja a light lake-trout swam
nieleepi haljan hauin, swallowed the grey pike
uipi on lohi punanen a red salmon swam
30 nieleepi kuljan kuujan. and swallowed the light lake-trout:
Uiksenteli, käyksenteli it swam, it darted about

99
Tuli
9 F in

lohiluotojen lomia in between the salmon-crags


noissa tuskissa tulosen. in the torment of the fire.

Sanovi sanalla tuolla It said in these words


36 tuolla virkko viiltiellä: it uttered along these lines:
“Palo ennen maita paljon “Fire once burned much land
pahana palokesänä one evil summer of fire
tulivuonna voimatonna. one year of flame without help.
Jäi vähä palamatonta A small piece was left unbumed
40 Ahin aian kääntimillä at the turn of Ahti’s fence
Hirskan pengeren perällä.” at the rear of Hirska’s bank.”
Kuokittihin kaivettihin It was hoed and dug
löyettihin Tuonen toukka, and Tuoni’s maggot was found
Tuonen toukka poltettih and Tuoni’s maggot was burned
45 venehessä vaskisessa in a copper boat
ruuhessa rautapohjasessa. in an iron-bottomed punt.
Sen kypenet kylvettihin Its ashes were sown upon
rannalle Alimojärven: the shore of Lake Alimo:
pellavas peritön kasvo flax without like grew
60 liina liitötön yleni peerless linen rose
yhtenä kesässä yönä. in a single summer night.
Rikeneh riivittihin It was quickly stripped
jo viijään vetehen now taken to the water
jo liina likuoloopi. now the linen put in soak.
66 Sisarekset kehreävät The sisters spun it
veljet verkkoa kutovat, the brothers wove cloth
saivat nuotan valmihiksi. and fashioned a net.

Vaka vanha Väinämöinen Sturdy old Väinämöinen


nuoret nuotalle panoovi. put the young ones on the net.
«o Veetähän poikki vettä: They drew across the water:
ei tule sitä kaloa that fish did not come
kut on vasten nuotta tehty. for which the net was fashioned.
Veetähän on myötä vettä: They drew along the water:
ei tule sitä kaloa that fish did not come
66 jot on vasten nuotta tehty. for which the net was fashioned.
Veetähän on vasten vettä: They drew against the water:
lohi loiskahti meressä. the salmon splashed in the sea.

Vaka vanha Väinämöinen Sturdy old Väinämöinen


ei kärsi käsin ruveta could not bear to put his hand

100
T u li
9 F ire

70 ilman rautarukkasita: without mittens of iron:


otti rautarukkasensa took his mittens of iron
halkasi lohi punasen - split open the red salmon -
tuloovi kulja kuuja the light lake-trout came
vatsasta lohi punasen, from the red salmon’s belly
76 halkasoovi kuljan kuujan - split open the light lake-trout -
tuloovi halja hauki, the grey pike came out
halkasoovi haljan hauin - he split open the grey pike -
tuloovi silja siika, the smooth whitefish came
halkasoovi siljan siian - split open the smooth whitefish —
so tuloovi tulikipuna. and the spark came out.

Siin on tulta tuuviteltu There the fire was lulled


valkiaista vaaputeltu and the flame was rocked
nenässä utusen niemen, at a misty headland’s tip
siin on tulta tuuviteltu there the fire was lulled
85 hihnoissa hopiaisissa: in a silver sling:
kätyt kultanen kulisi the golden cradle jingled
vaippa vaskinen vapisi the copper mantle trembled
tulta tuuvitessa. as the fire was lulled.

S in g er unknown
Akonlahti, Kontokki, Archangel Karelia
M. A. Castrén, 1839

101
10
KILPALAULANTA I
The Singing Match I

Ykstoinen
on nuori Joukavainen
vanha Väinämöinen First was young Joukavainen
then was old Väinämöinen
ajoi tiellä vastaksuten: driving together head on:
rahis puuttu rahkehesen traces were jammed with traces
s vemmel vempelen nenäh. collar-bow with collar-bow.
Siitä siinä seisottih. There and then they stopped.
Vesa kasvo vempelestä The collar-bow sprang a shoot
haavat aisoista yleni and the shafts sprouted aspens
pajupehko rahkehista. the traces a willow-clump.

10 Sanoi nuori Joukavainen: The young Joukavainen said:


“Ken on tiiolta pahempi “He whose knowledge is the worse
sen on tieltä siirtyminen.” must move aside from the road.”

Sano vanha Väinämöinen: The old Väinämöinen said:


“Sanos tarkkoja tosia “Say some things exacdy true
is valehia muinosia.” tell some lies of long ago.”

Sano nuori Joukahainen: The young Joukahainen said:


“Tiiän kuitengin vähäsen “And yet I know a little
ennemmäiset ymmärtelen: I understand more:
tiiän linnukse tiasen I know the tit is a bird
so kiiskisen veen kalaksi the ruff is a water-fish
pajun puita vanhimmaksi, the willow the oldest tree
tiiän kolkot kuokituksi I know the hollows were scooped
vuoret luovuksi kokohon the mountains heaped together
kalahauat kaivetuksi I know the fish-holes were dug
26 siverret syvennetyksi.” the troughs of the sea deepened.”

Sanoi siitä Väinämöinen: At that Väinämöinen said:


“Lapsen on mieli, vaimon tunti, “A child’s mind, a woman's lore
ei oo partasuun urohon. is not a bearded hero’s.
Omat on kolkot kuokkimani The hollows were my scooping

102
10 T h e S in g in g M a tc h I

30 vuoret luomani kokoh the mountains were my heaping


kalahauat kaivamani. the fish-holes were my digging:
Olin miekin miessä siellä I was man among men there
urohona kolmantena the third hero there
seitsemäntenä urossa the seventh among heroes
36 kaarta taivon kantaissa bearing the arch of heaven
pieltä ilmon pistäissä pushing up the sky’s pillar
tahroista tähittäissä spangling the heavens with stars
Otavaa ojentamassa.” straightening out the Great Bear.”

Siitä suuttu Väinämöinen Väinämöinen grew angry


m päälle nuoren Joukahaisen. towards young Joukahainen:
Laulo nuoren Joukaisen he sang young Joukahainen
suohon suonivöistä in a marsh up to his belt
niittyhyn nisulihoista in a meadow to his waist
kainalosta kangahasen, in a heath to his armpit
46 laulo koiran Joukahaisen he sang Joukahainen’s dog
kynsin kylmäh kivehen with its claws in a cold rock
hampahin vesihakoh, with its teeth in a wet log
laulo jousen Joukahaisen he sang Joukahainen’s bow
kaariksi vesien päälle, to an arch on the water
60 laulo nuolen Joukavaisen sang Joukavainen’s arrow
haukaksi kiitäväksi to a hawk streaking
ylähäksi taivosella. high in the heavens.
Se siitä hyvin häpesi. Having done so he felt shame.

Sanoi siitä Joukahainen: At that Joukahainen said:


66 “Myössytäs pyhät sanasi “Make your holy words harmless
perävytä lauhiesi: turn your sentences backwards:
annan kultia kyperän I’ll fill a helmet with gold
oman pääni päästimeksi for the release of my head
itšeni lunastimeksi.” for the ransom of myself.”

so Sanoi vanha Väinämöinen: The old Väinämöinen said:


“En huoli hopeistasi! “I don’t care for your silver:
On kultia itSellänikin I have gold coins of my own
kahta kolmea paremmat.” twice, three times better.”

Sanoi siitä Joukahainen: At that Joukahainen said:


66 “Myössytäs pyhät sanasi “Make your holy words harmless
perävytä lauhiesi: turn your sentences backwards:

103
1 A Kilpalaulanta I
1 v The Singing Match I

annan ainuan orihin I’ll give my only stallion


oman pääni päästimeksi for the release of my head
itšeni lunastimeksi.” for the ransom of myself.”

70 “ En huoli heposistas “I do not care for your horse


ilkiä orihistas! mean man, your stallion:
On orih itselläniki I’ve a stallion of my own
kahta on kolmea parempi twice, three times better
viittä kuutta virkeämpi five, six times brisker
75 kuutta seitentä somempi.” six, seven times more bonny.”

Sano nuori Joukahaine: The young Joukahaine said:


“ Myössytäs pyhät sanasi “Make your holy words harmless
perävytä lauhiesi: turn your sentences backwards:
annan ainoan sisäreni I’ll give my only sister
«o oman pääni päästimeksi for the release of my head
itšeni lunastimeksi.” for the ransom of myself.”

Siitä vanha Väinämöinen At that old Väinämöinen


myössytti pyhät sanansa made his holy words harmless
peräytti lauhiesa. turned his sentences backwards.

85 Siitä pääsi Joukahaine. Then Joukahaine was free:


Mäni itkien kotih he went weeping home
kallotellen kartanolle. wailing to the farm.

Isä pääty ikkunassa Father was at the window


emo aittojen vajolle. mother towards the storehouse.
90 Emo ennätti kysyä: Mother hastened to inquire:
“Mitäs itet poikuoni? “Why do you weep, my offspring?
Ei ole syytä itkiäsi.” You have nothing to weep for.”

Sano nuori Joukahainen: The young Joukahainen said:


“Ompa syytä itkeäni “I have something to weep for
96 vaivoa valittavani: I have trouble to lament:
annon ainoan sisären I gave my only sister
oman pääni päästimeksi for the release of my head
itšeni lunastimeksi.” for the ransom of myself.”

Emo varsin vastaili: The mother indeed answered:


loo “Tuota toivon tuon ikäni “For this I hoped all my life -

104
1 A Kilpalaulanta I
1 V/ The Singing Match I

vävykseni Väinämöistä Väinö for my son-in-law


su’ukseni miestä suurta the great man for my kinsman
laulajata langokseni.” the singer my relative.”

O n tre i M a lin e n
Vuonninen, Vuokkiniemi, Archangel Karelia
A. J . Sjögren, 1825

105
11
K I L P A L A U L A N T A II
The Singing Match I I

Kahen kiistan aijoit


kahen kiistaan kilpaisiit,
Against each other they drove
against each other they raced:
yks oli vanha Väinämöin first old Väinämöin
toinen nuori Joukamoin, then young Joukamoin
5 yksiöisellä oroilla
on a one-night-old stallion
yksiöistä jäätä myöten. along the one-night-old ice
Eipä jälki jäästä tunnu and no trace was on the ice
jaloin ei isku iljennästä no hoof-blow on the hard lake
kaaroin teroin kankahalta. no hoof-mark upon the heath.
10 Puuttui tiellä vassakkaisin,
They collided on the road
tarttui vemmel vempelehen collar-bow caught collar-bow
aisa aisaan tappais: shaft against shaft did violence
veri kiehui vempelestä blood boiled from the collar-bow
rasva rahkehen nenästä and fat from the traces-tip
15 puna aisasta puttois. and redness fell from the shaft.

Saoi vanha Väinämöin Old Väinämöin said


nuorelle Joukamoilen: to young Joukamoin:
“Hoi siä nuori Joukamoin! “Hey, young Joukamoin!
Muissatka sitä ajaista Do you remember the time
20 kun kanto meroihen kasvoi when a stump grew in the sea
vesi virtahan virrois water sprang up in the Hood
ommeenat vesiin vieriit apples rolled in the water
joka oksilla ommeena apples were on every bough
joka puulen pähkenäin?” and nuts were on every tree?”

25 Kahen kiistaan aijoit Against each other they drove


kahen kiistaan kilpasiit, against each other they raced:
yksi vanha Väinämöin first old Väinämöin
toinen nuori Joukamoin, then young Joukamoin
yksiöisellä oroilla on a one-night-old stallion
30 yksiöistä jäätä myöten. along the one-night-old ice
Eipä jälki jäästä tunnu and no trace was on the ice

106
Kilpalaulanta I I
n T h e S in g in g M a tc h I I

jaloin ei isku iljennästä no hoof-blow on the hard lake


kaaroin teroin kankahalta. no hoof-mark upon the heath.
Puuttui tiellä vassakkaisin, They collided on the road
36 tarttui vemmel vempelehen collar-bow caught collar-bow
aisa aisaan tappais: shaft against shaft did violence
veri kiehui vempelestä blood boiled from the collar-bow
puna aisasta puttois and redness fell from the shaft
rasva rahkehen nenästä. and fat from the traces-tip.

40 Saoi vanha Väinämöin Old Väinämöin said


nuorelle Joukamoilen: to young Joukamoin:
“Hoi siä nuori Joukamoin! “Hey, young Joukamoin!
Muissatka sitä ajaista Do you remember the time
kuin meroja kynnettiin when the seas were ploughed
45 kynnettiin kylvettiin were ploughed up, were sown
kivet lyötiin kokkoon when the rocks beat together
rauniot rakennettiin when the cairns were first piled up
ajettiin aitoi maalen? when the waves gave way to land?
Meroi on miun kuokkimaan The seas were of my scooping
so kannoin juuret kaivamain the stump-roots of my digging
kivet luomani kokkoon the rocks of my gathering
rauniot rakentamain.” and the cairns of my piling.”

Kahen kiistan kilpaisiit Against each other they raced


kahen kiistan aijoit, against each other they drove:
55 yksi vanha Väinämöin first old Väinämöin
toinen nuori Joukamoin, then young Joukamoin
yksiöisellä oroilla on a one-night-old stallion
yksiöistä jäätä myöten. along the one-night-old ice
Eipä jälki jäästä tunnu and no trace was on the ice
60 jaloin ei isku iljennästä no hoof-blow on the hard lake
kaaroin teroin kankahalta. no hoof-mark upon the heath.
Puuttui tiellä vassakkaisin, They collided on the road
tarttui vemmel vempelehen collar-bow caught collar-bow
aisa aisaan tappais: shaft against shaft did violence
65 veri kiehui vempelestä blood boiled from the collar-bow
rasva rahkehen nenästä and fat from the traces-tip
puna aisasta puttois. and redness fell from the shaft.

Saoi vanha Väinämöin Old Väinämöin said


nuorelle Joukamoille: to young Joukamoin:

107
Kilpalaulanta I I
n The Singing Match I I

70 “Läkkää kiissoin laulamaan “Let us have a singing-match


ja kiissoin sanelommaa: and a reciting-contest:
kumpi muistaa enemmän let him who recalls the more
sen seissä tien selällä, remain on the open road
kumpi muistaa vähemmän let him who recalls the less
76 sen tieltä pois paetak.” from the road remove himself.”

Tuopa vanha Väinämöinen Now, that old Väinämöinen


lauloi Joukamon sattulan he sang Joukamo’s saddle
sorsaksi soroin-meroihon, to a duck in gravel-sea
lauloi Joukamon orroisen he sang Joukamc’s stallion
so pilviin pakenoviin into scudding clouds
hattaroin juoksoviin, into running wisps of cloud
lauloi viitan Joukamoisen he sang Joukamoinen’s cloak
vitsikkoon viiltämään, into a birch-whisk slashing
lauloi Joukamon kyppeerän he sang Joukamo’s helmet
86 hylkeheksi hyppimään, to a seal leaping
lauloi ruossan Joukamoisen he sang Joukamoinen’s whip
ruovikkoon roiskimaan. into bulrushes whipping.
Tuopa nuori Joukamoinen Now, that young Joukamoinen
itse täytyi itkömään. himself could not help weeping.

90 Saoi vanha Väinämöinen: The old Väinämöinen said:


“Joka niinkuin jo sanneelin.” “So: I have done reciting.”
Tuopa nuori Joukamoinen Now, that young Joukamoinen
sanoin laati suin läkkäis formed in words, declared by mouth
vanhalle Väinämöille: to old Väinämöi:
96 “Järeitä pahat sanasi “Withdraw now your wicked words
ilman ilkeä tekkois. your utterly evil deeds.
Annan ainovan sissoin I’ll give my only sister
heitän herkun syöteltyisen, I’ll leave the well-fed dainty
pyhät syötin pyyn lihoilla every Sunday fed on grouse
loo aret ahvenen kaloilla: and every weekday on perch:
kons ei voint syöä voita when she could not eat
silloin söi sian lihhaa butter, she’d eat pork
aret tedron ammukkia.” on weekdays plates of black grouse.”

Tuopa vanha Väinämöinen Now, that old Väinämöinen


m peröitti pahat Sannaan turned his wicked words backwards
ilman ilkeän tekkoon: his utterly evil deeds:
kutsui Joukamon orroisen called Joukamo’s stallion

108
Kilpalaulanta I I
n The Singing Match I I

pilvistä pakenovista back from scudding clouds


hattaroista juoksovista, back from running wisps of cloud
uo kutsui viitan Joukamoisen called Joukamoi’s cloak
vitsikosta viiltämästä, back from a birch-whisk slashing
kutsui Joukamoin sattuulan called Joukamoinen’s saddle
sorsanta sorroin-meroista, from a duck in gravel-sea
kutsui Joukamoin kyppeerän called Joukamoinen’s helmet
n# hylkentä hyppimästä, from a seal leaping
kutsui ruosan Joukamoisen he called Joukamoinen’s whip
ruovikosta ruoskimasta. back from bulrushes whipping.

Tuopa nuori Joukamoinen Now, that young Joukamoinen


tuli itkien kottiin went weeping homeward
iso kaljutellen kartanolen. wailing to the farm.
Emoi aittoin männöö. Mother was going towards the shed.
“Hoi miun ehtoisa emmoin “O my generous mother
hoi miun kallis kantajain 0 dear one who carried me
vanha akka vaalijain: old woman who cared for me:
125 jo tein mitä ei pittänt, 1 have done what I should not
annoin ainovan sissoin I gave my only sister
heitin herkun syöteltyisen I left the well-fed dainty
vanhalle Väinämöille.” for old Väinämöi.”

Emoi vassen vastaeli The mother answering said


130 vassen vastaan läkkäis: answering declared:
“Tuota toivoin tän ijään “For this I hoped all my life
poikki polven hallaisin - longed throughout my days -
vävykseen Väinämöistä Väinö for my son-in-law
su’ukseen suurta miestä.” the great man for my kinsman.”

Olgoi
Hevaa, Kaprio, Ingria
V. Porkka, 1883

109
12
SA M P O I
The Sampo I

Lappalainen kyyttösilmä
piti viikosta vihoa T hefor Laplander, the slit-eyed
ages harboured hatred
kaukausta ylenkatsetta for long bore ill-will
päälle vanhan Väinämöisen: against old Väinämöinen:
6 vuotti illoin, vuotti aamuin he waited evenings, mornings
tulovakse Väinämöistä for Väinämöinen to come
soavakse Umentolaista. for the man from Urnen to.
Siilon vanha Väinämöinen Then the old Väinämöinen
rekehensä reutosihen into his sledge flung himself
xo korjahan korentelihen, in his sleigh hoisted himself
orihilla olkisella with the straw-coloured stallion
hernevarrella hevolla with the pea-stalk-coloured horse
ajoa karetteloopi drove rumbling away
selvällä meren selällä upon the clear stretch of sea
15 ulapalla aukialla. the open water.

Lappalainen kyyttösilmä The Laplander, the slit-eyed


niin päivänä muutamena on a day among others
huomenna monikahana one morning among many
keksi mustasen merellä spied a black speck on the sea
20 sinervöisen lainehilla. a bluish speck on the wave:
Niin koppo tulisen jousen he took up his fiery bow
korvalta kovan tulisen, from the fiery hut
jännitti tulisen jousen he flexed the bow taut
nuolen juonelle asetti laid an arrow on the stock
25 valitsi parahan varren. and chose the best shaft.
Niin siitä sanoiksi virkko: So then he uttered a word:
“ Kun käsi alentanoovi “If my hand comes down
niin nuoli ylentyöhö, let the arrow rise:
kun käsi ylentänöövi if my hand comes up
äo niin nuoli alentuoho!” let the arrow fall.”
Ampu olkisen orihin He shot the straw-hued stallion
alta vanhan Väinämöisen from under Väinämöinen

110
1 Q Sampo I
1 Z The Sampo 1

hernevartisen heposen and the pea-stalk-coloured horse


läpi länkiluun lihasta through the collar-bone
36 oikiesta olkapäästä through the right shoulder
kautti kainalon vasemman. under the left arm.

Siilon vanha Väinämöinen Then the old Väinämöinen


sortu sormin lainehille sank with fingers to the waves
kämmenin vesille käänty. turned with palms to the water:
40 Siellä kulki kuusi vuotta there he wandered for six years
seiso seitsemän keseä stopped there for seven summers
kulki kuusissa hakona wandered as a spruce
petäjäissä pölkyn päänä. as a log from a pine-tree
Itkiä tihusteloopi in tears he drizzled
45 Ukkoa rukuiloopi he prayed to Ukko
Pavannaista palveloopi: and worshipped Pavannainen:
“ Nosta Ukko suuri tuuli “Raise up, Ukko, a great wind
sään mänöö määritöntä let the weather know no bounds
nosta mustia muria raise lumps of black slime
60 päälle selvien vesien!” to fall on the clear waters!”

Nosti Ukko suuren tuulen Ukko raised up a great wind


sään mänösen määrittömän let the weather know no bounds
nosti mustia muria raised lumps of black slime
päälle selvien vesien. to fall on the clear waters.
66 Kanto vanhan Väinämöisen He bore old Väinämöinen
pimiähän Pohjolahan to dark Pohjola
kiven kiijavan sivulle to the side of a bright rock
paaen paksun lappehille. the edge of a thick boulder.
Itkiä tihusteloopi. In tears he drizzled.

60 Pohjon akka harvahammas The gap-toothed crone of Pohjo


nousi aivon aikasehen rose when it was quite early
aivon aika huomenessa, quite early in the morning:
pian pirtin lämmitteli quickly warmed her room
pyhki pitkin pirttiähän cleaned all through the rooms
66 lattiatahan lakaisi, taking a broom to the floor
viepi ulos rikkasa then she took the dust outside
pellolle perimmäiselle. to the farthest field
Rikoillahan seisotakse. and stopped at the rubbish-tip.
Tuosta kuuli kuusienen There she listened from six sides
70 tajusi kaheksialle: * attended from eight:

111
1 ^ Sampo I
X Zi The Sampo I

kuuli miehen itkeväkse she could hear a man weeping


uroon urisevakse. could hear a hero wailing.
Ei ou itku naisen itku The sobs were no woman’s sobs
eikä itku lapsen itku, nor were the sobs a child’s sobs:
75 tämä on itku Väinämöisen these were Väinämöinen’s sobs
urajanta Untamoisen. the wails of Untamoinen.

Siitä siilon Pohjon akka There, then the crone of Pohjo


viitisekse vaatisekse dressed herself and decked herself
pääsomille suoreille adorned her head prettily
so pätöville pääsomille. splendidly adorned her head.
Meni luoksi Väinämöisen She went to Väinämöinen
sanan virkko noin nimesi: she uttered a word, spoke thus:
“ Mitä itet Väinämöinen “Why are you weeping, Väinö
kuta Untamo uriset?” why, Untamo, do you wail?”

85 Sano vanha Väinämöinen: The old Väinämöinen said:


“Tuota iten tuon ikäni “For this I weep all my life
puhki polveni murehin: grieve throughout my days:
jo uin maille vierahille I’ve swum to strange lands
äkkiouoille oville.” to quite unknown doors.”

90 Niin sanoopi Pohjon akka: So the crone of Pohjo said:


“Niin mitä minulle annat “So what will you give me, if
kun saatan omille maille I take you to your own lands
oman kukon kuuluville there to hear your own cockcrow
näiltä mailta vierahilta far from these strange lands
95 äkkiouoilta ovilta?” these quite unknown doors?”

Sano vanha Väinämöinen: The old Väinämöinen said:


“ Mitäpä kysyt minulta?” “Well, what do you ask of me?”

Niin sanoopi Pohjon akka: So the crone of Pohjo said:


“Kun sie laait uuen sammon “If you shaped a new sampo
loo kiijokannen kirjoalet worked a brightly-worked cover
yhen joukosen sulasta from one feather of a swan
yhen värkkinän murusta from one piece of a distaff
yhen villan kylkyvöstä one snippet of wool
maiosta mahovan lehmän the milk of a barren cow
i o s yhen otrasen jyvästä.” from one barley-grain.”

112
1 O Sampo I
1 « The Sampo l

Sano vanha Väinämöinen: The old Väinämöinen said:


“En minä takoa taia “I myself cannot hammer
enkä kantta kirjoalla. nor can I work a cover.
Työnnän sepon Ilmorisen: I’ll get smith Ilmorinen:
no se on taitavin takoja he is the most skilled craftsman
se on kannet kirjoapi.” he knows how to work covers.”

Siit on Pohjon akka At that the crone of Pohjo


otti miehen kuolomasta delivered the man from death
otti vanhan Väinämöisen, took up old Väinämöinen
ns Vei sitä kotihin sitte, brought him to her home:
syötti miehen, juotti miehen gave the man food, gave him drink
kostutteli kuolomasta, nursed him back from death
pani oron juoksomahan she set a stallion running
liinaharjan liikkumahan a flaxen-maned one moving
iso pimiästä Pohjolasta from dark Pohjola
summasta sarajahasta from the gloomy arctic sea
miehen syövästä kylästä from the man-eating village
urohon upottajasta. the village that drowns heroes.

Kotihinsa tultuoho When he got back home


iss meni luoksi sepon siellä. he went to the smith.
Sanan virkko noin nimesi: He uttered a word, spoke thus:
“Sinä seppo Ilmorinen “Smith Ilmorinen
lankoni, emoni lapsi! my kinsman, my mother’s child!
Lähe neittä noutamahan Set out to bring back a maid
130 päätä kassa katsomahan to look for a plaited head
pimiästä Pohjolasta. from dark Pohjola:
Nyt on neiti kosjottuna now a maiden has been wooed
päätä kassa kaupattuna.” a plaited head bargained for.”

Siilon seppo Ilmorinen Then the smith Ilmorinen


136 peseksen puhasteleksen washed, cleaned himself up
sykysyisistä sysistä from the autumn-hued charcoal
tavonnoista talvisista, from the winter-hued forge-grime
veran äärillä veäksen he drew broadcloth about him
lustuilla solkieksen, buckled on his armoured belt
h o rekeensä reutuoksen into his sledge flung himself
koijahan kohenteleksen. into his sleigh stirred himself
Laski virkkua vitsalla brought the lash down on his horse
helähytti helmivyöllä: clouted with the beaded whip:

113
1^ Sampo I
1£ The Sampo I

oro juoksi, matka joutu the stallion ran, the road sped
i« pimiähän Pohjolahan to dark Pohjola
summahan sarajahan to the gloomy arctic sea
miesten syöjähän kylähän to the man-eating village
urohon upottajahan. the village that drowns heroes.

Pohjolahan mentyöön When he got to Pohjola


iso Pohjon akka harvahammas the gap-toothed crone of Pohjo
pani sammon laaintaan set him to shape the sampo
kirjokannen kirjantaan to work the bright-worked cover
yhen joukosen sulasta from one feather of a swan
yhen otrasen jyvästä from one barley-grain
155 yhen villan kylkyöstä one snippet of wool
maiosta mahovan lehmän the milk of a barren cow
yhen värttinän murusta. from one piece of a distaff.

Siilon seppo Ilmorinen Then the smith Ilmorinen


päivät sampuo rakenti by day he built the sampo
160 yöt neittä lepyttelööpi. and by night courted the maid:
Siilon seppo Ilmorinen then the smith Ilmorinen
saapi sammon valmihiksi fashioned the sampo
kirjokannen kirjatuksi, brightly worked the bright-covered
ei neittä lepytetyksi. but the maid was not courted.

166 Siit on jauho uusi sampo The new sampo was grinding
kirjokansi kiikutteli: the bright-covered was rocking:
jauho purnon puhtehessa it ground a binful at dusk'
jauho purnon syötäviä ground a binful for eating
jauho purnon myötäviä ground a binful for selling
170 kolmannen pieltäviä. a third for storing away.

Niin ihastu Pohjon akka, The crone of Pohjo was charmed


anto oman tyttärehe and she gave her own daughter
sepolle Ilmoriselle to the smith Ilmorinen
ikusekse puolisokse to be his wife for ever
175 kainaloisekse kanakse be a hen under his arm
paniakse päänalaisen to place his pillow
jalkoin jaksajakse. to be always on her feet.

Siilon seppo Ilmorinen Then the smith Ilmorinen


kotihinsa tullessansa as he came towards his home

114
I ^ Sampo I
A “ The Sampo I

180 käkyöt kukahteloopi cuckoos were calling


korjan kirjavan kokilla, on the prow of the bright sleigh
oravaiset juoksenteli squirrels ran about
aisoilla vaahterisilla, on the maple shafts
tetryöt kukerteloopi black grouse were cooing
iss päällä luokin kynnäppäisen. on the collar-bow of elm.
Sepolla Ilmorisella The smith Ilmorinen’s hand
käsi on kirjokintahissa was in a bright-worked mitten
toinen neitosen nisissä, the other on the maid’s breasts
jalka on Saksan saappoassa his foot in a German boot
iso toinen reisien välissä the other between her thighs
Pohjolasta tullessansa. as he came from Pohjola.

Kotihinsa tultuohon When he arrived home


meni vanha Väinämöinen the old Väinämöinen went
luokse sepon Ilmorisen, to the smith Ilmorinen
m kysytteli lausutteli: and asked him, spoke up:
“Velli seppo Ilmarinen “Brother, smith Ilmorinen
lankoni, emoni lapsi! my kinsman, my mother’s child!
Joko laait uuen sammon Have you made the new sampo
kirjokannen kirjoalit?” brightly worked the bright-covered?”

200 Sano seppo Ilmorinen: The smith Ilmorinen said:


“Jo mie laain uuen sammon “ I have shaped the new sampo
maiosta mahovan lehmän from milk of a barren cow
yhen villan kylkyöstä one snippet of wool
yhen värttinän murusta from one piece of a distaff
205 yhen otrasen jyvästä.” from one barley-grain.”
Sano vanha Väinämöinen: The old Väinämöinen said:
“Joko jauho uusi sampo “Has it ground, the new sampo
kirjokansi kiikutteli?” the bright-covered been rocking?”

Sano seppo Ilmorinen: The smith Ilmorinen said:


210 “Jopa jauho uusi sampo “It has ground, the new sampo
kirjokansi kiikutteli: the bright-covered been rocking:
jauho purnon puhtehessa it ground a binful at dusk
jauho purnon syötäviä ground a binful for eating
jauho purnon myötäviä ground a binful for selling
215 kolmannen pieltäviä.” a third for storing away.”

Siilon vanha Väinämöinen Then the old Väinämöinen

115
Sampo I
U The Sampo I

kun tunsi toet sanomat when he understood this news


rakenteli laivoansa set about building his ship
laski laivansa merehen, launched his ship out on the sea
220 sanan virkko noin nimesi: uttered a word, speaking thus:
“ K u on tuolla toissa miessä “Who is there among these men
vanhalla Väinämöisellä? with the old Väinämöinen? -
Iku Tiera, Nieran poika Iku Tiera, Niera’s son
ylimmäinen ystäväni.” foremost of my friends.”

225 Nosti päälle purjepuunsa He hoisted his masts


kun on männikön mäellä, like a pine-clump on a hill
laskoopi sinistä merta he sailed out on the blue sea
melan koukkupään nojassa. leaning on his curved paddle
Laski päivän, laski toisen: he sailed a day, another:
230 portit Pohjolan näkyypi Pohjola’s gates were in sight
paistaapi pahat saranat the evil hinges shining
pahan ukset ulvottaapi. the evil doorways squealing.

Tapasi on taskuhunsa He fumbled in his pocket


siilon vanha Väinämöinen then Väinämöinen groped
235 löihen kukkaroisehensa. about in his purse
Niin otti uniset nieklat took out sleeping-darts
nukutteli nuuan joukon sent the wicked folk to sleep
paineli pakanan kansan. oppressed the pagan people.
Laskoopi sinistä merta He sailed out on the blue sea
240 pimiähän Pohjolahan. to dark Pohjola.

Sanan virkko noin nimesi: He uttered a word, spoke thus:


“ Iku Tiera, Nieran poika “Iku Tiera, Niera’s son
ylimmäinen ystäväni, foremost of my friends
mene sie sampo ottamahan go and seize the sampo, you,
245 kirjokansi kantamahan!” carry off the bright-covered!”

Iku Tiera, Nieran poika Iku Tiera, Niera’s son


hyvä kielas käskieki quick to take orders
kepiä kehuttoaki easy to persuade
meni sammon ottamahan went off to seize the sampo
250 kirjokannen kantamahan. carry off the bright-covered
Eipä sampo liikukkana but the sampo would not move
kirjokansi kihnakkana: the bright-covered would not shift:
juuret maahan juurutettu. its roots were rooted in earth.

116
1 Sampo I
1 Z* The Sampo I

Itse vanha Väinämöinen The old Väinämöinen went


tu läksi sammon ottamahan himself to seize the sampo
kiijokannen kantamahan. carry off the bright-covered
Eipä sampo liikukkana: but the sampo would not move:
juuret maahan juurutettu. its roots were rooted in earth.
Siilon vanha Väinämöinen Then the old Väinämöinen
aeo siilon kynti sammon juuret ploughed the roots of the sampo
satasarvella härällä with a hundred-homed ox
tuhatpäällä tursahalla, a thousand-headed sea-worm
vei sammon venosehensa bore the sampo to his boat
talu talkapohjahansa. and placed it in his vessel.
86» Nosti päälle purjepuita, He hoisted his mast
laskoopi sinistä merta he sailed out on the blue sea
laski päivän, laski toisen he sailed a day, another
niin päivänä kolmantena so on the third day
muurahainen mulkupoika an ant, a ballocking boy
270 se kusi kuren jalalle pissed on the leg of a crane
pimiässä Pohjolassa. in dark Pohjola.
Kurki laski suuren kulkun The crane let out a great squawk
parkasi pahan sävelen: screeched out in an evil tone:
kaikki Pohjola heräsi the whole of Pohjola woke
27» paha valta valveutu. the evil realm was awake.

Pohjon akka harvahammas The gap-toothed crone of Pohjo


tapasihe sampoansa: groped about for her sampo:
“Jo on sampo muunne viety “The sampo has been removed
kirjokansi kannettuna!” the bright-covered carried off!”
280 Niin rakenti Pohjon purren: She built the craft of Pohjo -
sata miestä sauomihin a hundred men to punt it
sata airooh urosta a hundred fellows to oars
sata miestä miekallista a hundred men armed with swords
sata miestä ampujata. a hundred men for shooting:
28 » Laskoopi sinistä merta. she sailed out on the blue sea.

Iku Tiera, Nieran poika Iku Tiera, Niera’s son


sanan virkko noin nimesi: uttered a word, speaking thus:
“Sie vanha Väinämöinen “O you old Väinämöinen
laula sie hyväsukuni sing, you well-born man
290 hyvän sammon saatuosi now you’ve got the good sampo
tien hyvän käveltyösi!” now you’ve trodden the good road!”

117
1 Sampo 1
1 / The Sampo I

Sano vanha Väinämöinen: The old Väinämöinen said:


“Aikanen ois ilon teoksi “ It is too early to cheer
varahainen laulannaksi: still too soon to sing:
296 portit Pohjolan näkyypi Pohjola’s gates are in sight
paistaapi pahat saranat the evil hinges glitter
pahan ukset ulvottaapi. and the evil portals squeal.
Kun omat ovet näkyisi If our own doors were in sight
omat ukset ulvottaisi our own portals were squealing
300 äsen laulanta sopisi then it would be right to sing
ilon teentä kelpoaisi.” and fitting to make merry.”

Niin sano sanalla tuolla He said in these words


itse vanha Väinämöinen: did the old Väinämöinen:
“Ylimmäinen ystäväni “Foremost of my friends
306 nouse purjepuun nenääh climb up now to the mast-tip
kasisliekaah kavaa, clamber up the mast
katso iät, katso lännet look eastward, look to the west
katso pitkin Pohjon ranta!” look along Pohjo’s coastline!”

Iku Tiera, Nieran poika Iku Tiera, Niera’s son


310 hyvä kielas käskieki quick to take orders
kepiä kehuttoaki easy to persuade
nousi purjepuun nenääh climbed up then to the mast-tip
kasisliekaah kavahti, clambered up the mast
katso iän, katso lännen looked eastward, looked to the west
315 katso pitkin Pohjon rannan, looked along Pohjo’s coastline
niin sano sanalla tuolla: and said in these words:
“Jo tuloovi Pohjon pursi “Now Pohjo’s craft is coming
satahanka hakkoapi - a hundred rowlocks chopping -
sata miestä sauomissa a hundred men punting it
320 sata airossa urosta a hundred fellows at oars
sata miestä miekallista a hundred men armed with swords
sata toinen ampujoa.” a hundred more for shooting.”

Siilon vanha Väinämöinen Then the old Väinämöinen


jo näki tuhon tulevan saw his doom coming
326 hätäpäivän päälle saavan. his day of distress dawning:
Tapasi on taskuuhunsa he fumbled in his pocket
löihen kukkaroisehensa, he groped about in his purse
löysi piitä pikkaraisen found a tiny piece of flint
takloa taki vähäsen, a little scrap of tinder

118
1 O Sampo I
1 jL The Sampo I

330 neki mestasi merehen pitched them right into the sea
saattaapi sarajahansa cast them in the arctic sea
yli oikien olansa straight over his right shoulder
kautti kainalon vasemman. under his left arm.
Itse noin sanoiksi virkko: He himself uttered these words:
336 “ Luotihin merehen luoto “A crag was formed in the sea
salasaari siunattihin a hidden isle spirited
itähän ikäti pitkä stretching eastward for ever
luotehelle loppumaton westward without end
Pohjolahan polveksehen on and on to Pohjola
340 johon purret puuttuoho upon which craft would be jammed
venehet takeltuoho!” and boats would be caught!”
Niin on puuttunt Pohjon pursi And so Pohjo’s craft was jammed
vene hankava halennut. the strong-rowlocked boat was split.

Pohjon akka harvahammas The gap-toothed crone of Pohjo


346 nousi leivon lentimille rose on skylark’s pinions
sirkun siiville kohosi, on a bunting’s wings went up
vassat siiviksi sivalti she beat bath-whisks into wings
kokon kynkkäluun nenille. upon an eagle’s wing-bones:
Lenteä lepettelööpi she flew, she fluttered
360 selvällä meren selällä upon the clear stretch of sea
ulapalla aukiella. the open water.
Liiteleksen laateleksen She glided, hovered
päähän pielen Väinämöisen, to Väinämöinen’s mast-head:
tahtoo pursi päin puota the craft’s bow began to sink
366 laiva lassuin lohkiella. the ship to smash to pieces.
Niin sanoopi Väinämöinen: So old Väinämöinen said:
“ Iku Tiera, Nieran poika “Iku Tiera, Niera’s son
ylimmäinen ystäväni, foremost of my friends
ota nyt miekkasi omasi take up your own sword
360 käelläsi oikiella now in your right hand
vasemmelta reieltäsi, from its scabbard on your left:
kokon koprille sivalla smite the eagle on the claws
vaakalinnun varpahille!” the wyvem upon the toes!”

Iku Tiera, Nieran poika Iku Tiera, Niera’s son


366 otti miekkansa omansa took up his own sword
käellähän oikiella took in his right hand
vasemmelta reieltänsä, from its scabbard on his left
kokon koprille sivalti smote the eagle on the claws

119
1 Sampo I
1 Zé The Sampo I

vaakalinnun varpahille the wyvem upon the toes


370 vaan ei vuole vermentännä but he did not cut the hide
ota ei orvaskettuona. nor take off the outer skin.
Iski kerran, iski toisen He struck once, he struck again
kohta kolmitsi rapuopi: soon a third time he laid waste:
tuo ei viere vermentänä he’left no mark on the hide
376 ottat orvaskettuona. he took off no outer skin.

Itse vanha Väinämöinen Old Väinämöinen himself


melan on merestä nosti raised a paddle from the sea
lapiensa lainehesta, his oar from the waves
kokon koprille sivalti smote the eagle on the claws
380 vaakalinnun varpahille. the wyvem upon the toes.
Jäi yksi nimetön sormi One nameless finger was left
sampuo pitelemähän to seize the sampo
kirjokantta kantamahan. carry off the bright-covered.
Siilon vanha Väinämöinen Then the old Väinämöinen
385 otti miekkansa omansa took up his own sword
käellä on oikiella took in his right hand
vasemmelta reieltään. from its scabbard on his left.
Siilon sampuo murotti Then he shattered the sampo
kirjokantta kirjoali the bright-covered brightly flashed
390 selvällä meren selällä upon the clear stretch of sea
ulapalla aukiella. the open water.
Noita tuuli tuuvitteli And the wind lulled them
ilman lieto liikutteli and the soft breeze shifted them
ympäri meren sinisen: about the blue sea:
396 muut kaikki muruset viepi washed all the other pieces
rannalle meryttä vasten up on the seashore
vasten merta hyyvänettä. up on the sea-slush.
Pohjon akka harvahammas The gap-toothed crone of Pohjo
kannen kanto Pohjolahan carried the cover home, the
«oo rivan kylmähän kylähän handle to the cold village
sormella nimettömällä bore with her nameless finger
vasemella varpahalla. bore with her left toe.

Arhippa Perttunen
Latvajärvi, Vuokkiniemi, Archangel Karelia
E. Lönnrot, 1834

120
13
S A M P O II
The Sampo I I

V anha Väinämöinen ja nuori Jompainen ld Väinämöinen andyoung Jompainen went off to


lähättiin Pohjan muaale sammasta hake­ O the land of Pohja tofetch the sammas. And they
maan. Sieltä suaatiin sammas kiin. Lähättiin got the sammas too. They sailed away. Toung Jompai­
merelle. Sano nuori Jompainen vanha Väinä­ nen said to old Väinämöinen: “Now beginyour song.”
möiselle: l,Alutto jo virsis.”
“Viel on virsinen varrastain “It is still too soon to sing:
kuin Pohjan maan portit näkö Pohjola’s gates are in sight
tuin uunit kuumotta.” and the house-stoves dimly glow.”
Lensipä sammas pilvee. Löi nuori Jompainen Now, the sammas flew into a cloud. Toung Jompainen
miekalla kaks varvasta sammalta poiki: yksi with his sword struck two toes off the sammas: one
lensi meree, toinen suaatiin muaale. Joka lensi flew into the sea, the other was brought to the land.
mereen siite tuli suolat meree, joka suaatin The one that flew into the sea, from it salt came to
muaale siite tuli heinet muaale. Kuin oisuseet the sea: the one that was brought to the land, from it
suaanut, nin ois vilja tullut ilman kylvämätä. grass came to the land. Had several got there, com
would have come up without sowing.

M a i j a T u rpoin en
Säfsen, Dalecarlia
C. A. Gottlund, 1817

121
14
S A M P O III
The Sampo I I I

ksi vanha Väinämöinen irst the old Väinämöinen


Y toinen seppo Ilmarinen F then the smith Ilmarinen
kolmas nuori Joukamoinen third the young Joukamoinen
läksi selvälle merelle went on the clear stretch of sea
5 lakialle lainehiille on the boundless waves
pitkän Pohjolan povehen right into far Pohjola
miehen syöjien kylähän to the man-eating village
urohon upottajien. the village that drowns heroes.

Ikivanha Väinämöinen The ancient Väinämöinen


10 meni riistariihen luokse, went into the threshing house
oluella ukset voiti for spoils, oiled the doors with beer
kaljalla saranat kasto with ale moistened the hinges
jott ei ulvo Pohjan ukset that Pohja’s doors might not squeal
nau’u Hiitolan saranat, nor Hiitola’s hinges whine.
is Latjaeli laivan täyen He loaded the ship up full
saatto suuren sammon täyen, he got the great sampo full
laitto laivansa merelle launched his ship upon the sea
saatto sammon lainehiille. got the sampo on the waves:
Läksi mielellä hyvällä he went off in good spirits
2o iloten omille maille. rejoicing to his own lands.

Tuo oli vanha Väinämöinen That old Väinämöinen sailed


laskevi meren vesiä on the water of the sea
lakehilla lainehilla. on the boundless waves
Laski päivän ensimäisen. sailed for the first day.
25 Virkki nuori Joukamoinen: Young Joukamoinen uttered:
“ Laula vanha Väinämöinen “ Sing now, old Väinämöinen
hyreksi hyväsukunen hum now, man of good family
Pohjolassa käytyäsi now you’ve been to Pohjola
hyvän sammen saatuasi!” now you’ve got the good sturgeon!”

30 Virkki vanha Väinämöinen: Old Väinämöinen uttered:

122
H
S am po I I I
The Sam po I I I

“Aikanen ilon pioksi “It is too early to cheer


varahainen laulannaksi: still too soon to sing:
portit Pohjolan näkyvi Pohjola’s gates are in sight
paistavi pahat veräjät the evil gateways glitter
36 kannet kirjo kiimottavat the bright covers are glowing
miehen syöjästä kylästä of the man-eating village
urohon upottajasta.” the village that drowns heroes.”

Jopa siitä päänä toissa Well, then on the second day


virkki nuori Joukamoinen: young Joukamoinen uttered:
40 “Laula vanha Väinämöinen “Sing now, old Väinämöinen
hyreksi hyväsukunen hum now, man of good family
Pohjolassa käytyäsi now you’ve been to Pohjola
hyvän sammen saatuasi!” now you’ve got the good sturgeon!1

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


45 “Aikanen ilon pioksi “ It is too early to cheer
varahainen laulannaksi: it is still too soon to sing:
portit Pohjolan näkyvi Pohjola’s gates are in sight
paistavi pahat veräjät the evil gateways glitter
kannet kirjo kiimottavat the bright covers are glowing
so miehen syöjästä kylästä of the man-eating village
urohon upottajasta.” the village that drowns heroes.”

Virkki seppo Ilmarinen: Smith Ilmarinen uttered:


“Oisinko itse perässä “ If it was me at the stern
laulasinpa, taitasinpa.” well, I’d sing, I’d know how to.”

55 Äsken laulo Väinämöinen. Just then Väinämöinen sang


Jyriä urolla ääni and the hero’s voice thundered
lainehilla laulaessa over the waves as it sang
vesillä viheltäessä: on the water as it shrilled:
vuoret loukki, vaarat paukko it jarred mountains, jolted hills
60 kaikki kalliot järisi it set all the cliffs trembling.
vaan ei leuat lonkaellut But jaws did not move
Väinämöisen laulellessa at Väinämöinen’s singing
ilotessa Ilmarisen. Ilmarinen’s rejoicing.

Kusiainen kurja poika A pismire, wretched fellow


65 tuo kusi kuren jaloille: pissed on the legs of a crane:
kurki laski suuren kulkun the crane let out a great squawk

123
M
Sam po I I I
T h e Sam po I I I

väkilintu väljän äänen the strong bird made a large sound


parkasi pahan sävelen. screeched out in an evil tone.

Tuosta Pohjola havatsi At that Pohjola woke up


7o Pohjan eukko ylös nousi, the dame of Pohja rose up
itse Pohjolan emäntä Pohjola’s mistress ran out
juoksi riistariihen luokse to the threshing-house for spoils
kartanoa katsomahan: ran to look over her farm:
riista kaikki pois kadonna. all the spoils had disappeared.
76 Katso kaljansa katovan She saw her cattle failing
alenevan arviohon, saw her riches declining:
pani joukon jousihinsa she got a band with their bows
laitto miehet miekkohinsa got men ready with their swords
sata miestä soutamahan a hundred men for rowing
so tuhat ilman istumahan, a thousand sitting idle
läksi Väinämön jälestä. went after Väinämöinen.

Jo päivänä kolmantena Now on the third day


virkki seppo Ilmarinen: smith Ilmarinen uttered:
“Hoiot vanha Väinämöinen! “Take care, old Väinämöinen:
86 Selkiä on etinen ilma there’s clear sky in front
taakia takanen puoli.” but behind it’s dim.”

Jo tulevi Pohjan pursi Now Pohja’s craft was coming


satahanka halkoavi, the hundred-rowlocked cleaving -
sata miestä soutamassa a hundred men rowing it
so tuhat ilman istumassa. a thousand sitting idle.
Sanoi seppo Ilmarinen: The smith Ilmarinen said:
“Oiot vanha Väinämöinen! “Look out, old Väinämöinen!
Ota piitä pikkuruisen Take a tiny piece of flint
tauloa taki vähäisen. quite a small bit of tinder:
96 Luomma luo’oksi merelle we’ll form a crag in the sea
salasaari siunoamme a hidden isle we’ll spirit
luoto pitkä pohjosehen a crag stretching to the north
suvehen sitä pitempi even further to the south
itähän iäti pitkä stretching eastward for ever
too loppumaton luotehesen without end westward
johon puuttuu Pohjan pursi on which Pohja’s craft will jam
veno Hiitolan takeltuu.” Hii tola’s boat will be caught.”

Tuo oli vanha Väinämöinen It was old Väinämöinen

124
M
S am po I I I
T h e Sam po I I I

otti piitä pikkuruisen took a tiny piece of flint


106 tauloa taki vähäisen: quite a small bit of tinder:
siihen puuttu Pohjan pursi on it Pohja’s craft was jammed
satahanka salpasihen. the hundred-rowlocked stuck fast.

Tuo on itse Pohjan eukko That dame of Pohja herself


jaloin tammasi vetehen, stepped feet first in the water
no läksi purtta nostamahan set about raising the craft
laivoa kohottamahan: lifting up the ship
eipä pursi liikukana. but the craft was not moving.
Siitä m uuttu mustaseksi Then she changed to a black bird
käänty kokkolintuseksi, she turned into an eagle
us sata pani miestä siiven päälle put a hundred men upon her wing
tuhat siiven tutkamille a thousand on her wing-tips
kymmenen kynän nenille, ten upon her feather-ends
läksi Väinämön jälestä. went after Väinämöinen.

Virkko seppä Ilmarinen Smith Ilmarinen uttered


iso päivän kolmannen perästä: at the end of the third day:
“ Hoiot vanha Väinämöinen! “Take care, old Väinämöinen:
Selkiä etinen ilma there’s clear sky in front
taakia takanen taivas. but behind it’s dim.
Jo tulevi Pohjan eukko, Now Pohja’s dame is coming
125 sata on miestä siiven päällä a hundred men on her wing
tuhat siiven tutkamilla a thousand on her wing-tips
kymmenen kynän nenillä.” ten upon her feather-ends.”

Liitelevi laatelevi She glided, hovered


päähän purren Väinämöisen, over Väinämöinen’s craft:
130 kohta kokkahan kohosi. soon she settled on the prow.
Virkko seppo Ilmarinen: Smith Ilmarinen uttered:
“ Oiot vanha Väinämöinen! “Hey there, old Väinämöinen:
Nostapas mela merestä raise a paddle from the sea
lapiasi lainehista, your spade from the waves
136 lyö’ös kynsiä kavetta.” hit the woman on the nails.”

Sitte vanha Väinämöinen Then the old Väinämöinen


jo nosti melan merestä raised a paddle from the sea
lapiansa lainehista, his spade from the waves
iski kynsiä kavetta. struck the woman on the nails.
140 M uut kynnet meni muruiksi: Other nails went to pieces:

125
Sampo II I
H The Sampo I I I

jäi yksi sakarikynsi the one on the small finger


jolla purtta nostamahan was left for raising the craft
venoa ylentämähän. for lifting the boat.

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


145 “Jos lienet pursi Luojan luoma “Were you, craft, the Creator’s,
veno veistämä Jumalan, boat, of God’s shaping
syrin syöksete merehen you’d plunge sideways in the sea
laioin lainehin ajate!” run broadside into the waves!”

Jo meni meren sisähän Now it went into the sea


iso lankeis laiva lainehisen. the ship fell into the waves.
Itse vanha Väinämöinen Old Väinämöinen himself
syrjin syöksihen vetehen plunged sideways in the water
lankeis laivoin lainehisen fell, ship and all, in the waves
menevi meren sisähän. went into the sea’s inside.

155 Itse Pohjolan emäntä Pohjola’s mistress herself


nosti talman taivahalle raised a mist into the sky
sumun ilmalle ylenti. lifted fog into the air.

Laulo vanha Väinämöinen And old Väinämöinen sang


selvässä meren sisässä in the open sea's inside
160 lakehissa lainehissa: in the boundless waves:
“Ei oo mies vähän pahempi “Not even a worse
u’ulla upottaminen man is drowned by haze
terhenellä voittaminen.” overcome by spray.”

Itse Pohjolan emäntä Pohjola’s mistress herself


165 läksi itkien kotihin went weeping homeward
kallotellen kaupuntihin. wailing to the town.

Ylös nousi Väinämöinen Väinämöinen rose again


yön kolmen levättyänsä having rested for three nights
selvässä meren sisässä in the open sea’s inside
170 lakehissa lainehissa, in the boundless waves
otti ruoskan ruohonkarvan took a grass-hued whip
iski vettä piiskallahan struck the water with the lash
merta siimalla sivalti: smote the sea with the whiplash:
sima siuku siiman tiestä honey swished from the whip’s path
175 utu ruoskan nauskehesta, haze from where the lash whistled

126
Sampo II I
H The Sampo I I I

nousi talma taivahalle the mist rose into the sky


utu ilmoille yleni, the haze lifted in the air
selvisi utu mereltä. the haze cleared up from the sea.

Simana Sissonen and Simana Huohvanainen


Ilomantsi, North Karelia
D. E. D. Europaeus, 1845

127
15
S A M P O IV
The Sampo I V

Läksi vanha Väinämöine


läksi neittä kozjomah Oldhe Väinämöine went off
went off to woo the maid
taimenta tavottamaha to angle for the sea-trout
pimiestä Pohjolasta in dark Pohjola
6 tarkasta TapiVolasta. in careful Tapivola.

Anni tytti ainuo neiti The girl Anni, matchless maid


pezi pikku poukkuistaha was washing her little things
valkaizi valantehutta bleaching what she’d rinsed
pitäm portahan nenässä. at the end of the long quay
10 Näki kalaizen karjan. when she saw a shoal of fish.

“Jos lienet kalaine karja “If you are a shoal of fish


niin sie uimaha uleuvu! then away with you, swim off!
Jos lienet lintuine karja If you are a flock of birds
niin sie lendoho leviete! then begone with you, fly off!
15 Jos lienet vezikivoine If you are a water-rock
niin sie vezin vierekkänä! then roll off in the water!
Jos lienet vanha Väinämöine If you’re old Väinämöine
pakinoilla painustoate bring yourself here for a talk
sanomilla soahustoate!” come here for a word!”

so Tuli vanha Väinämöine The old Väinämöine came


pakinoilla painustihi took himself there for a talk
sanomilla soahustihi. went there for a word.

Heän tuon sanoiksi virkki: And she put this into words:
“Kunne läksit Väinämöine?” “Where are you off to, Väinö?”

25 “ Läksin jouttšenien ajoho “I am off on a swan-hunt


Tuonem mussasta jovesta.” down at Tuoni’s black river.”

“Jo tunnen valehtelijan “Now I know a liar

128
1 ^ Sampo IV
1 O The Sampo IV

keksin kielahin sanojan! see a speaker of false words!


Toizin ennem miun izoni Otherwise was my father
30 toizin valdovanhembani my noble parent
läksi jouttšenien ajoho when he went on a swan-hunt
Tuonem mussasta jovesta: down at Tuoni’s black river:
suur oli koira kahlehessa he had a big dog in chains
suuri jouzi jänteissä. he had a big bow drawn taut.
36 Kunne läksit Väinämöine?” Where are you off to, Väinö?”

“Läksin lohta pyytämällä “I am off salmon-fishing


Tuonem mussasta jovesta.” down at Tuoni’s black river.”

“Jo tunzin valehtelijan Now I’ve known a liar


keksin kielahin sanojan! see a speaker of false words!
40 Toizin ennem miun izoni Otherwise was my father
toizin valdovanhembani my noble parent
läksi lohem pyyvändäh: when he went salmon-fishing:
verkkuo venehen täyzi he had a boatful of nets
laivan täyzi laskomista. a shipful of fishing-gear.
46 Kunne läksit vanha Väinämöine?” Where are you off to, Väinö?”

“Läksin neittä kozjomaha “I am off to woo a maid


pimiestä Pohjolasta in dark Pohjola
tarkasta Tapivolasta.” in careful Tapivola.”

Anni tytti ainuo neiti The girl Anni, matchless maid


60 kobrin kogozi sobaha in her fists gathered her skirt
käzin keäri voattevuoho, in her hands bundled her dress
pistihe sepäm pajaha. squeezed into the smith’s workshop.

“Oi sie seppä Ilmolline “O you smith Ilmolline


takoja ijänikuine! you everlasting craftsman!
65 Tavo miula viijet vidjat Hammer me five chains
kolmet korvirengahaizet, three pairs of earrings
mie sanon hyvät sanomat I will tell good news
pakizen hyvät pakinat.” I will speak good things.”

Se oli seppä Ilmolline The smith, that Ilmolline


60 tako päivän, tako toizen hammered a day, another
tako peänä kolmantena hammered a third day
tako hänellä viijet vidjat hammered her five chains

129
1 C Sampo IV
I O The Sampo IV

kolmet korvirengahaizet, three pairs of earrings


heän sano hyvät sanomat: and she told good news:
65 “Viedih mielitiettävässi “Your loved one has been taken
kolmin vuozin kozjottavas the one you wooed three years long
kaksin kaupoteldavassi.” you bargained for two years long.”

Istuzih hevon rekeh, He got into a horse-sledge


iski virkkuo vitšalla hit the courser with a lash
70 helähytti helmispeällä: clouted with the beaded tip:
virkku juoksi, matka joutu courser ran, the way was quick
reki vieri, tie lyheni. the sledge flew, the road grew short.
Ajoa köröttelöyve He drove steadily
pimiehe Pohjolaha to dark Pohjola
75 tarkkaha Tapivolaha. to careful Tapivola.

Sielä haukku hallikoira There the watchdog was barking


soaren lukki luskutteli. the island’s dog made a din.

Sielä Pohjolan emändä The mistress of Pohjola


käski piikoa kattšomaha told the servant-girl to see
so mitä haukku hallikoira why the watchdog was barking
soaren lukki luskuttauve: the island’s dog made a din:
ei halli valehta hauku no watchdog barks for nothing
soaren lukku luskuttele. no island’s dog makes a din.

Piika varzin vastovaili: The servant answering said:


85 “Embä jouva kattšomaha! “ I’ve no time to look!
Kivi on suuri jauhottava There’s a big stone for grinding -
kivi suuri, jauhot hienot.” the stone big and the flour fine.”

Aina haukku hallikoira Still the watchdog was barking


soaren lukki luskutteli. the island’s dog made a din.

so Se oli Pohjolan emäntä The mistress of Pohjola


käski kazakkoa kattšomaha: ordered the hired man to look:
“ Mäne kazakka kattšomaha “Go, hired man, and see
mitä haukku hallikoira why the watchdog was barking
soaren lukki luskutteli: the island’s dog made a din:
95 ei halli valehta hauku no watchdog barks for nothing
soaren lukki luskuttele.” no island’s dog makes a din.”

130
1 r Sampo IV
-I J The Sampo IV

Kazak varzin vastovaili: The hired man indeed answered:


“ Embä jouva kattšomaha! “I’ve no time to look!
Pin on suuri ladjattava There’s a big pile to be made -
loo pino suuri, halot hienot.” the pile big and the sticks fine.”

Se oli vanha Väinämöine It was old Väinämöine


peäzi pimiehe Pohjolaha arrived in dark Pohjola
tarkkaha Tapivolaha, in careful Tapivola:
sielä neittä kozjotaha there the maid was wooed
105 taimenda tavotetaha. the sea-trout was angled for.

Akka varzin vastovaili: The old crone indeed answered:


“Siidä annan tyttäreni “For this I’ll give my daughter:
jos soat sampon valmeheksi.” if you fashion the sampo.

Se oli seppä Ilmolline It was smith Ilmolline


no tako päivän, tako toizen hammered a day, another
tako peänä kolmantena, hammered a third day:
jo sai sampon valmeheksi. now he fashioned the sampo.

Se oli vanha Väinämöine It was old Väinämöine


uinotti Pohjolan ukonne lulled to sleep Pohja’s old man
ns uinotti Pohjolan akanne to sleep Pohja’s old woman
kaiken Pohjoisen peränne. all the rest of Pohjoinen:
Siidä otin tyttärenne and then I took your daughter
sain samponne mukahani took your sampo off with me
panin sampon laivahani put the sampo in my ship
120 läksin ajamah merehe. sailed away upon the sea.

Ajoim päivän, ajoin toizen I sailed a day, another


ajoim peänä kolmantena. I sailed a third day.
Havahtu Pohjolan emäntä: Pohjola’s mistress woke up:
“Jopa viedih tyttäreni!” “My daughter’s been carried off!”

125 Läksi ajamah perästä She sailed away in pursuit


siibi-puoleh siihottomah. on wings she was borne along:
Lendi päivän, lendi toizen she flew a day, another
lendi peänä kolmantena and she flew for a third day
jopa peäzi purzipuuhu till she came to the boat’s mast
iso liidih tuoho purzipuuhu. glided on to that boat’s mast.

131
1C Sampo IV
1 */ The Sampo IV

Se oli vanha Väinämöine It was old Väinämöine


tabazihi taglohois reached for his touchwood
turvazih tuluksihis. he turned to his tinder-box.

Iski tulda Ilman ukko Old Man of the Air struck fire
135 välähytti Väinämöine Väinämöine made a flash
kolmella kokon sulalla made with three eagle-feathers
viijellä vivuttšimella. with five tail feathers.

Läksi sieldä kyböine From the place a spark shot out


läpi moan, läpi Manulan through the earth, through Manula
im läpi reppänän retuizen through the smoke-hole caked with soot
läpi lapsen kätkyöistä, through a child’s little cradle
parmoizet emolda poltti burnt the breasts of the mother
tissit pissyt piikaizilda. the firm nipples of the maids.

Tuoho palo hänen laiva. And there his ship was ablaze:
145 Siidä heäm mäni merehe. then he went into the sea.

Siidä kulgi kolme vuotta: Then he drifted for three years:


kuhu koski sormi where his finger touched
siihi tuli soari, there an island came
kuhu koski polvi and where his knee touched
iso siihi tuli korko. there a boulder came.

Loadi sorzane pezän A little duck built a nest


tuoho tuossa polvem peähä there upon the very knee
sengo vanha Väinämöisen. of that old Väinämöine.

Muni tuohki munaizenne. Even there it laid an egg.


155 Sai muna murenneheksi The egg broke into pieces;
sillä tuli voijetuksi. he used it for salve.

Siidä heäm peäzi eloho Then he came to life


siidä läksi matkahassi. then went off on his journey.

Tuli Joukone vastahassi. He met Joukone


160 Siidä heän sanoiksi virkki: then he put this into words:
“Kumbi lauloa ozannou “Whichever of us can sing
sen ei tieldä lähtie.” need not leave the road.”

132
1 C Sampo IV
1 J The Sampo IV

“Laula Joukone ezinnä.” “Sing, Joukone, first.”

Joukone tuon sanoiksi virkki: Joukone put this into words:


ies lauloi tähet taivoizella. he sang the stars in the sky.

Se oli vanha Väinämöine It was old Väinämöine


heän tuon sanoiksi virkki: put this into words:
“Omani on taivone tähittämäni.” “Mine the spangling of the sky.”

Laulo suoho vyötä myöten He sang him into a marsh


170 moahako nizuslihoja. belt-high, in the ground hip-deep.

Se oli vanha Väinämöine It was old Väinämöine


heän tuon sanoiksi virkki: put this into words:
“Annatk ainuon sizares “If you give your one sister
niim mie peässän suosta siun.” I’ll get you out of the marsh.”

176 Heän lupazi sizareh. He pledged his sister.

Mäni Joukone kotihis Joukone went home


heittihi pahalla mielin was plunged into bad spirits
alla suim, pahalla mielin his mouth down, in bad spirits
kaiken kallella kypärin. and his helmet all askew.

iso Se oli moamo kantajaine ’Twas his mother who bore him
heän tuon sanoiksi virkki: put this into words:
“Mit olet poika pahalla mielin “Why, my son, are you in bad spirits
kaiken kallella kypärin?” and your helmet all askew?”

“Sit olem pahalla mielin “For this I’m in bad spirits


iso kaiken kallella kypärin: and my helmet’s all askew:
annoin ainuon sizaren I’ve given my one sister
tuolla vanhalla varaksi to look after that old man
iloksi ikilopulla to cheer the ancient
tuosta suosta peässäkseni.” to get me out of the marsh.”

iso Se oli moamo kantajaine ’Twas his mother who bore him
heän tuon sanoiksi virkki: put this into words:
“Poikuoni ainuoni “My only offspring!
elä ole pahalla mielin. Do not be in bad spirits:
Tuota mie itin ikäni for this I yearned all my life

133
1 C Sampo IV
1 J The Sampo IV

196 puhki polveni halazin - longed throughout my days -


vävykseni Väinämöistä!” Väinö for my son-in-law!”

Miihkali Senkkanen
Kiimaisjärvi, Archangel Karelia
A. A. Borenius, 1872

134
16
KOSINTA I
The Courtship I

Annikki soaren neitoni


sisar seppo Ilmorisen Annikki the island maid
smith Ilmorini’s sister
lähti poukkujem pesuilla went off to do her washing
rannalla meren sinisen on the shore of the blue sea
5 Laisan laiturin nenällä. at the end of Laisa Quay.

Keksi se mustosem mereltä She spied a black speck on the sea


sinervöisen lainnehelta. something bluish on the waves
Itše noin sanoikse virkko: herself put this into words:
“Kuin ollet isoni pursi “If you are my father’s boat
10 sie keänny kohin kotihe turn homeward, turn to your house
perim muihe valkamoihe! away from other havens!
Tahikka Veijoni venoni Or else if my brother’s craft
perim muihe valkamoihe! away from other havens!
Eli pursi Väinämöisen Or yet Väinämöini’s boat
is sie painu pakinoilla! bring yourself here for a talk!
Olit armas allikaija If a darling flock of ducks
sinä lentohon levie! spread out into flight!
Elikkä vesikivoni Or again a water-stone
vesi peälläsi vetähys!” draw the water over you!”

so Se oli pursi Väinämöisen It was Väinämöini’s boat


se om painu pakinoilla. took itself there for a talk.

Annikki soaren neitoni Annikki the island maid


puhutteli lausutteli: talked away, prattled away:
“Kunnepa läksit Väinämöini “Where are you off to, Väinö
26 ulkenit Umannon sulho?” where, bridegroom of Umanto?”

Sano vanha Väinämöini: The old Väinämöini said:


“Läksin lohta kuultamalla “I’m off to catch a salmon
Tuonem mussasta jovesta down in Tuoni’s black river
Manalan alantehesta.” in the pit of Manala.”

135
1 if Kosinta I
1 O The Courtship I

so Annikki soaren neitoni Annikki the island maid


sepä noin sanoikse virkko: put this into words:
“Jo tunnen valehtelijan “Now I know a liar
ymmärtelen kielastajan! sense a speaker of false words!
Toisin ennem miun isoni Otherwise was my father
36 läksi lohta kuultamaha: when he went to catch salmon:
verkkoja venoni täysi he had a boatful of nets
arinoja alla teljon. fishing-spears under the thwarts.
Ohoh vanha Väinämöini Hoho, old Väinämöini -
sanos tarkkoja tosija!” just tell the truth carefully!”

40 “Läksin hanhien hakuhu “I’m off after geese


kuolasuijen kahteluhu.” to look out for slobber-mouths.”

Annikki soaren neitoni Annikki the island maid


sepä noin sanoikse virkki: put this into words:
“Jo tunnen valehtelijan “Now I know a liar
46 ymmärtelen kielastajan! sense a speaker of false words!
Toisin ennem miun isoni Otherwise was my father
läksi hanhien hakuhu when he went off after geese
kuolasuijen kahteluhu: to look out for slobber-mouths:
suur oli jousi jäntejissä, he had a big bow drawn taut
60 koiraset keränä vieri dogs bowling like balls
penit rantoja samusi.” and pups straying on the shores.”

Aina Annikki kysyvi Still Annikki asked


tinarinta tiijustavi: and the tin-breasted inquired:
“Sano vanha Väinämöini “Tell me, old Väinämöini
65 sano tarkkoja tosija: and tell the truth carefully:
kunne läksit Väinämöini?” where are you off to, Väinö?”

Sano vanha Väinämöini: The old Väinämöini said:


“Kuin on neiti Pohjosessa “There’s a maid in Pohjonen
impi kylmässä kylässä: a girl in the cold village:
60 lihan läpi luut näkyvi through her flesh you see the bones
luun läpi yvin näkyvi, through bone the marrow
kiitti puoli Pohjam moata. half Pohja’s land praises her.
Läksin neittä kosjomaha I am off to woo the maid
pimiestä Pohjosesta.” in dark Pohjonen.”

65 Annikki soaren neitoni Annikki the island maid

136
1 /T Kosinta I
1 U The Courtship I

koprin se helmasa kokosi in her fists gathered her hem


käsin keäri voattiesa, in her hands bundled her dress
pijan juoksi matkat pitkät quickly ran on long journeys
väliäten välit lyhyöt. short distances fast.
70 Mänöä sepom pajaha: She went to the smith’s workshop:
“Oi on seppo veikkoseni “O smith, my little brother
otetahi ostettusi she you bought is being taken
viijähä lunassettusi she you redeemed carried off
savoim markoim maksettusi!” she who cost a hundred marks!”

76 Vaipuvi vasara keäistä The hammer dropped from his hand


pihet kirpusi pivosta. the tongs slipped out of his palm.
“Oi on Anni tšikkoseni “Anni, my little sister
lämmitäs saloa sauna warm the bath-house secretly
pijam pirtti riuvuttele quickly stoke up the bathroom
so hienosilla halkoloilla! with some finely-cut firewood!
Loaji piimäistä poruo Prepare some thick lye
ytelmöistä saipuota some bone-marrow soap
jolla se peipponi pesekse with which the chaffinch may wash
sykysyisistä sysistä I the autumn-hued charcoal off
as tavonnoista talvisista! the winter-hued forge-grime off!
Avoas peräni aitta Open the furthest storehouse
rannimmaini reusahuta, fling wide the one next the shore:
ota hoahen haljakoita!” take some coats of foreign wool!”

Viititšekse voatitšekse. He dressed himself, decked himself.


90 “Oi on Anni tšikkoseni “Anni, my little sister
pane sie varsa valjahise put the colt into harness
ruskijen rejen etehe at the front of the brown sledge
takaisesta tanhuvosta in the farmyard at the back
tammisesta pattšahasta!” at the oaken post!”

96 Siitä seppo Ilmorini Then the smith Ilmorini


ajoa karettelovi drove rumbling away
meren hietaharjuloita by the sea’s sandy ridges
hevoisella hirvisellä with an elk-hued horse
kalahauvin karvasella with pike-coloured hair
loo lohem mussam muotosella a black salmon’s shape
pimiehe Pohjolaha. to dark Pohjola.

Tuo vanha Vainämöini And that old Väinämöini

137
1 /T Kosinta I
A v The Courtship I

purjehti punaista merta sailed on the red sea


punaisilla puijehilla. in a red-sailed boat.
io s Niitä haukku Pohjon halli Pohjo’s watchdog barked at them
linnan lukku luksutteli. the castle’s dog howled.

Sano Pohjolan isäntä: And Pohjola’s master said:


“Mänes akka kattšomaha “Go, crone, and see why
mitä haukku Pohjon halli Pohjo’s watchdog barked
no linnan lukku luksutteli!” the castle’s dog howled!”

Sano Pohjolan emäntä: And Pohjola’s mistress said:


“Enkä lähe enkä huoli, “I won’t go out, I don’t care.
mänes itše kattšomaha.” Go yourself and look.”

Sitte Pohjolan isäntä And so Pohjola’s master


ns mäni itše kattšomaha: went himself and looked:
tuo on seppo Ilmorini and that smith Ilmorini
ajoa karettelovi was driving rumbling along
hevosella hirvisellä with an elk-hued horse
kalahauvin karvasella with pike-coloured hair
iso lohem mussam muotosella, a black salmon’s shape
toini on vanha Väinämöini and old Väinämöini too
purjehti punaista merta was sailing on the red sea
punasilla purjehilla. in a red-sailed boat.

Sano Pohjolan isäntä: And Pohjola’s master said:


125 “Tuonne neiti annetaha “He shall have the maid
ku tuopi kannoilla rahoa who on his decks brings money
aluksilla oartehia.” who in his ships brings treasure.”

Sano Pohjolan emäntä: And Pohjola’s mistress said:


“Sinne neiti annetaha “He shall have the maid
130 työnnetäh luvattu lahja the pledged gift will be given
kunne on neiti toivotettu, to whom the maid is promised -
sepolla Ilmorisella.” smith Ilmorini.”

Siitä vanha Väinämöini Then the old Väinämöini


kovin suuttu ta vihastu, grew very angry and wild
135 tunki kultije tulehe thrust gold pieces in the fire
hopeita huopin täyven. a felt hat full of silver.

V a ssiie i M a lin e n
Vuonninen, Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1872
17
K O S I N T A II
The Courtship I I

Tön tytti, hämärän neiti r r i h e girl of night, maid of dusk


JL pesi pestyjä sopia i . was rinsing clothes she had washed
valattuja valkaeli what she had bleached was bleaching
pitkän portahan nenässä at the end of the long quay
5 kirjopaalikka käessä. a bright-carved bat in her hand.

Laskevi punanen pursi, A red boat went by:


puoli purtta on punasta. one side of the boat was red.

Yön tytti, hämärän neiti The girl of night, maid of dusk


puhutteli purtta tuota spoke out to that boat
io puhelevi purrestahan: and talked from her boat:
“Kunnes menet, ruoan ruotsi?” “Where are you bound, Swede to feed?”

Ruotsi varsin vastoavi And the Swede indeed answered


puhelevi purrestahan: and talked from his boat:
“ Mie menen kalan kutuhun “I am bound for the fish-spawn
16 ruotahännän roiskehesen.” the splashing of the spine-tail.”

Yön tytti, hämärän neiti The girl of night, maid of dusk


jopa varsin vastoavi: now indeed answered:
“Elä milmani valehi! “Don’t tell lies to me!
Sanos totta toinen kerta, Just tell me the truth this time.
so Tunnen ma kalan ku’utkin: I know about fish-spawn too:
mies nenässä, mies perässä one man for’ard, one astern
verkot on keskellä venettä the nets amidships
sauomet pität nenässä the long rods for’ard
perässä sitä pitemmät.” longer ones astern.”

25 Yön tytti, hämärän neiti The girl of night, maid of dusk,


puhutteli purtta tuota: spoke out to that boat:
“Kunnes menet, ruoan ruotsi?” “Where are you bound, Swede to feed?”

139
n
K o sin ta I I
T h e C ou rtsh ip I I

Ruotsi varsin vastoavi And the Swede indeed answered


puhelevi purrestahan: and talked from his boat:
30 “ Menen käymähän sotia.” “I am going off to war.”

Yön tytti, hämärän neiti The girl of night, maid of dusk


jopa varsin vastoavi: ’ now indeed answered:
“Elä milmani valehi! “Don’t tell lies to me!
Sanos totta kolmas kerta. Just tell me the truth this time.
35 Tunnen mie soanki käyjät: I know about warriors too:
sata miest on soutamassa a hundred men at the oars
tuhat ilman istumassa a thousand sitting idle
nenin pyssytki nenissä the guns upright at the prows
terin miekat tehtosammat.” swordblades ready for action.”

40 Yön tytti, hämärän neiti The girl of night, maid of dusk


puhutteli purtta tuota spoke out to that boat
jopa varsin vastoavi: now indeed answered:
“Kunnes menet, ruoan ruotsi?” “Where are you bound, Swede to feed?”

Ruotsi varsin vastoavi And the Swede indeed answered


45 puhelevi purrestahan: and talked from his boat:
“Minä menen sulhaseksi “ I’m off to be a suitor
ukon hiien tyttärelle to the old demon’s daughter
valkiahan valvattihin.” to the white one men yearn for.”

Yön tytti, hämärän neiti The girl of night, maid of dusk


50 jopa muuttu mustaseksi now changed into a black speck
käännältihen käärmeheksi, turned herself into a snake
lenti kullaissa käkenä flew as a golden cuckoo
hopiaissa kyyhkyläissä in a silver pigeon’s form
lenti kyynä kynnykselle flew, viper, to the threshold
55 otussa pajan ovelle: as beast to the smithy door:
“ Hoiot seppo Ilmarinen “Hullo, smith Ilmarinen
taos risti rinnoilleni hammer a cross for my breasts
päällä pankani paranna then touch up my metal brooch
koske korvirenkahani! forge earrings for me!
60 Nyt sanon hyvät sanomat.” Then I will tell you good news.”

Virkko seppo Ilmarinen: Smith Ilmarinen uttered:


“Kuin sanot hyvät sanomat “If you tell me good news, I’ll
taon ristit rinnoillesi hammer crosses for your breasts

140
1H K o sin ta I I
1 / T h e C ou rtsh ip I I

päällä pankasi parannan then touch up your metal brooch


65 kosken korvirenkahasi. forge earrings for you:
Kuin sanot pahat sanomat but if you tell me bad news
niin tungen tulehen pääsi I’ll thrust your head in the fire
itsesi ikitilahan yourself in the endless space
alle ahjon Ilmarisen.” under Ilmarinen’s forge.”

70 Yön tytti, hämärän neiti The girl of night, maid of dusk


jopa noin sanoiksi virkki: put this into words:
“Jopa tuli ruoan ruotsi “A Swede to feed has just come
jopa tuli sulhaseksi just come to be a suitor
ukon hiien tyttärehen to the old demon’s daughter
76 valkiahan vaivattihin.” to the white one men yearn for.”

Kuuli seppo Ilmarinen: The smith Ilmarinen heard:


jo kirpoi pihet käestä. the tongs slipped out of his hand.
Laulo seppo Ilmarinen: The smith Ilmarinen sang:
“ Konsa pihin piettänehe “When next will the tongs be held
so vasaroin valittanehe?” the hammer wielded?”

Virkkoi seppo Ilmarinen: Smith Ilmarinen uttered:


“ Hoiot maammo kantajani “Hullo, mother who bore me
säästä säkkihin evästä lay provisions in a bag
pane jauhot palttimahan! put flour in a linen sack!
85 Jopa lähen sulhasiksi I’m going as a suitor
ukon hiien tyttärehen to the old demon’s daughter
valkiahan valvattihin.” to the white one men yearn for.”

Kovin haukku suuri koira Loud the big dog barked


peni julma julkutteli the cruel pup leapt about
so hiien linnassa jalossa in the demon’s great castle
kauhiassa kaupungissa. in the dreadful town.

Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“ Menepäs orja katsomahan “Just go, serf, and see
96 mitä haukku suuri koira why the big dog barks
peni julma julkutteli!” the cruel pup leaps about!”

Orja taiten vastoavi: The serf knowingly answered:


“Enpä joua katsomahan: I’ve no time to look:

141
n
K o sin ta I I
T h e C ou rtsh ip I I

pino on pitkä latjattava there’s a large pile to be made -


loo pino pitkä, halko hieno the pile large and the stick fine
lastu pieni poimittava.” the small chip must be gathered.”

Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“ Menepäs piika katsomahan “Just go, servant-girl, and see
io s mitä haukku suuri koira why the big dog barked
peni julma julkutteli the cruel pup leapt about
perin peltohon syvähän yonder by the fertile field
hännän käänsi käppyrähän! twirling its tail round and round:
Ei koira vioitta hauku no dog barks without reason
no peni ei syyttä sylkyttele.” no pup slavers without cause.”

Piika varsin vastoavi: The servant indeed answered:


“Empä joua katsomahan: I’ve no time to look:
kivi on suuri jauhettava there’s a big stone for grinding -
kivi suuri, paasi paksu.” the stone big and the slab thick.”

ns Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“ Määpäs neiti katsomahan “Just go, maid, and see
mitä haukku suuri koira why the big dog barked
peni julma julkutteli the savage pup leapt about
120 perin peltohon syvähän yonder by the fertile field
hännän käänsi käppyrähän! twirling its tail round and round:
Ei koira vioitta hauku no dog barks without reason
peni ei syyttä sylkyttele.” no pup slavers without cause.”

Neito oli nöyrä käskyläinen The maid, a meek underling


125 meni neiti katsomahan. the maid went to look.
Tuli neiti katsomasta The maid came back from looking
sano tuota tultuahan: said as soon as she arrived:
‘‘Tulevi veno punanen “A red boat’s coming
punapursi pursuavi a red craft’s lapping
130 tämän puolen Lemmenlahta, on this side of Lempi Bay:
ajavi oro punanen a red stallion is trotting
kokottavi kirjokorja a bright sleigh is drawing close
toisen puolen Siimetsaarta.” on that side of Siimet Isle.”

Harvoin virkki linnan hiisi Slowly the castle’s demon

142
n
K o sin ta I I
T h e C ou rtsh ip I I

136 harvoin harvio nureksi: uttered, in slow words grunted:


“Purrella rahoja tuopi “In the boat he brings money
aluksella aartehia in the ship he brings treasure
kirjokorja luottehia.” the bright sleigh brings spells.”

Harvoin virkki linnan hiisi Slowly the castle’s demon


140 harvoin harvio nureksi: uttered, in slow words grunted:
“Pankaa pihjala tulehen! “Put the rowan in the fire!
Kuin on verta vuotanevi If blood oozes out
niin silloin sota tulevi then war is coming
vaan kuin vettä vuotanevi but if water drips
145 silloin sulhaset tulevat.” suitors are coming.”

Jopa joutu ruoan ruotsi Now the Swede to feed arrived


hiien linnahan jalohon at the demon’s great castle
kauhiahan kaupunkihin. in the dreadful town.
Tuli seppo Ilmarinen, The smith Ilmarinen came
iso kysy tuolta tultuansa he asked as soon as he came
lausu kohta lattialta: spoke up at once from the floor:
“Tokkos akka annetahan “Is a wife to be given -
ukon hiien tyttärestä she, the old demon’s daughter
valkiasta valvatista?” she, the white one men yearn for?”

166 Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“Oiot seppo Ilmarinen, “ Hey there, smith Ilmarinen:
äsken akka annetahan a wife is to be given
kuin sa kynnät kyisen pellon if you plough the viper-field
160 käärmehisen käännät telet.” turn the field of snakes over.”

Virkko seppo Ilmarinen: Smith Ilmarinen uttered:


“Yön tytti, hämärän neiti “O girl of night, maid of dusk
muistatko muinosen valasi do you recall your old vow
kuin vannoit ikivalasi the eternal vow you took
166 eessä vaskisen jumalan before the god of copper
kultakaavehen kohassa facing the virgin of gold
tullaksesi toivottelit?” when you promised you would come?”

Anto morsian apua. The bride gave her help.


Tuopa seppo Ilmarinen Now, that smith Ilmarinen
170 jopa kynti kyisen pellon ploughed the viper-field

143
n
K o sin ta I I
T h e C ou rtsh ip I I

käärmehisen käännätteli. turned the held of snakes over.


Kysy kohta tultuansa He asked at once when he came
lausu kohta lattialta: spoke up at once from the floor:
“Tokkos akka annetahan “Is a wife to be given -
175 ukon hiien tyttärestä she, the old demon’s daughter
valkiasta valvatista?” she, the white one men yearn for?”

Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“Oiot seppo Ilmarinen, “Hullo, smith Ilmarinen:
iso äsken akka annetahan a wife is to be given
kuin sa tuonet Tuonen karhun if you bring back Tuoni’s bear
sinisen salon sisästä from within the blue backwoods
portin Pohjolan ovilta.” from the gates of Pohjola.”

Virkko seppo Ilmarinen: Smith Ilmarinen uttered:


185 “Yön tytti, hämärän neiti “O girl of night, maid of dusk
muistatko muinosen valasi do you recall your old vow
kuin vannoit ikivalasi the eternal vow you took
eessä vaskisen jumalan before the god of copper
kultakaavehen kohassa facing the virgin of gold
190 tullaksesi toivottelit?” when you promised you would come?”

Anto morsian apua. The bride gave her help.


Jop on seppo Ilmarinen Now, the smith Ilmarinen
jop on tuonut Tuonen karhun brought back Tuoni’s bear
sinisen salon sisästä from within the blue backwoods
195 portin Pohjolan ovilta. from the gates of Pohjola.
Kysy tuolta tultuansa He asked as soon as he came
lausu kohta lattialta: spoke up at once from the floor:
“Tokkos akka annetahan “Is a wife to be given -
ukon hiien tyttärestä she, the old demon’s daughter
200 valkiasta valvatista?” she, the white one men yearn for?”

Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“Oiot seppo Ilmarinen, “Hullo, smith Ilmarinen:
äsken akka annetahan a wife is to be given
205 kuin sa tuonet Tuonen hauin if you bring back Tuoni’s pike
Tuonen mustasta joesta out of Tuoni’s black river
Manalan alantehesta.” from the pit of Manala.”

144
n
K o sin ta I I
T h e C ou rtsh ip I I

Virkki seppo Ilmarinen: Smith Ilmarinen uttered:


“Yön tytti, hämärän neiti “O girl of night, maid of dusk
sio muistatko muinosen valasi do you recall your old vow
kuin vannoit ikivalasi the eternal vow you took
eessä vaskisen jumalan before the god of copper
kultakaavehen kohassa facing the virgin of gold
tullaksesi toivottelit?” when you promised you would come?”

sis Anto morsian apua. The bride gave her help.


Meni seppo Ilmarinen The smith Ilmarinen went
jopa tuopi Tuonen hauin. brought back Tuoni’s pike:
Morsian kokoksi käänty the bride turned to an eagle
jopa joutu vahtimahan. put herself on guard.
220 Sitte seppo Ilmarinen Then the smith Ilmarinen
jo haropi Tuonen hauin raked up the pike of Tuoni
Tuonen mustasta joesta out of Tuoni’s black river
Manalan alantehesta. from the pit of Manala.
Tuonpa seppo Ilmarisen Now, that smith Ilmarinen
225 vetehinen kiini koppi, was seized by a water-sprite:
kokko niskahan kahahti the eagle pounced on its neck
vetehistä päähän väänti. twisted the water-sprite’s head.
Ei vesi veelle tuntunt Water was not like water
hauin suuren suomuksista, for the great pike’s scales
830 ilma ilmalle tajunnut air did not feel like air for
kokon suuren untuvista. the great eagle’s down.

Sitte seppo Ilmarinen Then the smith Ilmarinen


jopa tuopi Tuonen hauin brought back Tuoni’s pike
Tuonen mustasta joesta out of Tuoni’s black river
835 Manalan alantehesta. from the pit of Manala.
Kysy tuolta tultuansa He asked as soon as he came
lausu kohta lattialta: spoke up at once from the floor:
“Tokko akka annetahan “Is a wife to be given -
ukon hiien tyttärestä she, the old demon’s daughter
240 valkiasta valvatista?” she, the white one men yearn for?”

Harvoin virkki linnan hiisi Slowly the castle’s demon


harvoin harvio nureksi: uttered, in slow words grunted:
“Jopa akka annetahan “A wife is to be given -
ukon hiien tyttärestä she, the old demon’s daughter
246 valkiasta valvatista.” she, the white one men yearn for.”

10 145
n
K o s in ta I I
T h e C ou rtsh ip I I

Harvoin virkki linnan hiisi Slowly the castle's demon


harvoin harvio nureksi: uttered, in slow words grunted:
“Annas lokkina lojua “Let her sprawl as a seagull
kajavana kaljahua, let her call as a seamew
250 miesten verkkoja veteä let her drag the nets of men
kiveksiä kiinitellä!” let’ her fasten stones to them!”

S im a n a Sissonen
Ilomantsi, North Karelia
D. E. D. Europaeus, 1845

146
18
K O S I N T A III
The Courtship III

Manteren mattaala seppä


korkia Koivisson senihka T hetallsquat smith of the mainland
bridegroom of Koivisto
kengitti jalat keppiiät shod his lively feet
käpiästä kääri paglat handsomely tied on ribbons
6 sääret silkillä sitteeli bound his legs in silk
veran reunalla vetteeli drew on bordered cloth
nahkaisilla nappaeli. jerked up leather boots
Mäni Tuonelta tytärtä and went for Tuoni’s daughter
maan alalta morsianta. the bride from the underworld.

10 Tuoni istui tien selällä Tuoni sat on the road-ridge


maan älläin maan rajalla: underworldling at world’s edge:
“Anna Tuoni tyttöjääs “Give, Tuoni, your girl,
maan älläin marjuttaas!” underworldling, your berry!”

Tuoni väite vastaeli: And Tuoni indeed answered:


is “Äsen Anni annetaa “Anni will be given up
pää kallis kaotetaa the precious head yielded up
pää kähheerä kääntää, the curly head bundled up
ku käynet kässymme if you perform our command
meijen assut askelemme, if you walk in our footsteps
so ku taoit rahhaisen ratsun hammer a steed of money
raharissin ratsun päälle.” a money-cross on the steed.”

Manteren mattaala seppä The squat smith of the mainland


otti tuonki tehhäksee undertook even that task
kuite ilma ollaksee rather than be on his own
26 naiseta elelläksee. than live without a woman:
Nii takoi rahaisen ratsun hammered a steed of money
raharissin ratsun päälle. a money-cross on the steed.
Mäni Tuonelta tytärtä He went for Tuoni’s daughter
maan alalta morsianta. the bride from tne underworld.
30 Tuoni istui tien selällä Tuoni sat on the road-ridge

147
1 Q Kosinta U l
i o The Courtship II I

maan älläin maan rajalla: underworldling at world’s edge:


“Anna Tuoni tyttöjääs “Give, Tuoni, your girl,
maan älläin marjuttaas!” underworldling, your berry!”

Tuoni väite vastaeli: And Tuoni indeed answered:


36 “Äsen Anni annetaa “Anni will be given up
pää kallis kaotetaa the precious head yielded up
pää kähheerä kääntää, the curly head bundled up
ku käynet käskymme if you perform our command
meijen assut askelemme, if you walk in our footsteps
40 ku taot kivisen kirkon and hammer a church of stone
kivirissin kirkon päälle.” a stone cross upon the church.”

Manteren mattaala seppä The squat smith of the mainland


otti tuonki tehhäksee undertook even that task
kuite ilma ollakseen. rather than be on his own:
46 Nii takoi kivisen kirkon he hammered a church of stone
kivirissin kirkon päälle. a stone cross upon the church.
Mäni Tuonelta tytärtä He went for Tuoni’s daughter
maan alalta morsianta. the bride from the underworld.
Tuoni istui tien selällä Tuoni sat on the road-ridge
60 maan älläin maan rajalla: underworldling at world’s edge:
“Anna Tuoni tyttöjääs “Give, Tuoni, your girl,
maan älläin marjuttaas!” underworldling, your berry!”

Nuopa väite vastaeliit: They indeed answered:


“Ku käynet käskymme “ If you perform our command
66 meijen assut askelemme, if you walk in our footsteps
ku taot helmisen heppoisen and hammer a horse of beads
reen helmisen perrää a sledge of beads behind it
miehen helmisen rekkee a man of beads on the sledge
ruosan helmisen kättee.” a whip of beads in his hand.”

60 Manteren mattaala seppä The squat smith of the mainland


otti tuonki tehhäksee undertook even that task
kuite ilma ollaksee rather than be on his own
naiseta elelläksee. than live without a woman:
Takoi helmisen heppoisen he hammered a horse of beads
66 reen helmisen perrää a sledge of beads behind it
miehen helmisen rekkee a man of beads on the sledge
ruosan helmisen kättee. a whip of beads in his hand.

148
1 Q Kosinta I I I
1 O The Courtship II I

Mäni Tuonelta tytärtä He went for Tuoni’s daughter


maan alta morsianta. the bride from the underworld.
70 Tuoni istui tien selällä Tuoni sat on the road-ridge
maan älläin maan rajalla: underworldling at world’s edge:
“Anna Tuoni tyttöjääs “Give, Tuoni, your girl,
maan älläin marjuttaas!” underworldling, your berry!”

Nuopa väite vastaeliit: They indeed answered:


76 “Äsen Anni annetaa “Anni will be given up
pää kallis kaotetaa the precious head yielded up
pää kähheerä kääntää, the curly head bundled up
ku käynet käskymme if you perform our command
meijen assut askelemme: if you walk in our footsteps
m teit sillan meren selälle build a bridge on open sea
yhen vuosista vesoista out of saplings one year old
kahen vuuven kantoloista treestumps two years old
kolmen vuuven koivuloista.” birches three years old.”

Manteren mattaala seppä The squat smith of the mainland


86 teki sillan meren selälle built a bridge on open sea
yhen vuosista vesoista out of saplings one year old
kahen vuuven kantoloista treestumps two years old
kolmen vuuven koivuloista, birches three years old
otti oroin yhen öisen took a stallion one night old
»o ajoi senen sillan päälle rode over the bridge
yhen öisellä oroilla. on the one-night-old stallion.
Mäni Tuonelta tytärtä He went for Tuoni’s daughter
maan alalta morsianta. the bride from the underworld.

Siis vast Anni annettii Only then was Anni given


96 pää kähheerä käärittii the curly head bundled up
pää kallis kaotettii. the precious head yielded up.

K a ti
Soikkola, Ingria
V. Porkka, 1883

149
19
LA H JA I
The G ift I

(C~\ outen synnyin, jouten kasvoin f f T rseless born, useless I grew


jouten ilmoilla ylenin. V_> useless I rose in the world.
Kun ois männä Joukosella If I went to Joukoni
jouten Joukoni pitäisi Jouko would keep me useless
5 työttä, vyöttä, voattietta without work, belt, clothes
jalalla sukattomalla on my foot no sock
keällä kintahattomalla, on my hand no glove:
jokiveillä juottelise he’d give me river-water
roattehilla syöttelise.” to drink, and buck-beans to eat.”

10 Peäty Kojo kuulomassa Kojo happened to hear this


alla seinän seisomassa. to be standing by the wall.
Kosjo Kommilta tytärtä: He asked for Kommi’s daughter:
“Anna Kömmi ainuosi “Give, Kömmi, your only one
tahi pieni viikunasi!” give your lively little one!”

is “ Empä anna ainuttani “I’ll not give my only one


enkä pientä vilkunoani. nor my lively little one.
Soanet tähen taivoselta Fetch a star down from the sky
pilkan pilvien lomasta: a blaze from between the clouds:
siitä annan ainuoni then I’ll give my only one
20 tahi pienen viikunani.” give my lively little one.”

Painu seppolan pajahe. He went to the smith’s workshop:


“Oi on seppo veijoseni “Smith, my dear brother
takoja ijänikuni! you everlasting craftsman!
Tavo miula viijet vitjat Hammer me five chains
25 kuusi rautarenkahaista six rings of iron
jotta soan tähen taivoselta to fetch a star from the sky
pilkan pilvien lomasta!” a blaze from between the clouds!”

Tuopa seppo Ilmorini Now, that smith Ilmorini


takoja ijänikuni the everlasting craftsman

150
1 Q Lahja I
l y The Gift I

ao tako heän viijet vitjat he hammered five chains


kuusi rautarenkahaista, six rings of iron:
jo sai tähet taivoselta fetched stars from the sky
pilkat pilvien lomista. blazes from between the clouds.
Toi ne Kommilla kätehe. He brought them to Kommi’s hand.

as Kosjo Kommilta tytärtä: He asked for Kommi’s daughter:


“Anna Kömmi ainuosi “Give, Kömmi, your only one
tahi pieni viikunasi!” give your lively little one!”

“Empä anna ainuttani “ I’ll not give my only one


enkä pientä vilkunoani. nor my lively little one.
40 Kumpa on uinet umpilammin Now, if you swim the sealed pool
soanet sieltä suuren hauvin and catch the great pike in it
kultasuomun, kultajuomun, the golden-scaled, golden-streaked
tuonet Kommilla käteh: bring it into Kommi’s hand:
siitä annan ainuoni then I’ll give my only one
46 tahi pienen viikunani.” give my lively little one.”

Painu seppolan pajahe. He went to the smith’s workshop:


“Oi on seppo Ilmorini “O smith, O Ilmorini
takoja ijänikuni! you everlasting craftsman!
Tavos miula rautavoattiet Hammer for me iron clothes
60 joilla uin mie umpilammin in which I’ll swim the sealed pool
saisin sieltä suuren hauvin and catch the great pike in it
kultasuomun, kultajuomun!” the golden-scaled, golden-streaked!”

Tuopa seppo Ilmorini Now, that smith Ilmorini


takoja ijänikuni the everlasting craftsman
55 jopa tako rautavoattiet: hammered iron clothes:
jo heän ui umpilammin he swam the sealed pool
sai sieltä suuren hauvin and caught the great pike in it
kultasuomun, kultajuomun. the golden-scaled, golden-streaked
Toipa Kommilla käteh. brought it into Kommi’s hand.

60 Kosjo Kommilta tytärtä: He asked for Kommi’s daughter:


“Anna Kömmi ainuosi “Give, Kömmi your only one
tahi pieni viikunasi!” give your lively little one!”

“Empä anna ainuttani “I’ll not give my only one


enkä pientä vilkunoani. nor my lively little one.

151
19 Lahja I
The Gift I

65 Astunet päivän nieklojen nenie: Tread for a whole day on needle-points:


siitä annan ainuoni then I’ll give my only one
tahi pienen viikunani.” give my lively little one.”

Painu seppolan pajahe. He went to the smith’s workshop:


“Oi on seppo Ilmorini “O smith, O Ilmorini
70 tavos miula rautakengät!” hammer for me iron shoes!”

Tuopa seppo Ilmorini Now, that smith Ilmorini


takoja ijänikuni the everlasting craftsman
jop on tako rautakengät: hammered iron shoes:
astu päivän nieklojen nenie. he trod a whole day on needle-points.
75 Kosjo Kommilta tytärtä: He asked for Kömmi’s daughter:
“Anna Kömmi ainuosi “Give, Kömmi, your only one
tahi pieni viikunasi!” give your lively little one!”

Siitä anto ainuoh. Then he gave his only one:


Siinä kosjo, siinä kihlo, there he wooed, there was betrothed
so koppai neijen koijahase snatched the maid into his sleigh
sai neijen satulahase, got the maid in his saddle
löi heän virkkuo vitsalla he struck the horse with the lash
helähytti helmispeällä. clouted with the beaded tip.

“Virkku juokse, jouvu matka “ Courser, run, be quick, journey,


85 reki viere, tie lyhene.” sledge, glide onward, road, grow short.”
Reki koivuni kolasi The birchwood sledge bumped along
paukko patviset jalakset the curly-birch runners slammed
vitsaset saverkkat vinku. the twig thongs whistled.
“Peäsemmä Kojon kotihe “We shall go to Kojo’s house
90 Kojon meällä korkiella!” on the high hill of Kojo!”

Neiti korjasta sanou The maiden said from the sleigh


alta vaipan virkkelöy: under the rug found her voice:
“Mip on männyn tiestä poikki?” “What just went across the road?”
“Hukk on männyn tiestä poikki.1 “A wolf went across the road.”
95 “Paremp ois minun poloisen “Better it were for poor me
hukan juoksovan jälillä in the running wolf’s footsteps
aina käyjän askelilla.” the tracks of the wanderer.”

“Elä huoli Hütten huora! “Never mind, whore of Hiisi!


Mänemmä Kojon kotihe We’re going to Kojo’s house

152
1 Q Lahja I
l y The G ift I

loo Kojon meällä korkiella on the high hill of Kojo


Kojon kosen korvasella, hard upon Kojo’s rapids
vuollah veitsettä lihoa to carve meat without a knife
koatah verta kauhasetta.” to pour blood with no ladle.”

Löi heän virkkuo vitsalla He struck the horse with the lash
helähytti helmispeällä.
io s clouted with the beaded tip.
“Virkku juokse, jouvu matka “ Courser, run, be quick, journey,
reki viere, tie lyhene.” sledge, glide onward, road, grow short.”
Reki koivuni kolasi The birchwood sledge bumped along
paukko patviset jalakset the curly-birch runners slammed
no vitsaset saverkkat vinku. the twig thongs whistled.
“Peäsemmä Kojon kotihe “We’ll reach Kojo’s house
Kojon meällä korkiella!” on the high hill of Kojo!”

Neiti korjasta sanou The maiden said from the sleigh


alta vaipan virkkelöy: under the rug found her voice:
116 “Mip on männyn tiestä poikki?” “What just went across the road?”
“Rep on männyn tiestä poikki.” “A fox went across the road.”
“Paremp ois minun poloisen “Better it were for poor me
revon reyretyn jälillä in the wretched fox’s steps
aina käyjän askelilla.” the tracks of the wanderer.”

iso “Elä huoli Hütten huora! “Never mind, whore of Hiisi!


Mänemmä Kojon kotihe We’re going to Kojo’s house
Kojon meällä korkiella on the high hill of Kojo
Kojon kosen korvasella, hard upon Kojo’s rapids
vuollah veitsettä lihoa to carve meat without a knife
126 koatah verta kauhasetta.” to pour blood with no ladle.”

Löi heän virkkuo vitsalla He struck the horse with the lash
helähytti helmispeällä. clouted with the beaded tip.
“Virkku juokse, jouvu matka “Courser, run, be quick, journey,
reki viere, tie lyhene.” sledge, glide onward, road, grow short.”
iso Reki koivuni kolasi The birchwood sledge bumped along
paukko patviset jalakset the curly-birch runners slammed
vitsaset saverkkat vinku. the twig thongs whistled.
“Peäsemmä Kojon kotihe “We’ll reach Kojo’s house
Kojon meällä korkiella!” on the high hill of Kojo!”

136 Neiti korjasta sanou, The maiden said from the sleigh

153
1 Q Lahja I
1 y The Gift I

alta vaipan virkkelöy: under the rug found her voice:


“Mip on männyn tiestä poikki?” “What just went across the road?”
“Jänö on männyn tiestä poikki.” “A hare went across the road.”
“Paremp ois minun poloisen “Better it were for poor me
140 jänön juoksovan jälillä in the running hare’s footsteps
koukkupolven polkuloilla.” the paths of the crooked-kneed.”

“Elä huoli Hütten huora! “Never mind, whore of Hiisi!


Mänemmä Kojon kotihe We’re going to Kojo’s house
Kojon meällä korkiella on the high hill of Kojo
145 Kojon kosen korvasella, hard upon Kojo’s rapids
vuollah veitsettä lihoa to carve meat without a knife
koatah verta kauhasetta.” to pour blood with no ladle.”

Jo mäntih Kojon kotihe Now they went to Kojo’s house


Kojon kosen korvasella hard upon Kojo’s rapids
iso Kojon meällä korkiella: on the high hill of Kojo:
vuoltih veitsettä lihoa meat was carved without a knife
koattih verta kauhasetta. blood was poured with no ladle.
Jopa on laitto kukkosekse Now he made a little pie
työnsi Kommilla kostintsoa pressed the gift upon Kömmi
155 työnsi Kommilla kätehe. pressed it into Kommi’s hand.

Rupei inhu iltasella He started the vile supper


asetakse atrivolla. set out places for a meal.
Sanou orja orren peästä A serf said from a beam-end
paimen patsahan takoa: a herdsman behind a post:
160 “Kumpa sie sen tietäsite “Now, if you knew what it is
etpä sie sitänä söisi.” you would not eat it!”
“Sano sano paimen parka: “ Tell me, tell me, poor herdsman:
annan päiväksi lepuuta!” I will give you a day’s rest!”
“Empä vielä siihi sano.” “I will not tell yet for that.”

165 Rupei inhu iltasella He started the vile supper


asetakse atrivolla. set out places for a meal.
Sanou orja orren peästä A serf said from a beam-end
paimen patsahan takoa: a herdsman behind a post:
“Kumpa sie sen tietäsite “ Now, if you knew what it is
no etpä sie sitänä söisi!” you would not eat it!”
“Sano sano paimen parka: “Tell me, tell me, poor herdsman:
annan kuukse lepuuta!” I will give you a month’s rest!”

154
1 Q Lahja I
l y The Gift I

“Empä vielä siihi sano.” “I will not tell yet for that.”

Rupei inhu iltasella He started the vile supper


176 asetakse atrivolla. set out places for a meal.
Sanou orja orren peästä A serf said from a beam-end
paimen patsahan takoa: a herdsman behind a post:
“Kumpa sie sen tietäsite “Now, if you knew what it is
etpä sie sitänä söisi!” you would not eat it!”

iso ”Sano sano paimen parka: “Tell me, tell me, poor herdsman:
annan vuuveksi lepuuta!” I will give you a year’s rest!”

“Oljonaises olkapäitä “Shoulders of your Oljona


Palakaises peäpaloja.” bits of your Palaka’s head.”

H o to Lesonen
Vuokkiniemi, Archangel Karelia
K. Karjalainen, 1894

155
20
LAHJA II
The G ift I I

ivana Kojosen poika ivana, Kojonen’s son


I naisen poika nantukkainen I the titchy son of woman
valjasti tulihevoisen harnessed up a horse of fire
tulisellen tantereelle: in a fiery field:
5 tuli suihki ruunan suusta fire shot from the gelding’s mouth
veri tippu vempeleestä blood dripped from the collar-bow
rasva rahkehen nenästä. and fat from the traces-tip.
Hän läks Konnult kossiin He went wooing to Kontu
naimaan läks Narentkan peästä. into Narentka to wive.

10 Kysy Konnun neitoloilta: He asked the maids of Kontu:


“Onkos teistä miehen naista “Well, is there a man’s woman
molotsall on morsianta?” among you, a young squire’s bride?”

Konnun neiot vastasiit: The maids of Kontu answered:


“Ei oo meist miehen naista “There is not a man’s woman
ib molotsalle morsianta: among us, a young squire’s bride:
ei oo tyhjäst tytöst among girls who have nothing
aikamiehell akaks one to be a grown man’s wife
molotsalle morsianta.” a young squire’s bride, there is not.”

Iivana Kojosen poika Iivana, Kojonen’s son


20 naisen poika nantukkainen the titchy son of woman
hän läks Oapsust kossiin he went wooing to Oapsu
ajo Oapsun kartanolle. drove to Oapsu’s farm. Oapsu
Oapsu aittaan oil menossa was going to his storehouse
vaskivakkanen keäes a copper box in his hand
26 vaskiavvain vakassa. a copper key in the box.

Iivana Kojosen poika Iivana, Kojonen’s son


naisen poika nantukkainen the titchy son of woman
alko Oapsult kyssyy: he began to ask Oapsu:
“Annat sie Oapsu tyttöjäis “Give, Oapsu, your girl

156
OA Lahja H
ZU The Gift I I

30 miulle miehelle hyvälle, to me who am a good man


mie mies on mie’est tehty me, a man made of honey
sokurist oon synnytetty.” one begotten of sugar.”

Oapsu vasten vastajeeli: Oapsu answering replied:


“Turull on hevosen kauppa “At market is a horse-deal
36 tamman kauppa tanhualla. a mare-deal in a farmyard
Neito myyään tuvassa a maid is sold in a house
kaupataan katoksen alla.” a deal done under a roof.”

Iivana Kojosen poika, Iivana, Kojonen’s son


naisen poika nantukkainen the titchy son of woman
40 alko tunkeilla tuppaan began to squeeze in the house
ahistaia alle orren. to push in under the beam.

Alko Oapsult kyssyy: He began to ask Oapsu:


“Annat sie Oapsu tyttärees?” “You’ll give, Oapsu, your daughter?”

Oapsu vasten vastaeel: Oapsu answering replied:


45 “Annan kyllä tyttärein “Yes, I will give my daughter
kuin poat sie tuvan tulelle if you set the house on fire
itse istut räystähälle.” yourself sitting in the eaves.”

“Otan senkin tehhäkseni “I’ll take on even that task


ennenk ilman ollaksein.” rather than be on my own.”

60 Iivana Kojosen poika Iivana, Kojonen’s son


ain Oapsult kyssyy: kept asking Oapsu:
“Annat sie Oapsu tyttärees?” “You’ll give, Oapsu, your daughter?”

Oapsu vasten vastaeel: Oapsu answering replied:


“Annan kyllä tyttärein: “Yes, I will give my daughter:
66 puno nuora rummeniist twine a rope of chaff
akanoist peä aiota.” begin it with husks.”

Iivana Kojosen poika Iivana, Kojonen’s son


naisen poika nantukkainen: the titchy son of woman:
“Otan senkin tehhäkseni “ I’ll take on even that task
oo ennenk ilman ollakseni, rather than be on my own:
yö pitkä on akatta moata long the night lying wifeless
päivä pitkä lounahitta.” long the day without dinner!”

157
^)A Lahja I I
ZU The Gift I I

Iivana Kojosen poika Iivana, Kojonen’s son


naisen poika nantukkainen the titchy son of woman
65 sai neion rekosehheen, got the maid into his sledge
hän löi ohjolla orroo struck the stallion with the reins
helmiruosal löi hevosta. the horse with the beaded whip.

Alko neittä loaitella: He began to ask the maid:


“ Teet sie miulle pitkän paian “ Will you make me a long shirt
70 yhest liinakuitusesta?” from a single strand of flax?”

Neitonen ajattelloo: The maiden pondered:


“ Mitä tyhjääst tulloo “ What will come out of nothing
valeheest lankiaa?” and what will a lie produce?”

Iivana Kojosen poika Iivana, Kojonen’s son


75 aina hän neittä loaittaa: kept asking the maid:
“ Teet sie miulle pitkän viitan “ Will you make me a long cloak
yhest villatöppösestä?” from a single tuft of wool?”

Neitonen ajattelloo: The maiden pondered:


“ Mitä tyhjääst tulloo “ What will come out o f nothing
so yhest villatöppösest?” from a single tuft of wool?”

Iivana Kojosen poika Iivana, Kojonen’s son


vei neion mättähälle took the maid to a hummock
leikkais rinnat neioltaan cut the breasts off his maiden
pist piirakan sissään, put them in a pie, made them
85 anopil laitto tuomisiks. gifts to his mother-in-law.

Anop syöp ja kiittelööpi: Mother-in-law ate and praised:


“Jo oon mie jottain syönyt, “ Now I have eaten something:
en oo viel mointa syönyt I ’ve not eaten such till now -
vävyn uuen tuomisii brought by my new son-in-law
90 tyttären lähettämmii. sent by my daughter.
Syönt oon lohta lähtehestä I’ve had salmon from a spring
syönt oon siikaa mie merestä I’ve had whitefish from the sea
mutt en oo mointa syönyt but I have not eaten such -
kuin vävyn uuen tuomisii brought by my new son-in-law
95 tyttären lähettämmii.” sent by my daughter.”

Orja istu orren peässä A serf sat on the beam-end

158
^ )A Lahja I I
Z U The Gift I I

palkkalainen pankon peässä: a hireling upon the bench:


“ Sä kuin tietäisit vähäisen “ I f you knew but a little
ymmärtäisit pikkaraisen, understood a bit
loo sie et sois ja kiittelisi you’d not be eating, praising
vävyn uuen tuomisil what your new son-in-law brought
tyttären lähettämil.” what your daughter sent.”

“ Virka virka orja parka! “ Tell me, tell me what, poor serf!
Annan Kyytön kytkyeestä.” I ’ll give Whiteback from tether.”
106 “ En virka emäntä parka.” “ I will not tell, poor mistress.”
“ Virka virka orja parka! “ Tell me what, poor serf! I’ll give
Annan soimeelt sorian: a fine one from the manger:
virka virka orja parka!” tell me, tell me what, poor serf!”
“ En virka emäntä parka.” “ I will not tell, poor mistress.”

no “ Annan ainuan poijain.” “ I will give my only son.”


“ Nyt virkan emäntä parka: “ Now I will tell, poor mistress:
sie söit linnuis lihhaa you were eating your bird’s flesh
kanaseis söit kaunoseis.” eating your pretty fledgeling.”

A n n i V a silo va
Vuole, Ingria
F. Pajula, 1894

159
21
K U L T A M O R S I AN I
The Golden Bride I

T uoallaonpäinseppäpahalla
Ilmollini
mielin
J r p w a s the smith Ilmollini
X his head down, in bad spirits
kaiken kallella kypärin helmet all askew
mäni seppojen pajahe, went to the forge o f the smiths
5 otti kultia vähäsen took a little gold
hopeita huopin täyven. a felt hatful o f silver.

Pani nuoret liettšomahe He set the young men blowing


palkkalaiset painamahe, the hirelings pressing
ei orjat hyvästä lietso but the serfs did not blow well
10 eikä paina palkkalaiset. neither did the hirelings press.

Rupei itše liettšomahe: He himself took to blowing:


liettšo kerran leukahutti he blew once, flapped the bellows
liettšo toisen leukahutti he blew twice, flapped the bellows
jo kerralla kolmannella now at the third time
15 miekko tunkekse tulesta a sword squeezed out of the fire
terä kulta kuumennosta. a gold-bladed from the heat.
Ois miekka hyvännäkyini The sword might be good-looking
vain tuli pahatapani: but evil ways came of it:
joka päivä miehen tappo every day it killed a man
20 kaksiki monikkahana. even two on many days.

Vieläpä kultija lisäsi He added more gold


hopeita huopin täyven. a felt hatful o f silver.
Pani vanhat liettšomahe, He set the old men blowing
ei vanhat hyvästä lietšo but the old did not blow well
25 eikä paina palkkalaiset. neither did the hirelings press.

Rupei itSe liettšomahe: He himself took to blowing:


liettšo kerran leukahutti he blew once, flapped the bellows
liettšo toisen leukahutti he blew twice, flapped the bellows
jo kerralla kolmannella now at the third time

160
^ 1 Kultamorsian l
LY The Golden Bride I

30 orih tunkekse tulesta a stallion squeezed from the fire


haija kulta kuumennosta. a golden-maned from the heat.
Ois orih hyvännäkyini The stallion might have good looks
vain tuli pahatapani: but evil ways came o f it:
joka päivä tamman tappo every day it killed a mare
35 kaksiki monikkahana. even two on many days.

Vieläpä kultija lisäsi He added more gold


hopeita huopin täyven, a felt hatful of silver
pani orjat liettšomahe and he set the serfs blowing
palkkalaiset painamaha, and set the hirelings pressing
40 ei orjat hyvästä lietšo but the serfs did not blow well
eikä paina palkkalaiset. neither did the hirelings press.

Rupei itše liettšomahe: He himself took to blowing:


liettšo kerran leukahutti he blew once, flapped the bellows
liettšo toisen leukahutti he blew twice, flapped the bellows
46 jo kerralla kolmannella now at the third time
neiti tunkekse tulesta a maid squeezed out of the fire
kassa kulta kuumennosta. a golden-locks from the heat.
Ois neiti hyvännäkyni The maid might be good-looking
vaini en tapoja tiijä. but I do not know her ways.

60 Niin on yönä ensimmäissä And so during the first night


vara’atu vaippahase he kept himself in his cloak
turva’utu turkkihise: he held tight in his fur coat:
se oli kylki kyllä lämmin that side certainly was warm
ku oli vassen villavaippua, which was next to the wool cloak
66 se oli kylki kylmämässä that side was freezing
ku oli vassen neittä vassen which was next to the maid’s side
meren jiäkse jeätymässä icy as ice on the sea
kivekse kovottumassa. and as hard as rock.

Niin on yönä toissa yönä So during the second night


60 turvuakse turkkihise he held tight in his fur coat
varuakse vaippahase: he kept himself in his cloak:
se on kylki kyllä lämmin that side certainly was warm
ku on vassen villavaippua, which was next to the wool cloak
se on kylki kylmämässä that side was freezing
6& ku on vassen neittä vassen. which was next no the maid’s side.

161
1 Kultamorsian I
The Golden Bride I

Niin on yönä kolmantena And so during the third night


varuakse vaippahase he kept himself in his cloak
turvuakse turkkihise: he held tight in his fur coat:
se oli kylki kyllä lämmin that side certainly was warm
70 ku oli vassen villavaippua, which was next to the wool cloak
se oli kylki kylmämässä ‘ that side was freezing
ku oli vassen neittä vassen. which was next to the maid’s side.

Elköhöt esieläjät Let not those who come after


elköhöt takasetkana and let not those before them
75 neittä kullasta kuvato make a maid’s likeness in gold
hopiesta huolitello: finish her off in silver:
vilun huohtavi hopie the breath o f silver is chill
kylmän kulta kuumottauve. and the glow of gold is cold.

M iih k a li P erttunen
Latvajärvi, Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1871

162
22
K U L T A M O R S I AN II
The Golden Bride I I

aaren maat saroin jaettu he Island is staked in strips


S Viron maat viipin vaapin,
pellot on piusten mittaeltu
T Estonia criss-crossed:
the fields are measured with rods
ahot on vaaksoin arvaeltu. the clearings reckoned with spans.
s Jäi sarka jakamatointa There was one strip left unstaked
pelto piuston mittomata one field was not rod-measured
aho vaaksoin arvomata one clearing not span-reckoned
aian äärtä arvan lyömätöntä: for one fence’s bounds lots were not cast:
tuohon seppo seisattaise there the smith settled
10 takojainen pani pajaa. there the craftsman put his forge.
Teki pienoisen pajaisen He made a very small forge
matalaisen maatupaisen a low hut sunk in the ground
yhen miehen mahtuvaisen with room for one man
käsivarren kääntyväisen with swinging-room for one arm
i b vasaran yleneväisen. with headroom for one hammer:
Pani paiaa pajaksi he used his shirt as a forge
kaatia liityeksi. and his trousers for bellows.

Seppä takoi traksutteli The smith hammered and clattered


orjat lietsoin liikuttiit: the serfs were busy blowing:
so takoi niitä, takoi näitä he hammered this, hammered that
takoi vallan vaamahia hammered pegs for the estate
seurakunnan serppilöjä and sickles for the parish
maakunnan kuraksen päitä. and knife-blades for the province
Niin takoi Hekoille helmet he hammered beads for Hekkoi
25 markat Maien tyttärelle. and coins for Maie’s daughter.
Hekkoi ei kiittänt helmiään Hekkoi did not praise her beads
Maien tyttö ei markkojaan nor Maie’s daughter her coins
valtakunta ei vaamahia nor did the estate its pegs
seurakunta ei serppilöjä nor the parish its sickles
30 maakunta ei kuraksen päitä: nor the province its knife-blades:
seppä suuttui ja vihastui the smith grew angry and wild
pihet pisti räystähässe he stuck his tongs in the eaves

163
^^ Kultamorsian I I
Z Z The Golden Bride I I

vasarat vajotti maahan dropped his hammers on the ground


sytytti pajan tulelle set his forge on fire
35 lietsot lemenen nojaan. left his bellows in the blaze.

Niin noisi rekoisepäksi So he rose as a sledge-smith


sai tuo saanin salvajaksi. set’up as a sleigh-builder:
Kuunkauen teki rekoi one month long he made a sledge
kaksi kuuta kaupitteli, for two months put it on sale
40 aastajan pani pajuja for a year fitted wicker
kissan luilla kiijutteli adorned it with a cat’s bones
hauen hammasten kerällä. and with a pike’s teeth.

Sai tuo saani valmiheksi. The sleigh was finished


Meni seppo vierahisse and the smith went visiting
45 ämmilleen ja äijilleen his grannies and his grandads
näpehille näälilleen. his nimble brothers-in-law.

Arvotteli veljilleen He set his brothers guessing


muistatti sisarilleen: his sisters calling to mind:
“ Arvatkaa veljyeni “ Guess now, my brothers
so muistakaa sisarueni: call to mind now, my sisters:
mill on saani kirjoitettu what is the sleigh adorned with
perä on kolju korkisteltu?” the sledge-back decorated?”

Veljet vasten vastaisiit: The brothers answering said:


“ Kissan luill on kirjoiteltu “ It’s adorned with a cat’s bones
55 hauen hammasten kerällä.” and with a pike’s teeth.”

Kiistoin seppo vastattiin They vied, answering the smith


kiistoin halli riisuttiin vied, unharnessing the grey
kiisoin vietiin tupaan vied in taking him indoors
kiisoin seppoo syötettiin vied in giving the smith food
60 kiisoin seppoo juotettiin vied in giving the smith drink
kiisoin seppoo soimattiin: vied in giving the smith blame:
“ Puut kuluut, maat kuluut “ Trees wear out and lands wear out
puut kuluvat leikatessa trees wear out by being felled
maat kuluvat kyntäessä, lands wear out by being ploughed:
65 seppo naiseta kuluu a smith will wear out wifeless
emännätä vanhenoo.” grow old without a mistress.”

Seppo suuttuu ja vihastuu The smith grew angry and wild

164
) O Kultamorsian I I
«Z The Golden Bride II

seppo tuulena kotiin. the smith drove home like the wind
Seppo takoi traksutteli the smith hammered and clattered
70 oijuet liettä liekuttiit, the serfs were busy blowing
seppo kultia tuleen the smith flung gold in the fire
hopehia lietyeen silver into the furnace
sykysyisen uukon verran as much as an autumn ewe
talvisen karitsan verran: as much as a winter lamb:
76 tunkiusi hepo tulesta a horse squeezed out of the fire
kultakapia kuumehesta. a golden-hoof from the heat.
Muu kaikki pere ihastui, All the other kin were charmed:
itse Ismaro pelästyi. Ismaro himself was scared.

Seppo kultia tuleen The smith flung gold in the fire


so hopehia lietyeen, silver into the furnace
seppoi takoi traksutteli the smith hammered and clattered
orjoit lietsoit liekuttiit: the serfs were busy blowing:
tunkiusi lehmä tulesta a cow squeezed out of the fire
kultasarvi kuumehesta. a golden-horn from the heat.
85 Muu kaikki pere ihastui, All the other kin were charmed:
itse Ismaro pelästyi. Ismaro himself was scared.

Seppo kultia tuleen The smith flung gold in the fire


hopehia lietyeen silver into the furnace
sykysyisen uukon verran as much as an autumn ewe
90 talvisen karitsan verran. as much as a winter lamb
Seppoi takoi traksutteli the smith hammered and clattered
oijoit lietsoit liekuttiit: the serfs were busy blowing:
tunkius sika tulesta a pig squeezed out of the fire
kultaharjoi kuumehesta. a gold-bristle from the heat.
96 Muu kaikki pere ihastui, All the other kin were charmed:
itse Ismaro pelästyi. Ismaro himself was scared.

Seppo kultia tuleen The smith flung gold in the fire


hopehia lietyeen silver into the furnace
sykysyisen uukon verran as much as an autumn ewe
loo talvisen karitsan verran. as much as a winter lamb
Seppoi takoi traksutteli the smith hammered and clattered
orjoit lietsoit liekuttiit: the serfs were busy blowing:
tunkiusi tyttö tulesta a girl squeezed out of the fire
kultakassa kuumehesta. a golden-locks from the heat.
105 Muu kaikki pere pelästyi, All the other kin were scared:

165
O O Kullamorsian I I
The Golden Bride I I

itse Ismaro ihastui. Ismaro himself was charmed.

Täst nyt lienee varma vastus Now there’s sure to be trouble:


viipyy vihan pitäjä! - an enemy has moved in! -
Vietiin tyttö makaamaan The girl was led to lie down
no luuttiistiin lepäämään: * taken for a rest:
kumpa kylki oli kullan luona which side was next to the gold
se oli kylki kylmä kylki, that side was the chilly side
kumpa kylki ei ollut kullan luona which was not next to the gold
se oli kylki suoja kylki. that side was the thawing side.

S in g e r unknow n
Soikkola, Ingria
J. Länkelä, 1858

166
23
KANTELE I
The Kantele I

Ittcoli ettivä
vanha Väinämöinen
hevoista
ld Väinämöinen himself
Owas out searching for his horse
päätä puitti katselova looking for the bridled one
suvikunnan suitet vyöllä at his belt the yearling’s reins
6 varsan valjahat olalla, shouldering the colt’s harness
löysi purren itkemästä when he found a boat weeping
venehen valittamasta. a vessel wailing:
“Mitäs itket puinen pursi “Why do you weep, wooden boat
venet hankava halajat? strong-rowlocked vessel, why yearn?
10 Itketkös sinä puisuttasi Do you weep for your wood’s sake
hankavuttasi haluvat?” for your rowlocks do you yearn?”

“En minä itke puisuttani “ I don’t weep for my wood’s sake


hankavuttani halaja: for my rowlocks I don’t yearn:
muut purret sotia käyvät other boats go off to wars
15 saavat täytensä rahoja they are filled up with money
peräpuunsa penninkiä, their sterns are weighed down with coins
minä lahain lastuilleni while I rot on my shavings
venyn veistämäisilleni. I stretch out upon my stocks
Pahimmatkin maan matoiset and the earth’s most evil worms
80 alla kaareni asuvat, are living beneath my ribs
ilkeimmät ilman linnut and the air’s most loathsome birds
pesän pielesäni pitävät.” are nesting upon my side.”

Lykkäisi venon vesille And he launched the craft


laski purren lainehiille: pushed the boat into the waves:
86 lato toisen laitapuolen he stowed on one side
sukapäitä sulhaisia brush-headed bridegrooms
kannusjalkoja jaloja, noble ones, spurs on their feet
lato toisen laitapuolen he stowed on the other side
tinapäitä neitosia maidens with tin on their heads
30 tinapäitä, vaskivöitä tin-headed, copper-belted
vaskivöitä . . . copper-belted. . .

167
^ *3 Kantele I
LD The Kanüle I

Lykkäisi venon vesille And he launched the craft


laski purren lainehille: pushed the boat into the waves:
itse istuvi perähän he himself sat in the stern
35 niin kuin Suomen suolasäkki. like a sack of Finnish salt
Laski päivän maan vesiä sailed a day through land-waters
päivän toisen suon vesiä another through marsh-waters
kolmannen meren vesiä, a third day through sea-waters.
jo päivänä kolmantena Now on the third day
40 pursi puuttupi lujahan. the boat was jammed hard.
Ite vanha Väinämöinen Old Väinämöinen himself
arvelevi aivosahan: pondered with his brain:
kivelläkö vain haolla on a rock? or on a log?
vainko hauvin hartioita or else on a pike’s shoulder
45 veen koiran koukkuluilla? on a water-dog’s hooked bones?
Itse vanha Väinämöinen Old Väinämöinen himself
veti pään venehesensä pulled the head into his craft
purston pohjahan pudotti. dropped the tail on the planking.
Katselepi kääntelepi: He looked, he turned it over:
50 “ Minkä tästä seppä saisi “What could a smith do with this
mies mahti mahatteleisi?” what might a mighty man do?”
Teki harpun hauvin luista He made a harp of pike-bones
kantelen kalan evästä, a kantele of fish-fins
pani kielet kantelesen put strings on the kantele
55 hiuksista hiien immin of hair from a demon’s maid
jouhista uvet orihin, of hairs from a stud-stallion
pani naulat kantelesen put pegs in the kantele
orahasta Tuonen otran of shoots from Tuoni’s barley
Tuonen hauvin hampahista. of the teeth of Tuoni’s pike.

60 Soitit nuoret, soitit vanhat The young played and the old played
soitit nainehet urohot and the married fellows played
soitit miehet naimattomat: and the unmarried men played:
ei ilo ilolle tunnu joy had not the feel of joy
soitto soitolle tajua. music was unmusical.
65 Ilo tuonne vietyöhön Let the joy be borne that way
kantele kannettakohon the kantele be carried
miehen tehnehen käsille to the hands of its maker
sormille sovittajansa. its tuner’s fingers.
Soittelepi Väinämöinen Väinämöinen made music
70 käsin pienin, hoikin sormin with small hands, slender fingers
peukalo ylös keveni: his thumb rose, lightly touching:

168
^ O Kantele I
L D The KanUle I

itkit nuoret, itkit vanhat the young wept and the old wept
itkit nainehet urohot and the married fellows wept
itkit miehet naimattomat, and the unmarried men wept
75 itensäki Väinämöisen even old Väinämöinen
vedet vyöryit silmistähän had water roll from his eyes
pyliämmät pyyn munia rounder than a grouse’s eggs
häriämmät härjän päitä. larger than an oxeye’s flowers.
Ei sitä metäsä liene There was none in the forest
so jalan neljän juoksevata running on four feet
kahden siiven siuhkavata whirring on two wings
joka ei tullut kuulemahan that did not come to listen
tehessä Isän iloa: to the Father making joy:
itteki metän emäntä even the forest’s mistress
85 rinnoin aidalle ajain. leaned her breasts upon the fence.
Ei sitä vedesä ollut There was none in the water
evän kuuden kulkevata moving with six fins
joka ei tullut kuulemahan: that did not come to listen:
itseki veden emäntä even the water’s mistress
9o vetihin vesikivelle drew herself up on a rock
vaivousi vattalolle. clambered up on her belly.

S in g er unknow n
Ostrobothnia
Copied from the manuscript of an
unknown collector by K. Ganander, ca 1760
24
KANTELE II
The Kantele I I

T ekiVironKauko kanteloista
seppä vinkeloista, Kauko shaped a kantele
Estonia’s smith a curved thing
eikä puusta eikä luusta: neither of wood nor of bone
sapsosta sinisen hirven but of a blue elk’s shoulder
5 poropeuran polviluista. a reindeer’s knee-bones.

Mistäs kansi kanteleesen? What the kantele’s sound-board? -


Lohen purstosta punaisen. made from a red salmon’s tail.
Mist on naklat kanteleesen? And what the kantele’s pegs? -
Hauin suuren hampahista. from the teeth of a great pike.
10 Mistäs, sanon, kielet kanteleesen? And what, I say, the kantele’s strings? -
Hiuksista on hiien eukon the hair of a demon’s dame
harjasta u’en hevosen. from the mane of a stud-horse.

Saipa kannel valmihiksi. The kantele was finished.


Soitti piiat, soitti poiat The lasses played, the lads played
is soitti miehet naimattomat and the unmarried men played
soitti nainehet urohot: and the married fellows played:
ei ilo ilolle tunnu joy had not the feel of joy
laulu lauluks ei tajua. nor had song the sense of song.
Etsittihin soittajia There was a search for players
20 soittajia, laulajia for players and for singers
ylhäisistä, alhaisista among high-born and low-born
jumaloista, maaemistä. among gods, through all the earth.

Oli vanha Väinämöinen It was old Väinämöinen


teki tiellä terveyen gave a greeting on the road
25 torakalla toprouuen: said good morning in the lane:
“Annas Kauko kanneltasi “Give, Kauko, your kantele
Viron seppä vingeltäsi Estonia’s smith, your curved thing
sormille poian sokean into the blind boy’s fingers
käsille vähänäköisen.” to the dim-sighted one’s hands.”

170
K a n te le I I
4 T h e K a n ü le I I

30 Iski kerran, iski toisen He struck it once, struck it twice


iski kohta kolmannenkin: soon struck it a third time too:
jo ilo ilolle tuntui now joy had the feel of joy
laulu laululle tajusi. and song had the sense of song.
Alkoi sormet souatella His fingers began to work
36 käsivarret vatvaella. his arms to move back and forth.

Ei ollut sitä metsässä There was none in the forest


jalan neljän juoksevaista running on four feet
ku ei tullut kuulemahan that did not come to listen
soitantoa Väinämöisen. to Väinämöinen’s playing.
40 Ei ollut sitä ilmassa There was nothing in the air
siiven kahen lentäväistä flying on two wings
ku ei tullut kuulemahan that did not come to listen
Väinämöisen soitellessa as Väinämöinen
kutku kullervoiellessa played, as he plucked the loud strings
46 lohenpurstoista iloa as the salmon-tail rejoiced,
kalanluista kanteloista. to the fish-bone kantele.
Ei ollut sitä meressä There was nothing in the sea
evän kuuen kulkevaista moving with six fins
purston puikerrehtavaista darting with a tail
60 ku ei tullut kuulemahan that did not come to listen-
Väinämöisen soitellessa as Väinämöinen
kutku kullervoiellessa played, as he plucked the loud strings -
kalanluista kanteloista to the fish-bone kantele
lohen purstoista punaisen. the red salmon-tail.
65 Kenki itse hiien eukko The demon’s dame herself gave
kultasuilla kukkaroilla her purse with the golden mouth
veitsellä hopeapäällä her knife with the silver haft
jonka pää satoja maksoi - the one whose haft cost hundreds -
terän ei ollut tietäjeä. no one knew how much the blade.

O n tre i Vanninen
Sortavala, Ladoga Karelia
K. Killinen, 1882

171
25
KANTELE III
The Kantele III

✓ ^vlin orja Virossa t was a serf in Estonia


paimen pahassa maassa. A a herdsman in the bad land.
Mitä tuolla tietettiin? What was I made to do there? -
Paimenes käytettiin. I was made to go herding.
5 Mitäpäs tuol syötettiin? What was I made to eat there? -
Luut lihosta, päät kaloista bones from meat and heads from fish
keskpaikat keitoksista. and the middle parts of soups.
Mitäs palkaks annettiin? What was I given for pay? -
Otrakappa kannettiin, brought a gallon of barley.
io Otin otrat koprahani I took the grains in my palm
kylvin otrat Ruotsin maahan sowed the grains in Swedish soil
heitin Saksan saareksille threw them on German tillage
viskasin Viron saroille. flung them on Estonia’s strips.

Mänin kohta katsomaan I went straight to look


is kahen kolmen yön perästä: at the end of two, three nights:
oil mun oino otrassain a ram was in my barley
sinisarvi saaressain. a blue-horn on my tillage.
Otin oinon, vein kottiin I took the ram, brought ft home
talutin mä tanhualle led it into the farmyard
2o otin oinon päästä sarvet took the horns off the ram’s head
vein sarvet sepän paijaan. brought the horns to the smith’s forge.

“Seppueni selvueni “O my smith, my splendid man


taoit eklen, taoit ennen you hammered yesterday, once
tao viel tänäki päinä! hammer still today as well!
25 Tao miulle kanteloinen Hammer me a kantele
mil mie soittelen sovassa to play when I am at war
alla linnan liirittelen.” below the castle to pluck.”

Uupu kantelo vähäistä The kantele lacked something


uupu kannel kahta kieltä. the kantele lacked two strings:
30 Läksin noita etsimään. I went off in search of them.

172
O C K a n te le in
Z J The Kantele I I I

Näin mie neion tiellä käyvän I saw a maid on the road


hieprukkaisen heistehellä. a lass on the sandy path.
Aloin neiolta kysellä: I began to ask the maid:
“Annat sie neito tukkiasi “Will you give, maid, of your hair
36 hieprukkainen hiuksiasi?” lass, some of your locks?”
Neito miulle tukkiaasen The maid gave me of her hair
hieprukkainen hiuksiaasen. the lass of her locks:
Sain sit kielet kanteleesen. I got the kantele strings.

Vein sit miehil tuppaan. I took it in to the men.


40 Soittiit nuoret, soittiit vanhat: The young played and the old played -
ei ilolle millenkänä. with no joy at all.
Sokia sopesta huusi A blind man called from a nook
nurkasta vähännäköinen: dim-sighted from a corner:
“ Polville pojan sokean “ Put it on a blind boy’s knees
46 pojan raukan ramputella!” let a poor boy have a strum!”

Kuin soitti sokea poika And when the blind boy played it
poika raukka ramputteli when the poor boy had a strum
tuo vast sitt ilolle paisto. only then it shone with joy.
Mitä lie ollut ukkoo tuvassa What old men were in the house
60 ne oil näskämäisillänsä, were leaning forward
kanteloista kuunteliit listening to the kantele
illoo ihhailit. admiring the joy.
Mitä lie olt ämmii tuvassa What old crones were in the house
niil oil käsi poskipäässä, had hands on cheekbones
65 kanteloista kuunteliit. listening to the kantele.
Mitä lie olt tyttöö tuvas What girls there were in the house
ne oil kaik vesissä silmin, all had water in their eyes
kanteloista kuunteliit. listening to the kantele.
Mitä lie olt poikii tuvassa What boys there were in the house
60 ne oilt maassa vatsallansa, lay with bellies on the floor
kanteloista kuunteliit listening to the kantele
illoo ihhailit admiring the joy
soittoo pojan sokean. the blind boy’s music.

Sus juoks suuren korven A wolf ran through the great woods
66 karhu kankaan lakia a bear over the wide heath
kanteloista kuulemaan - ran to hear the kantele
susi särki suuren päänsä and the wolf broke its great head
karhu kankeat nissaan. and the bear its rigid neck.

S in g er unknown
Vuole, Ingria
F. A. Saxbäck, 1859
26
M ERIM ATK A I
The Voyage I

-m y|-enin minä metsään kesolla went to the forest in summer


t
IVJLkeskkesäl, heinajalla A at midsummer, at hay-time
pienen Pedron ympärillä near the feast of Peterkin
suuren Maarian sulalla. the warm time of great Mary.
5 Käin mie kankaisen käpöisen I walked on a cone-strewn heath
läpi korven kuusamisen, through honeysuckle backwoods:
puuttu haapa vastahani. I met an aspen.

Haapa vaiten vastaeli: The aspen indeed answered:


“Mitä mies minusta etsit?” “What, man, do you seek of me?”
io Minä vasten vastaelin: I answering said:
“Etsin vellolle venoja “I seek boats for my brother
ainuelle jalan aseita.” where my only one may step.”
Haapa vasten vastaeli: The aspen answering said:
“Ei saa venoja minusta “No boats will be had from me
is altahia ei saa ankaria.” not from me hard-wearing hulls.”

Käin mie kankahan käpöisen I walked on the cone-strewn heath


läpi korven kuusamisen, through honeysuckle backwoods:
puuttu koivu vastahani. I met a birch-tree.

Koivu vaiten vastaeli: The birch-tree indeed answered:


20 “ Mitä mies minusta etsit?” “What, man, do you seek from me?”
Minä vasten vastaelin: I answering said:
“Etsin vellolle venoja “I seek boats for my brother
ainuelle jalan aseita.” where my only one may step.”
Koivu vasten vastaeli: The birch-tree answering said:
25 “Ei saa venoja minusta, “No boats will be had from me
rataspuita saap puhtahia but clear wood for wheels
telenpäitä tervasia or tarry rollers
palstoja vielä paremmin.” or laths better still.”

Käin miä kankahan käpöisen I walked on the cone-strewn heath

174
Merimatka I
Z D The Voyage I

so läpi korven kuusamisen, through the honeysuckle backwoods:


puuttu tammi vastahani. I met an oak-tree.
Iskin kerran kervehellä I struck it once with an axe
toisen kerran tappuralla struck it twice with a hatchet
kolmannen koko terällä. a third time with a whole blade:
36 Iskin kerran, synty laita I struck once, one side was bom
toisen kerran, toinen laita I struck twice, the other side
kolmannen, koko venoinen. a third time and the whole boat.
Sai tuo veno valmihiksi. That boat was finished.

Mistä kaaret pantanoo? What would the ribs be formed of? -


«o Kaaret karhun kylkiluista. the boat’s ribs of a bear’s ribs.
Mistä naaglat tehtänee? What would the pegs be made of? -
Suen selvän selkäluista. a fine wolf’s back-bones.
Sai tuo veno vestetyksi That boat was soon built
satalaita salvetuksi, the hundred-sided was hewn:
45 vietiin veno veteen the boat was borne to water
satalaita lainehelle the hundred-boarded to waves
tuhatlaita tuulen päälle. the thousand-boarded windward.
Paljo laivassa väkiä. Many folk were in the ship
Enemmän on emottomia: most were fully fledged
60 ei oo tuulen tuntijaa they did not know about wind
ahavaisen arvajaa. did not understand the gale.

Akka rannalla asuu An old crone lives on the shore


veen pinnassa pysyy, stays on the water’s surface:
ainoa on akalla poika the crone had an only son
66 Anteroksi kutsutaan. one who was called Antero.
Tuon anto Ahin aviksi She gave him to help Ahti
anto airokämmeneksi gave him to be an oar-hand
anto tuulen tuntijaksi gave him to know the wind’s ways
meren ilman mielijäksi: put his mind to the sea air:
60 tukasta hän tuulen tunsi in his hair he knew the wind
pahan ilman paljastaan evil weather in his shirt
meren ilman mielestään. and the sea air in his mind.

Untamo Ylermön poika Untamo, Ylermö’s son


nosti purjehen punaisen hoisted a sail, a red one
65 tuopa vanttujen varalle, up among the shrouds
toisen puijehen sinisen another sail, a blue one
kolmannen aivan aivinaisen and a third all of linen

175
^ /T Merimatka I
ZO The Voyage I

tuuva kohti mastin luoksi: bringing it against the mast:


laivoi juoksi, matka joutui the ship ran, the voyage sped
70 hyyn ylitse, jään alaitse over frost and under ice
kailatse kalaisen saaren. hard by a fishing-island.
Jumalainen armollinen God the merciful
väänsi tuulen vastaiseksi turned the wind round against him:
asettuisi ankkuriin: he rode steady at anchor.
76 tuuli sytty, sää sikisi The wind flared, the storm started
aallot käyvät ankarasti. and the waves moved heavily.

Untamo Ylermön poika Untamo, Ylermö’s son


pani vanhat soutamaan set the old rowing
nuoret päälle katsomaan, the young looking on:
so V anhat sousit, päät vapisit. the old rowed, their heads trembled.
Vanhat rukoiloot: The old were praying:
“Jumalainen armollinen “O merciful God
luo sie tuuli luotehesse turn the wind to the north-west
anna airoille apia!” give the oars some help!”
85 Jumalainen armollinen God the merciful
luont ei tuulta luotehesse turned no wind to the north-west
antant ei airoille apia. gave the oars no help.

Untamo Ylermön poika Untamo, Ylermö’s son


vaihto vanhat soutamasta, took the old ones off rowing
90 pani nuoret soutamaan set the young rowing
vanhat päältä katsomaan: the old looking on:
nuoret sousit, airot notkuit the young rowed and their oars swung
hypit harmahat hypehet the grey foam was foaming up
kiehut kellan karvalliset the yellow spray was seething
95 merestä veen sisästä. from within the sea’s water.
Niin nuoret rukoileet: So the young ones were praying:
“Jumalainen armollinen “O merciful God
luo sie tuuli luotehesse turn the wind to the north-west
anna airoille apia!” give the oars some help!”

too Jumalainen armollinen God the merciful


porottais pohjoiseen, swung the wind northward
antant airoille ei apia. gave the oars no help.
Tuuli sytty, sää sikisi The wind flared, the storm started
aallot käivät ankaraiset and the waves moved heavily
105 merestä veen sisästä: from within the sea’s water:

176
Merimatka I
ZO The Voyage I

lasetti laivoi kiini the ship was driven


lasetti kiveen kiini - driven fast on to a rock-
väki on vähin väsynyt - the folk were quite tired -
lasetti kiveen kiini driven fast on to a rock
no pienen Pentin linnan alle, by Little Pentti’s castle
Pentti oli pieni linnan vanhin. whose lord was Little Pentti.

Untamo Ylermön poikoi Untamo, Ylermö’s son


kysytteli kannoitteli: asked, made inquiries:
“Onko linnan leipoisia “Are there loaves in the castle
ns ilman leivän paistamata without baking any bread
väelle väsynehelle?” for the weary folk?”

Vanhoi poikoi vastaeli: The boy-lord answered:


“Ei oo linnan leipoisia “No loaves are in the castle
väelle väsynehelle.” for the weary folk.”

120 Untamo Ylermön poikoi Untamo, Ylermö’s son


tuo vai vasten vastaeli: answering replied:
“Onko linnassa lihoa?” “Is there meat in the castle?”

“Ei oo linnassa lihoa “No meat is in the castle


ilman hällön tappamata without slaughtering the ox
126 mulliken murentama ta.” without slaying the bullock.”

Kuukauden orava juoksi For a month a squirrel ran


hällön selkäpiitä myöten, along the ox’s backbone
kesoipäivän pääsky lensi a summer day a swallow
hällön sarvien väliä. flew between the ox’s horns.
130 Kempä hällön tappajaksi Now, who would slaughter the ox
mulliken murentajaksi? and who would slay the bullock?
Tunkesi turulta miekkoi A man squeezed in from market:
luin on kirves tuli käessä came, a bone axe in his hand
luinen kirves vaskivarsi. a bone axe, copper-hafted.
136 Kui hän luisella lutisti When he struck with the bone axe
vaskivarrella vatisti: beat with the copper-hafted
mölähytti silmiään, it bellowed, rolling its eyes
karahutti kabjojaan. and its hoofs clattered.
Miekkoi kuuseen pakoon The man fled up a pine-tree
lio muut jumalat muihen puihen. other gods up other trees.

12 177
^ S' Merimatka I
Z U The Voyage I

Mitä meist on laulajista Of what use are we singers


kuta meistä kukkujista what good we cuckoo-callers
ku ei tuisa tiiltä suusta if no fire spurts from our mouths
kekälett ei alta kielen no brand from beneath our tongues
146 savuu ei sanan jälestä! and no smoke after our words!

S in g e r u n know n
Soikkola, Ingiia
J . Länkelä, 1858

178
27
M E R I M A T K A II
The Voyage I I

£1ampsa poika Pellervoinen ampsa the Pellervo boy


Olaksi puuta etsimähän O went off in search of timber
tammia tavottamahan to try and find oak
Jumalalle purjepuuta find a mast for God
5 Luojalle venon emeä. a keel for the Creator.

Yhty tammi vastohoisi. He met an oak-tree.


Kysytteli lausutteli: He asked it, he spoke to it:
“Tuloviko siusta tammi “Will there come from you, oak-tree
Luojalle venon emeä?” a keel for the Creator?”

io Tammi vastoaapi: The oak-tree answered:


“Eipä mi usta tullutkana: “One would never come from me:
kolmitsi tänä kesänä three times this summer
mavot juureni mateli, the worms have crawled at my roots
kolmitsi tänä kesänä three times this summer
is piru kierti keskipuuta the devil twisted my heart
korpit kronkku latvoillani.” the ravens croaked in my crown.”

Aina eistyvi etemmä, He kept advancing onward:


yhty tammi vastohoisi. he met an oak-tree.
Kysytteli lausutteli: He asked it, he spoke to it:
so “Tuloviko siusta tammi “Will there come from you, oak-tree
Jumalalle purjepuuta come a mast for God
Luojalle venon emeä?” a keel for the Creator?”

Tammi taiten vastoaapi: The oak knowingly answered:


“Eipä miusta tullutkana: “One would never come from me:
25 kolmitsi tänä kesänä three times this summer
maot on juureni makasi the worms have lain at my roots
piru kierti keskipuuta the devil twisted my heart
korppi kronkku latvoillani.” the ravens croaked in my crown.”

179
^ * 7 Merimatka I I
£ / The Voyage I I

Niin on eistyvi etemmä. And so he advanced onward:


30 Niin päivänä kolmantena so on the third day
yhty tammi vastohoisi. he met an oak-tree.
Kysytteli lausutteli: He asked it, he spoke to it:
“Tuloviko siusta tammi “Will there come from you, oak-tree
Jumalalle purjepuuta come a mast for God
35 Luojalle venon emeä?” a keel for the Creator?”

Tammi taiten vastoaapi: The oak knowingly answered:


“Tulovipa miusta puuta “Yes, timber will come from me
Jumalalle purjepuuta and a mast for God
Luojalle venon emeä: a keel for the Creator:
40 kolmitsi tänä kesänä three times this summer
mesi tippu lehvistänä honey has dripped from my leaves
päivä kierti kestipuuta, the sun has gone round my heart
kolmitsi tänä kesänä three times this summer
käki kukku latvoillani.” the cuckoo called in my crown.”

46 Siitä taisi tammen kaata Then he could fell the oak-tree


puun sorian sorrutella, overthrow the handsome tree
loati valmehen venehén and he built a boat ready
yhen tammen taittumoista from the fragments of the oak
puun murskan murenomista. from bits of the broken tree.

so Sai venonen valmihiksi. The boat was finished:


Lykkäsi venon vesille and he launched the boat
kuorikeskoilta teloilta upon rollers stripped of bark
mäntysiltä järkälöiltä, upon thick pine-logs.
itse noin sanoiksi virkko: He himself put this in words:
56 “Kupliksi veno vesillä “Boat, be bubbles on water
lumpehiksi lainehilla.” water-lilies on the waves.”

Itse istuksen perähän He sat himself in the stern -


Sampsa poika Pellervoinen Sampsa the Pellervo boy
Santta Anni airollissa. and Saint Ann was at the oars
oo Santta Pietari sanovi and Saint Peter said
Santta Anni arvelevi: Saint Ann considered:
“Tule sie purtehen Jumala “ Gome into the boat, O God
alaseh on armollinen come aboard, merciful one
pätöville peäaloillen to the pillows fit for you
65 alle viltin vieretäte.” curl up under the blankets.”

180
Merimatka I I
L I The Voyage I I

Tuli purteh Jumala And God came into the boat


alaseh on armollinen the merciful one aboard
pätöville peäaloille to the pillows fit for him
alle viltin vierettisi, curled up under the blankets
to Santta Pietari perässä. and Saint Peter after him.

Laski päivän, laski toisen They sailed a day, another


niin päivänä kolmantena so on the third day
meri suureksi sukeutu the sea swelled till it was big
moalima isoksi täyty the world filled till it was large
75 nousi kuohut korkieksi the surge rose till it was high
veen aallot ankaraksi. the waves till they were heavy.
Santta Pietari sanovi And Saint Peter said
Santta Anni arvelovi: Saint Ann considered:
“Sie kuulu Jumalan poika “Famous Son of God
so vierittele vilttihese uncurl your blankets
peältä kasvo kaunehielta: away from your lovely face:
meri suureksi sukeutu the sea swelled till it was big
moailma isoksi täyty the world filled till it was large
nousi kuohut korkieksi the surge rose till it was high
86 venon aallot ankaraksi.” the waves till they were heavy.”

Niin kuulu Jumalan poika So the famous Son of God


vilttihinsä vieretteli into his blankets curled up
vieretteli vilttiänsä uncurled his blankets
peältä kasvo kaunehielta away from his lovely face
so pätöviltä peäaloilta. from the pillows fit for him.

Iku Turso Äiön poika Iku Turso, Äijö’s son


nosti peätänsä merestä raised his head out of the sea
lakkoansa lainehista his poll from the waves
vierestä veno punasen. beside the red boat.

$5 Niin kuulu Jumalan poika So the famous Son of God


kohta korvista kohotti lifted him straight by the ears
niin veti venosehensa. and pulled him into his boat.
Kysytteli lausutteli: He asked him, he spoke to him:
“Iku Turso Äiön poika “ Iku Turso, Äijö’s son
loo niin miksi merestä nousit why did you rise from the sea
kuksi oalloista ylenit wherefore come up from the waves
etehen imehnisille in front of the sons of men

181
Merimatka I I
L / The Voyage I I

soanikka on Jumalan poian?” let alone the Son of God?”

Iki Turso Äiön poika Iki Turso, Äijö’s son


106eikä tuo hyvin ihastu neither was he very charmed
eikä tuo kovin pelästy. nor was he greatly frightened.
Niin kuulu Jumalan poika So the famous Son of God
tuota kovin tutkaeli questioned thoroughly
kohta kolmitsi kysyvi: asked him three times straight away:
no “Niin miksi merestä nousit “Why did you rise from the sea
kuksi oalloista ylenit wherefore come up from the waves
etehen imehnisille in front of the sons of men
soanikka Jumalan poian?” let alone the Son of God?”

Niin kerralla kolmannella And so the third time


ns sattu Turso Äiön poika Turso, Äijö’s son
sanan virkko viimmeseksi uttered a word finally
niin kerralla kolmannella: like this the third time:
“Oli mieli koatakseni “ I thought of overturning
laskieni lainehisen.” dropping the boat in the waves.”

iso Niin kuulu Jumalan poika So the famous Son of God


kohta korvista kohotti, lifted him straight by the ears
heitti selvähän merehen threw him into the clear sea
ulappahan aukeaan, the open water.
itse sanoiksi virkki: He himself put into words:
126 “Iki Turso Äiön poika “Iki Turso, Äijö’s son
eilös sie merestä nousko do not rise out of the sea
ellös oallosta yletä do not come up from the waves
etehen imehnisille in front of the sons of men
soanikka Jumalan poian let alone the Son of God
130 kuni kuuta, aurinkoa while the moon lasts, and the sun
päiveä hyvännäköstä!” the lovely daylight!”

Sen on päivyen perästä Since that day Turso


ei Turso merestä nouse has not risen from the sea
eikä oallosta ylene neither come up from the waves
136 etehen imehnisille. in front of the sons of men.

Siitä sinne tie mänövi From there to there the road goes
rata uusi urkenevi. a new path leads off.

A rh ip p a P erttu n en
Latvajärvi, Vuokkiniemi, Archangel Karelia
J . F. Cajan, 1836
28
SANAT I
The Spell I

V aka vanha Väinämöinen


teki tieolla venettä
turdy old Väinämöinen
Smade a boat with his knowledge
lato purtta laulamalla: built a craft with his singing:
uupu kolmie sanoa three words were lacking
5 päähän laian päästessänsä as he reached the ship’s gunwales
hankoja hakatessansa as he was hewing rowlocks
tehessään on teljopuita. as he was making thwart-planks.

Niin sano sanalla tuolla: So he said these words:


“Ois tuolla sata sanoa “There might be a hundred words
10 pääskyparven päälaella, on a flock of swallows’ heads
ois tuolla sata sanoa there might be a hundred words
hanhilauman hartehilla on a skein of geese’ shoulders
joutsenkarjan juonen päässä where a line of swans ended
suussa valkian oravan within a white squirrel’s mouth
is kesäpetran kielen alla.” beneath a summer-deer’s tongue.”

Tappo parven pääskylöitä He killed a flock of swallows


lauman hanhia hajotti he scattered a skein of geese
tappo joukon joutsenia he killed off a line of swans
oravoita orren tappo he killed a roost of squirrels
so pellon petroja levitti. he laid low a field of deer:
Ei saanut sanoakana he got not a single word
eikä puoltana sanoa. no, not half a word.

“Ois tuolla sata sanoa “There might be a hundred words


tuhat virren tutkelmosta a thousand songs in the mouth
26 suussa Antervo Vipusen of Antervo Vipunen
ku on viikon maassa maannut who has lain ages in earth
kauan levossa levännyt: who has rested long at rest:
leuall on leviä lehto on his chin is a wide grove
pajupehko parran päällä a willow-clump on his beard
so veneh haapa harteilla. boat-aspen on his shoulders

183
Sanat /
ZO The spell I

Vaan on matkoja pahoja but then, travelling is bad


miesten miekkojen teriä upon men’s sword-blades
naisten nieklojen neniä.” women’s needle-points.”

Lähtie luku tuleepi An hour came to leave


35 toinen käyä kelpoaapi ariother was ripe to go
kun on muinen kasakan as of old for the hired man
eli orjan palkollisen. or for the serf, the hireling.

Astu päivän helkytteli He trod for a day clinking


miesten miekkojen teriä, upon men’s sword-blades
«o astu päivän astu toisen he trod a day, another
naisten nieklojen neniä, upon women’s needle-points
niin päivänä kolmantena so on the third day
torkahti toinen jalkaah one of his feet tripped
vaapahti vasemutensa his left slipped into the mouth
45 suuh Antervo Vipusen of Antervo Vipunen
ku on viikon maassa maannut who had lain ages in earth
kauan mannussa levännyt. who had rested long in soil.

Siilon vanha Väinämöinen Then the old Väinämöinen


toivo polvensa palavan felt his knee burning
50 jäsenensä lämpievän his limb warming in the mouth
suussa Antervo Vipusen. of Antervo Vipunen.
Pani paitansa pajaksi From his shirt he made a forge
turkkinsa tuhuttimeksi from his fur coat made bellows
vasaraksi kyynäspäänsä a hammer from his elbow
55 pienet sormensa pihiksi. from his little fingers tongs:
Takuo taputteloopi he hammered, he tapped
tako rautasen korennon. hammered an iron cowlstaff.

Syösti rautasen korennon He plunged it into the mouth


suuh Antervo Vipusen. of Antervo Vipunen.
60 Siilon Antervo Vipunen Then Antervo Vipunen
puri poikki mellon rauan, bit in two the soft iron:
ei tiennyt terästä purra he could not bite through the steel
eikä syöä rauan syäntä. eat the iron’s heart.

Siilon Antervo Vipunen Then Antervo Vipunen


65 sanan virkki noin nimesi: uttered a word, speaking thus:
“Mene konna koukustani “Go, villain, out of my lung

184
Sanat I
LO The Spell I

maan valio maksoistani: earth’s elect, from my liver:


syet suuhuni tuloopi charcoal comes into my mouth
rauan kuonat kulkkuhuni.” iron dross into my throat.”

70 Niin sanoopi Väinämöinen: And so Väinämöinen said:


“Lähen konna kulkustasi “I, villain, will leave your throat
maan valio maksostasi earth’s elect, leave your liver
kun sanot sata sanoo if you say a hundred words
tuhat virren tutkalmuo.” the tips of a thousand songs.”

76 Siilon Antervo Vipunen Then Antervo Vipunen


ku on viikon maassa maannut who had lain ages in earth
kauan mannussa levännyt who had rested long in soil
niin sano sata sanoo said a hundred words
tuhat virren tutkalmuo. the tips of a thousand songs:
so Siilon vanha Väinämöinen then the old Väinämöinen
sai venosen valmeheksi. finished off his boat.

A rh ip p a P erttu n en
Latvajärvi, Vuokkiniemi, Archange J Karelia
E. Lönnrot, 1834

185
29
S A N A T II
The Spell I I

T tše vanha Väinämöine ✓ ~'vld Väinämöine himself


Ategi tiijolla venehtä V^/m ade a boat with his knowledge
loadi purtta laulamalla: built a craft with his singing:
uubu kolmie sanova three words were lacking
5 peräpeädä peättäeäissäh as he reached the stem
keskilaijan liitoksella. at the midship point.

Itse vanha Väinämöine Old Väinämöine himself


läksi Tuonelda sanoja went off for words from Tuoni
Manalalda laulujoja. songs from Manala.
io Tuonen tyttäret toruubi Tuoni’s daughters scolded him
lapset vastoau Manalan: and Manala’s children said:
“Kembä Tuonella tulouppi “Now, who comes down to Tuoni
Manalalla vastoauppi?” who arrives in Manala?”

Itse vanha Väinämöine Old Väinämöine himself


is kivenä merehe vieri rolled in the sea as a stone
sauna saukahti vedehe. plopped in the water as smoke
Ei sieldä sanoja soanut. but found no words there.

Viikon on Virone kuollut Virone had long been dead


kauvon Anderus kadonut: Anderus was long perished:
20 lepät nossut leugaluista alders had sprung from his jaws
kulmista oravakuuzet from his brows squirrel-spruces
izot hoavat hardeista tall aspens from his shoulders
jaloist on jalot pedäjät out of his feet splendid pines
kadajat on kandapäistä junipers out of his heels
25 vahvat koivut varbahista. strong birches out of his toes.

Itše vanha Väinämöine Old Väinämöine himself


kumo kuuzet juurildaha felled the spruces by their roots
pedäjät peruksildaha: the pines by their foundations:
sai tuolda parin sanova there he found a pair of words -

186
Sanat I I
£ y T h e S p e ll I I

30 kovin äijä niin kuin kolme. even as many as three.


Joba venon valmistauppi So now he finished his boat
vaskizihe valgamoihe on the copper stocks
teloilla teräksizillä. on the steel rollers.

Itše vanha Väinämöine Old Väinämöine himself


35 virkki suulla julgijalla uttered with outspoken mouth
hambahalla valgijalla: with a shining tooth:
“Ongo tässä nuorizossa “Is there one of these young folk
kanzassa ylenövässä one of the rising people
tämäm purren työndäjeä to push out this craft
m venoizen totuttajoa?” to point the boat the right way?”

Virkki nuori Jougamoine: Young Jougamoine uttered:


“Kyll on tässä nuorizossa “Yes, there’s one of these young fc
kanzassa ylenövässä!” one of the rising people!”
Kuoitteli nuori Jougamoine: The young Jougamoine tried:
45 ei veno vezillä peäze. the boat did not reach water.

Itše vanha Väinämöine Old Väinämöine himself


virkki suulla julgijalla uttered with outspoken mouth
hambahalla valgijalla: with a shining tooth:
“Kaikk om mieheksi kyhätty “All sorts are made to be man
so pandu parran kandajaksi!” appointed to wear a beard.”
Kuoitteli vanha Väinämöine: The old Väinämöine tried:
jo veno vezillä peäzi. now the boat reached the water.

Kerran souvin suoveziä Once I rowed in marsh-waters


toizen kerram moaveziä another time land-waters
55 kolmannem meren veziä: and a third time sea-waters:
puuttu purzi Väinämöizen Väinämöine’s craft was jammed
tageldu veno Tabien the boat of Tabie stuck fast
ei kivellä, ei havolla: not on a rock, not a log
hauvin suuren hardeilla. but on a great pike’s shoulders.

60 Virkki vanha Väinämöine Old Väinämöine uttered


virkki suulla julgijalla uttered with outspoken mouth
hambahalla valgijalla: with a shining tooth:
“Tokk on tässä nuorizossa “Is there one of these young folk
kanzassa ylenövässä one of the rising people
65 tämäm purrem peästäjöä to release this craft

187
Sanat I I
LV The spell II

venoizen totuttajoa?” to point the boat the right way?”

Virkki nuori Jougamoine: Young Jougamoine uttered:


“Kyll on tässä nuorizossa “Yes, there’s one of these young folk
kanzassa ylenövässä!” one of the rising people!”
70 Iski miekalla merehe He struck the sea with his sword
alla laijan laikahutti, thrashed about below the side
ei haugi tuoda totellut: but the pike took no notice:
miekka kolmeksi palaksi. the sword broke in three pieces.

Itše vanha Väinämöine Old Väinämöine himself


75 virkki suulla julgijalla uttered with outspoken mouth
hambahalla valgijalla: with a shining tooth:
“Kaikk om mieheksi kyhätty “All sorts are made to be man
pandu parran kandajaksi!” appointed to wear a beard.”

Itše vanha Väinämöine Old Väinämöine himself


äo otti miekan viereldähä took the sword he was wearing
vazemelda puoleldaha: drew from his left flank:
iski miekalla merehe he struck the sea with his sword
laijan alla laikavutti, thrashed about below the side
haugi kolmeksi palaksi. and the pike in three pieces.
85 Händäpala häilähteli The tail-piece floundered about
keskimuru keilahteli the middle bit tumbled down
merem mustihi mudihi in the black mud of the sea
meren laskulambiloihe. into the depths of the sea:
Sai sieldä peä kädehe. there the head came to his hand.

»o “Kunne myö tämäm panemma? “Where shall we take this?


Panemma sepom pajaha: We’ll take it to the smithy:
Ties on seppä soittu meilä!” O smith, make music for us!”

Itše vanha Väinämöine Old Väinämöine himself


virkki suulla julgijalla uttered with outspoken mouth
96 hambahalla valgijalla: with a shining tooth:
“Ongo tässä nuorizossa “ Is there one of these young folk
kanzassa ylenövässä one of these rising people
tämän soitun soittajoa to play this instrument
tämän ilon iluojoa?” someone to enjoy this joy?”

loo Virkki nuori Jougamoine: Young Jougamoine uttered:


O Q Sanat I I
L y The Spell I I

“Kyll on tässä nuorizossa “Yes, there’s one of these young folk


kanzassa ylenövässä!” one of these rising people!”
Otti soitun sormillaha Took music in his fingers
kaunon kaksilla käzillä: the fair thing in his two hands:
io s ei soittu soitulla tunnu music was unmusical
ei ilo ilolla tunnu. joy had not the feel of joy.

Itše vanha Väinämöine Old Väinämöine himself


otti soitun sormillaha took music in his fingers
kaunon kaksilla käzillä, the fair thing in his two hands
no rubei siidä soittamaha: started to play it:
jo soittu soitulla tundu now music was musical
jo ilo ilolla tundu. now joy had the feel of joy.
Mi lienöy metSän otusta What forest-beasts there might be
neliin jaloin juoksijova, running on four feet
ns mi lienöy vein kaloja what water-fishes there were
kuuzin evin kublajoa, bubbling with six fins
kaikki tuldih kuulomaha: all came to listen:
itše on vein emändä the water’s mistress herself
rinnoin ruohoho rivahtih splashed with her breasts on the grass
iso veändih saramättähällä. swirled upon a clump of sedge.

Itše vanha Väinämöine Old Väinämöine himself


virkki suulla julgijalla uttered with outspoken mouth
hambahalla valgijalla: with a shining tooth:
“Ongo tässä nuorizossa “ Is there one of these young folk
126 kanzassa ylenövässä one of the rising people
tuon on tuosta ambujoa?” someone to shoot her?”

Ambu nuori Jougamoine: The young Jougamoine shot:


sebä murraldih mudaha she jerked down into the mud
sebä veändihi vedehe. she swirled into the water.

iso Itše vanha Väinämöine Old Väinämöine himself


tuost on suuttu, tuost on seändy grew angry, grew furious then
murdi suuda, murdi peädä twisted his mouth, tore his head
murdi mustoa havenda, tugged at his black hair
laulo lambihi kalattomaha sang him into a fishless
136 aivan ahvenettomaha pond, one quite empty of perch
kynzin kylmähä kivehe with his nails on a cold rock
hambahin vezihagoho. with his teeth on water-logs.
Sanat I I
L V The Spell I I

“Mingäs otat palvehiksi? “What will you take in return?


Ois miula kaksi venoista, I’ve two little boats:
140 yks on soudoa kebie one is light to row
toin äijän narodan kandau.” one carries a lot of folk.”

“ Mull om paljoa paremboa ‘T have something much better


viittä moista vingärembeä.” five times swifter than that one.”

“Ois miula kaksi hevoista, “ I have two horses:


146 yks on ravia rahkehelda one is strongly built
toine on ajoa kevuta.” one is light to drive.”

“Mull om paljoa paremboa “I have something much better


viittä moista vingärembeä. five times swifter than that one.
Kuin annat Annin, ainuon sizären If you give Anni, your one sister
160 peäzet lammista kalattomasta you will be freed from the fishless pond
aivan ahvenettomasta the one quite empty of perch
kynzin kylmästä kivestä with your nails off the cold rock
hambahin vezihavosta.” your teeth off the water-logs.”

Oi od nuori Jougamoine 0 that young Jougamoine


166 mäni juossulda kodihi: went running homeward:
“Oi emoni kandajani! “O my mother who bore me
Annoin Annin, ainuon sizären.” 1 gave Anni, my only sister.”

Emä tuoda vastoau: His mother replied:


“Tuoda vuotin tuon igäni “For this I longed all my life
160 tuoda puolen polviani - throughout half my days -
vävykseni Väinämöistä Väinö for my son-in-law
suguhuni nuorda miestä the young man for my kinsman
laulajoa langokseni!” the singer my relative.”

S im a n a H ö ttö n en
Repola, Olonets Karelia
A. A. Borenius, 1872

190
30
TUONELANMATKA
The Visit to Tuonela

T uopa vanha Väinämöini


läksi kirkkohon kivasta N setow,outthatforoldchurch,
Väinämöini
resplendent
yli muista ylpeistä: above the other proud folk:
jalas patvini pakahtu his springy sledge-runner split
5 jalas koivuini kolahti his curly sledge-runner bumped
kivisellä kirkkotiellä. on the rocky road to church.

Sano vanha Väinämöini: The old Väinämöini said:


“Onko vanhassa väjessä “ Is there one of the old folk
käyjä Tuonelta oroja to go for spikes from Tuoni
10 Manalalta veäntietä?” a crowbar from Manala?”

Kansa kaikki vastoapi: And all the people answered:


“Ei ole vanhassa väjessä “There is none of the old folk
käyjeä Tuonelta oroja to go for spikes from Tuoni
Manalalta veäntietä.” a crowbar from Manala.”

15 Sano vanha Väinämöini: The old Väinämöini said:


“Onko nuoressa väjessä “ Is there one of the young folk
kansassa ylenevässä the rising generation
käyjä Tuonelta orojen to go for spikes from Tuoni
Manalalta veäntiemen?” the crowbar from Manala?”

20 Kansa kaikki vastoapi: And all the people answered:


“Ei ole nuoressa väjessä “There is none of the young folk
käyjeä Tuonelta orojen to go for spikes from Tuoni
Manalalta veäntiemen.” the crowbar from Manala.”

Siitä vanha Väinämöini Then the old Väinämöini


25 läksi Tuonelta oroja went oflF for spikes from Tuoni
Manalalta veäntietä. a crowbar from Manala.
Mäni Tuonelan jokehe: Went to Tuonela’s river:
siel on Tuonen tyttärete there the daughters of Tuoni

191
O A Tuonelanmatka
jy j The Visit to Tuonela

rautakynnet, rautasormet iron-clawed, iron-fingered


30 rautarihman kesreäjät, spinners of the iron thread
ne om poukkujem pesuilla. were busy with their washing.

Siitä vanha Väinämöini Then the old Väinämöini


jo huhuta huijahutti: called out, shouted out:
“Tuo venehtä Tuonen tyttö “Bring a boat, girl of Tuoni
35 lapsi kalman karpassuo!” child of the grave, a vessel!”

Tuonen tyttäret sanoa The daughters of Tuoni said


lapset kalman kalkahuvi: the children of the grave clanked:
“Kuin asia sanottanehe “When your business is stated
veneh siula tuotanehe.” a boat will be brought to you.”

m Sano vanha Väinämöini: The old Väinämöini said:


“Rauta mium Manalla soatti “Iron brought me to Mana
rauta toi on Tuonelalla.” and iron to Tuonela.”

Tuonen tyttäret sanovi The daughters of Tuoni said


lapset kalman kalkahuvi: the children of the grave clanked:
45 “Kuin rauta Manalla toisi “ If iron brought you to Mana
rauta toisi Tuonelaha, and iron to Tuonela
verin voatties valuisi your garments would drip with gore
hurmehin hyreäilisi.” your clothes would be oozing blood.”

Siitä toas huhuta huijahutti: Then again he called out, shouted out:
so “Tuo venehtä Tuonen tyttö “Bring a boat, girl of Titoni
lapsi kalman karpassuo!” child of the grave, a vessel!”

Tuonen tyttäret sanoa The daughters of Tuoni said


lapset kalman kalkahuvi: the children of the grave clanked:
“Kuin asie sanottanehe “When your business is stated
56 veneh siula tuotanehe.” a boat will be brought to you.”

Sano vanha Väinämöini: The old Väinämöini said:


“Tuli mium Manalla soatto “Fire has brought me to Mana
tuli toi on Tuonelaha.” fire to Tuonela.”

Tuonen tyttäret sanoa The daughters of Tuoni said


60 lapset kalman kalkahuvi: the children of the grave clanked:
“Kuin tuli Manalla toisi “ If fire brought you to Mana

192
OA Tuonelanmatka
Jv The Visit to Tuonela

tuli toisi Tuonelalta, fire to Tuonela


tulin voatties palasi your garments would be on fire
kypeninä kirpuoisi.” your clothes would be spitting sparks.*

66 Siitä vanha Väinämöini Then the old Väinämöini


jo huhuta huijahutti: called out, shouted out:
“Tuo venehtä Tuonen tyttö “Bring a boat, girl of Tuoni
lapsi kalman karpassuo!” child of the grave, a vessel!”

Tuonen tyttäret sanovi, The daughters of Tuoni said


70 lapset kalman kalkahuvi: the children of the grave clanked:
“Kuin asia sanottanehe “When your business is stated
veneh siula tuotanehe.” a boat will be brought to you.”

Sano vanha Väinämöini: The old Väinämöini said


“Läksin Tuonelta oroja “I came for spikes from Tuoni
76 Manalalta veäntietä.” a crowbar from Manala.”

Siitä Tuonen tyttärete Then the daughters of Tuoni


rautakynnet, rautasormet iron-clawed, iron-fingered
rautarihman kesreäjät, spinners of the iron thread
jopa tuotihi venoini. brought a little boat.
eo Sieläpä miestä miessä piettih They treated the man as man
urosta uron tavalla: the hero like a hero:
syötettihi, juotettihi they gave him food, gave him drink -
noilla keärmehen kähyillä some serpent-venom
tšisiliuskoim päillä noilla. and some lizard-heads.
86 Vieläpä miestä moate pantih They even laid him to rest
sänkyllä säterisellä on a bed of silk
joka oli keärmehen kähyistä. which was of serpent-venom.

Siitä vanha Väinämöini Then the old Väinämöini


jo tunsi tuhon tulovan felt his doom coming
so hätäpäiväm peällä soavan. his day of distress dawning:
Muuttu ruskiekse mavoksi changed himself to a brown worm
tšisiliuskoiksi tšilahti, slithered into a lizard
ui poikki Tuonen jovesta. swam across Tuoni’s river.

Mäni siitä väkesä luoksi Then he went to his people


96 itše noin sanoiksi virkki: himself put this into words:
“Elkeäte nuoret miehet “ Do not, young men, go

193
O A Tuonelanmatka
J v The Visit to Tuonela

männä surmatta Manalla to Mana unless you’re killed


kuolomatta Tuonelalta.” to Tuonela unless dead.”

Siitä vanha Väinämöini Then the old Väinämöini


too ajo kirkkoho kivasta drove off to church, resplendent
yli muista ylpeistä. above the other proud folk.

Jyrki Malinen
Vuonninen, Vuokkiniemi, Archangel Karelia
A. A. Borenius, 1871

194
31
AURINKOJA KUU I
Sun and Moon I

M inne, sano, meiltä päivä peäty


kunnas meiltä kuu katosi? W here, tell me, has our sun gone
whither has our moon vanished?
Päivä peäty kalliohon. The sun’s gone into a rock.

Yöllä synty Väinämöinen By night born, Väinämöinen


5 yöllä synty, yöllä kasvo by night born, by night brought up
läksi päivällä pajaan, went by day to the smithy
tako herran tarpehia. hammered some tools for the lord.
Kyy lenti kynnykselle A snake flew to the threshold
takohissa Väinämöisen. as Väinämöinen hammered.
10 Ite vanha Väinämöinen Old Väinämöinen himself
sanan virkko nuin nimesi: uttered a word, speaking thus:
“Mitä kyy olet kynnyksellä?” “Why are you on the threshold?”

Kyy taiten vastoapi: The snake knowingly answered:


“Tuota minä lienen kynnyksellä “For this I’m on the threshold -
ie sanomata soattamassa: I bring a message:
jopa nyt kuu kivestä nousi the moon’s risen from the stone
päivä peäsi kalliosta the sun’s come out of the rock
takohissa Väinämöisen.” as Väinämöinen hammered.”

Sanan tuo virkko nuin nimesi: He uttered this word, spoke thus:
ao “Jos ma nyt lähen Pohjolaan “ I’ll go now to Pohjola
Pohjo poikain sekaan among the sons of Pohjo
Lapin lasten tanterille to the Lapp children’s paddocks
koska kuun kivestä peästin since from the stone I have freed
päivän peästin kalliosta.” the moon, from the rock the sun.”

26 Astu päivän, astu toisen He trod a day, another


jopa päivänä kolmantena now on the third day
portit Pohjolan näky Pohjola’s gates were in sight
paistavat pahan veräjät the bad place’s gateways shone
Hiihten ukset ulvottavat. and the doors of Hiisi creaked.

195
O 1 Aurinko ja kuu I
O 1 Sun and Moon I

so “Tule sormin soutamata “Come with fingers not rowing


kätten peällä käyttämät! and without using your hands
peukalon pitelemätä and not holding with your thumb
huoparin hotasemata without wielding your paddle
poikki Pohjolan joesta.” across Pohjola’s river.”

36 Ite vanha Väinämöinen Old Väinämöinen himself


kuin huuti hujahutti when he called out, shouted out
vihellytti viuvahutti, when he shrilled out, whistled out
tulipa tuuli tuon puhalsi a wind came and wafted him
poikki Pohjolan joesta. across Pohjola’s river.
•to “Tules Pohjolan piholle!” “Come now to Pohjola’s yards!”
Mäni Pohjolan piholle. He went to Pohjola’s yards.

Singer unknown
Paltamo, Kainuu
Collector unknown, recorded before 1825

196
32
A U R I N K O J A K U U II
Sun and Moon I I

Elettä enne meillä


oltii ojan perillä T here was a time when we lived
at the far end of the ditch
ojan puita poltettii burned wood from the ditch
syötii ojan kallooja ate fish from the ditch
5 ilman kuuta, päivyetä without the moon, without sun
ilman Luojoin valkiata. without the Creator’s light.
Käsin maita etsittii With our hands we searched the ground
käsin maita, sormin soita with our fingers the marshes
peukaloin jalan sijoja, with our thumbs for where to tread.
10 tehtii kylvy kynttelillä We planted by candlelight
touko tuohuksen nojalla. sowed with the help of torches.

Sepoin tyttöi selvä tyttöi The smith’s girl, the skilful girl
tuo tarkka takojan neitoi careful maid of the craftsman
noisi päivän etsijäksi got up to search for the sun
16 ja kuun tähystäjäksi. and to look out for the moon
Pani sieran seslähää put a whetstone on her breast
otti harjan hartiallee took a brush on her shoulder
otti kannun kailahaa took a jug under her arm
nii otti unikerräisen. and took a bundle of dreams.
so Mäni verssan, mäni toisen She went a verst, another
mäni kolmatta vähhäisen: went a little of a third:
Iittovan kylä näkkyy Iittova village loomed up
Hiitoin koit i kuumattaat. Hiitoi’s houses gleamed.
Nii viskais unikerräisen, She tossed the bundle of dreams
25 nukutteli Hiioin miehet she lulled Hiitoi’s men to sleep
vaivutteli Hiioin naiset: she weighed Hiitoi’s women down:
ei kuulis koiran haukkuva no bark of a dog was heard
eikä heppoisen hirnuva nor the neighing of a horse
eikä lapsen itkövä. nor the weeping of a child.

30 Otti kuun kulmillee She took the moon on her brow


päivöin päälle päähyee, put the sun upon her head:
tuli verssan, tuli toisen she came a verst, another

197
Aurinko j a kuu I I
Sun and Moon I I

tuli kolmatta vähhäisen, came a little of a third.


nii katsoi jälellee: She looked behind her:
35 Iittovan miehet tulloot Iittova’s men were coming
ollaa kiinni ottamassa they were about to catch her
ja kiinni tavoittamassa. about to lay hands on her.

Viskais sieran seslästää She Hung the whetstone from her back
i saoi visatessaa: and said as she was Hinging:
40 “Kasvakaaha paksu paasi “Let a thick slab grow
jottei pääsis Iiton miehet which Iitto’s men cannot pass
ei yläitse eik alaitse neither over nor under
eik pääsis kukkaalikkaa!” cannot pass whichever way!”

Tuli verssan, tuli toisen She came a verst, another


45 tuli kolmatta vähhäisen, came a little of a third.
katsoi jälellehee: She looked behind her:
ollaa kiinni ottamassa they were about to catch her
ja kiinni tavottamassa. about to lay hands on her.

Viskais harjan hartialta She flung the brush from her shoulder
50 nii saoi visatessaa: and said as she flung:
“Kasvakaaha paksu metsä “ Let a thick wood grow
syntykää kommiia korpi let splendid backwoods be born
jottei pääsis Iiton miehet which Iitto’s men cannot pass
ei yläitse eik alaitse neither over nor under
56 eik pääsis kukkaalikkaa!” cannot pass whichever way!”

Mäni verssan, mäni toisen She went a verst, another


mäni kolmatta vähhäisen, went a little of a third.
nii katsoi jälellehee: She looked behind her:
ollaa kiinni ottamassa they were about to catch her
60 ja kiinni tavottamassa. about to lay hands on her.

Viskais kannun kailastaa She flung the jug from her arm
saoi visatessaa: and said as she flung:
“Syntykää suuri jokkiin “Let a great river be bom
suuri jokkiin, suuri mäkkiin a great river, a great hill
65 jottei pääsis Iiton miehet which Iitto’s men cannot pass
ei yläitse eik alaitse neither over nor under
eik tultais venehilläkää nor can come in boats either
eik laivoilla ajettais.” nor can sail in ships!”

198
O O Aurinko ja kuu I I
j Z Sun and Moon I I

Sepoin nain selvä nain Smith's woman, skilful woman


70 nii joutui omille maille. thus reached her own lands.
Oli isoin ikkunalla There at her father’s window
oli kasvant kultain koivu a golden birch had sprung up
oli kasvant hoppiia honka: a silver pine had sprung up:
sinne tuo laati päivyeen there she placed the sun
75 ja laati kuun kumattammaa. placed the moon to gleam.

Noisi päivä paistamaa The sun rose to shine


ja läksi kuu kumattammaa and the moon came out to gleam
rikkahille, rakkahille— on the rich, on the cherished
ei köyhille, ei kerrääjille. not on the poor, the beggars.
so Köyhät rukoelliit The poor people were praying
keräjäiset palvelliit: the beggars were bowing down:
“Sepoin nain selvä nain “Smith's woman, skilful woman
laai siä päivä paistamaa place the sun that it may shine
kuu Jumalan koittamaa that God’s moon may dawn
86 rikkahille, rakkahille on the rich, on the cherished
nii köyhille ja kerrääjille!” and on the poor, the beggars!”

Ei voint kovvaana olla She could not be stem,


sepoin nain selvä nain: smith’s woman, skilful woman:
laati päivän paistamaa placed the sun that it might shine
so rikkaan iloitsommaa that its riches might bring joy
köyhille, kerrääjille. to the poor, to the beggars.

N a te lia
Soikkola, Ingria
V. Porkka, 1883

199
33
A U R I N K O J A K U U III
Sun and Moon I I I

Ennen päivätäk eletty


kupaeltu ilman kuutak Once we lived without the sun
groped about without the moon
vaan ei nyt nykkyin rahvas but folk nowadays
voik ei päivätäk elellä cannot live without the sun
5 kupaellak ilman kuutak. grope about without the moon.

Kuka päivöin etsijäks Who would search for the sun, would
kuun tarkoin tähystäjäks? look carefully for the moon?
Jumalaisen ainoi poikoi The one Son of God
Kiesuksen käppiiä käsky the prompt servant of Jesus
10 tuo oli päivöin etsijäin he would search for the sun, would
kuun tarkan tähystäjäin. look carefully for the moon:
Pani kannuun ollooja in a jug he put some beer
toiseen kannuun mettooja in another jug some mead
kolmanteen vihhaisen viinan. in a third angry liquor.

16 Mäni talliin mäelle: To the stable on the hill


siell oli seitsen hengestiä he went: seven cobs
ja kaheksan kankaroja. and eight good pacers were there
Sen otti oroisistaan and he took from his stallions
ja valitsi varsoistaan he chose from among his colts
so mill oli lammi lautaisilla which had a pool on its loins
ojain oloin sivulla a ditch on the stallion’s flank
kylmä kaivo alla kapioin a cold well under its hoofs
lähek oli länkien väliss. had a spring in its withers.
Hyppäis hyvväisen selälle He leapt on the good one’s back
26 karkais kaunoin lautaisille, jumped on the handsome one’s loins
löi siit ruosalla orrooja struck the stallion with a whip
rapaeli raanikolla: whacked it with a rod:
oroi kyynä käänteliis the stallion squirmed like a snake
matoina vipaelliis. wriggled like a worm
30 Oroi juoksi, matka joutui the stallion ran, the way shrank
välleen väli lyhheeni. the distance grew swiftly short.

20 0
O O Aurinko ja kuu I I I
J J Sun and Moon I I I

Mani matkaa vähhäisen He went on a little way


teki tietä pikkaraisen, went a short distance
hako vastaan tulloo: and he met a log:
36 ei pääse haon ylitsek he could not get past the log
ei ylitsek eik alaitsek neither over nor under
ympärik ei pakenommaan. nor round it to run away.

Jumalaisen ainoi poikoi The one Son of God


Kiesuksen käppiiä käsky the prompt servant of Jesus
40 tuohon viskais viinojaan flung down some of his liquor
olojaan läikähytti some of his beer splashed on it
metojaan tyrsähytti: some of his mead sprayed on it
halkeis hako kaheks, and the log was split in two:
tuli tie iänikkuin an everlasting road came
46 rako rannoin polvehiin a crack aged as the shore
kävväk Unnon kävväk Vennon where Unto, where Vento, where
kävväk Luojoin lapsineen the Creator with his kin
Jummaalan perehinneen God with his family
heikon herran valtoineen a weak lord with his household
60 papin paastokunsineen. a priest with his flock could walk.

Mäni matkaa vähhäisen He went on a little way


teki tietä pikkaraisen, went a short distance
kivi vastaan tulloo: and he met a rock:
ei pääse kiven ylitsek he could not get past the rock
66 ei ylitsek eik alaitsek neither over nor under
ympärik ei pakenommaan. nor round it to run away.

Jumalaisen ainoi poikoi The one Son of God


Kiesuksen käppiiä käsky the prompt servant of Jesus
tuohon viskais viinojaan flung down some of his liquor
«o olojaan läikähytti some of his beer splashed on it
metojaan tyrsähytti: some of his mead sprayed on it
halkeis kivi kaheks, and the rock was split in two:
tuli tie iänikkuin an everlasting road came
rako rannoin polvehiin a crack aged as the shore
66 kävväk Unnon kävväk Vennon where Unto, where Vento, where
kävväk Luojoin lapsineen the Creator with his kin
Jummaalan perehinneen God with his family
heikon herran valtoineen a weak lord with his household
papin paastokunsineen a priest with his flock could walk

201
O O Aurinko ja kuu I I I
J J Sun and Moon I I I

70 kuninkahan linnoineen. ‘ and a king with his castle.

Hyppäis hyvän selälle He leapt on the good one’s back


karkais kaunoin lautaisille, jumped on the handsome one’s loins
mäni matkaa vähhäisen he went on a little way
teki tietä pikkaraisen, • went a short distance
75 oja vastaan tulloo: and he met a ditch:
ei pääsek ojan ylitsek he could not get past the ditch
ei ylitsek eik alaitsek neither over nor under
ympärik ei pakenommaan. nor round it to run away.

Jumalaisen ainoi poikoi The one Son of God


so ommeenan ojaan luonut threw an apple in the ditch
laukan tammeen luppais: lobbed a leek into the pool
halkeis oja kaheks, and the ditch was split in two:
tuli tie iänikkuin, an everlasting road came
rako rannan polvehiin a crack aged as the shore
85 kävväk Unnon kävväk Vennon where Unto, where Vento, where
kävväk Luojoin lapsineen the Creator with his kin
Jummaalan perehinneen God with his family
heikon herran valtoineen a weak lord with his household
papin paastokunsineen a priest with his flock could walk
90 kuninkahan linnoineen. and a king with his castle.

Jumalaisen ainoi poikoi The one Son of God


mäni matkaa vähhäisen he went on a little way
teki tietä pikkaraisen: went a short distance:
kylä vastaan tulloo. he met a village.

95 Muu kylä kaik makkais, All other villagers slept:


yks oli akka ikkunassa. a crone was at the window.
“Hoi akka emohuein! “Hullo, crone, my old mother!
Kussa teili on kuu pietty Where are you keeping the moon
kussa on päivä hallikoittu?” where are you hoarding the sun?”

loo Akka vassen vastaeli: The crone answering replied:


“Siell on meillä kuu pietty “There we are keeping the moon
siellä päivä hallikoittu - there we are hoarding the sun -
paksussa pajupehossa inside a thick willow-bush
tihiässä tuomikossa.” in a dense birdcherry wood.”

202
O *5 Aurinko ja kuu I I I
O J Sun and Moon I I I

105 Jumalaisen ainoi poikoi The one Son of God


mäni, katsoi päivöjään: went, looked for the sun:
viel päivöi makaelloo the sun was still lying down
kuutoma lepäellöö. the moon still resting.

Mäni aikaa vähhäisen And a little time went by


no mäni tuosta tunti toin, an hour went by, another.
mäni katsoi päivöjään: He went and looked for the sun:
pää jo päivöiltä näkkyy now the sun’s head could be seen
jaloit viljoin vuotehesta plenty of feet in the bed
käet kyllin kattehesta. hands enough under the quilt.

ns Jumalaisen ainoi poikoi The one Son of God


otti päivöin olalleen took the sun on his shoulder
käänsi käsivarrelleen, folded it over his arm
toi päivöin omille maille brought the sun to his own lands
muilta mailta vierahilta. from other strange lands.

iso Jumalaisen ainoi poikoi The one Son of God


laaitteli päivöjään now set his sun in its place
oksille ylimmäisille. upon the highest branches.
Ei päivä tassaisin paissak: The sun did not shine justly:
päivä paistoi rikkahille the sun shone upon the rich
125 kuu kumoitti köyhäisille. the moon gleamed upon the poor.

Köyhät rukoelloot The poor people were praying


maassa polvin pakkuroivat: with knees on the ground begging:
“Miksi meijen Luojuenne “Wherefore has our Creator
ja meijen Jumaluenne and why has our God
130 miksi tuota ei tassaisin tehnyt not done this justly
kun ei meilen päivä paissak?” that no sun should shine on us?”

Jumalaisen ainoi poikoi The one Son of God


rukohuksen sai kuulomaan: gave ear to the prayer:
laaitteli päivöjään he set his sun in its place
135 oksille alempaisille. upon the lower branches.
Ei päivöi tassaisin paissak: The sun did not shine justly:
päivöi paistaa köyhäisille the sun shone upon the poor
kuu kumoittaa rikkahille. the moon gleamed upon the rich.

Rikkaat rukoelloot The rich people were praying

203
O O Aurinko ja kuu I I I
Sun and Moon I I I

140 maassa polvin pakkuroivat: with knees on the ground begging:


“Miksi meijen Luojuenne “Wherefore has our Creator
ja meijen Jumaluenne and why has our God
heitti päivöin paistamasta? cast the sun down from shining?
Mitä myö pahhoin teimän What have we done that is wrong
us ku ei meilen päivöi paissak?” that no sun should shine on us?”

Jumalaisen ainoi poikoi The one Son of God


rukouksen sai kuuloinaan: gave ear to the prayer:
laaitteli päivöjään he set his sun in its place
oksille keskimäisille, upon the middle branches
iso siit päivöi tassaisin paistoi and then the sun shone justly
rikkahille i rakkahille on the rich, on the cherished
köyhille i kerrääjille. on the poor, on the beggars.

P a r o i, S a k u 's w ife
Hevaa, Kaprio, Ingria
V. Porkka, 1883

2 04
34
LEMMINKÄINEN I
Lemminkäinen I

Savu suarella palauve


tuli niemen tutkamissa: Smoke flared on the island, fire
at a point on the headland:
pieni ois sovan savuksi it would be small for war-smoke
suuri paimoizem paloksi. too big for a herdsman’s fire.
5 Osmotar olutta keitti Osmotar was brewing beer
kabu kahjoa rakendi the woman was mixing ale
salapuida poltettihi a forest of trees was burnt
salapuida suarimailda. a forest on the island.

Oli päivän, oli toizen, A day there was, another:


10 ei ottat olu hapata the beer did not start to turn
kahja kuldaine kuhissa. the golden ale to ferment.

Emänd on hyvätabaine The mistress was well-behaved


hiero kahta kämmendähä rubbed her two palms together
hykerdi molombiehe she made friction with them both:
15 hiero kärpän kämmenistäh she rubbed a stoat from her palms
oravan suustaha sugazi. pushed a squirrel from her mouth.
Itše tuon sanoiksi virkki: She put this in words:
“Kuule neuvon neijoistani “Hear how I advise my maid
oravaistani opassan. instruct my squirrel.
so Mäne tuonne kunne käzen: Go the way I command you:
yheksäm meren ylittši make your way over nine seas
meri-puolen kymmenittši. over half a tenth.
Siel on kolme korbikuusta: There are three slender spruces:
kaksi on vaipalla katettu two are covered with a cloak
85 kolmas ilman kattamatta. the third has no covering.
Tuo sie kuuzesta käbyö Bring cones from a spruce
pedäjästä helbehije.” some shoots from a pine.”

Toi on kuuzesta käbyö She brought some cones from a spruce


pedäjästä helbehije, some shoots from a pine
30 suattavi kabun kädehe, put them in the woman’s hand

205
Lemminkäinen I
J i Lemminkäinen I

kabu suatto kahjahasse who put them into the ale


Osmotar oluohosse. Osmotar into the beer.

Oli päivän, oli toizen A day there was, another


joba piänä kolmandena now on the third day
35 jo ottau olu hapata tlie beer was starting to turn
kahja kuldaine kuhissa. the golden ale to ferment:
Sai olu hapanneheksi now the beer had turned ready
medo miesten juodavaksi. the mead to be drunk by men.

Emänd on hyvätabaine The mistress was well-behaved


«o hiän tuon sanoiksi virkki: put this into words:
“Kuules neuvon neijoistani “ Hear how I advise my maid
oravaistani opassan. instruct my squirrel.
Mänes tuonne kunne kässen, Go the way I command you:
kutšu rujot, kutšu rammat ask the crippled, ask the lame
45 kutsu i verisogiet, ask the blind from birth
rujot rejin reikuttele drag the crippled in sledges
rammat rattšahin ajele drive the lame here on horseback
verisogiet venehin souva. row the blind from birth in boats.
Kutsu Ahti, kutšu Kaugo Ask Ahti and ask Kaugo
50 kutšu Vei tikki verövä.” ask ruddy-cheeked Veitikki.”

“En tiijä Ahin kodije “I do not know Ahti’s house


engä Kauvon kardanuvo neither Kaugo’s farm
Veitikin elo-sijoa.” nor Veitikki’s dwelling-place.”

“Ahti suarella asuuve “Ahti lives on the island


55 Kaugo niemen kainalossa Kaugo in the headland’s crook
Veitikki nenässä niemen. Veitikki upon its tip.
Elä kutšu Lemmingäistä: Do not ask Lemmingäine:
Lemmingäine on liedo poiga Lemmingäine’s a wanton
se on kaikittši toraiza.” he is always quarrelsome.”

60 Lemmingäin on liedo poiga Lemmingäine the wanton


pistihi ullos pihalla hurtled out into the yard
mäni ullos usta myöte through the doorway to the yard
pihalla pärettä myöte: past the place where the splint bums:
kuuluvi kumu kyläldä thudding rang from the village
65 järy järvien tagoada thumping from beyond the lakes
jalan isku iljeneldä. stamping from the frozen ground.

20 6
'J A Lemminkäinen I
J t Lemminkäinen I

Pistih pikku perttihisse He rushed into his small room


itše tuon sanoiksi virkki: put this into words:
“Oi on emo kandajaizen “O mother who carried me
70 tuo tänne sodisobani bring here my war-gear
kannas vainovoattieni carry here my battledress
piiruloissa piettäväni for me to wear at the feast
häissä häilyteldäväni: to display at the wedding:
lähem Päivöläm pidoho I’m off to Päivölä’s feast
76 suarijoukon juomingihi.” to the island folk’s revels.”

Emo kieldi poijuttaha The mother forbade her son


naine miestähä ebäzi: the woman told her man no:
“Elä lähe Päivöläm pidoho “Don’t go to Päivölä’s feast
suarijoukon juomingihi! to the island folk’s revels!
so Kolme surmoa om matalla.” There are three deaths on the way.”

“Oi on emo kandajaizen “O mother who carried me


sano surma enzimmäine.” say what the foremost death is.”

“Poiguoni ainuoni “ My only offspring


mänet matkoa vähäizen you will go a little way
86 aivin teidä pikkaraizen, quite a short distance
tulouve tuline jogi you’ll meet a fiery river
jovess on tuline koski amid it fiery rapids
kozess on tuline luodo amid them a fiery crag
luuvoss on tuline koivu on the crag a fiery birch
so koivuss on tulizet oksat on the birch fiery branches
oksiss on tuline kokko: in them a fiery eagle:
kokko kynzieh hivouve the eagle is sharpening
hambahieh hitškuttauve its claws, is grinding its teeth
millä syyvä Lemmingäistä. to eat Lemmingäine with.
96 Jo on syönyt suam miestä It’s eaten a hundred men
tuhonnut tuhannen urosta, destroyed a thousand heroes
sada miestä on siiven alla a hundred under its wing
tuhat hännän tutkamissa.” a thousand beneath its tail.”

“Oi on emo kandajaizen “O mother who carried me


too ei ole siinä miesten surma there is no death for men there
ei ole kuoloma urosten there is no doom for heroes -
Lemmingäizen liijatengi! Lemmingäine above all!
Tembazi lehosta tedren He’d snatch a grouse from a grove

2 07
'j / l Lemminkäinen /
J 1 * Lemminkäinen I

tahi korvesta koppalan, or a black grouse from the woods


ios se on syöksi syöjän suuhu a meal for the eater’s mouth
pardaha palam purijan a bit for the biter’s beard
leugoihe lezottelijan. for the chewer’s jaws.
Oi kokko Jumalan luoma Eagle, God’s creature
silmäs sinttoho sivalla clap your eyelids together
no korvas luppaha lupissa let your ear-flaps flop over
ana männä matkamiehen let a travelling man go -
Lemmingäizen liijatengi. Lemmingäine above all!
Oi on emo kandajaizen O mother who carried me
sano surma keskimmäinen* say what the middle death is.”

115 “Poiguoni ainuoni “ My only offspring


mänet matkoa vähäizen you will go a little way
aivan teidä pikkaraizen, quite a short distance
mado tiell om poikkipuolin a worm lies across the road
pitembi om pertin hirttä longer than the room’s timbers
iso paksumbi pertim patšasta: thicker than the room’s pillars:
jo on syönyt suam miestä it’s eaten a hundred men
tuhonnut tuhannen urosta.” destroyed a thousand heroes.”

“Oi on emo kandajaizen “O mother who carried me


ei ole siinä miesten surma there is no death for men there
125 eigä kuoloma urosten nor is there doom for heroes -
Lemmingäizen liijatengi! Lemmingäine above all!
Mado musta muan alaine O black worm from underground
kulgija kulon alaine crawler among withered grass
pissäte marjamättähähe! get into a berry clump
iso Ana männä matkamiehen let a travelling man go -
Lemmingäizen liijatengi! Lemmingäine above all!
Oi on emo kandajaizen O mother who carried me
sano surma jälgimmäine.” say what the hindmost death is.”

“Poiguoni ainuoni “ My only offspring


135 mänet matkoja vähäizen you will go a little way
aivan teidä pikkaraizen quite a short distance
mänet Päivölän kujoho: you’ll enter Päivölä’s lane:
aid on rauvasta rakettu an iron fence has been built
tšitšiliuskoill on sivottu with lizards bound together
140 kiärmehill on keännyteldy with snakes it is wound around
muasta suate taivahahe, from the earth up to the sky

208
O A Lemminkäinen I
J T " Lemminkäinen I

piäkezrät kehäjämässä with their bulbous heads hissing


ullos suin suhajamassa with their mouths sizzling
ullos kielin kiehumassa, with their tongues seething
146 susit suittširengahissa wolves with bridle-chains
karhut raudakahlehissa. bears with fetters of iron.
Ne om Päivölän kujossa.” They are in Päivölä’s lane.”

“Ei ole siinä miesten surma “There is no death for men there
eigä kuoloma urosten nor doom for heroes -
iso Lemmingäizen liijatengi! Lemmingäine above all!
Ne mie suullani suloan I shall melt them with my mouth
sanoillani salboailen.” stop them with my words.”

Jo mäni Ahin kodihi Now he went to Ahti’s house


suarijoukon juomingihi, to the island folk’s revels
166 seizattihi oven suuhu and he stopped in the doorway
oven suuhu orren alla by the door beneath the beam
kahen kattilan välihi in the space between two pots
kolmen koukun kiändimillä. where three hooks turned to and fro.

Seb oli Ahti suarilaine: ’Twas Ahti the islander:


iso “Midä tulit kutšuitta pidoho “ Why come unasked to the feast
hairuhitta juomingihi?” unannounced to the revels?”

“Korie on kutšuttu vieras: “A stranger bidden is fine:


koriembi kuttšumatoin. one not bidden is finer.
Korie kuttšuvo vuottau: A fine one waits to be asked:
166 hyvä ilman lykkeleksi.” a good one thrusts in without.”

Seb oli Ahti suarilaine ’Twas Ahti the islander


laulo valgien jänöizen he sang a white hare
tuoho piällä Lemmingäizen upon Lemmingäine’s head
nogiloida sordamaha to drop soot on him
170 karstija karistamalla. scatter grime on him.

Lemmingäine on liedo poiga Lemmingäine the wanton


laulo ruskien reboizen: he sang a brown fox:
söi on valgien jänöizen it ate the white hare
tuosta piäldä Lemmingäizen. upon Lemmingäine’s head.

176 Tuob oli Ahti suarilaine ’Twas Ahti the islander

14 209
^ / | Lemminkäinen I
J r Lemminkäinen I

laulo ruskien oravan sang a brown squirrel


tuoho piällä Lemmingäizen upon Lemmingäine’s head
nogiloida sordamaha to drop soot on him
karstija karistamalla. scatter grime on him.

iso Lemmingäine on liedo poiga Lemmingäine the wanton


laulo niän kuldarinnan: sang a gold-breasted marten
söiba ruskien oravan and it ate the brown squirrel
tuosta piäldä Lemmingäizen upon Lemmingäine’s head:
nogiloida sordamasta it did not drop soot
ies karstija karistamasta. did not scatter grime.

Seb oli Ahti suarilaine ’Twas Ahti the islander


laulo lammin lattiella sang a pond upon the floor
tuoho alla Lemmingäizen. there under Lemmingäine.

Lemmingäin on liedo poiga Lemmingäine the wanton


iso laulo härän kuldasarven: sang a gold-horned ox:
händä torkku Tomivossa its tail waved in Tornivo
piä keikku Kemin jovessa. head swung in Kemi River.
Kuum, päivän orava juoksi A month, a day, a squirrel
härän händäluuda myöte, ran down the ox’s tail-bone:
196 ei on vielä piähä piässyt. still it did not reach the end.
Päivän lendi piätskylindu For a day a swallow flew
härän sarvien välittSi, between the horns of the ox:
ei on vielä piähä piässyt. still it did not reach the end.
Joi on lammin lattielda It drank the pond off the floor
900 tuosta alda Lemmingäizen. from under Lemmingäine.

Se oli Ahti suarilaine ’Twas Ahti the islander


toi on tuopilla olutta brought some beer in a flagon
kando kaksivardizella: bore in a two-handled one:
toukat pohjassa tomattih maggots squirmed in the bottom
205 mavot laijoilla valuttih. worms were wriggling down the sides.
Otti veitšen viereldähä He took the knife from his flank
vägärauvan väskystähä, an iron hook from his bag
itše tuon sanoiksi virkki: and he put this into words:
“Toppa moaha luodanehe “Cast the serpent to the ground
210 ruoga suuhu syödänehe: feed food to the mouth:
tuopin tuoja Tuonelaha to Tuoni with the flagon-bringer
kannan kandaja Manalla!" to Mana with him who bears the jug!”

210
L em m inkäinen I
34 L em m in k ä in en I

Joi oluon onneksehe He drank the beer for good cheer


meem mussam mieleksehe, the black mead for good spirits
215 pistihi ulos pihalla hurtled out into the yard
miestem miekkojen nenije upon men’s sword-points
tapparan tuliterije. on the hatchet’s fiery blade
Itše tuon sanoiksi virkki: himself put this into words:
“Oi on Ahti soarilaine “O Ahti, you islander
220 tule sie ulos pihalla: come outside into the yard:
pihall on veri parembi in the yard blood is better
kagaroill on kaunehembi. on horse-dung fairer.
Mitelgämä miekkojana Let us size up swords
katšelgama kalbojana, let us look at blades
225 kumman om miekka mieluizambi to see whose sword is to be
kumman on kalba kaunehembi.” preferred, whose blade is fairer.”

Mäni Ahti om pihalla, Ahti went into the yard


miteldihi miekkojaha and they sized up swords
katšeldihi kalbojaha. and they looked at blades.

230 Vedi Ahti Lemmingäistä: Ahti slashed Lemmingäine:


Lemmingäine i miks ei käynä. Lemmingäine did not mind.
Vedi Lemmingäin on Ahtie, Lemmingäine slashed Ahti
vei hiän kuin nuatin nagrehelda. slashed like cropping a turnip.

N o s to , H u o ta r i's w if e
Kiimaisjärvi, Archangel Karelia
A. A. Borenius, 1872

211
35
L E M M I N K Ä I N E N II
Lemminkäinen I I

PitiSinivermo
Väinölä pitoa
juominkia: N ow, Väinölä held a feast
and Sinivermo revels:
kutsu pipit, kutsu papit masters, pastors were bidden
kutsu rujot, kutsu rammat the crippled, the lame were asked
5 rujot venosin souti the crippled were rowed in boats
rammat ratsahin ajeli the lame driven on horseback
kutsu kaiken ristikansan all Christian people were asked
vaan ei kutsunt Lemminkäistä. but Lemminkäinen was not.
Lemminkäin on pillopoika Lemminkäin, he the blackguard
10 piti ainoan sisonsa enjoyed his only sister
turmeli emonsa lapsen. and ruined his mother’s child.

Virkko lieto Lemminkäinen Wanton Lemminkäinen said


isollensa ainoalle said to his only father
emollensa armahalle: said to his darling mother:
16 “Lähen Väinölän pitohin.” “ I’m off to Väinölä’s feast.”

Iso kielti, emo epäsi: Father banned, mother said no:


“Ellos menne poikueni “Don’t go, my offspring
nuoihin Väinölän pitohin! to that feast at Väinölä!
Kolm on surmoa kovoa: There are three harsh deaths:
20 lamp on tiellä poikin puolin a pond lies across the road
täynnä kuumia kiviä brimming over with hot rocks
palavoja paateroita.” with boulders on fire.”

Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


“ Ison tieto hyvä tieto “A father’s knowledge is good:
26 om on tietoni parempi. my own knowledge is better.
Kyllä tuohon neuvon keksin: Yes, I shall find a way out:
lähen kuin käkesin I’m off as I intended
nuoihin Väinölän pitohin to that feast at Väinölä
Sinivermon juominkihin.” to Sinivermo’s revels.”

212
O C Lemminkäinen I I
J J Lemminkäinen I I

so Iso kielsi, emo epäsi: Father banned, mother said no:


“Ellos menne poikueni! “Don’t go, my offspring!
Mato on tiellä poikin puolin A worm lies across the road
pitempi pisuja puita longer than the standing trees
paksumpi kujan patsasta.” thicker than the lane’s pillar.”

36 Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


“Ison tieto hyvä tieto “A father’s knowledge is good:
om on tietoni parempi. my own knowledge is better.
Kyllä tuohon neuvon keksin: Yes, I shall find a way out:
laulan maon tien mukahan. I shall sing the worm aside.
m Jopa tuolla tuosta pääsen.” That’s how I’ll deal with that one.

Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


“Isoseni ainoseni “Dear father, my only one
jou’uta sotiorini! quickly bring my war-stallion!
Lähen kuin käkesin I’m off as I intended
46 nuoihin Väinölän pitohin to that feast at Väinölä
Sinivermon juominkihin.” to Sinivermo’s revels.”

Iso kielti, emo epäsi: Father banned, mother said no:


“Ellos menne poikueni! “Don’t go, my offspring!
On kolmas kovempi surma: There is a third, harsher death:
6o suen on pantu suitsisuuhun a wolf is bridled ready
karhut rautakahlehisin and bears in iron fetters
poikin puolin portahia.” stand across the steps.”

Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


“Ison tieto hyvä tieto “A father’s knowledge is good:
66 om on tietoni parempi. my own knowledge is better.
Kyllä tuohon neuvon keksin: Yes, I shall find a way out:
laulan laukun lampahia I shall sing a flock of sheep
kimpun kierävillasia a cluster of curly-wools
suuhun rauasten susien into the iron wolves’ mouths
60 rautakarhun kahlehille. in the iron bear’s fetters.
Jopa tuolla tuosta pääsen.” That’s how I’ll deal with that one.

Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


“Isoseni ainoseni! “Dear father, my only one
emoseni armahani! dear mother, my darling one!
65 Lähen kuin käkesin I’m off as I intended

213
O C Lemminkäinen I I
J J Lemminkäinen I I

cmoseni armahani: dear mother, my darling one:


kanna vainovaatteheni!” bring my battledress!”
Jou’utti sotisopansa. She quickly brought his war-gear.

Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:


70 “Jou’uta minun isoni “Quickly bring me, my father
se vanha sotiorini that old war-stallion of mine
valmistele vainovarsan!” get my battle-colt ready!”

Isoohon ainoohon His father, his only one


jou’utti sotiorihin quickly brought his war-stallion
76 valmisteli vainovarsan got his battle-colt ready
pojallehen ainoalle for his son, his only one
lähteissä Väinölän pitohin. leaving for Väinölä’s feast.

Läksipä lieto Lemminkäinen Wanton Lemminkäinen left


nuoihin Väinölän pitohin. for that feast at Väinölä:
so Tuo oli lieto Lemminkäinen ’twas wanton Lemminkäinen
heitti seinälle sukansa. flung his brush against the wall.
Virkko lieto Lemminkäinen: Wanton Lemminkäinen said:
“Kuin suka verta vuotanee “When the brush is oozing blood
silloin on hukka Lemminkäistä then Lemminkäinen is lost
85 piilo poikoa pahoa things look black for the bad boy
nuoissa Väinölän pioissa at that feast at Väinölä
Sinivermon juomingeissa.” at Sinivermo’s revels.”

Vieläpä emo epävi: And still his mother said no:


“Ellos menne poikueni! “Don’t go, my offspring!
90 Tuollapa siima lauletahan Over there you will be sung
lauletahan lausitahan you’ll be sung, you’ll be sentenced
Tuonen mustah jokeh into Tuoni’s black river
Manalan ikipuroh Manala’s eternal stream
kynsin kylmähän kivehen with your nails on a cold rock
95 hampahin vesihakohon with your teeth in a wet log
iäksesi itkemähän to weep everlastingly
ja kuuksi kujertamahan.” and wail for ever.”

Läksi lieto Lemminkäinen Wanton Lemminkäinen left


ajo matkoa vähäsen and he drove a little way
too piirrätteli pikkuruisen. he made tracks a short distance.
Jop oli lampi tiellä poikin A pond lay across the road

2 14
O C Lemminkäinen I I
Lemminkäinen I I

täynnä kuumia kiviä brimming over with hot rocks


palavoja paateroita: with boulders on fire:
tuo oli lieto Lemminkäinen ’twas wanton Lemminkäinen
k» lammin jääksi jäähytteli cooled the pond to ice
veen hyyksi hyyhytteli. and froze the water to frost.
Jopa tuolla tuosta pääsi. That’s how he dealt with that one.

Ajo matkoa vähäsen. And he drove a little way.


Jop oli mato tiellä poikin puolin A worm lay across the road
uo pitempi pisuja puita longer than the standing trees
paksumpi kujan patsasta: thicker than the lane's pillar:
tuo oli lieto Lemminkäinen ’twas wanton Lemminkäinen
laulo maon tien mukahan sang the worm aside
jolla kulkku tulta kuohu, whose throat was boiling with fire.
us Jopa tuolla tuosta pääsi. That’s how he dealt with that one.

Tuo oli lieto Lemminkäinen 'Twas wanton Lemminkäinen


ajoi Väinölän pihoille drove into Väinölä’s yards
nuoille pistyille pihoille to those sloping yards
tasasille tanterille. into the level paddocks.
120 Tuoli oli suet suitsisuussa There were wolves bridled ready
karhut rautakahlehissa and bears in iron fetters
poikin puolin portahilla, stood across the steps
nuopa päälle yrkelekse: and they went to attack him:
tuo oli lieto Lemminkäinen 'twas wanton Lemminkäinen
125 laulo laukun lampahia sang a flock of sheep
kimpun kierävillasia a cluster of curly-wools
suuhun rauasten susien into the iron wolves’ mouths
rautakarhun kahlehille. in the iron bear’s fetters.
Jopa nuoilla tuosta pääsi. That’s how he dealt with that one.

iso Heti virkko mentyähän He uttered the moment he


tuohon suurehen tupahan came to that great house
Väinölähän saatuansa: he arrived at Väinölä:
“Terve tänne tultuani!” “Greetings, for I have come here!”

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


136 “Terve tervehyttäjälle! “Greetings to who shouts greetings!
Hoiot, lieto Lemminkäinen Hail, wanton Lemminkäinen:
ei oo siima kutsuttuna.” you have not been invited.”

215
*5C Lemminkäinen I I
J J Lemminkäinen I I

Virkki lieto Lemminkäinen: Wanton Lemminkäinen said:


“ Kurja kutsuhun tulevi: “A wretch comes at a summons:
i« hyvä ilman hyppeleksen.” a good man leaps up without.”

Virkki lieto Lemminkäinen: Wanton Lemminkäinen said:


“Olisko tulo tsupulla “ Is there room in a comer
tulevalle vierahalle for the guest who is coming
saavalle käkeävälle? for the one on his way in?
146 Onkos naulat kirjokintahille Are there nails for bright mittens
tallia orihin seista a stall where a horse may stay
otria orihin purra barley for a horse to munch
olutta urohon juoa?” beer for a hero to drink?”

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


iso “Ei ole tilasi tässä “There is no room for you here
tulevalle vierahalle for the guest who is coming
eikä naulat kirjokintahille and there are no nails for bright mittens
ei tallia orihin seista there is no stall where a horse may stay
eikä otria orihin purra and no barley for a horse to munch
iss eikä olutta urohon juoa: and no beer for a hero to drink:
oven suuss on alla orren by the door, beneath the beam
kahen kattilan sijalla in the space between two pots
kolmen koukun koskemilla where three hooks turn to and fro
jos olet siivolla tuvassa.” if you will behave inside.”

160 Virkki lieto Lemminkäinen: Wanton Lemminkäinen said:


“Ei ennen miun isoni “ In the old days my father
ollut oven suussa alla orren was not by the door, beneath the beam
eikä valtavanhempani nor was my noble parent
kahen kattilan sijalla in the space between two pots
ies kolmen koukun koskemilla: where three hooks turn to and fro:
olipa tila tsupulla there was room in a comer
naulat kiijokintahille there were nails for bright mittens
seinät miekkoja mitellä there were walls to size up swords
tallia orihin seista a stall where a horse might stay
170 otria orihin purra barley for a horse to munch
olutta urohon juoa - beer for a hero to drink -
miksis ei minulla ole so why is there not for me
kuin ennen minun isolla?” as there was for my father?”

Virkki vanha Väinämöinen: Old Väinämöinen uttered:

2 16
O C Lemminkäinen I I
Lemminkäinen I I

176 “Sie oot lieto Lemminkäinen “You’re wanton Lemminkäinen


piilo oot poikia pahin, you are the worst of blackguards
turmelit emosi tuoman you ruined your mother’s child
pi’it ainoan sisaren: enjoyed your only sister:
mene, heijä, helvettihin go, scoundrel, to hell
iso paha, maahasi pakene bad boy, flee to your country
luota kaiken ristikansan!” away from all Christian folk!”

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


“Jos et tuotana totelle . . “ If you don’t do as you’re told . .
Eipä kuullut Lemminkäinen. Lemminkäinen paid no heed.

186 Tuo ikivanha Väinämöinen The ancient Väinämöinen


tietäjä iänikuinen the everlasting wise man
poika ponnun päivällinen son of doughty days, it was
joka laulo Lemminkäisen he who sang Lemminkäinen
kaotti Kalevan poian damned the son of Kaleva
im Tuonen mustahan jokehen into Tuoni’s black river
Manalan ikipurohon Manala’s eternal stream
johon puut tyvin putovi where trees topple uprooted
heinät latvoin lankiavi: grasses fall headlong
kynsin kylmähän kivehen with his nails on a cold rock
196 hampahin vesihakohon with his teeth in a wet log
iäksensä itkemähän to weep everlastingly
ja kuuksi kujertamahan. and wail for ever.
Jopa tuli hukka Lemminkäistä Then Lemminkäinen was lost
piilo poikoa pahoa. things looked black for the bad boy.

zoo Läksi suka verta vuotamah. The brush started oozing blood.
Virkki emo Lemminkäisen: Lemminkäinen’s mother said:
“Jop on hukka Lemminkäistä “Now Lemminkäinen is lost
piilo poikoa pahoa things look black for the bad boy
kuin suka verta vuotanee.” when the brush is oozing blood.”

206 Läksi emo Lemminkäisen Lemminkäinen’s mother went


poikoahan etsimähän away in search of her son
nuoista Väinölän pioista to that feast at Väinölä
Sinivermon juomingeista. to Sinivermo’s revels:
Mik oli tiellä hakoja where logs were across the road
210 kaikki käänti tien mukahan, she turned them aside
mik oli tiellä kiviä where there were rocks on the road

217
O C Lemminkäinen I I
J J Lemminkäinen I I

kaikki siirti tien sivuhun. moved them all to the roadside.

Virkki emo Lemmikäisen Lemminkäinen’s mother said


kysytteli lausutteli: asked questions, spoke up:
215 “ Hoiot, vanha Väinämöinen “ Hail, old Väinämöinen: where
minnes lauloit Lemminkäisen hhve you sung Lemminkäinen
kaotit Kalevan poian?” damned the son of Kaleva?”

Virkki vanha Väinämöinen: Old Väinämöinen uttered:


“En tieä, portto, poikoasi “I don’t know your son, harlot
220 enkä, heijä, hetelmääsi.” nor, bitch, do I know your fruit.”

Virkki emo Lemminkäisen: Lemminkäinen’s mother said:


“Hoiot, vanha Väinämöinen “ Hullo, old Väinämöinen:
jos et neuvo Lemminkäistä if you don’t tell of my son
kunnes lauloit, kunnes lausuit where you’ve sung, where sentenced him
225 kaotit Kalevan poian - damned the son of Kaleva
jos et neuvo Lemminkäistä if you don’t tell of my son
rikonpa ukset uuen riihen the new threshing-house doors I’ll
taitan taivosen saranat.” break down, smash the sky’s hinges.”

Tulipa pakko Väinämöisen Väinämöinen grew worried


230 tuska partasuun urohon. the bearded hero was pained.
Virkki vanha Väinämöinen: Old Väinämöinen uttered:
“Tuonne lauloin Lemminkäisen “ I have sung Lemminkäinen
Tuonen mustahan jokehen into Tuoni’s black river
kaotin Kalevan poian damned the son of Kaleva
235 johon puut tyvin putovi where trees topple uprooted
heinät latvoin lankiavi: grasses fall headlong
kynsin kylmähän kivehen with his nails on a cold rock
hampahin vesihakohon with his teeth in a wet log
iäksensä itkemähän to weep everlastingly
240 ja kuuksi kujertamahan.” and wail for ever.”

Tuop oli emo Lemminkäisen ’Twas Lemminkäinen’s mother


lentipä Tuonelan joelle flew to Tuonela’s river
Manalan ikipurolle: Manala’s eternal stream:
liiteleksen laateleksen gliding, hovering
245 etsi tuolta poikoahan she searched for her son
Tuonen mustasta joesta, down in Tuoni’s black river
eipä löyä poikoahan. but she did not find her son.

218
O r Lemminkäinen I I
J Lemminkäinen I I

Tuop oli emo Lemminkäisen ’Twas Lemminkäinen’s mother


teki rautasen haravan made a rake out of iron
250 piitti piillä vaskisilla, fitted it with copper teeth
haro tuolla poikoahan and raked with it for her son
pitkin Tuonelan jokea: along Tuonela’s river:
jopa puuttu Lemminkäinen now Lemminkäinen was caught
piihin vaskisen haravan upon the copper rake’s teeth
255 sormesta nimettömästä. caught by his nameless finger.

Tuop oli emo Lemminkäisen ’Twas Lemminkäinen’s mother


kysytteli lausutteli: asked questions, spoke up:
“Vieläkö siusta mies tulevi “Will a man still come of you
uro uusi toimiavi?” a new hero be active?”

260 “Ei oo miestä mennehessä “There’s no man in the one gone


urosta uponnehessa: no hero in the one drowned:
tuoli on syömeni minun down there is this heart of mine
kiven sinisen sivulla beside a blue rock, within
maksankarvasen mahassa. the liver-coloured belly.
265 Jopa happani hartiani Bitter now are my shoulders
mätäni mätäslihani rotten is my mound of flesh
Tuonen mustassa joessa down in Tuoni’s black river
Manalan ikipurossa Manala’s eternal stream
kuin olin kauan kaihossa tilassa for I have been long in the grim place
270 viikon vilussa veessä ages in the chill water
kynsin kylmässä kivessä with my nails on a cold rock
hampahin vesihaossa: with my teeth in a wet log:
tuolla happani hartiani bitter there are my shoulders
mätäni mätäslihani." rotten is my mound of flesh.”

275 Virkki lieto Lemminkäinen: Wanton Lemminkäinen said:


“Elköhön minun sukuni “Never may my kinsmen put
tehkö syytä syyttömälle the blame on who is blameless
vikoa viattomalle: the guilt on who is guiltless:
pahoin palkka maksetahan the wages are badly paid
280 Tuonen mustassa joessa down in Tuoni’s black river
Manalan ikipurossa Manala’s eternal stream
johon puut tyvin putovi where trees topple uprooted
heinät latvoin lankiavi.” grasses fall headlong.”

Virkki lieto Lemminkäinen: Wanton Lemminkäinen said:

219
O r Lemminkäinen I I
J * / Lemminkäinen I I

285 “Elkohot ilmoiset imeiset “Never may earthly people


elköhön minun sukuni nor ever may my kinsmen
heimokuntani heliä my excellent tribesmen put
tehkö syytä syyttömälle the blame on who is blameless
vikoa viattomalle: the guilt on who is guiltless:
290 täällä on teille tila tietty hdre is surely room for you
Tuonen mustassa joessa down in Tuoni’s black river
Manalan ikipurossa. Manala’s eternal stream.
Tila on tietty, sänky säätty Room is sure, bed is ready
sänky kuumista kivistä a bed of hot rocks
295 palavoista paateroista, of boulders on fire
peitto pantu sängyn päälle a cover laid on the bed
maan mustista maoista of the earth’s black worms
pistäjistä käärmehistä.” and of stabbing snakes.”

Virkki vielä Lemminkäinen: And still Lemminkäinen said:


300 “Tila on tietty, paikka paha “Room is sure, the place is bad
kovan kuoleman käsissä. in the hands of death the harsh.
Emoeni ainoeni My mother, my only one
ei minusta miestä tule not of me will a man come
ukon pojasta urosta: of father’s son no hero:
306 ei oo miestä mennehessä there’s no man in the one gone
eikä tuiki tullehessa.” nor in one who is quite lost.”

S im a n a Sissonen
Ilomantsi, North Karelia
D. E. D. Europaeus, 1845

220
36
L E M M I N K Ä I N E N III
Lemminkäinen I I I

TT* alervikko poisikkaine alervikko the young lad


J^ k o lk u tti kotoisen usta knocked upon the cottage door
rämähytti räystäskokkaa: rattled where the eaves stuck out:
hyppäs sieltä pieni neito. there a little maid jumped up.

6 “Kuhun sie määti, pieni poika? “Where do you go, little boy?
Ota mintaa kaasakseks Take me as your companion
präskäksi kypärän päälle as a buckle on your cap
sormukseksi sormellesi!” as a ring on your finger!”

“Mihin mie sinua otan? “Where shall I take you?


io Viros vihmaa saattaa In Estonia it rains
Aljes lunta annetaa.” in Alje snow is sent down.”

Mie puistan kypäryttäni And I shook my cap


puuta vasten, maata vasten against a tree, on the ground
ja kovvaa kivvee vasten: and against a hard rock too:
is tokku sormus sormestani the ring fell from my finger
präskä kypärän päältä. and the buckle from my cap.

Läksin läyläälle sisolle I went to my stem sister


Lemmastervalle vävylle. to my brother-in-law Lemmasterva.

Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


so tiesi velloose tuleva knew her brother was coming
tietti tervatut veräjät and she had tarry gates made
aijatti matoiset äijät. and fences of snakes put up.

Kalervikko poisikkaine Kalervikko the young lad


mäni yli tervatun veräjän went over the tarry gate
26 ilma tervan tarttumatta, without catching on the tar
alatsi matoisen äijän went under the fence of snakes
ilman maon maistamatta. without a snake tasting him.

221
T /T Lemminkäinen I I I
J v/ Lemminkäinen I I I

Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


laski koirat kahleista let the dogs out o f fetters
ao hurtat umpirenkahista. the hounds out of their muzzles.

Kalervikko poisikkaine Kalervikko the young lad


tempas miekan tupesta, snatched his sword out of its sheath
löi koirat kuollehiksi struck the dogs down dead
hurtat hengen-männeheks. and the hounds lifeless.

36 Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


issutteli velloaa sat her brother down
issutteli kynnykset. sat him down on the threshold.

Miekka tupesta läkäsi: The sword spoke out from its sheath:
“ Kalervikko velvyveni “ Kalervikko my brother
«o Kalervikko kantajani Kalervikko my bearer
älä istu kynnykset: do not sit on the threshold:
kylän on kielet kynnyksessä!” in it are the village tongues!”

Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


issutteli velloaa sat her brother down
46 issutteli hummaree. sat him down in the mortar.

Miekka jällee tupesta läkäsi: The sword again spoke out from its sheath:
“ Kalervikko velvyveni “ Kalervikko my brother
Kalervikko kantajani Kalervikko my bearer
älä istu hummaree: do not sit in the mortar:
50 hovin on huolet hummarees!*’ in it are the manor’s cares!”

Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


issutteli velloaa sat her brother down
issutteli iikivelle. sat him down on the hearthstone:
Vello istus iikivelle. brother sat on the hearthstone.

65 Siso oli Lehenlemmykkäine Lehenlemmykkäine the sister


toi tuopilla olutta brought some beer in a flagon
kanto kaksikorvasella. bore in a two-handed one.

Miekka tupesta läkäsi: The sword spoke out from its sheath:
“ Katso tuohoo tuopin sissee “ Look there inside the flagon
60 katso kahen kannen alle!” look underneath the two lids!”

222
O Lemminkäinen I I I
« 5 0 Lemminkäinen I I I

Kalervikko poisikkaine Kalervikko the young lad


katso siihi tuopin sissee looked there into the flagon
katso kahen kannen alle: looked underneath the two lids:
siell oli konnien kutu-matala there was a toads’ spawning-ground
66 siellä käärmein käräjä. there snakes’ assizes.

Kalervikko poisikkaine Kalervikko the young lad


tempas miekan tupest snatched his sword out of its sheath
kerran sivalsi sisoo struck a blow at his sister
toisen väyhkäisi väävvyy: then slashed his brother-in-law:
70 siso maahaa kuolleheks sister fell to the ground dead
vävy hengen-männeheks. brother-in-law fell lifeless.

V arpu L u u k k a
Narvusi, Ingria
V. Alava, 1892

223
37
KAUKAMOINEN I
Kaukamoinen I

äivölä pitoja loati äivölä set out a feast


P salajoukko juominkia, P the canny folk held revels
kutsu rujot, kutsu rammat the crippled, the lame were asked
sokiet venehin souti the blind were rowed there in boats
6 rujot reen reutoeli. the crippled dragged in sledges.
Tuo kaunis Kaukamieli That handsome Kaukamieli
sen on heitti kutsumatta. was left unbidden.

Silloin kaunis Kaukamieli Then handsome Kaukamieli


sanan virkki noin nimesi: uttered a word, speaking thus:
10 “ O i emoni kantajani “ O my mother who bore me
tuos tänne sotisomani bring here my war-gear
kannas vainovaattieni: carry here my battledress:
lähen Päivölän pitohin I ’m off to Päivölä’s feast
Sariolan juominkihin!” off to Sariola’s revels.”

is Iso käski, emo kielti Father ordered, mother banned


epäsi kavetta kaksi a pair o f witches said no
kielti kolme luonnotarta: three nature-spirits forbade:
“ Elä lähe Kaukamieli: “ Do not go, Kaukamieli:
monet on kummat matkallasi many freaks are on your way
20 monet tielläsi imehet!” many marvels on your road!”

“ Mipä on kumma ensimäinen?” “ What is the first freak?”

“ Mäki on täynnä seipähiä “ There’s a hill bristling with poles


ne on täynnä miehen päitä: they are bristling with men’s heads:
yks on seiväs ilman jäänyt one pole has been left empty
25 pään varalla Kaukamielen.” kept for Kaukamieli’s head.”

Sano kaunis Kaukamieli: Handsome Kaukamieli said:


“ Kyllä sihen keinon keksin: “ Yes, I shall find a way out:
otan kuljun kuollehelta I shall take a dead man’s skull

224
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J / Kaukamoinen I

menneheltä pään mäkäsen I’ll strike the head off one gone
30 senki seipähän nenähän.” and set it upon the pole.”

Itse noin sanoiksi virkki: He himself put this in words:


“Oi emoni kantajani “ O my mother who bore me
tuos mulle sotisomani bring me my war-gear
kanna vainovaattieni: carry here my battledress:
36 lähen Päivölän pitohin I ’m off to Päivölä’s feast
Sariolan juominkihin!” off to Sariola’s revels.”

Iso käski, emo kielti Father ordered, mother banned


epäsi kavetta kaksi a pair o f witches said no
kielti kolme luonnotarta: three nature-spirits forbade:
40 “Ellos lähkö Kaukamieli: “ Don’t you go, Kaukamieli:
monet on kummat matkallasi many freaks are on your way
monet tielläsi imehet!” many marvels on your road!”

“Mipä on siitä toinen kumma?” “ Well, what is the second freak?”

“Matallas tulinen koski “ On your way fiery rapids


45 kosessa tulinen koivu in them a fiery birch-tree
latvassa tulinen kokko: on top a fiery eagle:
yöt se hammasta hiopi by night it sharpens its teeth
päivät kynttä kitkuttaapi and by day it whets its claws
päälle kaglan Kaukamielen.” kept for Kaukamieli’s neck.”

50 “Kyllä sihen keinon keksin “ Yes, I shall find a way out


keinon keksin, tien osoan: find a way out, know a road:
laulan leppäsen urohon I’ll sing a man of alder
koprihin kokon kynimen for the eagle’s grasping claws
vaakalinnun varpahisin. for the toes o f the wyvern.
65 Sillä sen roven vaellan So I’ll get by that hardship
pääsen päiväyksen. I ’ll manage the day’s journey.
Oi emoni kantajani O my mother who bore me
tuo tänne sotisomani bring here my war-gear
kanna vainovaattieni!” carry here my battledress!”

60 Iso käski, emo kielti Father ordered, mother banned


epäsi kavetta kaksi a pair o f witches said no
kielti kolme luonnotarta: three nature-spirits forbade:
“Elä lähe Kaukamieli: “ Do not go, Kaukamieli:

225
O ^7 Kaukamoinen l
3 / Kaukamoinen I

monet on kummat matkoillasi many freaks are on your way


65 monet teilläsi imehet!” many marvels on your road!”

“ Mikä on siitä kolmas kumma?” “ What is the third freak?”

“ Suet on pantu suitsisuuhun * “ The wolves are bridled ready


karhut rautakahlehisin the bears in iron fetters
veräjillä vastallasi to meet you at the gateways
70 pään varalla Kaukamielen.” kept for Kaukamieli’s head.”

“ Kyllä sihen keinon keksin: “ Yes, I shall find a way out:


laulan lauman lampahia I shall sing a flock o f sheep
kinkon kierävillasia a cluster o f curly-wools
suuhun Untamon susien into Untamo’s wolves’ mouths
75 kitaan kirokavetten. to the jaws of the bewitched.
Sillä sen roven vaellan. So I’ll get by that hardship.
Tuos nyt on sotisomani Bring now my war-gear
kanna vainovaattieni!” carry here my battledress!”

Niin tuopi sotisomansa She brought his war-gear


so kanto vainovaattiensa. carried there his battledress.

Siilon läksi Kaukamieli. Then Kaukamieli went off


Otti kallon kuollehelta and he took a dead man’s skull
menneheltä pään mäkäsi he struck the head off one gone
ku on seiväs ilman jäänyt where a pole was left empty
85 pään varalla Kaukamielen, kept for Kaukamieli’s head
laulo leppäsen urohon he sang a man of alder
eellään samoamahan to wander in front o f him
koprille kokon kynimen, for the eagle’s grasping claws
laulo lauman lampahia and he sang a flock of sheep
90 kinkon kierävillasia a cluster of curly-wools
suuhun Untamon susien into Untamo’s wolves’ mouths
kitahan kirokavetten. to the jaws of the bewitched.
Sillä sen roven vaelti So he got by that hardship
sillä pääsi päiväyksen. he managed the day's journey.

95 Jo on tungeksen tupahan Now he squeezed into the house


alla kattojen ajaksen and he drove under the roofs
lakin päästä laskomille to where caps were taken off
kintahan kirvottimille. to where mittens were slipped off.

226
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J / Kaukamoinen I

Ruma Ruotus paitulainen Ugly Herod in shirtsleeves


loo syöpi juopi pöyän päässä ate, drank at the table-head
päässä pöyän palallaan at table in his shirtsleeves
aivin aivinaisillaan. wearing only his linen.

Sano kaunis Kaukamieli: Handsome Kaukamieli said:


“ Kutsuit rujot, kutsuit rammat “ You asked the crippled, the lame
los sokiet venehin souit you rowed the blind here in boats
rammat ratsahin ajelit, drove the lame here on horseback
muut ne kanto kauhasella some carried gifts in ladles
muut on tiiskillä tiputti some meanly measured with bowls,
noihin Päivölän pitohin to this feast at Päivölä
no Sariolan juominkihin - to the Sariola revels
niin miks et kutsunut minua? so why did you not ask me?
Minä en määrin mätkäellyt I did not bother
minä en purnon putkaellut to measure out mere binfuls
noihin Päivölän pitohin for this feast at Päivölä
na Sariolan juominkihin.” for the Sariola revels.”

Ruma Ruotus paitulainen Ugly Herod in shirtsleeves


pian suuttu ja vihastu. quickly grew angry and wild.
Sanan virkki noin nimesi: He uttered a word, spoke thus:
“ Mitelkämme miekkojamme “ Let us size up swords
iso katseiltamme kalpojamme let us look at blades to see
kummill on pitempi miekka which one has the longer sword
kumman kalpa kaunehempi: whose blade is fairer:
senpä eellä iskemähän!” he shall be the first to strike!”

Sano kaunis Kaukamieli: Handsome Kaukamieli said:


iss “ Läkkämme ulos pihalle: “ Let’s go out into the yard:
pihall on veri parempi in the yard blood is better
päässä heinän helpehempi on grass readier
kanarvoilla kaunehempi. on heather fairer.
Pessyt penkit hierelemme We would spoil the scrubbed benches
im tuvan uuen turmelemme.” we would ruin the new house.”

Mentih ulos pihalle They went out into the yard


mitellään miekkojansa and they sized up swords
katsellaan kalpojansa. and they looked at blades.

Sano kaunis Kaukamieli: Handsome Kaukamieli said:

227
37 Kaukamoinen I
Kaukamoinen I

136 “ Sinun on pitempi miekka “ Your sword is longer


sinun kalpa kaunehempi, and your blade fairer:
minun on luissa lohkiellut my sword has been chipped by bones
pääkasuissa katkiellut. and broken by skulls.
Sie eellä iskömään.” You shall be the first to strike.”

140 Ruma Ruotus paitulainen U gly Herod in shirtsleeves


iski miestä miekallaan, struck at the man with his sword
eipä vuole vermentänä but he did not cut the hide
ottant orvaskettuana. nor take off the outer skin.
Iski kerran, iski toisen He struck once, he struck again
145 kohta kolmitsi rapuupi: soon he hit him a third time:
ei ou tuosta tuon parempi. this was no better than that.

Sano kaunis Kaukamieli: Handsome Kaukamieli said:


“ Anna mieki miekallani “ Let me try with my sword too
jos on luissa lohkiellut though it has been chipped by bones
160 pääkasuissa katkiellut!” and broken by skulls!”

Laski pään päältä olkan He took the head off the shoulder
niinkun naatin nakrihista like the top off a turnip
evän kaikesta kalasta. or a fin off a whole fish.

Silloin kaunis Kaukamieli Then handsome Kaukamieli


165 alla päin, pahoilla mielin his head down, in bad spirits
kahta kallella kypärin and his helmet still askew
kotihinsa tullessaan. made his way homeward.
Emo vastaah tuleepi: He met his mother:
“ Poikuoni nuorempani “ M y offspring, my younger one
160 lapseni vakavuteni my child, my support
mit olet pahoilla mielin why are you in bad spirits
kahta kallella kypärin and your helmet still askew
kotihisi tullessasi: as you make your way homeward:
onko tsarkoa vaarettuna has your cup been insulted
165 noissa Päivölän pioissa?” at that feast at Päivölä?”

“ O i emoni kantajani, “ O my mother who bore me


ken mun sarkoin vaarteleisi had my cup been insulted
vaartaisin sata urosta I ’d insult a hundred men
tuhat muuta tunnustaisin.” take on a thousand others.”

228
'S H Kaukamoinen I
J / Kaukamoinen I

170 Niin emo sano: So his mother said:


“ Oletko naisin nakrettuna?” “ Have the women abused you?”

“ O i emoni kantajani “ O my mother who bore me


ken mun naisin nakraneisi had women abused me, I’d
nakraisin sata naista abuse a hundred women
175 tuhat muuta tunnustaisin.” take on a thousand others.”

Niin emo sano: So his mother said:


“ Oletko heijattu heposin “Have you been shamed with horses
noissa Päivölän pioissa? at that feast at Päivölä?
Sie osta ori parempi Then buy a better stallion
iso isän saamilla eloilla with your father’s harvest, with
vanhemman varustamoilla.” what your parent has laid in.”

“ Oi emoni kantajani “O my mother who bore me


ken mun herjoais heposin had I been shamed with horses
heijaisin sata heposta I’d shame a hundred horses
iss tuhat muuta tunnustaisin. take on a thousand others.
Oi emoni kantajani 0 my mother who bore me
tuota iten tuon ikäni: for this I’ll weep all my life:
tapon miehen kun urohon 1 killed a man, a fellow
noissa Päivölän pioissa at that feast at Päivölä
iso Sariolan juominkissa at the Sariola revels
tapon miehen kun urohon, I killed a man, a fellow
en tieä sitä sioa and I don’t know any place
jossa piiltä pillomuksen where a blackguard may be hid
ja paata pahatapasen.” and an evil one may flee.”

195 Emo taiten vastoali: Mother knowingly answered:


“ Tuoli ennen isosi piili “Out there once your father hid
selässä meren sinisen upon the blue stretch of sea
suurina sotikesinä in the great summers of war
vainovuonna voimatoinna.” in the weary battle-year.”

200 Silloin kaunis Kaukamieli Then handsome Kaukamieli


silloin laivahan lasekse then went down into a ship
alasehen astelekse, stepped into a craft:
nosti päälle purjepuita he hoisted the masts
niinkun männikön mäellä, as pines on a hill
206 laskoo sinistä merta launched out upon the blue sea

229
“5 * 7 Kaukamoinen I
J / Kaukamoinen I

Saarehen selällisehen to the Island out at sea


manterehen puuttomahan. the land without trees.

Niin sano sanalla tuolla: And so he said in these words:


“ Onko Saarella sioa “ Has the Island any place
210 onko maata Saaren maalla is there land on the Island
piiltä miehen pillomuksen where a blackguard may be hid
paata pahatapaisen?” where an evil one may flee?”

Sekä nuorimat sano Both the youngest said


jotta vanhimat sano: and the oldest said:
216 “ Ompa Saarella sioa “ Yes, the Island has a place
ompa maata Saaren maalla there is land on the Island
piiltä miehen pillomuksen where a blackguard may be hid
paata pahatapaisen.” where an evil one may flee.”

Aina purtta auttelovat And they fussed over the craft


220 veteä venettä maalle hauling the boat up on land
purtta kuivilla kumata. turning it over to dry.
Silloin kaunis Kaukamieli Then handsome Kaukamieli
Saaressa selällisessä on the Island out at sea
yhtenä kesäissä yönä in a single summer night
226 sata neitosta makasi laid a hundred maids
tuhat tunsi morsienta. knew a thousand brides.
Silloin kaunis Kaukamieli Then handsome Kaukamieli
jo päivänä muutamena on a day among others ,
huomenna monikahana one morning among many
230 kävi kymmenin kyleä visited ten villages -
kylä puoli kymmenettä - well, half of a tenth:
ei nähnyt sitä taloa and he saw no house
kuss ei kolmia kotoa, where three men were not at home
ei ollut sitä kotoa and there was no home
236 kuss ei kolmia urosta, where there were not three fellows
ei ollut sitä urosta there was no fellow
jok ei miekkoa hivonut who was not whetting his sword
päälle kaglan Kaukamielen. kept for Kaukamieli’s neck.
Silloin kaunis Kaukamieli Then handsome Kaukamieli
240 jo näki tuhon tulevan saw his doom coming
hätäpäivän päälle saavan. his day o f distress dawning.

Niin päivänä muutamena So one day among others

230
3 7 Kaukamoinen I
J / Kaukamoinen I

nousi aivon aikaisin he rose quite early


aivon aika huomenessa. quite early in the morning.
245 Sanan virkko noin nimesi: He uttered a word, spoke thus:
“ Voi päivänen päivyt nousi “ Ah, the day’s sun has risen
armas auringo kohosi: the darling sun has come up:
en kuullut kukotta nossa I heard no cock, could not rise
kanan lapsetta kavata. heard no hen’s chick, could not stir.
260 Voi päivönen päivä nousi Ah, the day’s sun has risen
armas auringo kohosi: the darling sun has come up:
jää neiet syliemättä the maids are left unembraced
syletyt makoamatta.” those embraced unlaid.”

Laski laivansa merehen He launched his boat on the sea


256 nosti päälle purjepuita he hoisted the masts
laski sinistä merta he launched out on the blue sea
melan koukkupään nojassa. leaning on the hooked paddle.

Sini itki Saaren immet Then the Island’s young girls wept
sini Saaren morsiamet the brides of the Island wept
seo kun ei puijepuu näkynyt till the mast was out of sight
rautahankki haimentaa. and the iron rowlock dim.
Itse noin sanoiksi virkko: They put this in words:
“ En mie ite purjepuita “ I do not weep for the masts
rautahankkia halaja, yearn for the iron rowlocks
266 iten puijepuun alasta but for him below the mast
rautahankin hai tietä.” guarding the iron rowlock.”

Sini itki Kaukamieli And then Kaukamieli wept


kun ei Saaren maa näkyyvi till the Isle was out of sight
kirkon haljut haimentaa. and the church roof-ridges dim.
270 Itse noin sanoiksi virkko: He himself put this in words:
“ En mä ite Saaren maita “ I do not weep for the Isle
kirkon harjuja halaja, yearn for the church roof-ridges
iten Saaren impysiä but for the Island’s young girls
nenän niemen neitosia.” the maids of the headland’s tip.”

275 Siitä sinne tie meneepi. From there to there the road goes.

A rh ip p a P erttunen
Latvajärvi, Vuokkiniemi, Archangel Karelia
E. Lönnrot, 1834

231
38
K A U K A M O I N E N II
Kaukamoinen I I

iianen olutta keitti tomtit was brewing beer


T västärikko vettä kantoi A a wagtail carried water
punalintu puita rikkoi. a bullfinch was chopping wood.

Ken oluven keittäjäksi? Who’d be the brewer o f beer?


5 Keherpää pojut Kalervo The curly lad Kalervo
se oluen keittäjäinen. he was a brewer o f beer.
Tynnyrin olutta saivat They got a barrel of beer
kaksi vatii valoivat: poured it into two basins:
ei ala oluen käyä the beer did not start to work
10 metoin miehen mellakoi the man’s mead did not rumble
kupaella ei miehen kumoi. nor did the man’s vatful move.

Mehiläinen mettä kantoi A bee carried some honey


olutkeittäjän käsihin put it in the brewer’s hands
pehmertajan peukalolle: gave it to the boiler’s thumb:
is ei ala oluen käyä the beer did not start to work
metoin miehen mellakoi the man’s mead did not rumble
kupaella ei miehen kumoi. nor did the man’s vatful move.

Keherpään pojut Kalervon The curly lad Kalervo’s


kaksi ärnettä sikaa pair of pigs in heat
20 alla vuoren vuotelese tumbled below a mountain
kalliolla kääntelese, twisted about on a crag:
kuola suusta kuohuaa they were foaming at the mouth
vaahi kärsästä valluu. were slobbering at the snout.
Keherpää pojut Kalervo The curly lad Kalervo
25 sen toi tukoseheen carried it to the mixture
sen kuletti kurnahaan: brought it to the vat:
siit alkoi oluen käyä then the beer started to work
mesi miehen mellakoi and the man’s mead to rumble
kupaella miehen kurna. and the man’s vatful to move.

232
O O Kaukamoinen I I
J O Kaukamoinen I I

30 Joivat Unto, joivat Vento Unto drank and Vento drank


moni mies, moni molotsa many a man, a young squire
moni uhkea uroinen many a splendid fellow
tuohon ajaa siroitteloopi that way drove, smoothly gliding
tuohon Veitikkä vettäis that way Veitikkä made tracks
36 tuohon kaatui Kaukamoinen that way Kaukamoinen came
miehen kuuluisan kottiin down to the famous man’s home
miehen kuulun kurnan luoksi. to the famed man’s vat.

Keheräpää pojut Kalervo The curly lad Kalervo


Kapan joi, toisen joi drank a gallon, another
40 joi kolmannen kerällä. drank a third to go with them:
Kapan kaatoi, toisen kaatoi tipped a gallon, another
kaatoi kolmannen kerällä tipped a third to go with them
päälle kaavun Kaukamoisen. over Kaukamoinen’s cloak.

Kaukoi suuttui ja vihastui: Kaukoi grew angry and wild:


45 “ Ei oo kaapu kastettava, “A cloak is not for wetting
ei viitta ryvetettävä: a coat is not for soiling:
se viitta verellä saatu, this coat was obtained with blood
kaapu kannon pyörännäl. this cloak by twisting a heel.
Käyään pois ulos tarelle Let us go out to the yard
60 tanhuvalle tappeloon! out to the stockyard to fight!
Täss on ahas airakkoja This is narrow for swinging
miespelis mellakoja: for the uproar of man-play:
käyään ulos tarelle - let’s go to the yard -
siell on väljä vääntelessä.” there is space to turn about.”

66 Kaukoi poikoi mies kavala Kaukoi boy, sly man


veti veitsen reieltään drew the dagger from his thigh
tempais tupesta tuiman, tugged the grim one from its sheath
luuli päähän lyövännä thought he’d strike him with the tip
reunaan repäisevään, rip him with the edge
so koppais koko terällä but he slashed with the whole blade
koko raualla rappais. lashed out with all the iron.

Itse juossellen kottiin: As he was running homeward:


“ Hoi emmoin, hoi issoin! “O my mother, my father!
Jo tein tuhuu työtä I have done a dreadful deed
66 jo tein mitä en pitänt: done what I should not have done -
tapoin miehen, saatoin pään killed a man, brought down a head

233
O Q Kaukamoinen I I
«JO Kaukamoinen I I

saatoin sakkoon issoin brought a fine on my father


vahinkoon vanhempain injury on my parent
velloin raha vetoon.” on my brother a levy.”

70 Emo kysyttelööpi: And his mother asked:


“Hoi miun Kaukoi poikuein! “ O my Kaukoi, my offspring!
Tulik suuri rauan haava Was it a great iron wound
ja suur teräksen haava?” and a great steel wound?”

“Harakka lävitsen lensi “A magpie flew right through it


75 repo reijäst pakeni a fox escaped from the hole
niin tuil suuri rauan haava so great was the iron wound
ja suur teräksen haava. so great the steel wound.

Hoi emmoin, hoi issoin! O my mother, my father!


Pankaat säkkihin evästä Put provisions in a bag
so pankaat jauhot palttinaan put meal in a cloth
pankai päälle päivän ruokan: and put a day’s food on top:
mie pä’en pakoon I shall run away
pimittäin piiltämään!” go into hiding!”

“Hoi miun Kaukoi poikoi! “O my Kaukoi boy!


85 Pitkä matka on päältäjäl He who leaves has far to go
pajukkoo pakenevalle.” he who flees into willows.”

Meni matkoa vähäisen He went on a little way


teki tietä pikkaraisen: went a short distance:
metsä vastahan tulloo. he met a forest.
9o “Hoi metsä ota miuista! “O forest, take wretched me!
Metsän ukko, metsän akka Old man, woman of the woods
metsän entinen emäntä ancient mistress of the woods
ottakai työ miuista!” take in wretched me!”

Metsän ukko, metsän akka Old man, woman of the woods


95 ne vasten vastasivat: answering replied:
“Mihinpä me siuista? “And where to put wretched you?
Puut ees leikatahan Trees before you will be felled
siaseis löyetähän your hiding-place will be found
kuormin tuuaan kottiin.” with the load brought home.”

loo Kaukoi poikoi mies kavala Kaukoi boy, sly man

234
O O Kaukamoinen I I
Kaukamoinen I I

meni matkoa vähäisen went a little way further


teki tietä pikkaraisen: went a short distance:
niitty vastahan tulloo. he met a meadow.
“ Hoi niitty ota miuista! “ O meadow, take wretched me!
106 Niityn ukko, niityn akka Old man, woman of the fields
ottakai työ miuista!” take in wretched me!“

“ Mihin me siuista? “ And where to put wretched you?


Heinät päält leikataan The grass will be mowed
teräsrauon sie tempataan by steel you will be torn up
no kuormin tuuaan kottiin.” with the load brought home.”

Meni matkoa vähäisen He went on a little way


teki tietä pikkaraisen: went a short distance:
meri vastahan tulloo. now he met the sea.
“ Hoi meri ota miuista! “ Sea, take wretched me!
116 Meren ukko, meren akka Old man, woman o f the sea
meren entinen emäntä ancient mistress of the sea
ottakai työ miuista!” take in wretched me!”

Hyö vasten vastasivat: They answering said:


“ Mihinpä me siuista? “ And where to put wretched you?
iso Sie nuotin nostellaan In seines you will be lifted
kalaverkoin kannetaan in fish-nets carried
kontin tuuaan kottiin.” in knapsacks brought home.”

Kaukoi poikoi mies kavala Kaukoi boy, sly man


venoiseen kävi vuotavaan stepped into a boat that leaked
126 alkoi souella meroilla started rowing out to sea
sousi Suomen rantuelle: rowed to Finland’s shore:
Suomen neiot sotkemassa the Finnish maids were washing
päät valkot valostamassa. the blond-headed were bleaching.

Kaukoi poikoi mies kavala Kaukoi boy, sly man


180 sanoin laati suin saneli: made to speak, his mouth spelt out:
“ Onko Suomessa siiaa “ Is there some room in Finland
missä piiltää pilloiniekan where a blackguard may be hid
paeta pahoin tekiän?” an evildoer may flee?”

Suomen neiot vastasivat: The Finnish maids gave answer:


135 “ Ei oo Suomessa siiaa “ There is no room in Finland

235
O Q Kaukamoinen I I
O O Kaukamoinen I I

missä piiltää pilloiniekan where a blackguard may be hid


paeta pahoin tekiän.” an evildoer may flee.”

Kaikki Kaukamo makkais Kaukamo lay with them all


yhessä kesoisess yössä. in a single summer night.
140 Kaukoi poikoi mies kavala Kaukoi boy, sly man
itse istui venoisehen himself sat down in the boat
alkoi souella meroille started rowing out to sea
sous Saaren rantuelle. rowed out to the Island’s shore.
Sinis itkit Suomen neiot The Finnish maids wept as long
146 kunis purjon puu näkkyi as the sail-mast was in sight
laivan kaari kuumotti: long as the ship’s frame was glimpsed
ei nuo itke purjon puuta not weeping for the sail-mast
kalju ei laivan kaarepuuta, not shrieking for the ship’s frame:
itkeet purjon puun alaist wept for him below the mast
iso kaljuut kaaren vierehist. shrieked for him beside the frame.
Sinis kaljui Kaukamoinen Kaukamoinen shrieked as long
kunis kuuli kartun ääntä. as he heard the bats pounding.

Kaukoi poikoi mies kavala Kaukoi boy, sly man


meni Saaren rantuelle: went on to the Island’s shore:
155 Saaren neiot sotkemassa the Island’s maids were washing
päät valkot valostamassa. the blond-headed were bleaching.

Kysyi Saaren neitoloilt: He asked the Island’s maidens:


“ Onko Saaressa siiaa “ Is there room on the Island
missä piiltää pilloiniekan where a blackguard may be hid
160 paeta pahoin tekiän?” an evildoer may flee?”

Saaren neiot vastasivat: The Island’s maids gave answer:


“ Ei oo Saaressa siiaa “There’s no room on the Island
missä piiltä pilloiniekan where a blackguard may be hid
paeta pahoin tekiän.” an evildoer may flee.”

165 Kaukoi poikoi mies kavala Kaukoi boy, sly man


kaikki Kaukamo makkais Kaukamo lay with them all
yhessä kesoisess yössä: in a single summer night:
ei lesen lukuakaan uncountable the widows
aivoinaisen arviokaan. innumerable the wives.

no Suin sanoi Saaren vanhin: The Island’s eldest spoke out:

236
O Q Kaukamoinen I I
J O Kaukamoinen I I

“Ei oo Saaressa siiaa “There’s no room on the Island


missä piiltää pilloiniekan where a blackguard may be hid
paeta pahoin tekiän.” an evildoer may flee.”

Kaukoi poikoi mies kavala Kaukoi boy, sly man


175 meni rannoille meroille went to the shores of the sea
itse istui venoisehen himself sat down in the boat
alkoi souella meroille. started rowing out to sea.
Sinis itkit Saaren neiot The Island’s maids wept as long
kunis puijon puu näkkyi as the sail-mast was in sight
iso laivan kaari kuumotti: long as the ship’s frame was glimpsed
ei nuo itke puijon puuta not weeping for the sail-mast
kalju ei laivan kaarepuuta, not shrieking for the ship’s frame:
itkeet puijon puun alaist wept for him below the mast
kaljuut kaaren vierehist. shrieked for him beside the frame.
ies Sinis kaljui Kaukamoinen Kaukamoinen shrieked as long
kunis kuuli kartun ääntä. as he heard the bats pounding.
Siit hän souteli meroisel: Then he rowed out on the sea:
ei saa maata maatakseen he found no land to lie on
lehtoa levätäkseen. no grove to rest in.

S in g er unknow n
Moloskovitsa - Tyrö, Ingria
A. Törneroos, T. Tallqvist, 1859

237
39
VALA I
The Bond I

uop oli Ahti Saarelainen jr r - iw a s Ahti the Islander


T saat saappahat kulutti X wore out boots, a hundred pairs
Saaren neittä saahessansa getting the Island’s maiden
Kyllikkiä pyydessänsä. courting Kyllikki.
5 Laitah ikilujoa An eternal bond was formed
vannotah ikivaloa an eternal vow was taken
eessä vaskisen ikonan: before a copper icon:
ei Ahin sotia käyä Ahti would not go to war
eikä Kyllikin kyleä. Kyllikki would not go out.

10 Anni oi sisär Ahilla: Anni was Ahti’s sister:


“ Armas Ahti veikkoseni “ Darling Ahti my brother
jo on Kyllikkis kylässä Kyllikki’s in the village
veräjillä vierahilla.” now, at the gates of strangers.”

Virkki Ahti Saarelainen: Ahti the Islander said:


ib “ Tuos mulle sotisopani “ Bring me my war-gear
kanna vainovaatteheni!” carry here my battledress!”

K yllä Kyllikki sano: Kyllikki for certain said:


“ Armas Ahti Saarelainen “ Dear Ahti the Islander
elä lähe sie sotahan. don’t go off to war.
20 Näin mie unta maatessani I had a dream as I slept
sikäin levätessäni: as I rested in slumber:
tuli ahjona palavi fire like a forge was burning
Ahin ikkunan alatse.” underneath Ahti’s window.”

“ En usko unia naisen “ I don’t believe woman’s dreams


26 enkä vaimojen valetta: nor the lie of wives either:
toki lähen, en totelle.” I ’m off, I won’t heed.”

Kyllä Kyllikki sanovi Kyllikki for certain said


kotivaimo vastoavi: the housewife answered:

238
O Q Vala I
O y The Bond I

“On meillä oloista koissa “We have some beer in the house
so leppäsessä nassakassa in a barrel of alder
tapin tammisen takana.” behind an oak bung.”

“En huoli kotioloista: “ I don’t care for home-brewed beer:


juon ennen merellä vettä I’d sooner drink seawater
melan tervasen terältä - off a tarry paddle-blade -
36 makeampi juoakseni.” that is sweeter for my drink.”

Kyllä Kyllikki sanovi. Kyllikki for certain said


kotivaimo vastoavi: the housewife answered:
“Elä lähe sie sotahan: “Don’t go off to war:
on meillä rahoa koissa! we have money in the house!
«o Kynti orja kyisen pellon The serf ploughed a viper-field
käärmehisen keännätteli, turned one full of snakes over:
nosti atra arkun kannen the plough lifted a chest-lid
perä penningin ylenti - the sole raised a coin -
on siellä monet satoja.” there are many hundreds there.”

46 “En huoli kotieloista: “ I do not care for home-goods:


jos markan soasta saanen if I get one mark in war
parempana sen pitelen.” I’ll deem it better.”

Lykkäsi lylyn lumelle He slid his left ski in the snow


sivakkohon sille tielle, his right ski on to the road:
60 läksi lyly lykkimähän the left ski went sliding off
kanta kalhun potkimahan. the heel of the right kicking.
Itse virkki noin pakisi: He himself uttered, chattered:
“Missä saanen yön levätä?” “Where shall I rest for the night?”

S im a n a K y ö ttin e n

Repola, Olonets Karelia


D. E. D. Europaeus, 1845

239
40
VALA II
The Bond I I

hti poika, auvo poika


Aheän vanno valan ikuisen: Ahtihe took
boy, the darling boy
an eternal vow:
ei Ahin sotia käyvä Ahti would not go to war
kuunna kymmennä kesänä for sixty summers
5 hopiankan ei halulla whether for want of silver
kullankana ei tarpehella, or yet for need of gold, nor
käyv ei Kyllikin kylähe Kyllikki go out
miehen toisen tarpehella. for need of another man.
Jopa yönä ensimäissä Already on the first night
10 puutu kyllin Kyllikillä Kyllikki had had enough
puutu kyllin peätä kyynä had enough of the elbow
kättä viljalta vihaista. her fill of the angry hand.

Itkövi Ahin venoini, Now the boat of Ahti wept


satahanka haihattauve: the hundred-rowlocked one yearned:
16 “Miepä venyn veššoillani “I stretch on my stocks
lahon lastumuksillani, and I rot on my shavings
ilkiämmät ilman linnut while the air’s most loathsome birds
punaparras paskantavat, are shitting on my red side
matalimmat moam matoset and the earth’s lowliest worms
so alla koareni asuvat.” are living beneath my ribs.”

Itse tuon sanoiksi virkki: He himself put this in words:


“Olis Teuri tiijossani “Teuri whom I know
Kuuro kuulomoisissani Kuuro who is near
Ahilla sovan avuksi shall be war-mate to Ahti
25 liijoin voivalla lisäksi!” shall follow the mighty one!”

Ahti tuon sanoiksi virkki: Ahti put this into words:


“Teuri suorikkoh sotihe “Let Teuri prepare for war
Ahilla sovan avuksi to be war-mate to Ahti
liijoin voivalla lisäksi!” to follow the mighty one!”

2 40
40 Vala I I
The Bond I I

30 Isä peäty ikkunassa Father was at the window


kirvesvartta vuolomassa: was whittling an axe-handle:
“Ei Teuri sotihi jouva: “Teuri has no time for war:
vast on nainun naisen nuoren he has married a young wife
ottanut oman emännän. has taken his own mistress.
35 Viel on nänni näppymättä The nipple’s still unfingered
peräpahkat pieksämättä the buttocks unwhipped
kupehet kutsuttamatta.” the loins untickled.”

Teuri peäty kiukovalla Teuri was beside the stove


jalan kenki kiukovalla shod one foot upon the stove
40 toisen kenki lattialla, shod the other on the floor
veräjillä vyöteleksi at the gates girded himself
ulkona kävysteleksi. outside he strutted about.

Ei ole keiho suuren suuri His was not a great big spear
eik ole keiho pienem pieni: nor a little tiny spear:
45 keiho keskikertahini. it was a middle-sized spear.
Lykkelöypä keihuonsa He put in his spear
muijen keihojen sekahe. with the other spears.

Lähtövi Ahin venoni Ahti’s boat put out to sea


käsivarsin voalimatta uncared for by any arms
50 päin olka avuttamatta unhelped by any shoulders
teloilta teräksisiltä off the rollers made of steel
vanumilta vaskisilta. the copper lining.
Vanhat souti, peät vapisi, The old rowed, their heads trembled:
nuoret souti, airot notku the young rowed and their oars swung
65 airom pyyrit pyinä vinku the shafts squeaked like hazel-grouse
teljot tetrinä kukerti the thwarts cooed like grouse
nenä joiku jouttšenena the prow chanted like a swan
perä kroatšku koarnehena. the stern croaked like a raven.

Silloin kylmi suuren kylmän Then it chilled with a great cold


60 väkipakkasem paleli frost was freezing hard
kun Ahim merellä kylmi, when it chilled Ahti at sea
kylmi jeätä kyynäränne chilled with ice a cubit thick
sato lunta sauvan varren snow fell deep as a ski-stick
varren keihäs keijahutti deep as a spear-haft it swirled
65 yhtenä sykyissä yönä. on a single autumn night.
Niin heän vuuven susta vuoli He made a ski for a year

16 241
Vala I I
40 The Bond I I

kevöän keitti kalhuansa, he steamed his ski for a spring


lykkäsi lylyn lumella slid his left ski in the snow
niin kuin ruskien reposen just like a brown fox
70 eli valkien jänösen. or else a white hare.
Lysmähti lyly lävystä Xhe left ski bent at the hole
sauva taittu suoveroista. the stick snapped at the ferrule.

Lari Bogdanov
Uhtua, Archangel Karelia
A. A. Borenius, 1872

242
41
ORPO I
The Orphan I

Miesvääntäjä
köyhä vähäväkkiin
vähärammoin Aapoor, feeble man
plodder, a weak workman
kynsi kymmenen vakkooa scratched ten furrows round
yhen kannon ympärille, and round one tree-stump
5 kylvi kymmene jyvvää and he sowed ten seeds
kymmenen vaon vällii. between ten furrows.
Halkeis kanto kaheksi The stump split in two
syntyi kaksi poikalasta: and two boys were born:
yksi Unnoissa ylleeni one of them rose in Untoi
10 toin kasvoi Kaarasassa. and one grew in Kaarasa.
Mikä Unnoissa ylleeni He who rose up in Untoi
se ylleeni Untamoiksi, rose up to be Untamoi
mikä kasvoi Kaarasassa he who grew in Kaarasa
se kasvoi Kalervikoiksi. grew to be Kalervikkoi.

15 Kalervikko kagran kylvi Kalervikko sowed his oats


Untamoin oven ettee. in front of Untamoi’s door.
Untamoilla musta uuhi Untamoi had a black ewe
söi kaikki Kalervoin kagran: it ate all Kalervoi’s oats:
Kalervoilla kartsu koira Kalervoi had a fierce dog
20 mursi uuhen Untamoilta. and it slew Untamoi’s ewe.

Untoi suuttui ja vihastui Untoi grew angry and wild


nosti soan sormistaa raised a war from his fingers
väen varpahaisistaa a host from his toes
kansan kantasuonistaa. a nation from his heel-veins.

25 Katsoi Kalervoin nain Kalervoi’s woman looked out


oven suusta ikkunasta: from the window by the door:
“Siintää sinniin taivas “The sky has a glint of blue
puntaa punnain pilvi.” and the cloud is glowing red.”

Katsoi Kalervoi itse Kalervoi himself


3o sakarasta ikkunasta: looked from the corner window:

243
AI Orpo I
» 1 The Orphan I

“Ei punota punnain pilvi “The cloud is not glowing red


eikä siinnä sinniin taivas: nor is the sky glinting blue:
punottaa punnain paita it is a shirt glowing red
siintää sinniin pöksy. trousers glinting blue.
35 Untamoin sota tulloo Untamoi’s war is coming
Kalervoja leikkoimaa.” to cut Kalervoi to shreds.”

Leikkoi suuret, leikkoi pienet It cut the great, cut the small
leikkoi lapset kätkyesse cut down children in cradles
hullukkaist huntuloihe the unknowing in their shawls
40 vakahaist vaattehesse. and the infants in their clothes.

Saoi Untoi orjillee: And Untoi said to his serfs:


“Ai miun orjaant ommaant “ O my serfs, my own
käskylapseent käppiiät my nimble servant-children
mänkää tuosta katsomaa go from here and see
45 onka se jäänyttä jälelle whether anyone is left
suuren soan sorrakista from the wreck of the great war
väen suuren väännäkistä in the train of the great host
vainion vaellakista: in the field where it passed by:
hypätkää suen hypällä leap with the leap of a wolf
50 käykää kärpän varpahilla!” walk with the toes of a stoat!”

Männät orjat katsomaa. The serfs went to see.


Onpa jäänyttä jälelle Yes, someone was left
suuren soan sorrakista from the wreck of the great war
vainion vaellakista: in the field where it passed by:
55 poikoi liekkuu tutussa a boy rocked in a cradle
hiukset pääs on lieminäist the hair on his head was fluff
paitoi pääl on aivinain, the shirt on him was linen
hihnat sulkkuist sumisiit the strings of silk were humming
kätyt pärnäin pärriisi the lime cradle was rattling
60 vipu vinkui vaahteriin. the maple beam was creaking.

Orjoit näyttiit miekkojasse: The serfs showed their swords to him


poikoi vasse nagrahteli. but the boy only chuckled
Nii orjoit läkäelliit: so the serfs chattered:
“Tuosta lienöö varma vassus “Now there’s sure to be trouble:
65 ja viipyy vihan pittääjä.” an enemy has moved in.”

Sannoit orjoit Untamoille: The serfs said to Untamoi:

2 44
A I Orpo I
• 1 The OrphanX

“Onpa jäänyttä jälelle “Yes, someone is left


soan suuren sorrakista from the wreck of the great war
väen suuren väännäkistä in the train of the great host
to vainion vaellakista.” in the field where it passed by.”

Sanoi Untoi orjillee: And Untoi said to his serfs:


“Tehkää tuli turulle “ Make a fire in the market
alle vallin valkiain, a bonfire beneath the walls
koivua kovvaa puuta of hard-wearing birch
75 kolmekymmentä rekkooja, thirty sledges full
sarnista sata rekkooja, of ash a hundred
viihteroja, vaahteroja of supple maple
viisikymmentä rekkooja: fifty sledges full:
pankaa tullee poikoi put the boy into the fire
so lykätkää lemmenee!” and push him into the flames!”

Pantii poikoi tullee The boy was put in the fire


lykättii lemmenee. pushed into the flames.
Ei poikoi pala tulessa He did not burn in the fire
eikä lekoita lemmenessä: nor blaze in the flames:
85 poikoi istuu tulella the boy sat upon the fire
kultakoukkuin käessä a golden hook in his hand
kekelehhiä kerttelöö poking the embers
hiiliä haroittelloo. spreading the cinders.

OuU
Soikkola, Ingria
V. Porkka, 1883

94.S
42
ORPO II
The Orphan I I

SekuinkalkkiensinKalevan poika
emästä synty
aleva’s unhappy son
Kwhen first of his mother bom
viiellä vesikivellä on five water-rocks
heti kohta kolmiöissä soon as he was three nights old
5 katkasi kapalovyönsä. he broke up his swaddling-bands.
Nähtiin hyvä tulevan He was seen to promise well
keksittihin kelpoavan: found to be a fine fellow:
myytihinpä vierahalle he was sold to a stranger
Karjalahan kaupittihin was traded to Karelia
10 sepolle Köyrötyiselle. to the smith Köyrötyinen.
Pantihin lasta katsomahan: He was put to mind a child:
katsoi lasta, kaivoi silmät cared for it, dug out its eyes
syötti lasta, söi itekki fed the child, himself ate too
lapsen tauilla tapatti he killed the child with disease
16 kätkyen tulella poltti. he burned the cradle with fire.

Kysyi työtä iltaisella He asked for work at evening


isännältä iltaiseksi the master for evening work
emännältä aamuiseksi. the mistress for morning work.
Työn orjan nimittäköhön Let the serf be told his task
20 nimi työlle pantakohon: the task be given a name:
pantiin aian panentohon. he was told to build a fence.
Jopa aitoa paneepi: Now he was building the fence:
kohastahan kokkahongat tall pines from their place
aiaksi asetteloovi, he set for a fence
26 kokonansa korpikuuset whole spruces from the backwoods
seipähiksi pistelöövi he drove in for stakes
sitten vyötti maan maoilla then he bound them with earthworms
sikaliskoilla siteli. with lizards he fastened them.
Sitte seppo Köyrötyinen Then the smith Köyrötyinen
»o käypi itse katsomassa came himself to look
aitoa Kalevan pojan at the Kaleva boy’s fence
sollukullan sortama ta: at the gold-buckle’s felling:
näkipä päitä liikkuvia well, he saw some heads moving

246
4• 9^ 0rpo 11
The Orphan I I

raivoja ratisevia heard some skulls rustling


35 aiassa Kalevan pojan in the Kaleva boy’s fence
sollukullan sortamassa. in the gold-buckle’s felling.

Työtä illalla kysyyvi At evening he asked for work


isännältä iltaiseksi the master for evening work
emännältä aamuiseksi: the mistress for morning work:
40 pantiin karjan paimeneksi. he was put to herd cattle.
Seppo Köyrötyn emäntä The smith Köyrötty’s mistress
kiven leipoi leipähäänsä baked a stone inside his loaf
paaen painoi kakkuhunsa pressed a rock into his cake
alle kaurasen asetti under it laid oats
45 päälle vehnäisen venytti, over it spread wheat
pani paimenen povehen: put it in the herdsman’s breast:
“Ällös tätä ennen syökö “ Don’t eat this before
karjan tullessa kotihin.” the cattle come home.”

Veti veitensä kivehen He thrust his knife in the stone


50 karahutti kalliohon. struck it hard against the rock:
“ Millä maksan piian pilkan “How shall I pay the maid’s jeers
piian pilkan, naisen naurun the maid’s jeers, the wife’s laughter
pahan vaimon palkan maksan? the evil woman’s wages?
Kule päivä kuusikolle Go, sun, towards the spruces
55 viere vehnaviivikölle roll towards the grove of wheat
katkia kataikolle.” break up at the junipers.”

Syötti karjan kontioille. He fed the cattle to bears


Ajoi kontiot kotia drove the bears homeward
karjan kirjoikartanolle, and the herd to the bright farm
60 teki luikun lehmän luista made a horn out of cow-bones
härän sarvista helinän, out of ox-horns a rattle
tuolla soittain tuleevi and he came along playing
kulleroiten kankahilla. came tooting over the heaths.
Sano Köyrötyn emäntä: And Köyrötty’s mistress said:
es “Ole kiitetty Jumala! “The Lord God be praised!
Torvi soipi, karja saapi: The horn blows, the cattle come:
mistä orja torven saanut where did the serf get his horn
rautio tasaisen pillin? the blacksmith his smooth whistle?
Puhki korvani puhuuvi It is blowing through my ears
70 läpi pääni läylentäävi.” shrilling through my head.”

247
A l
T -Z ,
0rP°n
T h e O rp h a n I I

Ajoi kontiot kotihin And he drove the bears homeward


karhut kirjoikartanolle and the herd to the bright farm
käski muorin kytkemähän: told the dame to tie them up:
“Mene lehmät kytkemähän “Go and tie the cows up, go
75 raavahat rakentamahan.” and tether the fully-grown.”
“Paimen ennen lehmät kytki, etHerdsmen used to tie up cows
paimen raavahat rakensi.” herdsmen tether the full-grown.”

Pani karhut kahlehisin He put the bears in fetters


suet rautoihin rakensi: tethered the wolves in irons:
so neuvoleevi karhujahan he instructed his bears, talked
susillehen suin puheli: by word of mouth to his wolves:
“Repäse emännän reisi.” “Tear the thigh of the mistress.”

Tarttui karhu kantapäähän A bear seized hold of her heel


repäisi emännän reien. tore the thigh of the mistress.
85 Sillä kosti piian pilkan So he avenged the maid's jeers
naisen naurun paransi settled the wife’s laughter, paid
pahan vaimon palkan makso. the evil woman’s wages.

S in g er unknow n
Kemi, North Ostrobothnia
Copied from the manuscript of an unknown
collector by K. Ganander, ca 1760

248
43
ORPO III
The Orphan I I I

Kasvatti minun mammain


kasvatti kanoja paljon Mybrought
mother brought up
up many chicks
joukun suuren jouttšemia: a great crowd of swans:
kaikki kasvajan nägöypi saw them all growing
5 vain ei kasvatelduvaine. but not when they were grown up.
Kanat aijallen asetti She put the chicks on a fence
jouttšemet jogivesille: the swans in river-water:
yhen Suomehen sohotti one she shooed into Finland
toizen kando Karjalalta. one she bore to Karelia.
10 Migä Suomessa sigisi From the one formed in Finland
siindä Uttamo sigisi, Uttamo was formed:
migä kasvo Karjalassa from that grown in Karelia
siindä vasta Kalerva kasvo. Kalerva grew up.

Uttamoll oi uljas uutti, Uttamo had a fine ewe.


is Kalervaisen kärssy koira Now, Kalervainen’s fierce dog
söi heän uutin Uttamolda. ate the ewe of Uttamo.
Utta suuttu ja vihastu Utta grew angry and wild
tegi sovan sormistanse made a war from his fingers
kämmenpäistäsen käräjän. strife from the tips of his palms.
so Uttamo sodahe läksi: Uttamo went to war, put
pienet lebät hobjavyölle small alders in silver belts
kannot kassara olalle. adzes on tree-stumps’ shoulders.

Kalervaisen nuori minja Kalerva’s young daughter-in-law


kattšo ulos ikkunasta: looked through the window:
25 migä on ume umakka now, what was the foggy fog
segä on savu sagija? and what the thick smoke?
Ei ole ume umakka It was not a foggy fog
eigä o savu sagija: nor was it thick smoke:
Uttamon soda tuloupi. Uttamo’s war was coming.

so Tappo suuret, tappo pienet. It killed the great, killed the small.

249
A O O rpo I I I
HO T h e O rp h a n I I I

Jäi yksi Kalervam poiga Kalerva’s one son was left


viijen, kymmenen vuuven vanha five or ten years old
tuuduhen tudajamaha swinging in the crib
kätkyvehen liekkumahan. and rocking in the cradle.
3& Kätkyt jänksi jeäräväine The sturdy cradle thudded
tuba kuusinen kumaji tlie house of sprucewood rumbled
silda liekku lehmuksine and the floor of limewood rocked
pienem pojan liekkujessa. with the little boy’s rocking.

Uttamo ajatteloubi: Uttamo pondered:


40 kunne poiga pandaneebi where now should the boy be put
segä surma soadaneebi? where be done to death?

Pannaan poigoinen mereebi: Put the baby in the sea:


pandih poigoinen mereebi. the boy was put in the sea.

Laitto orjon kattšomahan He sent out a serf to look


45 kahen kolmen yöm perästi. at the end of two, three nights.
Orjo toi sanan kodihe: The serf brought word home: the boy
ei poiga merehen kuole. was not dying in the sea.
Kuldakauhane kädessä A gold ladle in his hand
mittajaa merestä vettä: measured water from the sea:
50 ei oo kuin kaksi kauhallista, just two ladlefuls were left -
ohois oigehem mitata if it were rightly measured
osa kolmatta tulisi. there would be part of a third.

Uttamo ajatteloubi: Uttamo pondered:


kunne poiga pandaneebi where now should the boy be put
55 segä surma soadaneebi? where be done to death?

Pannaan poigoinen tuleebi: Put the baby in the fire -


soarnoja sada regeebi, of ashwood fivescore sledgefuls
sada syldä tervaksija. fivescore armfuls of tar-wood:
Pandiin poigoinen tuleebi. the boy was put in the fire.

go Laitto orjon kattšomahan He sent out a serf to look


kahen, kolmen yöm perästi. at the end of two, three nights.
Orjo toi sanan kodihe: The serf brought word home: the boy
ei poiga tulehen kuole. was not dying in the fire.
Pieni koukkuinen kädessä A little hook in his hand
65 kegäleitä liikuttaabi was stirring up the embers

250
A 'J O rp o III
i J The Orphan I I I

kybenijä kyyhöttääbi. was poking the sparks.

Uttamo ajatteloubi: Uttamo pondered:


kunne poiga pandaneebi where now should the boy be put
segä surma soadaneebi? where be done to death?

70 Pannaani poiga paimeneksi Put the boy as a herdsman


selvähe sebän kylääbi in an honest smith’s village
selvällen sebän akalle. for the smith's honest woman.

Tuo selvä sebän emändä Now, that smith’s honest mistress


leibo heän kivestä leivän baked a loaf of stone
76 paisto koakun kallivosta cooked a cake of rock
peäldä jauhoilla silitti smoothed the top with flour
pani heäm paimenen evähiks. for the herdsman’s provisions.

Paimen oi poiga pikkarainen - The herdsman was a small boy -


kattšo heäm pitkäm päiväm peälle: he watched the sun lengthening:
so jo ois aiga armottoman now was time for the orphan
isottoman illaistaija. the fatherless one's supper.
Vedi veittšehen tupesta He drew his knife from its sheath
otti koakun salkustansen. he took the cake from his bag:
Koakku oli kaunis peäldä nähhen, the cake was fair to look on
85 aganoija alla kuoren. there was chaff beneath the crust.
Vedi veittšesen kivehen He stuck the knife in the stone
karahutti kallivoosen. struck it hard against the rock.
“Voi huorra homehsygerä “O whore of the grey top-knot
tuo selvä sebän emändä O you smith’s honest mistress
90 kuin leivoit kivestä leivän who have baked a loaf of stone
paissoit koakun kallivosta cooked a cake of rock
panit paimenen evääksi! for the herdsman’s provisions!
Jos itkin issoini veistä I’ve wept for my father’s knife:
itket laukko lehmäjäisi. so you’ll weep for your blazed cows.
95 Tiem mie pillim Pienikistä I’ll make a flute of Tiny
toron Torstikin jalasta: a horn out of Thirsty’s leg:
soitan suolle männessäini I’ll play as I walk
karahutan kangahalla to the marsh, blast on the heath
lambahat emäsusiksi the sheep to she-wolves
too lehmät kaikki karhuloiksi.” all the cows to bears.”

L evo M a n n in en
Repola, Olonets Karelia
A. A. Borenius, 1872

251
44
RUTSA I
The Incest I

T uolapsiolilieto
tuima Tuiretuinen
Lemminkäinen
t was stern Tuiretuinen
wanton child Lemminkäinen
se on torulle tulevi came to the market
maarahoja maksamahan to pay his land-tax
5 viemähän vetoperiä to take in his dues
yhen neitsyen kisoille. to play with a maid.
Koksahti neito korjahan The maid went bump in the sleigh
tapahteli taljoillehe: descended upon his furs:
“Tuoni sinun korjollesi “Death be to this sleigh of yours
10 tauti sinun taljallesi!” a pox on your fur!”

Osotteli, lausutteli He showed off, he talked about


kultasuita kukkaroita money-bags with mouths of gold
veitsiä hopiapäitä: knives with handles of silver:
koksahti neito koijahan, the maid went bump in the sleigh
is tapahteli taljoillehe. descended upon his furs.
Kudan käsi on kintasessa The hand within a mitten
se on oroin ohjasessa, was upon the stallion’s rein
kudan käsi on kintahatta the hand without a mitten
se on neion nännin alla, was under the maid’s nipple
2o kudan jalka on saappahassa and the foot within a boot
se on korjon jalaksella, was upon the sleigh-runner
kudan jalka on saappahatta and the foot without a boot
se on neion reien alla. was under the maiden’s thigh.

Iski ohjalla oroa: He struck the horse with the reins:


25 oro juoksi, matka joutui the horse ran, the journey sped
reki vieri, tie pakeni. the sledge rolled and the road fled.

Kysytteli, lausutteli He inquired, he said


kahen kolmen yön perästä: at the end of two, three nights:
“Onko suurikin sukusi “ Is yours a great family too
so heliäkö heimokunta?” are they famous, your people?”

252
ÅA Rutsa 1
t i The Incest I

“Eikä suuri eikä pieni. “ It is neither great nor small.


Yksi on viisi veljyttäni: There are just my five brothers:
yks oli tuima Tuurittuinen one was stem Tuuri ttuinen
lapsi lieto Lemminkäinen.” wanton child Lemminkäinen.”

35 Pyyhkältihen korjast ulos. He flung himself off the sleigh


Iski kahta kätyyttähän struck with his two hands
kahen puolen runkaistahan the two sides of his body
kahta kalmalautaista like the two planks of the grave
viittä Viipurin veräjää. the five gates of Viipuri.

40 “Oi sinä maammo kantajani “Mother who bore me


panes jauhot palttinoihin put meal in a cloth
saa evähät säkkisehen. lay provisions in a bag
Pahojani pakenemahan that I may flee my bad deeds
piilojani piilemähän: that I may conceal my crimes:
45 häpäsin emoni lapsen.” I have shamed my mother’s child.”

“Poikuoini ainoani “My offspring, my only son


älä lähe äläk ole: don’t go away and don’t stay:
kule tuota kuusikkoa go to those spruces
pirpata petäjikköhön dash off to the pines
50 kuin on hurtat huiskehilla while the dogs are on the loose
linnan miehet liikkehillä.” the townsmen are on the move.”

O n d rei Sotik a in en
Suistamo, Ladoga Karelia
D. E. D. Europaeus, 1845

253
45
R U T S A II
The Incest I I

oikoi Tuurista tulloo A T O w , a boy came from Tuuri


JL Viipurista viukaisoo «L^l whistled out of Viipuri
alta Narvan naukaisoo he whined from under Narva
viemästä verojyvvii after taking in his tithes
6 maksamasta maarahoi after paying his land-tax
obrakkii antamasta. after giving his poll-tax.

Näki neion niemen päästä He saw a maid on a headland


kultakassaisen kulosta a golden-locks on dry grass
helmipollen heinikosta, a bead-aproned on the hay.
io Poikoi tuimoi Tuurikkaine The stern boy Tuurikkaine
poikoi veitikka verröövä the full-blooded roguish boy
alkoi neioille läätä began to talk to the maid
kassapäälle kannoitelia: banter with the plaited head:
“ K äy neitoi rekoiseheen “ Step, maiden, into my sledge
15 saa miun saaniin perrää into the back o f my sleigh
syömään omeniaan to eat my apples
puromaan päähkeniään!” and to bite my nuts!”

Neitoi kipest kirrois The maiden heavily cursed


ja hän vannoi vaikeast: and swore grievously:
20 “ Se syököö omeniaas “ M ay That One eat your apples
purkoo päähkeniääs!” and may That One bite your nuts!1

Poikoi tuimoi Tuurikkaine The stern boy Tuurikkaine


poikoi veitikka verröövä the full-blooded roguish boy
ei tiiä mitä tekköö. did not know then what to do.

25 Näyttelöö, peittelöö He displayed, he covered up


kultasuita kukkaroi money-bags with mouths of gold
veitsii hopeaspäitä: knives with handles o f silver:
neitoi repsahti rekkoin. the maid flopped into the sledge.

2 54
Rutsa I I
iJ The Incest I I

Sai hään neion rekkoin He got the maid in the sledge


30 syömään omeniaan to eat his apples
puromaan päähkeniään. and to bite his nuts.
Löi hän ohjilla orroja He struck the horse with the reins
helmiruosalla hevoista, stallion with the beaded whip:
mäni matkoi vähhäisen he went on a little way
35 teki tietä pikkaraisen went a short distance
teki tietä verssoin verran. he travelled a verst or so.
Poikoi tuimoi Tuurikkaine The stern boy Tuurikkaine
poikoi veitikka verröövä the full-blooded roguish boy
alkoi neioilta kysellä began to ask the maiden
40 kassoipäältä kysyellä: to question the plaited head:
“ Miltä maalta siä oot neitoi?” “Where are you from, maid?”

Neitoi vassen vastaeli: The maid answering replied:


“ Siltä maalta miä oon neitoi “ I am a maiden
millä maalla maat sinniiset from where lands are blue
45 maat sinniiset, puut punnaiset lands are blue, trees red
kartaiset petäjän kerkit the pine-sprouts are tin
hopeaiset hongan latvat.” the fir-tops silver.”

Poikoi tuimoi Tuurikkaine The stern boy Tuurikkaine


poikoi veitikka verröövä the full-blooded roguish boy
60 löi hän kahta kämmentään struck his two palms together
kuiten kahta kalmoin usta, like the two gates of the grave
vipui viittä sormeaan he stuck out his five fingers
ku viittä Viroin vippua: like Estonia’s five beams:
“ Voi miä polloinen poika “O what a poor boy am I
55 jo nyt tein mit ei pitänt, I have done what I should not:
jo otin ommain siarreen I’ve taken my own sister
oman seukoin seuraelin I’ve gone with my own sibling
oman marjuen manitin.” lured my own berry.”

Singer unknown
Hevaa, Kaprio, Ingria
V. Porkka, 1883

255
46
KYLVÄJÄ I
The Sower I

ämsä poika Pellervoinen


S makais sisaruensa Sämsä the Pellervo boy
lay with his sister
uinaisi emoisen lapsen: and slept with his mother’s child:
kuin tiesi tuhon tulevan when he knew doom was coming
5 hätäpäivän peälle käyvän his day of distress dawning
tuo tunsi pakohon männä he knew he must flee
pimiähän Pohjolahan to dark Pohjola
miesten syöpähän sekaan among the eaters of men
urosten upottajoihen. and the drowners of heroes.

10 Ahti aina arveloopi Ahti kept brooding, wanted


toivoo maalien makua something to sweeten his land
pelloillen pehmitöstä something to soften his fields
nurmen juuren polttajoo: someone to bum off his grass
tomeramman touvon toisi to produce a hardy crop
is paremman terän tekisi. make a better ear.
Rahojaan raksuttaa And he rattled his money
helkyttääpi hopeitaan jingled his silver
kaksin päivin, kolmin päivin: for two, three days: the money
rahat raksu pöyän peällä rattled upon the table
20 helkky Huotolan hopeet. Huotola’s silver jingled.

Hukka poika huuperoinen The wolf, the wild boy


murtiin mielesä rahoin was a madman for money
hopeihen huopenteli he squandered all for silver
Hiien kultiin kulutti. he spent all for Hiisi’s gold.

25 Kuka Sämpsän noutanoopi Who would fetch Sämpsä


Pellervöinen kehittänöön win over Pellervöinen
tänne maita kylvämäni to sow these lands now
taroja tihittämään? scatter the seed on the fields?
Alettiinpa arvelohon: Folk were beginning to brood:
30 kuka Sämpsän noutanoopi who would fetch Sämpsä

256
A f. Kylväjä I
H O The Sower I

Pellervöinen kehittänööni? win over Pellervöinen?

Susi poika roapioinen The wolf, scratcher boy


osti turkin tuuheemman bought a heavier fur coat
taretakseen pakassa: the better to bear the cold:
35 läksi Sämpsän nouantahan he went off to fetch Sämpsä
murtiin mielesi rahoin was a madman for money
hopeeiseen huopenteli he squandered all for silver
Hiien kultiin kulutti, he spent all for Hiisi’s gold
läksi Sämpsän nouantahan he went off to fetch Sämpsä
«o Pellervöinen kehittämään. win over Pellervöinen.

Ahti aina arveloopi Ahti kept brooding


sylki silmille: spat into his eyes:
“ Häpi häjyn näkyinen “ Shame, you evil-looking one
kuinsa söit emoini uuhon when you ate my mother’s ewe
45 villa-aikana parassa in the best season for wool
kesäheinän hempehellä, the sweet time of summer hay
minä maijotak makaisin I was lying without milk
minä voita vuolattelin.” was living without butter.”

Susi ilma lievon poika The wolf, the mild-weather boy


60 ei se paljon palkoin huolik did not care much for wages
ei anona ansioo: did not ask for gain:
läksi Sämpsän nouantahan he went off to fetch Sämpsä
Pellerviin kehittämään. to win over Pellervi.

Sanoi sinne soatuvaan: He said as he arrived there:


66 “ Ahti aina toiveloopi “ Ahti keeps wanting, wanting
toivoo moallen makua something to sweeten his land
pelloillen pehmitöstä something to soften his fields
nurmen juuren polttajoo: someone to bum off his grass
tomeramman toisit touvon you to bring forth a hardy
60 paremman terän tekisit.” crop and make a better ear.”

“ Voi vieminen veitoseini “ Little brother beside me


hyvinpä teit sinäik you did a good thing
minun tänne tullessani.” as I was coming this way.”

Sämsä poika Pellervöinen Sämsä the Pellervo boy


65 vähänpä otti siemeniä took up a few seeds

17 257
AC Kylväjä I
“ U The Sower I

sekaisia siemeniä a mixture of seeds


kärpän hännän mustasista black specks from an ermine’s tail
jouhtenen jalostimista. from a swan’s footprints.

“ Hyvinpä teit sinäik . “You did a good thing


70 minun tänne tullessani: as I was coming this way:
sulaisit jokiin suita you thawed the mouths of rivers
jäitä järvistä ohensit, you thinned out the ice on lakes
rannoillen kaloja laskit you sent fish towards the shores
suolien suikelehtavia. sliding things to the marshes.
76 Noutaa tuolta nuorten miesten From there young men can get them
ehtiä erän parrahin. catch the best supply.
Jopa kerta keitettihin Someone was cooking
minun tänne tullessani, as I came this way: there is
Kalehvalla on kaunis hauki.” a fine pike at Kalehva’s.”

so Tuli tänne kylvämähän He came here to sow


taroja tihittämään, to scatter the seed:
suot kylvi, kanervat kasvo sowed the marshes, heather grew
norot kylvi, koivut nousi sowed damp hollows, birches rose
mäet kylvi, männyt kasvo sowed the hills, pines grew
85 maat tuoreet tuomikkoiksi the fresh lands for birdcherries
maat kaijat kataakoiksi narrow lands for junipers
lepikoiksi lempipaikat. choice spots for alders.

Ennen Ahti maita puuttu, Ahti would run out of lands


ennen kuin Sämpsä siemeniä: before Sämpsä out of seeds:
90 etelähän ensin kylvi southward he sowed first
siitten singotti itähen then he flung eastward
pohjopuolellen porotti he blustered on the north side
lopettaa luotesehen. and finished westward.

Singer unknown
Kaavi (?), North Karelia
C. A. Gottlund, ca 1835

258
Al
KYLVÄJÄ II
The Sower I I

iksei kasva meijen kagrat hy are our oats not growing


M rukkiit ei ylös ylleene W our rye not rising
ei kasva kasessakaa not growing in the clearing
eikä noise notossakaa nor springing in the hollow
5 Sämpsän mättähälläkää nor yet on Sämpsä’s hummock
Pellervoin mäelläkää? nor yet on Pellervoi’s hill?

Sill ei kasva meijen kagrat For this our oats do not grow
rukkiihet ei ylleene and our rye is not rising
ei kasva kassessakaa not growing in the clearing
10 eikä noise notossakaa nor springing in the hollow
Sämpsän mättähälläkää nor yet on Sämpsä’s hummock
Pellervoin mäelläkää: nor yet on Pellervoi’s hill:
Sämpsä sängyssä makkais Sämpsä was lying in bed
selällää seitsenristi the seven-crossed on his back
is kylellää kymmennyblä, the ten-buttoned on his side
sääret sängystä näkkyyt his legs could be seen in bed
rikoista rivat punnaiset. on slats his red braids.

Ei ole Sämpsän nostajaista There were none to raise Sämpsä


Pellervoin ylentäjäistä. lift up Pellervoi.

20 Talvipoika poissikkain The winter-boy, little lad


nois tuo Sämpsän nostajaksi rose to raise Sämpsä
Pellervoin ylentäjäksi: lift up Pellervoi:
otti tuuloisen oroin he took a stallion o f wind
ahavaisen sälköväisen, took a colt that was a gale
26 alkoi tuulella aijaa began to ride on the wind
ahavalla löyhyttää, flutter on the gale
puhui puut lehettömiksi and he blew the trees leafless
heinät hempehettömiksi the grass till it lost sweetness
neitoiset verettömiksi. the maids till they lost their bloom.

2 59
AH K y lv å jå ll
i / The Sower I I

30 Mani Sämpsän sängyn luoksi: And he went to Sämpsä’s bed:


“ Noise Sämpsä sängystäis “Get up, Sämpsä, from your bed
selältäis seitsenristi seven-crossed one, off your back
kyleltäis kymmennyblä! ’ ’ ten-buttoned one, off your side!”

Sämpsä väite vastaeli: And Sämpsä indeed answered:


35 “ En noise sinnuua varte: “ I will not get up for you:
noisen toista miestä varte. I will for the other man.
Hyvin teit tullessais You did well to come
vielä paremmin ollessais: still better to stay:
puhuit puut lehettömiksi you have blown the trees leafless
40 heinät hempehettömiksi the grass till it lost sweetness
neitoiset verettömiksi the maids till they lost their bloom
kaalit kotsinattomaksi blown the cabbages headless
nagriit navattomaksi.” the turnips rootless.”

Kenpä Sämpsän nostajaksi Well now, who would raise Sämpsä


45 Pellervoin ylentäjäksi? lift up Pellervoi?
Kesäpoika poissikkain The summer-boy, little lad
nois tuo Sämpsän nostajaksi rose to raise Sämpsä
Pellervoin ylentäjäksi: lift up Pellervoi:
otti tuuloisen oroin he took a stallion of wind
50 ahavaisen sälköväisen, took a colt that was a gale
alkoi tuulella aijaa began to ride on the wind
ahavalla löyhyttää, flutter on the gale
puhui puut lehellisiksi and he blew the trees leafy
heinät hempehellisiksi blew the grass till it was sweet
55 kaalit kotsinallisiksi blew heads on the cabbages
nagriit navallisiksi roots on the turnips
neitoiset verellisiksi. the maids till they were blooming.

Ajoi Sämpsän sängyn luo: And he drove to Sämpsä’s bed:


“ Noise Sämpsä sängystäis “Get up, Sämpsä, from your bed
60 selältäis seitsenristi seven-crossed one, off your back
kyleltäis kymmennyblä!” ten-buttoned one, off your side!”

Sämpsä vasse vastaeli: Sämpsä answering replied:


“ Nyt noisen sinnuua varte “Now I will get up for you
vaa en toista miestä varte. but not for the other man.
65 Hyvin teit tullessais You did well to come
vielä paremmin ollessais: still better to stay:

260
AH K y lv ä jä n
* / The Sower I I

puhuit puut lehellisiksi you have blown the trees leafy


heinät hempehellisiksi blown the grass till it was sweet
kaalit kotsinallisiksi blown heads on the cabbages
70 nagriit navallisiksi blown roots upon the turnips
neitoiset verollisiksi! ” the maids till they were blooming!”

K a ti
Soikkola, Ingria
V. Porkka, 1883

261
48
KARHU
The Bear

issä ohto synnytelty here was Bruin born


M mesikämmen kiännätelty?
Tuolla ohto synnytelty
W the honey-paw turned over?
There Bruin was bom
mesikämmen kiännätelty - the honey-paw turned over -
5 ylähällä taivosessa in the upper air
Otavaisen olkapäillä. upon the Great Bear’s shoulders.

Missä se alas laskettiin? Where was it let down?


Hihnassa alas laskettiin In a sling it was let down
hihnassa hopiisessa in a silver sling
10 kultaisessa kätkyyssä: a golden cradle:
sitte läks saloja samuumaan then it went to roam the woods
Pohjanmoata polokemaan. to tread the North Land.

Elä sorra sontareittä Don’t hurt the dung-shank


koa maion kantajoa: kill the milk-bearer:
is enemp on emolla työtä mother has more work
suuri vaiva vanhemmalla the parent big trouble i f
jos poikonen pahan teköö. the little boy is naughty.

O lli T im onen
Kitee,jN orth Karelia
O. A. F. Lonnbohm, 1894

262
49
TAMMI I
The Oak I

ouvun juottoon Jumalan hurried to God’s revels


J käräjään Väinämöisen
piiruun pojan Kalervan.
I Väinämöinen’s assizes
the feast of Kalerva’s son.
Tuudin oloi juua: Beer was brought to drink:
6 ali oli hiiva, pääll oli vaahte below was yeast, on top foam
ali oli hiiva hienokkainen below was fine yeast
pääll oli vaahte valkiainen on top was white foam
keskell oli olo punainen. in the middle was brown beer.
Kuhun valan vaahtueni Where shall I pour off my foam
10 hukkaelen hiiveheni? and where get rid of my yeast?
Valan ison ikkunalle I’ll pour at father’s window
velloini veräjän suulle at my brother’s gateway, at
kantajaini kaivotielle. the well-path of my bearer.
Kasvoi tuohon tarkka tammi There a steadfast oak-tree grew
is pitkä pihlaja yleni, a tall rowan-tree rose up
harotteli haarojaan branched out its branches
ojenteli oksiaan straightened out its boughs
levitteli lehtiään. spread abroad its leaves.
Tuohon lensiit Luojon linnut, There the Creator’s birds flew.
ao Etsin tammen tagrojaista I sought one to fell the oak
puun pitän lyhentäjäistä cut the tall tree short
pihlajan piroittajaista: chop down the rowan:
en saanut tammen tagrojaista I found none to fell the oak
puun pitän en lyhentäjäistä cut the tall tree short
26 pihlajan en pirottajaista. chop down the rowan.

Jouhtu miulle mielelleni Now, it came into my mind


ja syttyi syömmelleni: caught fire in my heart:
ompa miulla aine vello. I had an only brother.
Pyhät syytin pyyn lihoilla On Sundays I fed him grouse
30 aret ahvenen kaloilla on weekdays I fed him perch
kalatsull on kasvatettu he was brought up on white bread
pettypiimällä pietty: kept on buttermilk:

263
Tammi I
*y The Oak I

kons ei voinut voita syyä when he could not eat


siis söi sian lihutta. butter, he ate pork.
36 Menin etsin velloaini I went, I sought my brother
etsin Suomet, etsin Saaret searched Finland, searched the Island
etsin Turut tunnustellen sparched Turku, feeling about
linnan välit välkistellen glancing all over the town
Moskovan molemmin puolin on the two sides of Moscow
4o kahen puolin Kaprioo, on both sides of Kaprio
sielt mie löysin veljyeni and there I found my brother
miesten seppien seasta among the smith-men
naisten tarkkoen tarelta among the worthy women
uhkein uulitsalta: in the street of the splendid:
46 kultia lunasteloo he was buying gold
hopehia ostekseli. purchasing silver.

“Oi vello emoini lapsi “O brother, my mother’s child


kelle kultia lunastat for whom are you buying gold
hopehia ostekselet?” purchasing silver?”

60 Vello vasten vastaeli: My brother answering said:


“Vet en kelle kuin sisolle.” “For no one but my sister.”

Otin kiini olkanpäästä I gripped him by the upper


hakielin hartioista: arm, clasped him by the shoulders:
“Käykkä velloini kotiin “Gome home, my brother
56 käykkä tammen tagrojaksi come and fell the pak
pihlajan piroittajaksi!” chop down the rowan!”

Tuli velloini kotiin My brother came home


tuli tammen tagrojaksi came and felled the oak
puun pitän lyhentäjäksi cut the tall tree short
60 pihlajan piroittajaksi, chopped down the rowan
tammen tagroi pilsoin palsoin felled the oak for sticks and stakes
oksat teki olutpuolikoiksi of the branches made beer-mugs
pienet puut pikariloiksi: of the small wood made goblets:
mi jäi murui muita of the pieces left over
65 niistä salvoi miulle saunan. he built a bath-house for me.

Sanoivat kyIäiset naiset: And the village women said:


“Ollook Kirjamon kirikko “Could it be Kiijamo’s church
vai olloo Raisun Rakkavuuri?” or else Raisu’s Rakvere?”

26 4
AQ Tammi I
*T7 The Oak I

Maioi vasten vastaeli: Maioi answering replied:


70 “Ei oo Kiijamon kirikko “ It is not Kirjamo’s church
eik oo Raisun Rakkavuori: nor yet Raisu’s Rakvere:
se on sauna viien vellon it is five brothers’ bath-house
kappali kahen siaren.” the chapel of two sisters.”

S in g e r un kn ow n

Soikkola, Ingria
J. Länkelä, 1858

265
50
TAMMI II
The Oak I I

li ennen neljä neittä


Oneljä neittä, kolme miestä T here were once four maids
four maids and three men
yhen niitun niittäjövä: mowing a meadow:
jonka niitti sen haravoi what they mowed they raked
5 semp on karhella veteli teased into a swath
lapovella loajitteli piled up a rakeful
rukoloilla rutjokseli gathered in haycocks
soaprah on savottelouve. and started a rick.

Tuli Lappi Tuijam moalta A Lapp came from Turja’s land


10 se poltti porokse heinät. burnt the hay to ash
Tuli tuuli pohjaisesta and the wind came from the North
se veiki porotki poise bore the ash away
vallan voaran rintiehe to a mountain slope
joho kasvo puu kamala on which grew a frightful tree
is kasvo puu verratoine an incomparable tree
joka oli oksiltah olova that was bushy with branches
oli lehviltäh leviä: was spreading with leaves:
esti päiväm paistamasta it stopped the sun from shining
kuuhuvon kumottamasta, the moon from gleaming
2 o siit on vilu viljah tullun from it cold came to the corn
kamala vejen kaloilla. frightful for the water-fish.

Etsitähpä koatajova: Someone was sought to fell it:


nousipa on mies merestä now, a man rose from the sea
yhem peikalom pivusse who was a thumb long
25 kolmen sormen korkevusse. and three fingers high.
Hivoskelou kirvestanse He sharpened his axe
kolmella kovasimella upon three whetstones
neljällä nivosimalla on four scraping-stones
seittsemellä sieram peällä on seven oilstones
30 kaheksalla kallivolla. upon eight boulders.
Pani puuta kirvehellä He struck the tree with the axe

2 66
C A Tammi I I
J U The Oak I I

tammie tasaterällä: the oak with the even blade:


tuli säihky kirvehestä fire flashed from the axe
lastu tammesta pakeni. and a chip fled from the oak.

36 Jo on tammi koatununne Now the oak-tree had been felled


poikki Pohjoisen jovesta across Pohjoinen’s river
sillaksi ikusijahe a bridge to the timeless place
männä miehem matkalaisen for a traveller to go
pimiäh om Pohjolahe a man to dark Pohjola
40 miesten syöpähä kylähe to the man-eating village
urosten uponnehehe. the village that drowns heroes.
Siin on silta ikuhini He has an eternal bridge
joka oli syyttä syöty who was eaten without cause
joka oli tauvitta tapettu who was killed without disease
45 ilman Luojan kuolomatta without the Creator done
pimiessä Pohjolassa to death, in dark Pohjola
miesten syöpässä kylässä: in the man-eating village:
siel on luutointa lihoa there is meat without bones there
suonetointa pohkiata there is calf without gristle
so syyvä miehen nälkähisen for the hungry man to eat
haukata halun-alaisen. a bite for the one in want.

L a r i B ogdanov
Uhtua, Archangel Karelia
A. A. Borenius, 1872

267
51
ISO HÄRKÄ
The Great Ox

Härkä kasvo kaunihisti


lihoi mulli liiotenkin: T hetheoxbullgrewwasbeautifully
getting too fat:
pää hääly Hämeen maassa its head roared in Häme Land
häntä torkku Torniossa. its tail drooped in Tornio.
5 Päiväkauden pääsky lensi All day long a swallow flew
häpeheltä hännän päähän, from its neck to its tail’s tip
kuukauden orava juoksi all month long a squirrel ran
härjän sarvein väliä: between the horns of the ox:
eipä vielä päähän pääsnyt still it did not reach the end
10 ensinkänä ennättänyt. it did not get there at all.

Hajettiin tappajata. A slaughterer was searched for.


Mies musta merestä nousi A black man rose from the sea:
ensin väänsi polvillensa first he forced it to its knees
sitten käänsi kyljellensä then he turned it on its side
is siitä siirsi seljällensä. there moved it on to its back.
Saatiin siitä saalihiksi And there a great kill was made
sata saavia lihoa with a hundred tubs of meat
verta seitsemän venettä with seven boatfuls of blood
kuuta kuusi tynnyriä: six barrels of fat:
so täst on voiteet otetut from this ointments are taken
tästä kahteet katotut from this spells are worked
jolla vihat viskotahan by which hates are hurled away
tulen poltot poltetahan the burnings of fire burnt up
tulen voima voitetahan the power of fire overpowered
25 tulen pahat paratahan. the ills of fire healed.

S in g er unknow n
Ostrobothnia
K. Ganander(?), before 1789

268
52
IS O S I K A
The Great Pig

Kävin kostissa kylässä


tätilläni taivahassa. Iwent visiting
my aunt in heaven.
Mitä tuolla syötettihin? What was I made to eat there? -
Luut lihoista, päät kaloista bones from meat and heads from fish
6 kuoret leivistä kovista. and crusts from hard loaves.
Mitäs tuolla teetettihin? What was I made to do there? -
Paimenessa käytettihin made to go herding
Saksan suuria sikoja some great German pigs
tasaisia tallukkoja some well-formed young ones
10 laukkipäitä lampahia. and sheep with blazed heads.
Sika suureksi sikisi The pig swelled to a great size
posso kasvoi kauhiaksi: the porker grew terrible:
posso kasvoi puoli syltä it grew to half a cubit
saparo satoa syltä its tail a hundred cubits
is kärsä kuutta kirvesvartta. its snout to six axe-handles.

Meni Ukko tappamahan Ukko went to slaughter it


kultaisen kurikan kanssa with a golden club
vaskisen vasaran kanssa a copper hammer
hopiaisen nuian kanssa: a silver mallet:
20 posso käänsi kärsäjänsä the porker turned its snout round
töllötti saparotansa. and gaped at its tail.
Ukko kuusehen pakohon Ukko fled up a spruce-tree
muut jumalat muihin puihin other gods up other trees
petäjihin pienet herrat. the little lords up pine-trees.
86 Ukko kuusesta toruvi Ukko scolded from the spruce
katajasta karnuttavi: he nagged from the juniper:
“Malta, malta possorukka. “Patience, patience, poor porker.
Kuin tulee tuleva vuosi When the coming year is come
et sie tongi toisna vuonna you’ll not root another year
m et tongi Torajokea not root at Tora River
Torajoen pientaretta: nor on Tora River’s bank:

26 9
C Iso sik a
T h e G rea t P ig

otsakierohon olotan I’ll hit hard between the eyes


jotta läskit läiskähtävät!” so that the pork will crackle!”

S in g er unknow n
Sakkola, Karelian Isthmus
A. Ahlqvist, 1854

270
53
HIRVI I
The Elk I

V iisas viini Vuojolainen


kaunis Kauppi lappalainen Clever Finn Vuojolainen
handsome Lapp Kauppi
sykysyt lylyä vuoli in autumn shaped a left ski
talvet kaikki kalhotinta. through the winter a right ski:
6 Ite viini Vuoljalainen Himself, Finn Vuoljalainen
itepä vuolon kiitelihin glided on what he had shaped
lykkäisi lylyn lumella pushed the left ski on the snow
sauan survaisi kätehen: grasped a ski-stick in his hand:
ei sitä mehissä lienne there was nothing in the woods
10 jot ei tällä yletäni. that they would not overtake.
Potkaistihin kerran vielä: He kicked out again:
eipä korva kuulukana. the ear did not hear.
Potkaistihin toisen kerran: He kicked one more time:
eipä se silmä sintänynnä. the eye did not glimpse.
is Potkaistihin kolmanen kerran He kicked a third time
jop on ylle kiini Hüten hirven. and now he was hard on Hiisi’s elk.

Siitä virkki noin pakisi: Then he uttered, chattered thus:


“Mit lienne Lapissa lasta “What children are in Lapland
kaikki lastuin poimen toissa, will all be picking up sticks
20 mi lienne Lapissa naista what women are in Lapland
kaikki kattilan pesoja will all be washing up pots
keitäntähän Hüten hirven, to cook Hiisi’s elk
mi lienne Lapissa miestä what men there are in Lapland
kaikki veitsiä hijovat will all be sharpening knives
25 Hüten hirven nyllentävät!” skinning Hiisi’s elk!”

Päätyi hirvi kuulemahan Now the elk happened to hear


seinän alla seisomassa. as it stood below the wall.
Neuovi Hiisi hirviä Hiisi gave the elk advice
kuin emohoni lastansa: as a mother would her child:
30 “Kuin Kennet Hüten hirvi “ If you’re Hiiui’s elk
polkaistaisi kerran poisi with one kick away

271
C Q Hirvi I
J J The Elk I

rautani ohjais ojenna! stretch the bridle of iron!


Potkaistaiseti toisen kerran With a second kick
tammitarhanen levitä!” break open the pen of oak!”

36 Lähti hirvi hippomahan The elk trotted off


poropeura potkemahan and the wild reindeer kicked off
vasten soita, vasten maita across marshes, across lands
vasten varvikkomäkiä. across hills of bare brushwood.
Ei ole minussa päivien periä I cannot recover suns
40 eikä kuijen kysyjä: nor can ask for moons:
käänny päivä salolla turn, sun, to the woods
pyörähä kuu salon sisähän. twist, moon, in the woods.
Ei ole miulla omani takka I have no load of my own:
takka on Tapion takka. the load is Tapio’s load.
45 Rautapa vaara vastahas May an iron hill meet you
tulikoivu kohtahasi may a fiery birch face you
puun pinta piäntyäis may a tree bar you
joki juokse juuvakseisi a river run for your drink
järvi levätäkseisi. a lake for your rest.

A le k se i B urushka a n d Iiva n a R a tin en


Suistamo, Ladoga Karelia
S. Sirelius, 1847

272
54
HIRVI II
The E lk I I

T^oiga liedo Lemmingöine ■v k ranton boy Lemmingöine


A sygyzet lylyö vuoli VV in autumn shaped a left ski
talvet kalhuja kaveldi in winter planed a right ski
kezäd vuoli keppivarttah: in summer he shaped a staff:
8 sai lylyd lykittäväksi he got the left ski to push
kalhut kannan lyödäväksi, the right for the heel to strike
lykkäzi lylyn lumella pushed the left ski on the snow
kando kaksi sauvaistahi and carried his two ski-sticks
kahem puolen kalhuistahe. on either side of his skis.
io Yksi sauva makso markan, One ski-stick cost him a mark
toini ruskien reboizen. the other cost a brown fox.

Sano liedo Lemmingöine: Wanton Lemmingöine said:


“Ei nyd o sidä metSässä “There’s nothing now in the woods
jod ei näillä yllätetä that they will not overtake
is siivin kaksin siugavia whirring on two wings
jalan neljän juoksijie!” running on four feet!”

Peädybä Hiizi kuulomassa Now Hiizi happened to hear


juuttahat tähystämässä: the evil spirits to spy:
Hiizi hirvie azuvi Hiizi constructed an elk
so juuttahat sugieilougi: the evil spirits conceived
peäm mägäizi mättähästä snatched the head from a hummock
muun rungun lahosta puusta the body from rotten wood
seäret äijän seibähästä legs from a fence-pole
korvad lammin lumbehista ears from pond-lilies
25 silmäd lammim bulbukoista. the eyes from pond-lily buds.

Työndi Hiizi hirvienze, Hiizi drove his elk


poropedra perziänzä: the reindeer its rear:
“Mäne, juokse Hiijen hirvi “Go, run, Hiizi’s elk
poropedra poimettele reindeer, trot along
3o Lapin lastutanderie to Lapland’s timber regions

18 273
54 Hirvi II
The Elk I I

Pohjom pistyjä pihoja: Pohjo’s sloping yards:


jalgah on jalo tevaksi use your legs, great elk
potkoa kovasta korva kick the corner of the hut
selän keitin keikahuta and tip over the cauldron
35 liemi liedehen levitä spill the soup in the fireplace
lihat tuhkah on tuherra!” spoil the meat in the ashes!”

Silloin haukku Pohjon koira Then the dog of Pohjo barked


silloin itki Pohjon imbi then the girl of Pohjo wept
silloin nagro Pohjon naizet then the wives of Pohjo laughed
40 silloin ihmehti imehet. then the folk marvelled.
Kuuli liedo Lemmingöine Wanton Lemmingöine heard
kuuli se naizen nagravaksi heard the wife laughing
tähti immen itköväksi saw the girl weeping
kuuli koiran haukkuvaksi. heard the dog barking.
45 Itse suksilda sanovi From his skis he said
hiihtimildä hilgaizougi: from his snow-shoes he shouted:
“Midä teälä nagro naizet “Why were the wives laughing here
kuda teälä itki immet?” the girls weeping here?”

Pohjon naizuot sanovat: The women of Pohjo said:


so “Tästä juoksi Hiijen hirvi “Hiizi’s elk has run this way
poropedra poimetteli the reindeer trotted
jalgah on jalo tevaksi, and the great elk used its legs
potkazi kovasta korvan kicked the corner of the hut
selän keitin keikahutti has tipped over the cauldron
55 liemen lietehen levitti spilt the soup in the fireplace
lihat tuhkah on tuherdi.” spoilt the meat in the ashes.”

Niin on liedo Lemmingöine So wanton Lemmingöine


itse niin sanuo soatto himself spoke like this
suksillah on suorieugi: as he set off on his skis:
6o “Ei ole sidä metlässä “There is nothing in the woods
jod ei näillä yllätetä!” that they will not overtake!”

Niin kuin liedo Lemmingöine So wanton Lemmingöine


niin kuin kerram potkoaksi the first time he kicked
silmän siidämättömäksi. the eye did not glimpse.
65 Toizen kerram potkoaksi The next time he kicked
korvan kuulomattomaksi. the ear did not hear.
Kolmannen kohendoaksi The third time he aimed

274
54 Hirvi II
The Elk I I

laudaizilla Hiijen hirven at the loins of Hiizi’s elk


poropedram pohkeilla. at the calves of the reindeer.

70 Niin tuo liedo Lemmingöine So wanton Lemmingöine


selgöä silittelöybi, was stroking its back
taljoa taputteloubi: was patting its coat:
loadi voajan voahterizen, he made a shed of maple
tallin tammizen rakendi. he built a stable of oak.
75 Sano liedo Lemmingöine: Wanton Lemmingöine said:
“Sobis kerran tässä moata “ How fitting just to lie here
nuoren neidizen kerällä with a young maiden
kazvavaizen kainalossa under a growing girl’s arm
selällä sinizen hirven on the back of the blue elk
so poropedram pohkeilla!” on the calves of the reindeer!”

Siidä suuttu Hiijen hirvi Then Hiizi’s elk grew angry


siidä suuttu, siidä seändy grew angry, became inflamed
rikko voajan voahterizen smashed the maple shed
tallin tammizen levitti, shattered the oaken stable
86 siidä uidi Hiijen hirvi then Hiizi’s elk fled
poropedra poiski joudu. the reindeer ran off.

Niin tuo liedo Lemmingöine So wanton Lemmingöine


kuin tuo kerram potkoaksi the first time he kicked
lyzmähti lyly lävestä the left ski bent at the hole
90 sauva sombaizen sijasta. the ski-stick where the disc is.

S im a n a K ielevä in en
Jyskyjärvi, Archangel Karelia
A. A. Borenius, 1872

275
55
H IR V I JA KÄÄRM E
Elk and Snake

J
uoksi hervi Hiien maasta
potki puolen kankahalta Ankicked
elk ran from Hiisi’s land
a cowberry on the heath
puri varvan juossessaha it gnawed a twig as it ran
joi järven janusissahan. drank a lake when it thirsted.
5 Juoksi hään uutehen tuppahan It ran into a new house
koreaan kornitsahan: into a splendid chamber:
näki kyyn ollova joovan it saw a snake drinking beer
maon verryttä vettävän. a worm taking refreshment.
Iski kyitä kylkiluihen It struck the snake on the ribs
10 ala maksoin mattoja: the worm under the liver:
kyy itki kylkiähän the snake wept over its ribs
mato raukka maksojahan. the poor worm for its liver.

Kuka kyihen lypsäjäine Who would be the snake’s milker


ja mattoin valuttajain? the looser of the worm’s flood?
15 Marketan emoi mokkoo Margaret’s mother was such:
toi oli kyijen lypsäjä. she would be the snake’s milker.
Kyy lypsi punaisen maijon The snake gave brpwn milk
mato valkean valutti the worm a white flood
raintaha raitaiseheen. into the striped milking-pail.
20 Otti kaatui maito melahan: The milk fell upon the ground:
tuohon kasvoit puut punnaiset there brown trees sprang up
puut punnaiset, maat sinniiset brown trees and blue lands
kelttaiset kattajan oksat yellow boughs of juniper
hopeaiset hongan latvat. silver fir-tree tops.

O u te
Hevaa, Kaprio, Ingria
A. A. Borenius, 1877

276
56
O N G IN TA
The Fishing

V aka vanha Väinämöinen


se oli ongella olia Sturdy old Väinämöinen
was fishing, using
käeksellä käänteliä a hand-net, turning about
nenässä utusen niemen at a misty headland's tip
&päässä saaren terhennisen: at a foggy island’s end:
hopiainen siima vinku the silver line whined
vapa vaskinen vapisi the copper rod twitched
nuora kultanen kulisi the golden twine jingled, as
ongiessa Väinämöisen. Väinämöinen fished.

10 Lohi puuttu ongehesa A salmon stuck on his hook


taimen takrarautahasa, a trout on his fish-iron:
sen veti venoh he drew it into his boat
talu talkapohjahansa. guided it on to his planks.
Katselevi kääntelevi He looked, he turned it over
16 ei tunne kaloa tuota: did not know that fish—
siliehk on siikaseksi, rather smooth for a whitefish
kuliehk on kuujaseksi rather pale for a lake-trout
suomuton lohikalaksi too scaleless for a salmon
räpylätön hylkeheksi not webbed enough for a seal
so päärivaton neitoseksi too unbraided for a maid
vyötön Väinön tyttöseksi too beltless for Väinö’s girl
korviton kotiomaksi. too earless to keep at home.

Sano vanha Väinämöinen: The old Väinämöinen said:


“Vyöll on veitsi Väinämöisen ‘‘In my belt is Väinö’s knife
26 kattila sepon pajassa: the pot is in the smith’s forge:
lohi leikkoallekseni the salmon is mine to cut
kala palstoin pannakseni the fish is mine to chop up
murkkinaisiksi muruiksi into pieces for breakfast
satrinaisiksi saroiksi.” into bits for the morning.”

.io Lohi loiskahti mereen Into the sea the salmon

277
r /^ O n g in ta
0 \J T h e F ish in g

kala kiijo kammertihin: splashed and the bright fish twisted:


näytti oikiata olkapäätä showed a right shoulder
vasempia varpahia toes of a left foot
sormia nimettömiä showed nameless fingers
35 selällä seitsemännellä upon the seventh water
kupahalla kuuennella on the sixth billow
aallolla yheksännellä. upon the ninth wave.

“Oh sinä ukko utran “You silly old man


kun et tuntenut piteä you did not know how to keep
40 Ahin lasta ainoata Ahti’s only child
Vellamon vetistä neittä. Vellamo’s watery maid.
Emp ollut mie tuleva I was not coming
lohi leikkoallaksesi a salmon for you to cut
kala palstoin pannaksesi a fish for you to chop up
45 murkinaisiksi muruiksi: into pieces for breakfast:
olinpa mie tuleva no, I was coming
tulin vanhalle varaksi to be an old one’s mainstay
turvaksi tutisevalle support for one who trembles
tulen viejäksi kotihin a bringer of fire homeward
so valkian virittäjäksi a kindler of light
siun sian levittäjäksi to lay out your bed
päänalasen laskiaksi. settle your pillow.
Ajatusta suli annettiin Cares have been given to you
syäntä suurta survattiin.” a heavy heart has crushed you.”

O n lrri M a lin e n
Vuonninen, Vuokkiniemi, Archangel Karelia
E. Lönnrot, 1833

278
57
LÄHTÖ I
Leavetaking I

Poika suolta löyettihin.


Ei tietä nimiä panna: A Noboyonewasknew
found in a marsh.
what to name him:
etsitähän ristijeä they sought someone to christen
kansa kaikki kastajoa. all the people a baptist.

6 Iso kutsu Ilmoriksi Father called him Ilmori


emo ehtopoiaksehen mother called him her sweet boy
sisaret sotijaloksi the sisters, gallant warrior
veljet ventojoutioksi the brothers, mere layabout
muu peret nimettömäksi. the other kin, the nameless.

10 Puhu vanha Väinämöinen: Old Väinämöinen spoke: “Would


“Kun ois puulla päähän lyyä his head were struck with a log
tahi tankolla takoa!” or hammered with a crowbar!”

Puhu poika puolikuinen The half-a-month-old boy spoke


kaksiviikkonen karehti: the fortnight-old one sang out:
is “Oi sinua vanha Väinämöinen “O you old Väinämöinen
ei ole syystä suuremmasta there was a greater reason
isommastana asiasta a weightier cause why your
ei ole puulla päähän lyöty head was not struck with a log
eikä tankolla tavottu nor hammered with a crowbar
so kun makasit oman emosi when you lay with your mother
rannalla meren karilla on the shore, on the sea-rock
sankalla somerikolla.” on the hard, gravelly beach.”

Siitä vanha Väinämöinen Then the old Väinämöinen


pani mielensä pahaksi was in bad spirits
26 siit on astu alla päin then he plodded, his head down
katso kallella kypärin: looked about, his cap askew
laulo purren vaskipohjan sang a copper-bottomed boat
syöstäksi meren syvälle plunged to the depths of the sea
alasihin maaemihin to the earth-mothers below

279
C H L ä h tö I
J / L e a v e ta k in g /

30 yläsihin taivosihin up to the heavens above


kurimuksen kurkun suuhun. into the whirlpool’s gullet.

S in g e r unknow n
Vuokkiniemi, Archangel Karelia
M. A. Castren, 1839

280
58
L Ä H T Ö II
Leavetaking I I

ariatta koria kuopus ariatta, fair youngest child


Mhirren kynnystä kulutti Mwore down the timber threshold
hienosilla helmoillansa, with her fine skirt-hems
siltalauan lattialta and the floorboard too
5 kautokenkän kannoillansa, with the heels of her hide shoes
toisen hirren päänsä päältä more timber above her head
sinisillä silkillänsä. with her blue silk bands.

Mariatta koria kuopus Mariatta, fair youngest child


ei syö sen lehmän maitoa drank milk from no cow
10 kun on häirynyt härille, that had been sporting with bulls
ei istu sen hevon reessä sat in the sledge of no horse
kun on ollut upehilla. that had been among stallions.

Sai se paljo paimeneksi The poor one took to herding


leena lehmä ajoon. and the wretch to driving cows.
16 Poika tuhman Tuurituisen Evil Tuurituinen’s boy
siitä Mariatan makasi thereon lay with Mariatta
tinarinnan tiuvotteli. seduced the tin-breasted one.

Poika synty Mariatalle. Mariatta brought forth a boy


Ei tietä isoa sillä: of whom no father was known:
20 isä kutsu Ilmariksi father called him Ilmari
emo ehtopoiakseen mother called him her sweet boy
muu pereh nimettömäksi the other kin, the nameless
veljet vennonjoutioksi. the brothers, mere layabout.

Tuli pappi ristimään The priest came to christen him


26 Virokanas kastamaan Virokanas to baptise
Palvonen pitelemään. and Palvonen to hold him.
Sepä noin sanoiksi virkki: Now, he put this into words:
“Ketä tuohon tuotanehe “Who will be brought here
tuon on tuhman tuomariksi?” to be this evil one’s judge?”

281
ro L ä h tö I I
JÖ L ea o eta k in g I I

30 Sano vanha Väinämöinen: The old Väinämöinen said:


“Poika suolle vietäköö “ Garry the boy to a marsh
puulla päähän lyötäköö!” and strike his head with a log!”

Puhu poika puolikuinen The half-a-month-old boy spoke


kaksiviikkonen kajahu: the fortnight-old one boomed out:
35 “Ohoh sinä ukko utran “You silly old man
olet tuhmin tuomittuna you have judged badly
väärin piettynä lakia.” misapplied the law.”

Pappi risti lapsen ripsautti And the priest sprinkled the child
täst on lapsen kapsautd then he dubbed the child
«o Metsolan kuninkaaksi King of Metsola
Rahansaaren vartiaksi. Guardian of Rahansaari.

Siitä suuttu Väinämöinen Väinämöinen grew angry


siitä suuttu ja häpesi. then, was angry and ashamed.
Laulo vaskisen venehen He sang a boat of copper
45 lato ruuhen rautapohjan: formed an iron-bottomed punt
läskiä karehteloo he launched out, he sailed away
kurimuksen kulkun alla down into the whirlpool’s throat
kian kielen käändmille where the whale’s tongue was turning:
johon puuttu polveksensa there he lodged for all his days
50 sinne vaipu viikommaksi there sank for longer
kato kaikeksi iäksi. vanished for ever.

O n tre i M a lin e n
Vuonninen, Vuokkiniemi, Archangel Karelia
E. Lönnrot, 1833

282
59
LUOJAN V IR SI I
The Messiah I

IV / f arj anen mäeltä huuti A berry called from the hill


lVApunapuola kankahalta: i \ a cranberry from the heath:
“Tule neiti poimomahan “Come, maid, and pick me
vyövaski valitsemahan copper-belted one, choose me
s ennen kun etona syöpi before the slug devours me
mato musta muikkoali.” and the black worm gobbles me.”

Neitsy Maaria emonen The Virgin lady Mary


rakas äiti armollinen the dear merciful mother
viitisekse vaatisekse dressed herself and decked herself
10 pääsomille suorieli prettily adorned her head
vaattehilla valkehilla. with a fair white cloth:
Läksi marjan poimentaan she went to pick the berry
punapuolan katsontaan. to look for the cranberry.
Niin meni mäille - sano! - So she went to the hills - tell! -
is keksi marjasen meältä found the berry on the hill
punapuolan kankahalta: the cranberry on the heath:
on marja näkemiehen it was plainly a berry
puola ilman luomeehen, a natural cranberry:
alahahko ois maasta syöä she was too low to eat it
20 ylähähkö puuhun nosta. from the ground, and too high from a tree.

Tempo kartun kankahalta She dragged a pole from the heath


senni päällä seisataksen: and stood upon it
heitti marjan helmohinsa threw the berry in her lap
helmoiltansa vyönsä päälle from her lap up to her belt
25 vyönsä päältä rinnoillensa from her belt up to her breasts
rinnoiltansa huulellensa from her breasts up to her lip
huuleltansa kielellensä from her lip on to her tongue:
siitä vatsahan valahti. thence it slipped to her belly.

Siitä tyyty, siitä täyty She was fulfilled, she was filled
30 siitä paksuksi panihen by it, grew thickset from it

283
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The Messiah I

lihavaksi liittelihen, put on flesh from it:


niin kohun kovoa kanto she carried a heavy womb
vatsan täyttä vaikieta a full and troubled belly
kanto kuuta kaksi kolme she carried for two, three months
36 kolme kuuta neljä kuuta for three months, four months
neljä kuuta viisi kuuta for four months, five months
seitsemän kaheksan kuuta for seven, eight months
ympäri yheksän kuuta for a round nine months
vanhojen vaimon määriin after old wives' reckonings
40 kuuta puoli kymmenettä. and half a tenth month.

Niin kuulla kymmenennellä So in the tenth month


lyöäh kavon kipua she was struck by a wife’s pain
immen tulta tuikatah girl’s fire was kindled
vaimon vaivaksi tuleepi. woman’s trouble came.
46 Sanan virkko noin nimesi: She uttered a word, spoke thus:
“Piltti pieni piikaseni “Piltti my little lassie
lähe kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja
jossa huono hoivan saisi where a wretch can be cared for
60 avun anke tarvitsisi.” one in trouble can be helped.”

Piltti pieni piikojansa Piltti her little lassie


hyvä kielas käskieki quick to take orders
kepiä kehuttuoki easy to persuade
sekä juoksi jotta joutu both ran and made haste
66 - ylähäiset maat aleni bringing down highlands
alahaiset maat yleni - lifting up lowlands
ruman Ruotuksen kotihin. to the ugly Herod’s house.

Ruma Ruotus paitulainen Ugly Herod in shirtsleeves


syöpi juopi pöyän päässä ate, drank at the table-head
so päässä pöyän paioillaan at table in his shirtsleeves
aivin aivinaisillaan wearing only his linen
elääpi hyvän tavalla. lived like a rich man.
Ruma Ruotuksen emäntä The ugly Herod’s mistress
liikku keskilattiella trod the centre of the floor
66 lieho sillan liitoksella. bustled at the floorboard-joint.
Sano Piltti piikojansa: Piltti her lassie said: “ I
“Läksin kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja

284
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O y T ht Messiah /

jossa huono hoivan saisi where a wretch can be cared for


70 avun anke tarvitsisi.” one in trouble can be helped.”

Ruma Ruotuksen emäntä The ugly Herod’s mistress


sanan virkko noin nimesi: uttered a word, speaking thus:
“Ei ole kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa: no bath-house in Saraja:
76 on talli Tapomäellä there’s a stable on Tapo Hill
huone hongikkokoissa a room in the fir-clump house
johon portot pojan saapi where the whores have their babies
tuulenlautat lapsen saapi.” scarlet women their children.”

Piltti pieni piikojansa Piltti her little lassie


m pian juoksi jotta joutu soon ran and made haste
sano tuolta tultuaan: said when she had come from there:
“Ei ole kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa. no bath-house in Saraja.
Ruma Ruotus paitulainen Ugly Herod in shirtsleeves
86 syöpi juopi pöyän päässä ate, drank at the table-head
päässä pöyän paiollaan at table in his shirtsleeves
aivin aivinaisillaan wearing only his linen
elääpi hyvän tavalla. lived like a rich man.
Ruma Ruotuksen emäntä The ugly Herod’s mistress
oo liikku keskilattialla trod the centre of the floor
liehu sillan liitoksella. bustled at the floorboard-joint.
Mie sanon sanalla tuolla: And I said in these words: T
‘Läksin kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja
95 jossa huono hoivan saapi where a wretch can be cared for
avun anke tarvitseepi.’ one in trouble can be helped.’
Ruma Ruotuksen emäntä: The ugly Herod’s mistress:
‘Ei ole kylpyä kylässä ‘There’s no bath in the village
saunoa Sarajahassa: no bath-house in Saraja:
too on talli Tapomäellä there’s a stable on Tapo Hill
huone hongikkokeolla a room in the fir-clump field
johon portot pojan saapi where the whores have their babies
tuulenlautat lapsen luopi.’ ” scarlet women their children.* ”

Vaimon vaivalle tuleepi. Woman’s trouble came.


106 Neitsy Maaria emonen The Virgin lady Mary
niin sano toisen kerran: said a second time:

285
C Q Luojan virsi I
J J The Messiah I

“Sekä juokse jotta juovu “Both run and make haste


mene kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja
no jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi.” one in trouble can be helped.”

Piltti pieni piikojansa Piltti her little lassie


hyvä kielas käskieki quick to take orders
kepiä kehuttuoki easy to persuade
ns sekä juoksi jotta joutu, both ran and made haste
alahaiset maat yleni lifting up lowlands
ylähäiset maat aleni. bringing down highlands.

Ruma Ruotus paitulainen Ugly Herod in shirtsleeves


syöpi juopi pöyän päässä ate, drank at the table-head
iso päässä pöyän paioillaan at table in his shirtsleeves
aivin aivinaisillaan wearing only his linen
elääpi hyvän tavalla. lived like a rich man.
Sano piltti piikojansa: Piltti her lassie said: “I
“Läksin kylpyä kylästä seek a bath in the village
125 saunoa Sarajahasta a bath-house in Saraja
jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi.” one in trouble can be helped.”

Ruma Ruotuksen emäntä The ugly Herod’s mistress


liikku keskilattiella trod the centre of the floor
iso liehu sillan liitoksella. bustled at the floorboard-joint
Sanan virkko noin nimesi: uttered a word, speaking thus:
“Eule kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa: no bath-house in Saraja:
on talli Tapomäellä there’s a stable on Tapo Hill
136 huone hongikkokeolla a room in the fir-clump field
johon portot pojan saapi where the whores have their babies
tuulenlautat lapsen luopi.” scarlet women their children.”

Piltti pieni piikojansa Piltti her little lassie


sekä juoksi jotta joutu both ran and made haste
140 sano tuolta tultuaan: said when she had come from there:
“Eule kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa. no bath-house in Saraja.
Ruma Ruotuksen emäntä The ugly Herod’s mistress

286
Luojan virsi I
O y The Messiah I

sanan virkko noin nimesi: uttered a word, speaking thus:


us ‘On talli Tapomäellä ‘There’s a stable on Tapo Hill
huone hongikkokeolla a room in the fir-clump field
johon portot pojan saapi where the whores have their babies
tuulenlautat lapsen luopi.’ scarlet women their children.’
Niin sanoo mokomin.” Just like that, she said.”

iso Oli aikoa vähäsen: A little time passed


yhä tuskaksi tuleepi and still the pain came
painuupi pakolliseksi pressing forcefully
vaimon vaivoksi tuleepi woman’s trouble came
kohtu käänty kovaksi her womb turned heavy
155 vatsan täysi vaikieksi. filled her belly with trouble.
Sanan virkko noin nimesi: She uttered a word, spoke thus:
“Piltti pieni piikaseni “Piltti my little lassie
lähe kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja
160 jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi.” one in trouble can be helped.”

Piltti pieni piikojansa Piltti her little lassie


sekä juoksi jotta joutu both ran and made haste
- alahaiset maat yleni lifting up lowlands
165 ylähäiset maat aleni - bringing down highlands
ruman Ruotuksen kotihin. to the ugly Herod’s house.

Ruma Ruotus paitulainen Ugly Herod in shirtsleeves


syöpi juopi pöyän päässä ate, drank at the table-head
päässä pöyän paioillaan at table in his shirtsleeves
170 elääpi hyvän tavalla. lived like a rich man.
Ruma Ruotuksen emäntä The ugly Herod’s mistress
liikku keskilattiella trod the centre of the floor
liehu sillan liitoksella. bustled at the floorboard-joint.
Piltti pieni piikojansa Piltti her little lassie
175 sanan virkko noin nimesi: uttered a word, spoke thus: “ I
“Läksin kylpyä kylästä seek a bath in the village
saunoa Sarajahasta a bath-house in Saraja
jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi.” one in trouble can be helped.”

iso Ruma Ruotuksen emäntä The ugly Herod’s mistress

287
C Q Luojan virsi I
O S The Messiah I

sanan virkko noin nimesi: uttered a word, speaking thus:


“Ei ole kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa: no bath-house in Saraja:
on talli Tapomäellä there’s a stable on Tapo Hill
iss huone hongikkokeolla room in the fir-clump field
johon portot pojan saapi where the whores have their babies
tuulenlautat lapsen luopi.” scarlet women their children.”

Piltti pieni piikosehe Piltti her little lassie


sekä juoksi jotta joutu both ran and made haste
190 sano tuolta tultuaan: said when she came back from there:
“Ei ole kylpyä kylässä “There’s no bath in the village
saunoa Sarajahassa no bath-house in Saraja
jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi. one in trouble can be helped.
195 Ruma Ruotuksen emäntä The ugly Herod’s mistress
sanan virkko noin nimesi: uttered a word, speaking thus:
‘On talli Tapomäellä ‘There’s a stable on Tapo Hill
huone hongikkokeolla a room in the fir-clump field
johon portot pojan saapi where the whores have their babies
goo tuulenlautat lapsen luopi.’ ’! scarlet women their children.’ ”

Oli aikoa vähäsen: A little time passed


vaimon vaivakse tulee woman’s trouble came
kohtu kääntyy kovaksi her womb turned heavy
vatsan täysi vaikieksi. filled her belly with trouble.
205 Otti vassan varjoksensa She took a bath-whisk for ward
koprin helmansa kokoili in her fists gathered her skirt
käsin kääri vaatteensa in her hands bundled her dress
itse noin sanoiksi virkki: herself put this into words:
“Lähtie minun tuleepi “It is for me to depart
210 niin kun muinenki kasakan as of old for the hired man
eli orjan palkkalaisen.” or for the serf, the hireling.”

Astua taputteloo She stepped, tripped along


huonehesen hongikolle to the room in the fir-clump
tallih on Tapomäelle. to the stable on Tapo Hill.
215 Niin sano sanalla tuolla: She said in these words:
“Hengeäs hyvä heponen “ Now breathe, my good horse
vatsan kautti vaivallisen over my troubled belly
kylyn löyly löyähytä let some bath-steam loose

288
C Q Luojan virsi I
J 7 The Messiah I

sauna lämpönen lähetä send some bath-house warmth


220 vatsan kautti vaivallisen over my troubled belly
jossa huono hoivan saisi where a wretch can be cared for
avun anke tarvitsisi.” one in trouble can be helped.”

Hengäsi hyvä heponen And the good horse breathed


kylyn löylyn löyähytti let some bath-steam loose
sas saunan lämpösen lähetti sent some bath-house warmth
vatsan kautti vaivallisen. over her troubled belly.

Jouluna Jumala synty On Christmas Day God was born


paras poika pakkasella the best boy when it was cold
synty heinille heposen born upon a horse’s hay
230 suorajouhen soimen päähän. at a straight-hair’s manger-end.

Neitsy Maaria emonen The Virgin lady Mary


rakas äiti armollinen the dear merciful mother
piiletteli poiuttahan kept her offspring in hiding
kultaista omenoansa her golden apple
236 alla sieklan sieklottavan beneath the siftable sieve
alla korvon kannettavan beneath the portable tub
alla juoksovan jalaksen. the sledge-runner as it ran.

Kato pieni poikuoh Her little offspring vanished


kultainen omenuutensa her little golden apple
240 alta sieklan sieklottavan from beneath the sieve
alta juoksevan jalaksen the sledge-runner as it ran
alta korvon kannettavan: beneath the portable tub:
etsi pientä poiuttansa she sought her little offspring
kullaista omenoansa her golden apple
246 kesällä kevysin pursin in summer in a light craft
talvella lylyin lipein. in winter on sliding skis.
Etsittiin, vain ei löytty. He was sought but was not found.

Neitsy Maaria emonen The Virgin lady Mary


kävi teitä asteloo. trudged along the roads
250 Tiehyt vastaan tulevi and she met a road.
niin tielle kumarteleksen She bowed to the road
itse noin sanoiksi virkki: herself put this into words:
“Tiehyöt Jumalan luoma “Road, creature of God
näitkö pientä poiuttani have you seen my little boy

2 89
r n Luojan virsi I
j y The Messiah I

255 kultaista omenoani?” my golden apple?”

Tie vastaan sanoo: And the road answered:


“Jos tietäisin en sanoisi: “ If I knew I would not tell:
poikas on minunki luonut •your boy created me too
ratsuilla ajettavaksi for steeds to be ridden on
260 kovin kengin käytäväksi.” for hard shoes to walk upon.”

Neitsy Maaria emonen The Virgin lady Mary


rakas äiti armollinen the dear merciful mother
aina etsivi etemmä. kept searching further
Kuuhut vastaan tulevi and she met the moon.
265 niin kuulle kumarteleksen She bowed to the moon
itse noin sanoiksi virkki: herself put this into words:
“Sie kuuhut Jumalan luoma “Moon, creature of God
näitkö pientä poiuttani have you seen my little boy
kultaista omenoani?” my golden apple?”

270 Kuu se vastaan sanoo: And the moon answered:


“Jos tietäisin en sanoisi: “ If I knew I would not tell:
poikais on minunki luonut your boy created me too
päivällä katoamahan to vanish during the day
yön on aian paistamahan.” to shine during the night-time.”

275 Aina eistyypi etemmä She kept on searching


Neitsy Maaria emonen the Virgin lady Mary
rakas äiti armollinen the dear merciful mother
etsi pientä poiuttansa she sought her little offspring
kullaista omenoansa. her golden apple
280 Päivyt vastaan tulevi and she met the sun.
päivälle kumarteleksen: She bowed to the sun:
“Sie päivä Jumalan luoma “ Sun, creature of God
näitkö pientä poiuttani have you seen my little boy
kullaista omenoani?” my golden apple?”

285 Niin päivä Jumalan luoma The sun, the creature of God
sanan virkko noin nimesi: uttered a word, speaking thus:
“ Poikas on minunki luonut “Your boy created me too
päivän ajan paistamahan to shine during the day-time
yön ajan lepäämähän. to rest during the night-time.
290 Tuoli on pieni poikuosi There is your little offspring

2 90
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J 7 The Messiah I

kultainen omenasi - your golden apple -


ylisessä taivosessa in the highest heaven, in
isän Jumalan sialla: the place of God the Father:
tulee sieltä tuomitsemaan.” he will come from there to judge.”

A r h i p p a P e r ttu n e n
Latvajärvi, Vuokkinicmi, Archangel Karelia
E. Lönnrot, 1834

291
60
L U O J A N V I R S I II
The Messiah I I

Aina muuta muisteliähän


vaan ei tuota millonkan Always other things
are recalled, never
suurta surmoa Jumalan the great killing of
kovaa Herran kuolemoa God, the Lord’s harsh death
5 kuin on Luoja kuole tel tu how the Creator was killed
kavoteltu kaikkivalta the Almighty was destroyed
sadan keihään kerällä with a hundred spears
tuhannen kärellä miekan, a thousand sword-points
eik ehoilla suuremmilla no greater number
10 eik ehoilla pienemmillä: no smaller number:
heponen sulalla seiso a horse stood on the spearhead
varsa juoksi vartta myöten a colt ran along the shaft
maho putkella makasi a barren cow on the sleeve
kasi nauku naulan tiessä a cat mewed in the peg-place
is sika suoveron siassa. a pig where the haft-joint was.
Kuin on Luoja kuoleteltu When the Creator was killed
kavoteltu kaikkivalta the Almighty was destroyed
kivet on alle kiusattuna the rocks were heaped.under him
kivet alle, poaet peälle rocks under, the slabs on top
so someret syäntä vasten. the gravel against the heart.

Niin päivyt Jumalan luoma So the sun, creature of God


lenti peätönnä kanana flew as a headless chicken
puonna siipi siuotteli as one cut down, its wing whirred
Luojan hauan partahilla. to the Creator’s grave-side.
25 Itkiä tihustelovi: In tears it drizzled:
“Nouse Luoja kuolemasta “Rise, O Creator, from death
Herra hauasta hereä O Lord, awake from the grave
elikkä tulen mieki or I too will come
kerälläsi kuolemahan to die beside you
äo kanssasi katuomahan!” to perish with you!’*

Niin on meiän suuri Luoja And so our great Creator

292
Luojan virsi I I
O The Messiah I I

sanan virkki noin nimesi: uttered a word, speaking thus:


“Ei ole täältä nousominen “There is no rising from here
niinkun sieltä toivominen: as there is hoping from there:
36 kivet on alle kiusattuna the rocks are heaped under me
someret syäntä vasten. the gravel against the heart.
Sie päivyt Jumalan luoma Sun, creature of God
lennä peätönnä kanana fly as a headless chicken
puonna siipi siuottele as one cut down, whirr your wing
40 siallesi entiselle to where you once were
paikallesi muinoselle! to your place of old!
Paista hetki heltehesti Blaze for one moment sultry
toinen himmesti hiota another dimly swelter
kolmansi koko terältä, for a third with your whole disc
45 n u k u t t e l e s n u i v a j o u k k o send the wicked crowd to sleep
p a in e le s p a k a n a k a n s a oppress the pagan people
n u o r e t n u o lie n n o ja h a n slump the young on their arrows
v a n h a t k e ih o v a r s ille n s a !” the old over their spear-hafts!”

Niin päivyt Jumalan luoma So the sun, creature of God


60 sekä lenti jotta joutu both flew and made haste
sialle on entiselle to where it once was
paikalle on muinoselle: to its place of old:
paisto hetken heltehesti blazed for one moment sultry
toisen himmesti hiotti another dimly sweltered
66 kolmannen koko terältä for a third with its whole disc
nuoret nuolensa nojahan slumped the young on their arrows
vanhat keihovarsillensa. the old over their spear-hafts.

Niin on meiän suuri Luoja And so our great Creator


nousi Luoja kuolemasta: the Creator rose from death
60 kivet siilon kielin laulo and then the rocks sang with tongues
poaterot sanoin pakasi the boulders chattered with words
joet liikku, järvet järkky the rivers stirred, the lakes shook
vuoret vaskiset vavahti. the copper mountains trembled.

Nousi Luoja kuolemasta The Creator rose from death


66 Herra hauasta heräsi the Lord awoke from the grave
meni köyhänä pajahan went as poor man to the forge
kysyjänä kellarihin: as beggar to the cellar:
teällä rautiet takovi there the iron-men hammered
sepät Hütten hilkkasovi. the smiths of Hiisi pounded.

293
/lf\ Luojan virsi I I
U U The Messiah I I

70 Sanan virkki noin nimesi: He uttered a word, spoke thus:


“Mitä nyt rautiet takovi “What do the iron-men pound
sepät Hütten hilkkasovi?” the smiths of Hiisi hammer?”

Sano julmin juuttahia The cruellest of the Jews


pahin poikia pahoja the worst of the evil boys
76 ilkein isän aloja: basest of father’s sons said:
“Niinpä siulla suuret silmät “Well now, you have eyes as big
niin on pitkät silmiripset eyelashes as long
niinkuin eklisen jumalan as yesterday’s god
jonka moahan hautasimma whom we buried in the earth
so kivet peälle kiusasimma heaped the rocks on top
kivet alle, kivet peälle rocks under, the rocks on top
someret syäntä vasten.” the gravel against the heart.”

Sanovi suuri Luoja And the great Creator said


puhuvi puhas Jumala: and the pure God spoke:
85 “Sillä miulla suuret silmät “This is why I have big eyes
sillä pitkät silmiripset: why I have long eyelashes:
viikon katson Luojan suuhun long I watched the Creator’s
partahan palan purian mouth, the beard of who bites off,
leukohin lesottelian.” the jaws of who grinds and sifts.”

90 Sano julmin juuttahia The cruellest of the Jews


pahin poikia pahoja: worst of the evil boys said:
“Sen tein pahinta työtä “That was the worst thing I did:
kuin en muistant mittaella I did not think to measure
kuin on pitkä Luojan parta how long the Creator’s beard
95 kuin on pitkä kuin on paksu how long and how thick
miten poikelle leveä. and how wide across
En sitä takoa taia.” so I cannot hammer that.”

Niin sano suuri Luoja So the great Creator said


puhuvi puhas Jumala: and the pure God spoke:
loo “Niin on pitkä Luojan kakla “The Creator’s neck is long
niin on pitkä, niin on paksu as long and as thick
niin on poikelle leveä and as wide across
kuin on käkiäsi omasi.” as your own neck is.”

Sano julmin juuttahia The cruellest of the Jews


105 pahin poikia pahoja: worst of the evil boys said:

2 94
/T A Luojan virsi I I
0 1 / The Messiah I I

“Eipä mun käteni keänny “My hand will not turn


eikä sormeni sopine nor is my finger
miun mittoellakseni.” fit to measure it.”

Sanovi suuri Luoja: And the great Creator said:


no “Miun ne keäntysi käteni “ My hand would turn it
miun ne sormeni sopis my finger would be
miun mittoellakseni.'’ fit to measure it.”

Sano julmin juuttahia: The cruellest of the Jews said:


“Jos minä antanen mi teliä “ If I let it be measured
us vaan ei lukkuhun lukota do not lock me in a lock
eikä paina palkimehen: nor press on a buckle-pin:
ei lukku käsin avata the lock is not loosed with hands
loirat sormin lonkuole. the bolts not eased with fingers.
Ei ole avoan tehty, No key has been made:
iso vast on lukku loajittu." only the lock has been formed.”

Siilon antavi mitellä. Then he let it be measured.


Niin on suuri Luojuemma And so our great Creator
niin meiän Jumalutemma and so our Lord God
siilon lukkuhun lukotti then locked him into the lock
126 siilon paino palkimehen. pressed him on the buckle-pin.
Niin siitä sanoiksi virkki: So then he put into words:
“Pysys tuossa, pintahine “Stay in there, scoundrel
parus tuossa, pantahinen howl in there, accurst
tekemässäsi pahassa in the evil you have done
130 luomassasi kahlehessa in the fetters you have made
kuni kuuta, aurinkoa as long as the moon, the sun
päiveä hyvännäköistä!” the day are fair to look on!”

Perän kanto kalliohon He bore the end to the rock


itse noin sanoiksi virkki: himself put this into words:
136 “Tämän päiväsen perästä “ From this day forward
tuli taivosen valoksi fire is to light the heavens
vesi rauan kärkiaksi!” water to temper iron!”

Niin kirkasi kiven kovaksi He hardened rock with a shout


kaiju rauan karkieksi. tempered iron with a roar.

A r h i p p a P e r ttu n e n

Latvajärvi, Vuokkiniemi, Archangel Karelia


J . F. Caj an. 1836

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T uopa oli pieni Kaijan vaimo


kanto kolme kohtuaha -
t was Kaija’s small woman
I
carried three wombfuls -
yhen Maijan, toisen Kaijan one Maija, the next Kaija
kolmannen Maijatanen. the third little Marjatta.
5 Marjatta on koria neido Marjatta was a fair maid
viikon istu isän koissa sat long in her father’s house
kokotteli Koijolassa. hung about in Koijola.
Kuuvet vyölliset kulutti Six waist-trinkets she got through
viijet vitjat poikki soatto five waist-chains she wore away
10 ison koissa istuossa sitting in her father’s house
emon koissa astuossa, pacing in her mother’s house
lahkon latetta kulutti wore down a floorboard
umbikengän uurtiella made a groove with her closed shoe
ison koissa istuossa sitting in her father’s house
is emon koissa astuossa, pacing in her mother’s house
hirren kynnystä kulutti wore down a threshold timber
hienosella helmollaha, with her fine skirt-hem
hirren kamoata kulutti wore down a lintel timber
leviällä lentallaha with her wide-cut frock
so ison koissa istuossa sitting in her father’s house
emon koissa astuossa. pacing in her mother’s house.

Läksi ullose utuna She went outside as a mist


pellolla pihoja myöten. to the field beside the yard.
Marjane mäjellä kirgu A berry shrieked on the hill
25 buolungaine kangahalla: a cranberry on the heath:
“Tule vain neiti poimomaha “Come, maid, and pick me
sormuskäsi suoltamaha ring-handed, pull me
tinarinta riipimällä!” tin-breasted, pluck me!”

Koppai koisan kobrahase She snatched a basket


äo silkin peähäsä sivalti: slapped a silk scarf on her head:
meät on mätky männessähä the hills boomed with her going

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voarat on notku nousessa, mountains bent with her climbing.


otti maljan sormillaha A berry in her fingers
sormilta huulillahe she took, from fingers to lips
36 huuliltahe kielillähä: from her lips on to her tongue:
tuosta vatšaha vajuupi thence to her belly it sank
kulkkuhu kureksisehe. was swallowed up in her throat.

Tuosta tyyty, tuosta täyty She was fulfilled, she was filled
tuosta paksuksi pageni by it, swelled thickset from it
40 lihavoiksi liittelihi. put on flesh from it. She took
Vei on marjat toatollaha: the berries to her father:
“ Syö marjoa toatto raukka!” “Eat a berry, poor father!”

“ Missä olit, huora, tämän äijän?” “Where were you, whore, all this time?”
“ Olin marjan poimennassa.” “I was picking a berry.”

46 “ Et ollut marjan poimennassa: “You were picking no berry:


olit sulhasen etšossa you were seeking a bridegroom
sugapäiden, sulkkuvöijen brush-headed and silk-belted
soman kaplukan katsannossa looking for a handsome heel
punapaglan pujellussa.” toiling after a red lace.”

60 Vei on marjat moamollaha: She took them to her mother:


“ Syö marjoa moamo raukka!” “Eat a berry, poor mother!”

“ Miss olit, huora, tämän äijän? “Where were you, whore, all this time?
Olit sulhasen etšossa You were seeking a bridegroom
sugapäiden, vaskivöijen brush-headed and silk-belted
66 soman kaplukan katšannossa looking for a handsome heel
punapaglan pujellussa.” toiling after a red lace.”

Vei on marjat Veijolle: She took them to her brother:


“ Syö marjoa veikko raukka!” “Eat a berry, poor brother!”

“ Miss olit, huoran, tämän aigoa? “Where were you, whore, all this time?
«o Olit sulhasen etšossa You were seeking a bridegroom
sugapäiden, sulkkuvöijen brush-headed and silk-belted
soman kaplukan katsannossa looking for a handsome heel
punapaglan pujellussa.” toiling after a red lace.”

Vei on marjat tšikollah: She took them to her sister:

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ß5 “Syö marjoa tšikko raukka!” “Eat a berry, poor sister!”

“Sitä mie hallehine - “That’s what I yearned for -


neidosen on marjasia a maiden’s berries
tšikkoseni poimomia.” picked by my sister.”

“Voi milma poloista porttoa: “Wretched harlot that I am:


70 en istunut hevolla reessä I’ve sat in no horse’s sledge
ubehilla olluzilla that has been among stallions
engä syönyt mahon maiduo nor drunk a barren cow’s milk
härillä halissehien, that has been around with bulls
en syönyt kanan munoa I have eaten no hen’s eggs
76 poigakukon polgomia! mounted by a cockerel!
Voi milma poloista porttoa - Wretched harlot that I am -
luuvolla logahuma stretched out on a crag
kašlan peässä kabahuma swaying over reeds
ruuvon peässä istumassa, sitting in the grass!
so Täm on kohtu Luojan luoma This is the Creator’s work
seädämä pyhän Jumalan!” begotten by holy God.”

Vei on marjat ämmöllähä: She took them to her grandma:


“Syöpä marjoa ämmö raukka!” “Eat a berry, poor grandma!”

“Sidä mie hallehine - “That’s what I yearned for -


85 nuoren neijon marjasia a young maid’s berries
bunukkani poimomia.” picked by my grandchild.”

“Vie virta, kohota koski!” “Take me, stream, lift me, rapids!’

“Eipä siima virta vie “No, the stream will not take you
eigä koski kohota nor will the rapids lift you:
90 kuin on poiga polvillase you’ll have a boy on your knees
herra Kristus helmoillase.” the Lord Christ upon your lap.”

Sai hän pojan porstuhe She had the boy in the porch
lapsen lastujen segaha: the child among the shavings:
peittelööpi poijastaha she covered her boy
95 suojeloopi poijastaha she guarded her boy
sorajoven soimen alla. beneath the straight-hair’s manger.

“Ossettuni orjuoni “ O my serfs I bought

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rahoin soavut roatajani! drudges I got with money!


Jok on syndyt synnyn koite Is this the dawn of God’s birth
loo joko paistau Jumalan päivä?” is the sun of God shining?”

“Mi on merkki koittiessa?” “What is the sign at daybreak?”

“Kuuset kultariitšuloissa “The spruces have gold trinkets


hongat on hobiavöissä the firs silver belts
moa on kultasin orahin.” the earth puts out golden shoots.”

105 “Jo nyt on syndyt synnyn koite “This is the dawn of God’s birth
jo nyt paistaa Jumalan päivä the sun of God is shining
Herran kesrä hellittää.” and the wheel of the Lord glows.”

Läksi poijan etsintähä. She went in search of her boy


Tuli kuuhut vastahani: and she met the moon:
no “ Hoi kuuhut Jumalan luoma “ Moon, creature of God
näetkö miun poijastani?” can you see my little boy?”

“Näen mie siun poijastase: “ I can see your little boy:


sorajoven soimen alla beneath the straight-hair’s manger
pirulaiset piinataha the devils are tormenting
ns paha joukko vallataha.” the evil crowd conquers him.”

Tuli päivä vastahan: And she met the sun:


“ Hoi päivä Jumalan luoma “Sun, creature of God
näetkö miun poijastani?” can you see my little boy?”

“Näen mie siun poijastase: “ I can see your little boy:


120 sorajoven soimen alla beneath the straight-hair’s manger
pirulaiset piinataha the devils are tormenting
paha joukko vallataha.” the evil crowd conquers him.”

Jo hän Tuonelah mänööpi, Now he went to Tuonela


huuteloo, hoajelopi: he called, shouted out:
125 “Tuo venettä Tuonen tyttö “ Bring a boat, girl of Tuoni
lauttoa Labalan lapsi!” a ferry, Labala’s child!”

“Mitä Tuonella tuletta?” “Why to Tuonela?”


“Tulen Tuonelta oraista “ I come to Tuonela for a spike
moanalaista tappelijoa.” underground for a fighter.”

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130 “Pitäägö rautainen vene?” “Will a boat of iron hold?”


“Kuusinen miun kuplattaa “One of sprucewood will float me
katajainen kannattaa of juniper will support:
rautapohja rauskahtaapi.” an iron-bottomed will squeak.”

Jo heän Tuonelah mänööpi. Now he went to Tuonela.


136 Seppä takoo tšilkuttaapi The smith hammered and pounded
pajass on ovettomassa in a smithy with no door
ilman ikkunattomassa: with not a window: he’d put
pannut on turkkihi tukuksi his fur coat as a stopgap
paikaksi pahan veräjän. to patch up the bad gateway.

im “Mitä tavot seppä raukka?” “What are you forging, poor smith?”
“Tavon vankilan varoja.” “ I am forging prison-clamps.”

“Mit olla paksuus vangin kaula?” “How thick is the captive’s neck?”
“Panettele kaulallase! “ Put them on your neck:
Kuin on paksu oma kaula as thick as your own neck is
146 niin on paksu Luojan kaula!” so thick the Creator’s neck!”

O k k i G ordeinen
Repola, Olonets Karelia
U. Karttunen, 1897

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M aaria pyhhäin vaimo


vaimo valkiaveriin Mary the holy woman
the fair-skinned woman
kääyy käpäelöö went strolling along:
hietroin helmoin heutaisoo her fine skirt-hems were swaying
6 puhas paitain povees on her bosom a clean shirt
silkkiliinain sisääs under it a silken cloth
vitsa kultainen käees a golden lash in her hand
hopeain ruoska vööl. a silver whip at her belt.
Mäni odroipellolleen She went to her barley field
10 kagroikaapunaiselleen, to her small oat-rick
näki tuolt oksalt omeenan saw an apple on that bough
näki puult päähkinäisen, saw a nut upon the tree
otti oksalta omeenan took the apple from the bough
otti puult päähkinäisen, took the nut from off the tree
is loi omeenan huuloilleen put the apple to her lips
huuloiltaan kieloilleen from her lips on to her tongue
kieloilt kerukselleen. from her tongue into her throat.

Tuosta tyytyi, tuosta täytyi She was fulfilled, she was filled
tuosta paksuks paneeli by it, grew thickset from it
so lihavaks liitteliis. put on flesh from it.
Mäni matkoja vähäisen She went on a little way
teki tietä pikkaraisen went a short distance
mäni Pohjolan kylään. went to Pohjola village:
Pohjoin akka oli ikkunas. the crone was at the window.

25 Kysytteli akkaiselt: She asked Pohjoi’s crone:


“ Oi akka, emohuuvein “ Crone, my good mother
akkoi vanha vaaliain! O crone, my old nurse!
Onka tässä yösijaist Is there room here for the night
yösijaist, maan majaist room for the night, an earth-lodge
30 missä maata mannun naisen where an earth-woman may lie
naisen raskahan levätäk a woman with child may stretch

3 01
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hunnukkaisen huokaclla a veiled one may sigh


hienokkaisen henkäellä?” a delicate one draw breath?”

Akka vassen vastaeli: The crone answering replied:


35 “ Mää talliin mäelle ‘‘Go to the stable on the hill
oroin suuren soimen luoksek to the stallion’s big manger
kaaroin karsinan etteen: to the horse’s stall:
siell on meillä muutki vaimot.” there we’ve other women too.”

Maaria pyhhäinen vaimo Mary the holy woman


40 vaimo valkiaveriin the fair-skinned woman
mäni talliin mäelle went to the stable on the hill
oroin suuren soimen luoksek to the stallion’s big manger
kaaroin karsinan etteen. to the horse’s stall
Synnytteli poikojaan and she gave birth to her son
45 heinille lumekkahille on the hay sprinkled with snow
kakaroille jääkkähillen. on the dung crusted with ice.

Jouluna Jumala syntyi On Christmas Day God was born


tallihin hepoisen luoksek within a horse’s stable
oroin suuren soimen luoksek in a stallion’s big manger
50 kaaroin karsinan etteen in a horse’s stall
heinille lumekkahille upon hay sprinkled with snow
kakarille jääkkähille. upon dung crusted with ice.

Tahvana oli hepoisen herra Tahvana the horse-master


mäni juotolle hevoisen went to give the horse a drink
55 Jortanaisest joeest at the river, the Jordan
heroisest lähtehest. at the never-frozen spring:
Ei juo oroit joeest it would not drink the river
lakik ei vettä lainehest. would not lap the water-waves.

Tahvana hepoisen herra Tahvana the horse-master


60 sanoin laati suin läkkäis: formed in words, declared by mouth:
“ Miks ei juo oroin joeest “Why will it not drink
lakik et vettä lainehest?” from the river, lap the waves?”

Oroi kieloille paneli The stallion applied its tongue


läkinöille luotteliis: set its wagger in motion:
65 “ Sill en juo joesta vettä “For this I shan’t drink
lakik en vettä lainehest: from the river, lap the waves:

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kuun kuva jokehen paistoi the moon’s form in the river


päivöin tähti laineheen - shines, the daystar’s in the waves
tänä huomena varaan this morning early
70 huuhtoit huorat huntujassek the whores have rinsed their head-cloths
ripakat räpäkköjässek the fishermen their towels
renkimiehet riepujassek. the hired men their rags.
Sill en juo miä joesta vettä For this I shan’t drink
lakik en vettä lainehest.” from the river, lap the waves.”

75 Mäni otroipelloilleen She went to her barley-field


kagroikaapunaiselleen, to her small oat-rick
etsi poikoja pyhäist she searched for the holy boy
hetelmäist autuaist. for the blessed little fruit:
Mäni matkoja vähäisen she went on a little way
so päivöi vastaan tulloo. and she met the sun.

Kysytteli päivyelt: And she asked the sun:


“Oi päivöi Jumalan luoma “Sun, creature of God
näitkä poikoja pyhäist have you seen the holy boy
hetelmää autuaist?” seen the blessed fruit?”

85 Päivöi vasten vastaeli: The sun answering replied:


“Hos lien nähny, en sanele: “Had I seen I would not tell:
siun hyväis miunkii saatto your good one has got me too
aamust ylenömään in the morning to come up
illoist alenomaan in the evening to go down
90 keskipäivän kerstämään.” at midday to be busy.”

Maaria pyhäin vaimo Mary the holy woman


mäni matkoi vähäisen went a little way further
teki tietä pikkaraisen, went a short distance
kuu vastaan tulloo. and she met the moon.

95 Kysytteli kuuhuelt: And she asked the moon:


“Oi kuu Jumalan luoma “ Moon, creature of God
näitkä poikoja pyhäist have you seen the holy boy
hetelmää autuaist?” seen the blessed fruit?”

Kuu vassen vastaeli: The moon answering replied:


loo “Hos lien nähny, en sanele: “Had I seen I would not tell:
siun hyväis miunkii saatto your good one has got me too

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illoist ylenömään in the evening to come up


aamust alenomaan in the morning to go down
keskiyöllä kerstämään.” at midnight to be busy.”

tos Maaria pyhäin vaimo Mary the holy woman


mäni matkoja vähäisen went a little way further
teki tietä virssan verran: went a short distance:
Pohjolan kylä näkyy . . . Pohjola village loomed up . . .

Ta i siit mäni Pohjolan kylään. Well, and then she went to Pohjola village.

no Mitä laulan, kuta laulan? What shall I sing, what the song?
laulan Luojan kuolennaist I’ll sing the Creator’s death
kaonnaist vallan kaiken. the loss of the Almighty.
Kuhunpas Luojoi kuoletettu Where was the Creator killed
kaoteltu valtoi kaikki? the Almighty lost?

116 Paksuille pajupehoillen In thick willow-woods


tiheille tuomikoillen dense birdcherry-woods
reunalle lehon leveän at the edge of a wide grove
korven kaioin kainaloon: under the narrow wood’s arm:
ei tuonne päivyt paissak there the sun was not shining
120 eikä tuonne kuut kumoitak. nor was the moon gleaming there.

“Päissä, päissä Luojoin päivy “Shine, O shine, Creator’s sun


kuumoittele kuu Jumalan glimmer, moon of God
päissä Luojoin hauvoin päällen shine on the Creator’s tomb
Jumalaisen kalmoin päällen: on the grave of God:
iss päässä Luojoi kuolomast free the Creator from death
kattoomasta valtoi kaikki, and the Almighty from loss
sulata tinaiset naaglat melt the nails of tin
vaskinaaglat helli ttele loosen the nails of copper
puunaaglat ulos puotak!” let the nails of wood drop out!”

130 Paistoi, paistoi Luojoin päivöi The Creator’s sun shone, shone
kuumoitteli kuu Jumalan: and God’s moon glimmered
sulatti tinaiset naagloit and melted the nails of tin
vaskinaagloit hellitteli loosened the nails of copper
puunaagloit ulos puotti, let the nails of wood drop out
136 päästi Luojoin kuolomast freed the Creator from death
kattoomast vallan kaiken. and the Almighty from loss.

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Läksi Luojoi liikkehellen The Creator stirred


Jumala jaloille nous God rose to his feet
iltoi-tulta ottaes as the evening fire was lit
140 pärettä virittäes as the splint-torch was kindled
ikkunoja pantaes as the windows were fastened
porttiloja sulkies. as the doors were shut.

Mäni tallihe mäelle He went to the hill-stable


oroin suuren soimen luoksek. to the stallion’s big manger:
146 Sielt otti oroisistaa there he took from his stallions
sielt valitsi varsoistaan he chose from among his colts
mill oli lammi lautaisil which had a pool on its loins
ojain oroin sivuil a ditch on the stallion’s Hanks
kylmä kaivo alla kahjoin, a cold well under its hoofs.
iso sen otti siit oroisistaa He took it from his stallions
sen valitsi varsoistaan chose it from among his colts
siit hyppäis hyvän selälle then leapt on the good one’s back
karkais kaaroon lautaisille. hopped upon the horse’s flanks.

Ajoi matkoja vähäisen He rode on a little way


166 teki tietä virssoin verroin: went about a verst:
puu pyrähti, maa järähti a tree fluttered, the earth shook
tetroi metsääst temahti. a black grouse flapped from the wood.
Kuohtui Kiesuksen hepoin: The horse of Jesus startled:
Kiesus maahan ratsahaalt Jesus was thrown to the earth
160 kivelle maaperälle. to a rock upon the ground
Niukahtui heppoisen jalka. and the horse's foot was sprained.

Etsi tielt tietäjäist He sought a sage on the road


maan seläält mahtajaist a mighty man on the ridge
lukulankoin laulajaist a singer of spells
166 sooloin sopottajaist a mutterer over salt
siniisen sitteeliäist and a binder of blue threads
punaisen puheliaist. a speaker of red ribbons.

Saant ei tieltä tietäjää He found no sage on the road


eik maan seläält mahtajaist no mighty man on the ridge
170 lukulankoin laulajaist no singer of spells
sooloin sopottajaist no mutterer over salt
siniisen sitteeliäist nor a binder of blue threads
punaisen puheliaist. no speaker of red ribbons.

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Tuo kun meiän Luojuemme That was when our Creator


175 ja meiän Jumaluemme that was when our God
käi ite tietäjäks himself became a wise man
tietäjäks taitajaks a knowing wise man
lukulankoin laulajaks . a singer of spells
sooloin sopottajaks a mutterer over salt
iso siniisen sitteeliäks and a binder of blue threads
punaisen puheliaks: a speaker of red ribbons:
lihat liitti luihin kiin fixed the flesh fast to the bones
luut liitti lihoihin kiin fast fixed the bones to the flesh
teki päält terveheks made the top-side well
185 sisest kivuttomaks the inside painless
päält tuntumattomaks. the top-side to feel no ill.

Hyppäis hyvän selälle He leapt on the good one’s back


karkais kaaroin lautaisille hopped upon the horse’s flanks:
mäni matkoja vähäisen, he went on a little way
wo Silta vastaan tulloo. and he met a bridge.
Tuo kun meiän Luojuemme That was when our Creator
ja meiän Jumaluemme that was when our God
hään silloille kummaars bowed before the bridge
antoi kättä siltapuille. gave his hand to the bridge-planks.

195 Mäni matkoja vähäisen He went on a little way


teki tietä virssoin verroin. went about a verst
Kirkko vastaan tulloo. and he met a church.
Tuo meiän Luojuemme That was when our Creator
ei tuo kirkolle kummarrak did not bow before the church
200 anna ei kättä kirkkopuille. give his hand to the church-planks.

Pyhät miehet nagrahtiit The holy men smirked


enkelit imehtelliit: the angels marvelled:
“ Mikä meiän Luojoillammek “What’s wrong with our Creator
ku kumma Jumalallamme what’s the matter with our God:
205 ko ei kirkolle kummartant he did not bow to the church
antant ei kättä kirkkopuille give his hand to the church-planks
a silloille kummars but he bows before the bridge
anto kättä siltoipuille?” gives his hand to the bridge-posts?”

Luojoi vassen vastaeli The Creator in reply


210 vasten vastaan saneli: for an answer said:

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“ Sinis miä olin silloin al “I stayed underneath the bridge


kunis juuti julki käi till the Jews walked openly
paha päällitse pakeni, the bad ones fled above: so
sinis seisoin sillan al. long I stood beneath the bridge.
215 Sill en kirkolle kummartant: I did not bow to the church
kirkossa miä kiin otettiin because in church I was seized
kappalissa kauppaeltiin.” in a chapel I was sold.”

Hyppäis hyvän selällen He leapt on the good one’s back:


mäni matkoja vähäisen he went on a little way
220 teki tietä virssoin verroin, went about a verst
kuuli Hiitoilan takkoovan heard Hiitoila’s hammering
sepoin Hiien hilkuttavan. the smith of Hiisi pounding.
Ajoi Hiitoilan pajaan To Hiitoila’s forge he rode
Hiitoilan pajan etteen in front of Hiitoila’s forge
225 muuna miessä muukalaisna like any other stranger
muukalaisna, matkalaissa. stranger, traveller.

Kysyitteli kannoitteli He asked, he inquired


perin pohjin poimitteli: right to the bottom he probed:
“ Mitä taot Hiien seppoi, “What do you forge, Hiisi’s smith
230 seppoi Hiien hilkuttelet?” smith of Hiisi, what fashion?”

Seppoi vasten vastael: The smith answering replied:


“ Taon Luojoin hirtinpuita “ I fashion the Creator’s
Jumalan kurissospuita gallows-tree, God’s strangling-tree
vaan ei muistant mitata but did not think to measure
235 kuin on paksu Luojoin kagloi how thick the Creator’s neck
kuin on paksu, kuin on pitkä how thick and how long
kuin on poiki ten leveä.’’ and how wide across.”

Tuo kun meijän Luojuemme That was when our Creator


ja meiän Jumaluemme that was when our God
240 sanoin laati, suin läkäis: formed in words, declared by mouth:
“ Mittaele kagloiheis; “Measure your own neck:
kuin on kaglois ommais as your own neck is
niin on paksu Luojoin kagla so thick the Creator’s neck
niin on paksu, niin on pitkä so thick and so long
245 niin on poiki ten leveä.” and so wide across.”

Hää mittaeli kagloihee: That one measured his own neck:

307
Luojan virsi I V
UZ The Messiah I V

Luojoi lukkuun lutisti the Creator locked him up


takalukkuun takisti and secured the latch
turkkais hänen tuleen and hurled him into the fire
260 ja vaatuun vajotti plunged him into hell
iäkseen istumaan. to sit for ever.

T a r o i, P ä n tty 's d a u g h ter


Hevaa, Kaprio, Ingria
V. Alava, 1891

308
63
PYHÄ T A P A N I
St Stephen

nk Tapani koton? s Stephen at home?


O Tanttais toi taitava Tapani
ruake toi Ruatukse hevosii
I Clever Stephen danced
fed Herod’s horses
kaitsi Kiivan konkarei and tended Herodias’ mounts
6 jouluyälä puhteella jalo on noble, pure Christmas night
jouluyälä korkialle on high Christmas night, he led
vei hän hepo lähteellä juamaa. a horse to the spring to drink.
Eipä hepo vettä juanu The horse would not drink water
eipä piiropää piirannu: the white-streak-head did not care:
10 verestäpä toi vikoja etsei he sought flaws in the water
eipä hä verestä vikoja löynny. found no flaws in the water
Näki hän tähren taivahaas he saw a star in the sky
tähre varjo lähtehees the star’s likeness in the spring
pilkun pilven ravos. a dot in a cloud-gap. He
is Vei hä hepo lähteeltä kotja led the horse home from the spring
kaalikkajalka kaivoltansa: the club-footed from its well:
kuano toin pilviä piteli its muzzle reached to the clouds
häntä pitkä maata veti, its long tail dragged on the ground
ei toi loimii loimitellu it had no need of blankets
eo eikä kauroi kaurotellu. had no need of oats.
Meni mä sit Ruatukse tupaa I went then to Herod’s house
alta orten, päältä parten. beneath beams, above rafters.
Vastais Ruatus rualtansa Herod answered from his meal
Tiiha kansa tiskiltänsä: and Herodias from her board:
25 “Jolles sä ääntänsä vähennä “ If you don’t lessen your noise
kyl mä sun ikänsä lyhennä.” indeed I’ll shorten your life.”

“Ny on syntyny Jumalan valta “Now the power of God is born


paisunu paremmi, a better one is swelling:
jo mä ny luavu Ruatuksesta now I am leaving Herod
30 otan uskon Kiesuksesta taking my faith from Jesus
parempaahan palvelukseen.” going to better service.”

309
C. O Pyhä Tapani
U J St Stephen

“Sitten mä ton toreksi uskon “1*11 believe it to be true


jos tua kukko laulanee.” if that cock should crow.”

Rupeis kukko laulamaaha: And the cock began to crow:


36 laulo kukko kuuretta farttii the cock crowed for six quarters
kananpoika kahreksatta. the son of a hen for eight.

“Sitten mä toin toreksi usko “ I’ll believe it to be true


jos toi sonni mylvinee.” if that bull bellows.”

Oli jo liha syäty, luu kaluttu The flesh eaten, the bone gnawed
«o käsi kenkinä piretty: the hide as shoes was worn down:
rupeis sonni mylvimää the bull began to bellow
luillansa luhisemmaa to crush with its bones
jäsenöilläs järskimäähä. to shake with its limbs.

“Sitten mä ton toreksi usko “I’ll believe it to be true


45 jos toi veitsenpää vesonee.” if that knife-point sprouts.”

Paiskais veitses permantooho: He flung his knife on the floor:


veitsenpää rupeis vesomaa the knife-point began to sprout
vesois kuusi kultaista vessoo and six golden shoots sprouted
kultalehti kunkin pääsä. with a gold leaf at each tip.

so “Olukaine juavukaine “Dear beer, darling drink


juaksee kohren korkomaata run towards high ground
niin kuin reki raitjoos myäre like a sledge along its tracks
ämmä vanha jäätä myäre. an old crone across the ice.
Kortteli viinaa ja kannu oltta: Half a pint of liquor, half a gallon of beer:
66 ei tätä joukkoa vähein holtta. it takes a lot to entertain these people here.

Hyvä oli merkki miälesäni Good was the sign in my mind


tullesani tähän kylää as I came to this village
semmenkin tähän talloo especially to this house
semmenkin tähän tupaa: especially this cottage:
$o tiä musta kotaan menee one black road leads to the hut
toinen aitta mäellä one to the shed on the hill
kolmais keikku kellariihi. a third jogged to the cellar.
Kyll on oltta keilansa Yes, there’s beer in the cellar
tammisesa tynnärisä in an oak barrel
$6 pitäväisen pruntin alla beneath a bung that keeps tight

310
C /\ Pyhä Tapani
O J St Stephen

koivusen tapin taka; behind a birch tap:


punaset on isänän posket red the master’s cheeks
levjät on emänän lanteet broad the mistress’ hips
kipuras on koira häntä curly the dog’s tail
70 solmus on sian sapara knotted the pig’s tail
kiiltävä on kissan selkä.” glossy the cat’s back.”

(Ulosmennessä laulettiin lopuksi:) (On going out this was sung finally:)

“ Ih ha, ha, ha “ Ih ha, ha, ha


kaikein perse karvane.” everybody’s hairy arse.”

J . H ep o la
Koski, South-West Finland
J . Liipola, 1892

311
64
PYHÄ K A T R II N A I
S t Catherine I

Kaiapahalla
kangasta kutovi
pajupurolla K itty was weaving
by a little willow-brook
tihiällä tuomikolla: by a dense birdcherry-wood:
sukkulainen käessä käänty the shuttle turned in her hand
5 kun on portimo pinossa like a weasel in a stack
rahakarva rauniossa a precious-fur in a cairn
hongan oksalla orava. on a pine-branch a squirrel.
Ruotus kunnotar kuningas Herod the dishonest king
tuli Katrinan tulille. came to Catherine’s fireside
10 Sano kohta saatuahan: said as soon as he arrived:
“Tuleppas Kaio minulle “Come, Kitty, to me
eli minun pojalleni!” or else to my son!”

Kaisa taiten vastoavi: Katie knowingly answered:


“En tule minä sinulle “I won’t come to you
is enkä sinun pojallesi: nor yet to your son:
paha on poikaki pahalla the bad one has a bad son
paha on paha itekki. the bad one himself is bad.
Nurkasta tulit tupahan By the corner you came in
sait sisähän salvoksesta got in at the timber-joint:
20 oven kuurnan kuulumata.” the door’s creaking was unheard.”

Ruotus kunnotar kuningas Herod the dishonest king


lähti puita etsimähän went in search of trees
koivuja ja kovia puita birches and hardwoods
honkia hakasatoja firs that had shed their branches
25 pihlajia pitävitä: rowans that held firm:
Ruotus kunnotar kuningas Herod the dishonest king
pani Katrinan tulille. put Catherine on the fire.
Neitsyt Maaria emonen The Virgin lady Mary
rakas äiti armollinen the dear merciful mother
3o oli kirjoa lukeva. was reading a book.

S in g er unknow n
Kuhmo, Kainuu
M. A. Castrén, 1839
65
PYHÄ K A T R I I N A II
St Catherine I I

Kapo kangasta kutoo


impi pirtaa pitää, Agirl was weaving
a wench held the reed:
ei saatu kylällä maata the village could get no rest
kavon kankaan kudolta. because of the girl’s weaving.
6 Kuuli Ruotusten kuningas. Herod the king heard:
Oli kolme poikaa kovaa he had three strong sons
sano kohta poijillensa: said straight to his sons:
“Kolmin kosiin lähtemme “We three are going courting
neljä neittä kahtomaan.” we four to look for the maid.”

10 Ite vanha Väinämöinen Old Väinämöinen himself


arveloo, jouteloo: considered and took his time:
“Tuletkos sinä minullen “Will you come to me
eli minun pojallen?” or else to my son?”

Kapo varman vastovaa: The girl certainly answered:


16 “Rumapa sinä itekin “Now, you yourself are ugly:
poikasi sitä rumempi.” your sons so much uglier.”

Suuttu tästä Ruotusten kuningas: King Herod grew angry then:


kokosi kokosen puita he heaped up a heap of wood
kolmekymmentä rekee thirty sledges full
so koivuja, kovia puita birches and hardwoods
honkia hakosatoja firs that had shed their branches
pihlajia piukehia. rowans that were tough
Tunki Katrinan tuleen pushed Catherine in the fire
hienohelman helteeseen. the fine-hemmed into the blaze.

26 Liehto päivän, liehto toisen He blew a day, another


kohta kolmannen alotti, soon began a third
kahto ahjonsa alusta looked at the base of his forge
liehtimensä liepeitä: the edges of his furnace:
Katro tungeksen tulesta Katie squeezed out of the fire

313
ZT r P y h ä K a tr iin a I I
v J S t C ath erin e I I

30 hienohelma helteestä. the fine-hemmed out of the blaze.


Vielä Katron tuleen tunkee He pushed Katie in again
hienohelman helteeseen. the fine-hemmed into the blaze.

Pani poikansa paraan He set his best son


uuden kerran liehtomaan. to blow once again
35 Se vetää vesissä silmin: he blew, his eyes watering:
oro tungeksen tulesta a stallion squeezed from the fire
liinaharja lientehestä. flaxen-maned from the furnace.
Arveloopi, jouteloopi: He considered, took his time:
onko oro hyvän tapanen? was the stallion well-behaved?
40 Ei oro hyvän tapanen: The horse was not well-behaved:
joka päivän tamman tappaa every day it killed a mare -
kaksikin monikahona. even two on many days.

Ite vanha Väinämöinen Old Väinämöinen himself


oron tunkee tuleen pushed the stallion in the fire
45 liinaharjan lienteeseen, flaxen-maned in the furnace
pani orjat liehtomaan set the serfs blowing
painamaan palkkalaiset. the hirelings pressing:
O rjat liehto löyhytteli the serfs blew and fanned
kolmet päivää kesäistä. for three summer days.
50 Jopa kohta kolmantena Soon upon the third day he
kahto ahjonsa alusta looked at the base of his forge
liehtimensä liepeitä: the edges of his furnace:
neiti tungeksen tulesta a maid squeezed out of the fire
kultakulma kuumeesta . . . golden-templed from the heat. . . .

P a a v o H u k k a n en
Kiuruvesi, Savo
I. Arwidsson, 1819

314
66
PYHÄ H E N R I K I
St Henry I

Yksi runoinlaulu Sankt Hentrikist A ballad about St Henry


ensimmäisest Turun pispast joka first bishop of Turku who
oli syntynyt Englannis was bom in England

T^r aksi oli pyhää miestä r a iwo holy men there once were
J ^ ^ ja kaksi kansan ruhtinast J . two princes of the people
ristveljestä jalosta ritarist: Christian brothers, noble knights:
yksi kasvoi Ruotsin maalla one grew up on Swedish soil
5 toinen maalla vierahalla. the other on foreign soil.
Pian kasvoit pinnelliset Soon the swaddled ones grew up
yksiin vöilliset ylenit: together in napkins rose:
lapsi maalta vierahalta the child from the foreign land
se oli herra Heinärikki was the Lord Henry
io vaan joka Ruotsisa yleni while he who rose in Sweden
se oli Eerikki ritari was Eric the Knight
Ruotsin kuulluisa kuningas. the famous king of Sweden.

Sanoi herra Heinärikki And the Lord Henry


Eerikille veljellensä: said to Eric his brother:
15 “Läkkämme Hämehen maalle “ Let us go to Häme Land
maalle ristimättömälle to the unchristened country
paikalle papittomalle the place without priests
kivikirkkoja tiettämähän have churches of stone put up
kappelita rakennuttamahan.” and have chapels built.”

20 Sitte Eerikki ritari Then Eric the King


sanoin lausui suin puheli: formed in words, declared by mouth:
‘‘Veikkosemi vaimon poika “ My brother, son of woman
paljon on sinne mennehitä there are many who went there
ei paljon palannehita not many who have come back
25 enämpi evännehitä - more who have refused: and yet
toki lähen, en tottele. I will go, I do no.: mind.
Jos minä tapettanehen If I should be killed

315
C C Pyhä Henrik I
O O St Henry I

maan kuningas kaattanehen the king of the land cut down


toinen jäänevi jälellen.” one will yet be left behind.”

30 Sitte herra Heinärikki Then the Lord Henry


sanoin lausui suin puheii: formed in words, declared by mouth:
“Pilttisemi pienoisemi “ My dear little lad
vantti vaaksahan korkuhinen, coachman a span high
ota korjani kodasta take my sleigh out of the hut
36 pane korja kohdallensa and put the sleigh in order
perällensi pieni kirja the small bright-worked part behind
anturoillensa aseta, ht it on to its runners
aisat tammiset aseta fit shafts of oak, stretch
ohjat suoniset ojenna out reins of sinews
40 pane ränget mursunluiset put traces of walrus-bones
valjahat majavanluiset a harness of beaver-bones
harmon kaulan kahden puolen, either side of the grey’s neck:
ota ohrilta oroinen take a horse from the barley
iduilta isoilihainen a well-built one from the shoots
45 maatajouhi maltaisilta, a sweeping-hair from the malt
pane luokka kynnäppäinen put a collar-bow of elm
harjalen hyvän hevoisen.” on the mane of the good horse.”

Sitten herra Hentrikki Then the Lord Henry


ajella karuttelepi: drove rumbling away:
60 virman peuroin viritti he startled a herd of deer
jäljesänsä juoksemahan, into a run behind him
latoi se lauman laulaitaa he set a flock of singers
päänsä päällen lentämähän flying overhead
otsansa virvottamahan, refreshing his brow
65 karhu oli rautakahlehisa there was a bear in fetters
teeri rautainen kukersi of iron, an iron grouse
karhun rautaisen kidasa, cooed in the iron bear’s jaws
jänöin valkoisen hypitti and he made a white hare dance
edesänsä hitin päällä. before him on the sleigh-rug.

60 Sanoi piltti pikkuinen The tiny lad said


vantti vaaksahan korkuhuinen: coachman a span high:
“Jo minun tulepi nälkä.” “Now I am getting hungry.”

Sanoi herra Hentrikki: The Lord Henry said:


“Jo pian taloi tulepi “Soon we shall get to a house —

316
C C Pyhä Henrik I
O O St Henry I

66 Lalloila takoa lahden. to Lalloi’s beyond the bay.


O ta kyrsä uunin päältä Take a roll from the stove-top
ota olutta kellarista take some beer from the cellar
heitä penninki siahan, and leave a coin in their place:
heinät heinähuonehesta hay from the hay-loft
70 kaurat kaurahinkaloista oats from the oat-bin
heitä penninki siahan.” and leave a coin in their place.”

Paha vaimo pannahinen An evil cursed woman


satasyöjä sappehinen ill-tempered guzzler
sepä kirkui kiukahalta yelled from the hot stove
76 parku patsahan nenästä: screamed from the top of the post:
“ Lahka Lalloi kotihin saapi “Wait until Lalloi comes home:
vielä se luunsi luistelepi he’ll gnaw your bones yet
vielä päänsi päristelepi rattle your heads yet
suonensi sirottelepi!” scatter your sinews!”

so Sitte herra Hentrikki Then the Lord Henry


kiiruhti taloista poies. hurried away from the house.
Lalloi kuin tuli kotihin When Lalloi came home
valehteli vanha naara: the old bitch told lies:
“ Poikaisemi nuorempami “ My dear boy, my younger one
85 jopa on täsä sitten käynyt a Swede to feed, a greedy
ruokaruotsi, syömäsaksa: foreigner has passed this way:
otti kakun uunin päältä he took a cake off the stove
otti olutta kellarista he took beer from the cellar
heitti tuhkia siahan, and left ashes in their place
90 heinät heinähuonehesta hay from the hay-loft
kaurat kaurahinkaloista oats from the oat-bin
heitti tuhkia siahan.” and left ashes in their place.”

Sivui Lalloi lahtarinsa Lalloi tied on his hatchet


piilun pitkän kirvehensä, his broad, his long axe
95 lykkäisi lylyn lumellen pushed his left ski on the snow
kuin oli vuoltu vuoleskeltun, like a greased shaving, slammed his
syöksi kalhun kaljamallen right ski on the frozen ground
kuin on talvisen jänösen: like a winter hare:
Lalli hihti hirmuisesti Lalli skied at frightful speed
loo lyly juoksi vinhiästi his left ski ran fast
tuli suitsi suksen tiästä and fire puffed in the ski’s path
savu sauvakon siasta. smoke where the stick was.

317
C C Pyhä Henrik I
O O St Henry I

Sitte herra Hentrikki Then the Lord Henry


sanoin lausui suin puheli: formed in words, declared by mouth:
105 “Lalloi hihtään tulepi “ Lalloi comes skiing
pitkä keihäs kainalossa.” a long spear under his arm.”

Tunsi hän tuhon tulevan He could feel his doom coming


hätäpäivän päällen saavan his day of distress dawning
ja sanoi: “Pilttisemi pienoisemi and said: “ My dear little lad
no vantti vaaksahan korkuhuinen coachman a span high
katsokkos kiven takoa - keep watch from behind a rock -
ei ole kilpeä kivessä: no, there’s no shield in a rock:
katsokkos takoa tammen keep watch from behind an oak
varjosta hyvän hevoisen. in the shade of the good horse.
us Kuhunka luuni lentelepi Whichever way my bones fly
suoneni sirottelepi and my sinews are scattered
ne sinä verkahan vetelet gather them up in a cloth
sinilankoihin sitelet bind them with blue threads
sivu kaikki kaunihista tie them all neatly
120 aseta oroin rekehen: lay them in the stallion's sledge:
kuhunka orit tauvonnevi wherever the stallion halts
siitä härkä pantakohon, there let an ox be harnessed
kuhunka härkä tauvonnevi and wherever the ox halts
siihen kirkko tehtäköhön there let a church be put up
125 kappeli rakettakohon a chapel be built
herra Hentrikin nimehen” in the name of Lord Henry.”

Tosa on härkä tauvonnunna There the ox halted -


Nousiaisten hietamaahan on Nousiainen’s sandy soil
hietakankahan nenähän: on a tip of sandy heath:
130 siihen herra Hentrikki there the Lord Henry
ensimäinen haudattihin he, the first one, was buried
kirkko myöskin rakettihin sihen a church also was built there
herran Hentrikin nimehen. in the name of Lord Henry.

Vaan ei poika pikkuruinen But the tiny lad


135 vantti vaaksahan korkuhuinen coachman a span high
keksinyt lumen sisältä could not spy among the snow
pyhän miehen peukalota the holy man’s thumb
sormia isoin isännän nor the great master’s finger
kultasormuksen kerällä with its ring of gold
140 ennen kuin kesäsydännä till in the heart of summer

318
C C Pyhä Henrik I
O O St Henry I

sitte kuin kevät oli ihana when the springtime was lovely
jää oli järvestä sulanut the ice on the lake melted
niin sitte kesäsydännä then, in the heart of summer
pienen jäänpalaisen päällä on a little block of ice
145 tuuli alloisa ajeli the wind wafted on the waves
sonnia pyhän urohon the holy hero’s finger
kultasormuksen kerällä with its ring of gold
ihmisillen nähtäväksi for mankind to see
tunnusmerkiksi jaloksi and a noble sign
iso jota ei suonut suuri Luoja that the great Creator would
eikä sallinut Jumala not vouchsafe, nor God permit
veden alle vaipumahan to sink beneath the water
eikä hukkahan tulemahan nor come to nothing
pyhän miehen peukalota the holy man’s thumb
155 sormia isoin isännän nor the great master’s finger
kultasormuksen kerällä. with its ring of gold.

Lalli pahin pakanoista Lalli the worst of pagans


julmin juutasten seasta cruellest of Jews
joka tappoi pyhän miehen he who killed the holy man
160 pispan herran Hentrikin the bishop, the Lord Henry
otti korkian kypärän took the tall helmet
pyhän miehen pispan päästä off the holy bishop’s head
pani päähänsä omahan and put it on his own head
kallohonsa ilkiähän, on his wicked skull
165 meni kiltinä kotihin. and went proudly home.

Vaimo kehräis torttiansa The woman, spinning her wheel


sanoin lausui suin puheli: formed in words, declared by mouth:
“Mistä on Lalloi lakin saanut “Where did Lalloi get the cap
mies häjy hyvän kypärän?” the bad man the good helmet?”

170 Lalli nosti lakkiansa: Lalli lifted up his cap:


Lallin hiukset lakkihin imevyit Lalli’s hair stuck to the cap
kaikki kamara kerällä and all the scalp stuck with it.
luikois luusta irrallensa It slithered loose from the bone
kaikki kallosta erannui, came clean away from the skull:
175 tuli turpa turvattomaksi his snout became defenceless
pää paha paljahaksi his evil head bare
nahattomaksi kuin naudan pää skinless as a cattle-head
paljahaksi pahan pannan. and bare the evil one’s brow.

319
c. C Pyhä Henrik I
O O St Henry I

Sen teki suuri Luoja The great Creator did that


iso salli väkevä Jumala the strong God permitted that
imeheksi isoi the Father for a wonder
tunnusmerkiksi jaloksi. and a noble sign.
Nyt on pispa ilosa Now the bishop is in joy-
Lalli piinasa pahasa: Lalli in evil torment:
ies pispa enkelein kansa laulelee the bishop with the angels
ilon virttä veisailee, sings, and chants a hymn of joy-
Lalli hiidesä hihtelepi Lalli is skiing in hell.
lylynensä luistelepi His left ski skating
piinan savuhun säkiähän into torment’s thick smoke he
iso sauvallansa satuttelee: strikes out with his stick:
pirut pahoin pistelevät the devils sorely prick him
helvetin heltehesä in the heat of hell
sielu parkaa vaivailevat. and they trouble his poor soul.

Varjele sieltä meitä vakaine Jumala Keep us from that, steadfast God
196 estä totinen Luoja: bar the way, true Creator:
saata salihin taivaisa see us into heaven’s hall
ilohon ijankaikkisehen, into everlasting joy
päästä häjystä mailmast. free us from the wicked world.

S in g e r unknow n
Vaasa, South Ostrobothnia
A. Heikkilä, 1731

320
1. At the periphery of Europe (cf. pp. 34-35). Travel was arduous and
wherever possible by water. Boats had to be manhandled between
watercourses. Innovations travelled slowly in such conditions and thus
Karelia I the old oral tradition survived. - Kiimaisjärvi, Archangel Karelia, 1894.
2. Stony land and primitive methods of agriculture did not provide
sufficient food for the local population which had to eke out a living
by hunting and fishing, and peddling on the Finnish side of the frontier.
The menfolk were often away for months at a time leaving the
farmwork and other manual tasks to the women. At the time the
photograph was taken, the village consisted of some fifty families
and was one of the major sources of epic folk poetry. - Vuonninen,
Vuokkiniemi, Archangel Karelia, 1894.
3. In areas close to routes of communication new ideas penetrated
and altered the traditional way of life. This farm was situated
close to one of the roads that the pedlars followed to and from
Finland and its relative prosperity shows the influence of new
agricultural methods. —Vuokkiniemi, Archangel Karelia, 1894.
4. The images and
metaphors of folk
poetry were
drawn from the
daily round of
household duties.
Similarly, each
activity could be
accompanied by
song. The cradle,
which is fitted
with a foot-strap
to allow the mother
to rock her child
as she worked with
her hands, is a rich
source of hyperbole
(cf. Poem 41). -
Shungu, Olonets
Karelia, ca 1900.

5. Spinning, an
essential part of
women’s duties,
was frequently
accompanied by
song. Both the act
of spinning and the
distaff and spindle
have provided folk
poetry with a
wealth of motifs
and metaphors
(cf. Poems 6, 148)
- Uhtua, Archan­
gel Karelia. 1894.
6. Hunters setting a trap for a
bear or elk. - Vuokkiniemi, Arch­
angel Karelia, 1894.
7. Traditional methods of
washing. - Kiimaisjärvi, Arch­
angel Karelia, 1894.
F a c in g p a g e .
8. As a strict Old Believer, the
famous blind singer Miihkali
Perttunen (the singer of Poems
1:1-14, 8, 21) ate apart from
the other members of the house­
hold and always with his own
plate, bowl and implements. -
Latvajärvi, Vuokkiniemi,
Archangel Karelia, 1894.
9. Ristiniemi (‘Cross Cape’), a
lakeside shrine where travellers
came ashore to pray for a safe
continuation of their journey. -
Vuokkiniemi, Archangel Karelia,
1894.
10. The oldest surviving photo­
graph of the traditional hand-in-
hand way of singing folk poetry
(cf. 1:5-14, p. 74). - Vuonninen,
Vuokkiniemi, Archangel Karelia,
1872.
yRA ^ ’m ’ M
mm ■\ r \ j - fB B g m fö - y
i Wå R jg H /
m
T*
&
v
\^ - J L J ^ K ! ! ^ ^ im
'**
11. A p r a z d n i k , an occasion when local Russian Orthodox
families met to celebrate one of the numerous annual
festivals, in this photograph Whitsuntide ( T r o i t s a ). The
festival was also a time when unmarried boys and girls were
brought together and provided an opportunity to dance and
play traditional games. Family gatherings of this kind date
from the pre-Christian period; they were taken over by the
Church and became associated with the Christian calendar
(cf. pp. 52-54). They were occasions when the old poems were
performed either as entertainment or as the accompaniment
to dance or games. By the end of the 19th century, this
kind of dance accompaniment had been largely replaced by
accordion music. - Kontokki, Archangel Karelia, 1894.

12. One of the last great singers of epic poetry, Paavila


Sirkeinen at the age of 100 (the singer of Poem 145). -
Uhtua, Archangel Karelia, 1915.
67
P Y H Ä H E N R I K II
S t Henry I I

Kasvoi ennen kaksi lasta


toinen kasvoi Kaalimaassa Long ago two children grew
one grew up in Cabbageland
toinen Ruotsis yleni: the other rose in Sweden:
toinen Hämehen Heinirikki one was Henry of Häme
5 toinen Eerikki kuningas. the other Eric the king.
Sanoi Hämehen Heinirikki Henry of Häme
Eerikillen veljellensän: said to Eric his brother:
“Lähkäm maita ristimähän “ Let us go and christen lands
mailien ristimättömillen to the unchristened countries
10 paikoillen papittomillen.” to the places without priests.”

Sanoi sitt Eerik kuningas Then Eric the king


Henrikillen veljellensän: said to Henry his brother:
“Ent on järvet jäätämättä “What if the lakes have no ice
sulan on joki kovero?” the winding river’s melted?”

is Sanoi Hämehen Heinirikki: And Henry of Häme said:


“Kyllä me kiärräm Kiulon järven “So we circle Kiulo Lake
ympäri joki koveron. go round the winding river.
Pane varsat valjahisin Put the colts into harness
suvikunnat suitsi suuhun, fit the yearlings with bridles
20 pane korjut kohdallensan and put the sleighs in order
saata lastut sarjallensan and line up the struts
anturoillensan avarat to their runners fit wide shafts
perällensän pienet kirjat.” the small bright-worked parts behind.”

He kohta ajamahan läksit. At once they drove off.


26 Ajoit niin päivää keväistä So they drove one summer day
kaksi yötä järjestänsän. two nights in a row
Sanoi Eerik kuningas and Eric the king
Heinrikillen veljellensän: said to Henry his brother:
“Jo tässä tulepi nälkä “Now we are getting hungry
30 eikä syödä eikä juoda neither eating nor drinking

21 321
C H Pyhä Henrik I I
O / St Henry I I

eikä purtua pidetä.” no stop for a meal.”


“On Lalli lahden takana “Lalli is beyond the bay
hyväneuvo niemen pääs the fortunate on the cape:
siinä me syömme, siinä me juomma there we shall eat, there we’ll drink
35 siinä purtua pidämme.” • there stop for a meal.”

Siittä sinne saatuansa Then, when they got there


Kerttu kelvotoin emäntä Kerttu the idle mistress
suitsi suuta kunnatointa steamed with her vile mouth
käytti kieltä kelvotointa. used her worthless tongue:
40 Sittä Hämehen Heinirikki at that Henry of Häme
otti heinää hevoisen took hay for the horse
heitti penningit siallen, left coins in its place
otti leivän uunin päältä took bread off the stove
heitti penningit siallen, left coins in its place
45 otti kellarist olutta took beer out of the cellar
vieritti rahaa siallen. and rolled money in its place.
Siin on syönyt, siin on juonut There they ate and there they drank
siinä purtua pitänyt. there stopped for a meal.
Ne kohta ajohon läksit. And soon they drove off.

5o Tuli Lalli kotiansa. Lalli came homeward.


Tuoi Lallin paha emäntä That Lalli’s evil mistress
suitsi suuta kunnatointa steamed with her vile mouth
käytti kieltä kelvotointa: used her worthless tongue:
“Jo tässä kävit ihmiset “Men have passed this way:
65 täss on syöty, täss on juotu here they ate and here they drank
tässä purtua pidetty. here stopped for a meal
Otit heiniä hevoisen took hay for the horse
heitit hietoja siahan, and left sand-grains in its place
otit leipää uunin päältä took bread off the stove
60 heitit hietoja siahan, and left sand-grains in its place
otit kellarist olutta took beer out of the cellar
vieritit santaa siahan.” and rolled gravel in its place.”

Lausui paimen patsahalta: A herdsman spoke from the post:


“Jo vainen valehteletkin! - “Now you are just telling lies! -
66 Älä vainen uskokana!” Don’t you believe her!”

Lalli se pahatapainen Lalli, ill-behaved


sekä myös pahasukuinen from an evil family too

322
s n Pyhä Henrik I I
0 / St Henry I I

otti Lalli lakkarinsan Lalli took up his hatchet


piru pitkän keihähänsän the devil took his long spear
70 ajoi se herraa takaa. and drove off after the lord.

Sanoi sittä uskollinen Then the faithful man


palvelia herrallensan: said, the servant to his lord:
“Jo kumu takana kuulu - “There is a thudding back there:
ajanko tätä hevoista?” shall I drive this horse faster?”

75 Vastais Hämehen Henirikki: Henry of Häme answered:


“Jos kumu kuulu takana “ If there’s a thudding back there
älä aja tätä hevoista do not drive this horse faster
älä karkot konkarita: do not push the steed harder:
kätke suas kivviä varjon hide in the shade of a rock
80 kuultele kivvein takana. listen from behind the rocks.
Kuin mua tavoitetahan And when I am caught
taikka myös tapettanehen or else even killed
poime mun luuni lumesta pick my bones out of the snow
ja pane härjän rekehen: and put them on an ox-sledge:
85 härkä Suomehen vetävi. it will draw me to Finland.
Kussa härkä uupunevi Where the ox grows tired
siehen kirkko tehtäköhön there let a church be put up
kappeli rakettakohon a chapel be built
pappein saarnoja sanoa for priests to preach sermons in
so kansan kaiken kuultavaksi.” that all the people may hear.”

Palais tuoi kotia Lalli. Then Lalli returned homeward.


Lausui paimen patsahalta: A herdsman spoke from the post:
“Kusta Lalli lakin saanut “Where did Lalli get the cap
mies paha hyvän kypärän the bad man the good helmet
as pispan hiipan hirtehinen?” the gallows-bird the mitre?”

Sittä Lalli murhatöinen Then Lalli the murderer


lakin päästäns tavoitti: snatched the cap from off his head:
hiukset ne himahtelit. his hair came with it.
Sormuksen veti sormestans: Pulled the ring off his finger:
loo sormen suonet liukahtelit. his finger-sinews slid off.

Näin tämän pahantapaisen So to this ill-behaved one


pispan rakkaan raatehan to the dear bishop’s maimer

323
CH Pyhä Henrik I I
\J / St Henry I I

tuli kosto korkialta came the vengeance from on high


makso mailman valtiaita. payment from the world’s ruler.

S in g e r unknow n
West Finland
Collector unknown, ca 1671

324
68
PUU
The Tree

li kaks karjalaista
O virolaist oi viisi, kuusi, T woor sixKarelians,
Estonians
five

hihhoiit päivän kirvestäse honed for a day their axes


toisen päivän toista puolta another the other sides
5 kolmannen koko terää. and for a third the whole blades
Menniit puuta etsimään and they went in search of wood
tammee tavottamaan: to catch an oak-tree:
löysiit puun, tapaisiit tammen they found a tree, caught an oak
alkoiit tammen hakata. began to hack the oak-tree.

10 Tammi kielelle rupesi: The oak chattered with its tongue:


“Mitä työ miehet minust?” “What do you men want of me?”

Miehet vasten vastasivat: The men answering said: “ I


“Etsin kirkon kynnyspuita seek wood for a church threshold
alttarin asetuspuita wood for raising an altar
is lukkarille laulupuita wood where a deacon may sing
Maarian makauspuita.” wood for Mary to lie on.”

Tammi vasten vastajeli: The oak answering replied:


“Ei minusta niiksi puiksi “ My wood will not serve for that
ei o kirkon kynnyspuiksi no wood for a church threshold
so alttarin asetuspuiksi wood for raising an altar
lukkarille laulupuiksi wood where a deacon may sing
Maarian makauspuiksi: wood for Mary to lie on:
sus o juossut juurillain a wolf has run on my roots
karhu on maannut kannoillain a bear has lain on my foot
25 oravainen oksillaini a squirrel in my branches
lintu laulo latvassain.” a bird has sung in my top.”

S in g er unknow n
Vcnjoki, Ingria
H. A. Reinholm, 1847

325
69
METSÄ
The Forest

Suokkaan soria poika


hevoisia oli etsimässä: T hewashandsome son of Suokas
out searching for horses:
lesken tyttären lepäsi lay with a widow’s daughter
Marin tyttären makasi sported with Mari’s daughter
6 kaian korven kainalossa under the narrow woods’ arm
sinisen salon sisässä. in the blue backwoods’ inside.
Alkoi tuo salo hävitä Those backwoods began to die
metsät meiän kuivaella and our forest to wither
lehet puusta, ruohot maasta leaves on trees and grass in soil
10 käk on kuusesta kukkumasta cuckoo calling in the spruce
päivä päälle paistamasta sun shining on them
kuu päälle kumottamasta. moon gleaming on them.
Tuotiin papit Paaritsalta: Priests were brought from Paaritsa:
ristittihin meiän metsät our woods were christened
15 ristittihin, kastettihin. christened and baptised.
Siit alkoi salo siletä Then the backwoods grew lovely
metsät meidän kasvaella our forests began to sprout
lehet puuhun, ruoho maahan leaves on trees and grass in soil
käk on puuhun kukkumahan cuckoo to call in the tree
20 päivä päälle paistamahan sun to shine on them
kuu päälle kumottamaan. moon to gleam on them.

S in g er unknow n
Sakkola, Karelian Isthmus
K. Slöör, 1854

326
70
LÖYTÖLAPSI I
The Foundling I

H anno oi poika haikiainen


man hevoista etsimähän H anno, melancholy boy
went out in search of horses
tammaa tavottamahan went to catch a mare
sukukunnan suitset vyöllä the kin’s bridle at his waist
s vallan valjaat selässä. the manor’s harness on his back.

Marketta oi koria neito Marketta, beautiful maid


män tuo luutaa lehosta went out to the grove for broom
vastaksia varvikosta. to the thicket for bath-whisks:
Puuttu Hanno haastamahan Hanno stopped to speak
10 yli aian anto suuta over the fence gave a kiss
läpi aian anto kättä. through the fence he gave his hand.

Tuosta tyyty, tuosta täyty She was fulfilled, she was filled
tuosta voipu vuotehesen by it, put to bed by it
tuosta paksuksi pamahti: and blown out thickset from it:
io sai tuo lapsen lastuloille she had a child on shavings
pojan porsahan pehuille. a boy on pig’s straw.

Elina oi sepän emäntä Elina the smith’s mistress


löys tuo lapsen lastuloilta found the child on the shavings
pojan porsahan pehuilta. the boy upon the pig’s straw.
20 Toi tuo oltta tuoppisella: She brought beer in a flagon:
kuka olven juoaksensa who drank up the beer
se lapsen lapseksensa. would be parent to the child.
Mihin poika pantanehe? Where was the boy to be put?
Visataan poikanen vetehen. He was tossed in the water.

26 Poika kielille rupesi: The boy chattered with his tongue:


“Hannaksen punanen hattu “Hannas’ red hat shall
tuo vetehen verhokseni, cover me in the water
Marketan sinihamonen Marketta’s blue skirt
se tulehen turvakseni.” shall shelter me in the fire.”

S in g e r unknow n
Hietamäki - Liissilä, Ingria
D. £. D. Europaeus, 1848
71
L Ö Y T Ö L A P S I II
The Foundling I I

H elinä hyvä emäntä


Katro kauno varrelt H elinä the good mistress
Katro the fair of figure
kasvat tytärtä kuusi: brought up six daughters:
viisi vietii vihille five were married off
5 kuuvvennen kottii heitti and the sixth was left at home
heitti Marketan kottii at home Marketta was left
Marketan kotikanaksi. to be the home-bird.
Marketta kopia neito Marketta the haughty maid
säterissä säppelissä in a silk head-band
10 puolen kynnystä kulutti wore half the threshold away
heliöillä helmoillaa, with her bright skirt-hems
kuuvvet vöilliset kyl her six waist-trinkets
piti viiet vitjat poikki frayed down her five chains
kirkkotietä käyvvessää. on the road to and from church.
is Sitte paken paimeneen Then she dashed away to herd
leilo lehmiin jälestä, skipped away after the cows
löysi tuolta nuoren nurmen she found young grass there
nuoren nurmen heinäpohjan: young grass on old hay:
tuohon uni nukutti and there sleep overcame her
20 tuohon paineli palava the heat oppressed her
tuohon lämmin läylenteli. the warmth weighed her down.

Hannus Saaren saksalainen Hannus, German of the Isle


sukukunnan suitset käes the kin’s bridle in his hand
heimokunnan heltukkaiset and the tribe’s trappings
25 löysi tuon neijon nukkuneena found that maid asleep
Marketan makkaamasta: found Marketta lying down:
tuosta viereen venähti there beside her he stretched out
tuohon siit Marketan makaisi. then he lay with Marketta.

Tuli Marketta kottii Marketta came home


30 jo oi siit emolle outo: seemed now strange to her mother:
“Mikä o meijän Marketalla “What’s wrong with our Marketta

328
n 1 Löytölapsi I I
/ 1 The Foundling I I

ja kuka kotikanalla? and what’s up with our home-bird?


Ennen oi hoikka ja solakka She was once slim and slender
nyt on paksuja tornia: now she is thickset and stout:
35 perse ei penkist kohhoo her backside won’t rise from seats
jalat ei sillan liitoksest.” nor her feet from the floor-joint.”

Alko siit saunassa assuu She moved into the bath-house


ilman vyötä vötkötteli wore no belt around her waist
ilman kalsutta kävellä. walked about without leggings.

40 Helinä hyvä emäntä Helinä the good mistress


hää men oltta ottamaa went to get some beer
tarii tavoittammaa: and to fetch some ale: she found
löysi lapsen loantalasta a child in the chicken-house
pojan portahiin välistä. a boy underneath the steps.
45 Vei hän miehiin tuppaa: She took him to the men’s house:
“Kennen lie tämä tekemä “Whose is this doing
kennen lapsi laittelema?” whose is the child’s fashioning?”

Vanno yksi, vanno toinen One swore and another swore


se vanno valan kovemman that one swore a stronger oath
60 kipiämmän kiinitteli more grievously bound himself
kuka ties tehnehiese who knew it was his doing
tais tarkon soanehiese. knew well it was his getting.

Sitte vietii naisiin tuppaa: Then to the women’s house she


vanno yks, vanno toinen took him: one swore, another
65 se vanno valan kovemman that one swore a stronger oath
kuka ties tehnehiese who knew it was her doing
tais tarkon saaneheen. knew well it was her getting.
Marketta punahamoine Marketta the red-skirted
se vanno valan kovemman, swore the strongest oath:
so Hannus Saaren saksalainen Hannus, German of the Isle
se vanno valan kovemman swore the strongest oath
kipiämmän kiinitteli. most grievously bound himself.

Siit akat ajatelloot: Then the women considered


mihi poika pantanee where to put the boy
es mihi surma säätänee: where death might be found:
viijä vettee poika take the boy to the water
ja tullee tuikataa. and shove him into the fire.

329
H 1 Löytölapsi I I
/ 1 The Foundling I I

Lait siis tuolle Jesus kielen Jesus then gave him a tongue
Jesus kielen, Maarja mielen Jesus tongue and Mary mind
70 kolmiöiselle pojalle: gave to the three-night-old boy:
“Hannuksen halia hattu “Hannus’ grey hat shall
miu vettee verhaksei, cover me in the water
Marketan punahamonen Marketta’s red skirt
miu tullee turvaksein.” shall shelter me in the fire.”

S a a ra a n d L iis a
Sakkola, Karelian Isthmus
H. A. Reinholm, 1848

330
72
NEITOJA LOHIKÄÄRME I
The M aid and the Dragon I

T uutikas me kaksi lasta -


koskas kolmannen saamme? Let’s rock two children
and when shall we get a third?
Jesus kaunis kolmanneksi Fair Jesus shall be the third
Neitsy Maaria neljänneksi the Virgin Mary the fourth
s isä viisas viidenneksi wise father the fifth
äiti kulta kuudenneksi: dear mother the sixth:
jopa meitä joukko tulee! there will be a crowd of us!
Käykääs me Käenmäelle Let us go to Cuckoo Hill
käen kieltä oppimahan, and learn the cuckoo’s language
10 kiskokas me niini pitkä pull ofF a long strip of bast
niini pitkä ja leviä a strip of bast long and wide
jolla hirret hirttelemme to hang a gallows
tien suuhun, veräjäpuuhun at the road’s end, the gatepost
josta kuninkaat kulkevat where the kings walk, where
is valtaherrat vaeltavat. the mighty lords stroll.

S in g e r u n k n o w n

Eräjärvi, Häme
N. Järvinen, 1853

331
73
NEITOJA LOHIKÄÄRME II
The M aid and tke Dragon II

Nouskamme nuoret norolle


kesäkempit kalliolle, Let’s go, young ones, to the vale
summer-blessed to the rock
leikatkamme lehmus pitkä let’s cut down a tall lime-tree
lehmus pitkä ja siliä, a lime-tree both tall and smooth
5 kiskokamme niini pitkä pull off a long strip of bast
niini pitkä ja leviä, a strip of bast long and wide:
punokamme nuora pitkä let’s twine a long rope
nuora pitkä ja noria a rope both long and supple
mihen ylkä hirtetään where the bridegroom shall be hanged
10 tien suuhun, veräjän päähän at the road’s end, the gatepost
kussa kulkoo kuningas where the king walks, the
vaeltaa linnan vanhin. castle’s elder strolls.

Kuningas kovin kysyy The king sternly asked


linnan vanhin vaikuttaa: the castle’s elder complained:
is “Minkä tähen tää siottu “ Wherefore is this one bound here
vaimon poika vangittuna?” this son of woman captive?”

“Kun makas nuoren neion “Because he lay with a maid


nuoren neion, morsiamen.” a young maid, a bride.”

Neito rukka tuomittiin The poor maiden was condemned


20 lohikäärmeen kitaan. to the jaws of the dragon.
Lohikäärme huokasiin And the dragon sighed
huokasihen, henkäsihen: it sighed, it drew breath:
“Ennen nielen nuoren miehen “ I’d sooner swallow a young
nuoren miehen miekkoneen man, a young man with his sword
25 heposen satuloineen and a horse with its saddle
papin kirkkokultineen and a priest with his church gold
kuninkaan kypärineen and a king with his helmet
ennenkun nielen nuorta neittä than swallow a young maiden
nuorta neittä, morsianta: a young maid, a bride:
so neito poikia tekee a maid will have sons

332
/7 '3 Neito ja lohikäärme I I
/ J The M aid and the Dragon I I

laivan lapsia latoo will load a ship with children


tuohon suureen sotaan for that great war, for the fight
Tanikan Martin tappeloon.” with Martti of Tanikka.”

S in g er unknow n
Karelian Isthmus
E. Lönnrot, 1837

M .1
74
NEITOJA LOHIKÄÄRME III
The M aid and the Dragon I I I

Nouskaa nouskaa, käykää käykää


nouskamme norulle nooret
et up, get up and go, go
Glet’s go, young ones, to the vale
kesot kempit kalliolle, summer-blessed to the rock
punokamme nuora keerä let’s twine a taut rope
5 nuora keerä ja lakea, a rope both taut and even
leikatkaa lehmus pitkä let’s cut down a tall lime-tree
lehmus pitkä ja leveä a lime-tree both tall and broad
mihin hylköi hirtellään on which the wretch shall be hanged
vaimon poikoi vankataan the son of woman captive
10 tiesuihen, veräjäspäihen at the road’s end, the gatepost
aivoin aioin kolkkaseen right at the fence’s corner
mis kulkoot kunervoit where the kings walk, the
herrasmiehet heutajaat lordlings pass by, the
linnoin aatelit ajaat. castle’s nobles ride.

is Kunervoi kysyttellöö: And the king asked: “Why


“Mingän tähen mies siottu is a man bound here
mies siottu, mies niottu a man bound and wound
käet kiinni käärielty his hands fastened hard
sormet kiinni solmieltu?” fingers knotted fast?”

20 “Neioin tähen mies siottu “Because of a maid he’s bound


mies siottu, mies niottu the man’s bound and wound
käet kiinni käärielty his hands fastened hard
sormet kiinni solmieltu.” fingers knotted fast.”

Kunervoi kysyttellöö And the king asked, the


25 linnoin vanhin vannottaa: castle’s elder persisted:
“Ootko siä omasta syystä “Are you here through your own fault
vai oot valloin vääryyest?” or through parish injustice?”

“En oo omasta syystä “I’m not here through my own fault


enkä valloin vääryyest.” nor through parish injustice.”

334
n A Neito j a lohikäärme H I
/ t The M aid and the Dragon I I I

30 Neitoi raukkoi tuomittun oli The poor maiden was condemned


tuomittun, luomittun: condemned and cast out:
luotiin käärmehen kitaan she was cast in the snake’s jaws
kaloin hauvin hampahisse. between the pike’s teeth.
Lohikäärme loi kivoille The dragon slumped on the rocks
35 hauki rannalle rappais: the pike flung itself ashore:
“En mie jyve nuorta neittä “ I shall not gnaw a young maid
enkä nuorta morsiant: nor yet a young bride:
morsian pojan tekköö for a bride will have a son
laivon seppiä lattoo will load a ship with shipwrights
40 Ruotsin suureen sotaan for Sweden’s great war
Tanumartin tappeloon. the fight with Tanumartti.
Jyven miehen miekkoineen I’ll gnaw a man with his sword
uroin umpirautoineen a hero with his sheathed blade
heppoisen satuloineen and a horse with its saddle
45 heikon herran valtoineen a weak lord with his household
kuninkahan linnoineen.” and a king with his castle.”

Singer unknown
Hevaa, Kaprio, Ingria
V. Alava, 1891
75
MATALEENA I
M agdahn I

-jy yrataleena neiro nuari Ti yragdalen, young maid


lV A kaw an se kotona kasvoi .IVAwas long growing up at home
kawan kasvoi, kawas kuului long growing, widely heard of
tykönä hyvän isänsä with her good father
6 kanssa armahan emonsa: beside her darling mother:
palkin polki permannosta she trampled down the floor-beam
hänen korkokenkinänsä, with her high-heeled shoes
hirren kynnyksestä kulutti wore down a threshold-timber
hänen hiänohelmallansa, with her fine skirt-hem
io toisen hirrem päänsä päältä another timber above
hänen kultakruunullansa, with her golden crown
kultasen rahin kulutti wore away the golden stool
astioita pestessänsä, as she washed dishes
kulman pöyrästä kulutti wore down the table-corner
is hopiapäällä veitsellänsä. with her silver-hafted knife.

Mataleena neiro nuari Magdalen, young maid


meni vettä lähtehestä went to the spring for water
kultakiulunen käressä a golden pail in her hand
kultakorva kiuluisessa. a gold handle on the pail.
20 Katseli kuvan sijoa: She looked where her likeness was:
“Ohoo minua neitoo parkkaa! “O what a poor maid I am!
Pois om muatoni muuttunut My form has quite changed
kaunis karvani karannut, my lovely hue has vanished
eipä kiillä rintakisko my pendant does not glitter
25 eikä hohra päähoppeeni nor does my head-silver gleam
kuin kiilsi menneennä vuanna.” as they glittered yesteryear.”

Jiesus paimenenna pajussa Jesus, a herdsman among willows


karjaslaisna kaskismaissa: a drover in burnt clearings:
“Annas vettä juarakseni.” “Give me a drink of water!”

30 “Ei oo minulla astiata.” “I have no pitcher.”

336
'y r Mataleena I
/ J Magdalen I

“Pistäppäs pivosi täysi “Then scoop a handful


kahmaloises kanniskele.’* fetch me some in your two hands.”

“Mitäs puhut Suomen sulha “What do you say, Finnish slave


Suomen sulha, mairen orja Finnish slave, serf of the soil
35 isäni ikkuinen paimen always my father’s herdsman
Ruatsi ruaroill elänyt fed on fishbones left by Swedes
kalan päillä kasvatettu.?” nourished on fish-heads?”
“If not
“Elles mä elkiäs saneles.” I ’ll tell of your evil deeds.”

“Sanos kaikki mitäs tiärät.” “Tell me all you know.”

40 “Kussas kolme poikalastas? “Where are your three little boys?


Yhren tuiskasit tulleen One you thrust into the fire
toisen vetkasit vetteen one you plunged in the water
kolmannen kaivoik karkkeeseen. one you dug into the field.
Sen kuis tuiskasit tulleen He you thrust into the fire
45 siit olis Ruattissa ritari, would be a knight in Sweden
sen kuis vetkasit vetteen he you plunged in the water
siit olis pappi paras tullu, would be a priest of the best
sen kuis kaivoik karkkeeseen he you dug into the field
siit olis herra tällä maalla.” would be a lord in this land.”

60 Mataleena neiro nuari Magdalen, young maid


rupes vasta itkemää only then began to weep
itki kiulun vettä täyteen, wept the pail full of water
Jiesuksen jallaat peseepi and washed the feet of Jesus
hiuksillansa kuivajeli: and wiped them dry with her hair:
55 “Pane minua Herra Jessus “Put me, Lord Jesus
pane minua, miinkäs tahrot - put me wherever you will -
soihim, maihin portahiksi to be steps on marshy ground
porttojen poljettavaks to be trampled on by whores
joka tuulen tuikutella blown about by every wind
60 valkiaisen vaikutella. swayed by every flame.
Pane minuva Herra Jessu Put me, Lord Jesus
pane paikkaan, miinkäs tahrot - put me anywhere you like -
siioiksi meren ahoille to be a bridge on the sea
lahopuiksi lainehille rotten timbers on the waves
65 joka tuulen tuijotella tossed about by every wind
joka lainehen lajella. swept by every wave.

22 337
'"7 C Mataleena I
I J Magdalen I

Pane minuva Herra Jessu Put me, Lord Jesus


pane paikkaan, miinkäs tahrat: put me anywhere you like:
tunke hiiliksi tuleheen push like charcoal in the fire
70 kekäleiksi valkiahaan like a brand into the flames
joka tulen tuikutella blown about by every fire
valkiaisen vaikutella.” swayed by every flame.”

E r iik a H a u d a n m ä k i
Sääksmäki, Häme
A. A. Borenius, 1879

338
76
M A T A L E E N A II
Magdalen I I

Mateliina neitoi kaunoi


kiusin kirkkoo männöö
agdalen, fair maid
Mwent defiantly to church
päätäkautena kamppailin purposefully to chapel
sukassa sinertävässä in bluish stockings
6 kaputissa kirjavassa. in a many-coloured hood.
Löysi verkoja murruisen She found a small scrap of cloth
säteriä kappalehen, a small piece of silk
vei veroin keritsijällen took the cloth to the shearer
saattoi Saksan suutarillen. to the German shoemaker.

10 Sulloitteli suutaria: She flattered the shoemaker:


“Suutari, sulloin poikoi “Shoemaker, sweet boy,
kupemaatti, Narvoin herra governor, lord of Narvoi
tee siä tästä suuri suupa make from this a great fur coat
suuri suupa, kaunoi kaapu! a great garment, a fine cloak!
is Tee siä kaitoi kainaloista Fit it close under the arms
riski rinnoin kohasta make it strong about the bust
avaroi allaisin puolin! and wide lower down!
Laai sulkut suita myöte Sew silk down the openings
löyhyten helmoista levitä!” with room to spare at the hems!”

so Suutari, sulloin poikoi The shoemaker, the sweet boy,


kupernaatti, Narvoin herra governor, lord of Narvoi
laati tuosta suuren suuvan sewed from that a great fur coat
suuren suuvan, kaunoin kaavun, a great garment, a fine cloak
laati kaioin kainaloista fitted close under the arms
26 riskin rinnoin kohasta sewed it strong about the bust
laati sulkut suita myöte sewed silk down the openings
aamitsat alaisin puolin a hemmed linen skirt below
löyhyten helmoista levitti. with room to spare at the hems.

Mateliina neitoi kaunoi Magdalen, fair maid


so kiusin kirkkoo männöö went defiantly to church

339
*7dZ Mataleena H
/Q M a g d a len ll

päätäkautena kamppailin, purposefiilly to chapel


näki oksalta ommenan saw an apple on a bough
näki puusta päähkenäisen, saw a nut upon a tree
otti oksalta ommenan took the apple from the bough
36 päästi puusta pähkenäisen, réached the nut down from the tree
löi ommenan huuloilleen put the apple to her lips
huuloiltaan kieloilleen from her lips on to her tongue
kieloiltaan keluksilleen. from her tongue down her gullet.

Tuosta tyltyi, tuosta täytyi She was fulfilled, she was filled
40 tuosta tiintyi tiineheksi by it, swelled with child by it
tuosta paksuksi panniis grew thickset from it
lihavaksi liitteliis. put on flesh from it.

Mateliina tuli synnin vaimo Magdalen, sinful woman


kiusin kirkkoo männöö went defiantly to church
46 päätäkautena kamppailin, purposefully to chapel
astui kirkkoon jalan set one foot within the church
toisen kirkon rappusillen. the other on the church steps.

Kiesus kerkui kirkon maassa Jesus yelled from the churchyard


Luojoi lauloi laavitsalta the Creator from the bench
60 Jummala jakun nenältä: sang, God from the footstool-tip:
“Mateliina neito kaunoi “ Magdalen, fair maid
elä kierrä kirkkoa don’t go round the church
kamppalia kaota! don’t shame the chapel! There are
Kolme on lasta vyösijalla: three children under your belt:
65 yksi on ismaroi issois one by your noble father
toinen vedroi velvyees one by your supple brother
kolmas on vateruees. and one by your godfather.
Kaksi miä annan anteheksi For two I will grant pardon
vaan en kolmatta luppoa - but grant no leave for the third -
60 annan ismaroin issois grant for your noble father’s
annan vedroi velvyees, and for your supple brother’s
en anna vateruttaas: but not for your godfather’s:
kuomasta on kovemmat synnit from a sponsor graver sins
vaterasta on vaikeammat.” from a godfather worse come.”

O lg o i
Hevaa, Kaprio, Ingria
V. Porkka, 1883

340
77
ORJA JA ISÄNTÄ I
S erf and Master I

Orjasurtenrukkaistu,päivän alla
surten astu Apoor serf under the sun
grieving sat and grieving stepped
surten ruualle rupesi, grieving started on his food
leikkasi manatun leivän cut his cursed bread
s manatusta kannikasta, from a cursed crust
söi orja manatun maion the serf ate his cursed milk
manatusta maljasesta from a cursed bowl
manatusta koasta from a cursed hut
manatusta kattilasta from a cursed pot
10 söi manatun, joi manatun, ate cursed and drank cursed
makasi unen manatun lay in cursed sleep
manatulla vuotehella. on a cursed bed.

Tuli kolme taivon miestä Three men of heaven


kysyttihin, lausuttihin: came asking, speaking:
ib “Kuss on tässä orjan tsuppu?” “Where is the serf’s corner here?”

“Oven suussa orren alla.” “At the door, beneath the beam.”

Niin kiilu isännän silmä So the master’s eye glinted


kun on kyy kulossa kiilu, as a snake glints in dry grass
niin soitti emännän kieli the mistress’s tongue
so kun on kuiva haavan lehti. clacked like a dry aspen leaf.

Lupa orjan annettihin To the serf leave was given


lupa orjan, valta vangin the serf leave, the captive power
juosta jouluna kotihin to run off home for Christmas
joulun pitkinä pyhinä for the long feast of Christmas
26 parahalla pakkasella in the hardest frost
nukkavierulla nutulla in a threadbare coat
hamehella hajonneella: in a smock falling apart:
tuonne orja tielle kylmi there the serf froze on the way
suistu orja suin lumehen fell on his face in the snow

341
7 7 Orja ja isäntä I
I / Serf and Master I

30 suin lumehen, päin lumehen face in snow and head in snow


koprin ilmahan kovahan. his fists in the bitter air.

Tuli kolme taivon miestä Three men of heaven


kolmans oi Jumalan poika, came, the third the Son of God
otettihin orjan sielu and the serf’s soul was taken
36 talutettiin taivosehen was led into heaven, brought
tuotihin Tuonelan tupahan to the house of Tuonela
muitten sielujen sekahan. with the other souls:
“Istu tässä, orja rukka: “Sit down here, poor serf:
sait sie siellä seistaksesi you had all your standing there
40 oijanaki ollessasi!” when you were a serf!”

Tuotihin metinen tuoppi. A flagon of mead was brought:


“Juo tästä, orja raukka: “Drink this, O poor serf:
sait siellä vettä juoa!” you had water to drink there!”

Tuotihin isännän sielu And the master’s soul was brought


46 tuotihin tulinen tuoli: and a fiery chair was brought:
“Istu tässä, jalo isäntä!” “Sit down here, O great master!”

Tuotihin tulinen tuoppi: A fiery flagon was brought:


“Juo tästä, jalo isäntä!” “Drink this, great master!”

“ Mintähe tämä minulle?” “Wherefore is this done to me?”

60 “Sentähe tämä sinulle: “For this it is done to you:


sait siellä mettä juoa you had mead for drinking there
joit mettä, joit olutta.” you drank mead and you drank beer.’

Astu jalo isäntä The great master stepped


pitkin Tuonelan katuja down the streets of Tuonela
66 pitk on kyynärä pivossa a long cubit in his hand
verkatorvi olkapäillä shouldering a roll of cloth
suuri on kappa kainalossa. a big gallon beneath his arm:
“Ota tästä, orja raukka “Take this, O poor serf
ota ota, orja raukka!” take, take, O poor serf!”

so “En ota, jalo isäntä.” “ I’ll not, great master.”

“Ota ota, orjaseni “Take, take, my dear serf

342
7 7 ®Ti a j a käittä I
/ / S erf and Master I

suuremmallakin kapalla a still bigger gallon’s worth


pitemmälläki kyynärällä!” a still longer cubit’s worth!”

“Mahot maksoa ajalla “You might have paid at the time


65 kun on riihessä remusin I was in the threshing-house
alla parsihen pamusin, slamming beneath the rafters
kun on juoksin juomavettä when I ran to drink water
kolmasti kesässä yönä three times in a summer night
puista huuhoin huutehia and wiped hoarfrost off the trees
70 maasta kastehen karisin.” and shook the dew off the earth.”

S in g e r u n kn ow n
Korpiselkä, Ladoga Karelia
R. Polén, 1847

343
78
ORJA JA ISÄNTÄ II
S erf and M aster I I

lin oijana Virossa


O paimenna pakanan moassa. Iwas a serf in Estonia
herdsman in the pagan land.
Tulipa lupa oija rukan The poor serf had leave
joulullen kotia männä to go off home for Christmas
5 nukkuveralla nutulla in a threadbare coat
hamehella hamppusella. in a hempen smock.
Kuolpa tielle oija rukka: The poor serf died on the way:
vietiin sielu portin päälle. his soul was borne to the gates.
Kysy Kiesus Pietarilta: Jesus asked Peter:
io “Kenen sielu portin päällä?’* “Whose is the soul at the gates?”

Pietari vastasi vakainen: Peter the steadfast replied:


“Siel on sielu orja raukan.” “ It is a poor serf’s soul there.”

“Tuokoa sielua sisälle “Bring the soul inside


muiten sielujen sekahan.” with the other souls.”

is Sielu luotihin sisälle. The soul was taken inside.


Tuotiinpa kultanen tuoli. Now, a golden chair was brought
Istuu tuolle orja raukka. and the poor soul sat on it:
“Minkätähen tämä minulle?” “Wherefore is this done to me?”

“Sentähen tämä sinulle: “For this it is done to you:


20 olet soana seisoksella you had all your standing up
orjanaki ollessasi.” when you were a serf.”

Tuotiinpa kultanen tuoppi A golden flagon was brought


mettä viinoa sisällä: with mead, with liquor inside:
“Juo tässä orja raukka.” “Drink this, O poor serf.”

25 “ Minkätähen tämä minulle?” “Wherefore is this done to me?”

“Sentähen tämä sinulle: “For this it is done to you:

3 44
HO Orja ja isäntä I I
/ O Serf and Master I I

kyll oot saanna vettä juuva you had water for drinking
oijanaki ollessasi.” when you were a serf.”

Sitte kuol iso isäntä: And then the great master died:
30 vietiin sielu portin peälle. his soul was borne to the gates.
Kysy Kiesus Pietarilta: Jesus asked Peter:
“Kenen sielu portin peällä?” “Whose is the soul at the gates?”

“Siell on sielu ison isännän.” “ It is a great master’s soul.”

“Tuokoa sielua sisälle “Bring the soul inside


35 muiten sielujen sekahan.” with the other souls.”

Tuotiinpa tulinen tuoli: Now, a fiery chair was brought:


“Istu tähän iso isäntä.” “Sit here, great master.”

“Minkätähen tämä minulle?” “Wherefore is this done to me?”

“Sentähen tämä sinulle: “For this it is done to you:


40 kyll oot istunna pöyän päässä you sat at the table-head
isäntänä ollessasi.” when you were master.”

Tuotiinpa tulinen tuoppi A fiery flagon was brought


tulta tervoa sisällä: with fire and with tar inside:
“Juo tästä iso isäntä.” “Drink this, great master.”

45 “Minkätähen tämä minulle?” “Wherefore is this done to me?”

“Sentähen tämä sinulle: “For this it is done to you:


kyll oot saanna oltta juuva you had beer to drink
isäntänä ollessasi.” when you were master.”

S in g e r u n kn ow n
Central Finland
E. Rudbeck, A. Rothman, 1850

345
79
ORJA JA ISÄNTÄ III
S erf and M aster I I I

Olioliennen oijoi raukkoi


oijoi Venaas T here was a poor serf
once, a poor serf in Venaa
palkkoil pahoil mail employed in the evil lands
piikana pirun pesäs. a slave in the devil’s nest.
5 Oli vuuen, oli toisen He spent a year, another
alkoi palkkoja anellak began to ask for wages
vaivojahaan vaikutella. to complain of his troubles.

Pahoin palkkoi maksettiin Bad wages were paid


pahoin palkkoi orjoi raukoin - bad were the poor serf’s wages -
10 pikkaraisel piool a tiny handful
kaitaisel kappaisel a narrow gallon measure
jyvällä tohukkahal and corn full of dust
ruummenel rajahisel. chaff to throw to beasts.

Lupa oijoin annettiin To the serf leave was given


is lupa orjoin, valta vangin the serf leave, the captive power
juossa joulun kottiin to run off home for Christmas
pääsiäissä pois paetak to flee at Easter
paljahil paioillaan in his bare shirtsleeves
aivoin aivinaisillaan in just his linen
20 parahiil pakkaisiil in the hardest frosts
vinkeämmillä viluil: the most howling chills:
orjoi suistui suin lumeen fell on his face in the snow
suin lumeen, päin vetoin face in snow, head in water
koprin ilmaan kovaan his fists in the bitter air
25 takaraivoin tanteresse. flat on his back on the ground.

Luojoi linnasta tulloo: The Creator came from his


on kuusi kutsaria town with six coachmen
ja kaheksan kannoillist and eight footmen too:
viis oli miestä muukalaist five were foreigners
30 rattahil kultaisiil in a gold carriage

346
7 0 O r ja j a is ä n tä I I I
/ S S e r f a n d M a s te r I I I

veeriil hopeaisiil. with silver wheels. They


Näkkiit tieltä orjoin seelun. saw the serf’s soul on the road.

Otettiin siit orjoin seelu Then the serf’s soul was taken
suin lumest, päin veest face from snow, head from water
35 koprin ilmast kovast his fists from the bitter air
takaraivoin tanterest. up off his back from the ground.
Pantiin seelu rattahille The soul was put in the car
rattahille kultaisille in the gold carriage
veeriille hopeaisille, with the silver wheels:
4o vietiin seelu taivoiseen the soul was borne to heaven
Jumalan oven takkannek to behind God’s door, beneath
Luojoin ikkunan aloillen. the Lord Creator’s window.

Mäni aikoja vähäisen A short time went by


kului kuuruu pikkaraisen, a little while passed
45 Jumalan ovi avahui and God’s door opened
Luojan portti longahtais. the Creator’s gate swung out.

Saoi Luoja oijilleheen: To his serfs the Creator


“Oi miun orjoin omaan said: “O my own serfs
mänkään, orjoit, katsomaan go out, serfs, and see
50 mikä usta ulvottaa what is making the door whine
veräjää vinguttaa!” what is making the gate creak!”

Männät orjoit katsomaan: The serfs went to see:


ollut tuossa orjoin seelu there was the serf’s soul
Jumalan oven takkaan there behind God’s door, beneath
55 Luojoin ikkunan aloil. the Lord Creator’s window.

Saoi Luojoi orjilleen: To his serfs the Creator


“Ottakaan orjoin seelu said: “Take the serf’s soul
seelu viekää seeluihen sekaan!” lead the soul among the souls!”

Otettiin tuost orjoin seelu Thence the serf’s soul was taken
60 seelu vietiin seelujen sekaan the soul led among the souls
ruume ruumelappeaan. body beside the bodies.
Tuotiin hopeastooli A chair of silver was brought
orjuellen istuimeks. for the serf to sit upon.

Oijoi raukkoi huokaeli And the poor serf sighed

347
7 0 Orja ja isäntä I I I
/ ^ Serf and Master I I I

65 huokaeli, henkäeli: he sighed, he drew breath:


“ Mingän tähen tää miullen “Wherefore is this done to me
kuka kurjoillen pojoillen?” why this to a wretched boy?”

“Sentähen se siullen: “For this it is done to you:


jo siä sait seissakses you had all your standing up
70 oijuuessa ollessas when you were a serf
pahoin miehen palkkalaissa.” hireling of an evil man.”

Tuotiin hopeatuoppi A silver flagon was brought


mettä viinaa sisäs with mead, with liquor inside
oijuelle juotimeks. for the serf to drink.

75 Oijoi raukka huokaeli And the poor serf sighed


huokaeli, henkäeli: he sighed, he drew breath:
“Mingän tähen tää miullen “Wherefore is this done to me
kuka kurjoillen pojoillen?” why this to a wretched boy?”

“Sentähen se siullen: “For this it is done to you:


so jo siä saanut vettä juuak you had water for drinking
orjuen ollessaas when you were a serf
pahan miehen palkkalaissa.” hireling of an evil man.”

Mäni aikoja vähäisen A short time went by


kului kuuruu pikkaraisen a little while passed
86 tuo kun ilkeä isäntä and then the wicked master
kääyy rukoelloo was walking and praying down
pitkin Tuonelan mätääst Tuonela’s hill, a gallon
odrakappain käes of barley held in his hand
kagrakappain kainalos: of oats held under his arm:
90 “Hoi miun orjoin omaan! “ Hullo, my own serf!
Maksan palkkas pareten.” I’ll pay you better wages.”

Orjoi vasten vastaeli: The serf answering replied:


“Kun et maksaant majoilla “Since you did not pay at home
pahoi maksakki Manal payment is bad in Mana
95 kova kostoi Tuonelas: vengeance harsh in Tuonela:
tännek ei suutoja suvatak here no triflers are suffered
tänne tarkka tarvitaan a careful man is needed
luokse tuomarin totisen before the true judge
lakiherroin lauvoin päähän.” and the law lord’s bench.”

348
7 0 ^ ri a i a ü&itä m
I y S e r f a n d M a s te r I I I

loo Mäni aikoja vähäisen: A short time went by:


tuo oli ilkeä isäntä it was the wicked master
alkoi usta ulvotellak began to make the door whine
veräjiä vingutellak. to make the gates creak.

Saoi Luojoi orjilleen: To his serfs the Creator


106 “Mänkää, orjoit, katsomaan said: “Go, serfs, and see
mikä usta ulvottaa what is making the door whine
veräjää vinguttaa!” making the gate creak!”

Männiit orjoit katsomaan: The serfs went to see:


ollut tuos isännän seelu. and there was the master’s soul.

no Siis otettiin isännän seelu The master’s soul was taken


Jumalan oven takkaant from behind God’s door, beneath
Luojoin ikkunan aloilt, the Lord Creator’s window:
vietiin seelu seelun luoksek the soul was borne to the souls
seelu vietiin seeluin sekaan, the soul among the souls borne.
us Tuotiin tuolle tulinen stooli. A fiery chair was brought there.

Isäntäin huokaeli, And the master sighed


huokaeli, henkäeli: he sighed, he drew breath:
“Mingän tähen tämä miullen “Wherefore is this done to me
kuka kurjalle pojalle?” why this to a wretched boy?”

120 “Senen tähen se siullen: “For this it is done to you:


jo siä saanut istuakses you had all your sitting down
isäntänä ollessaas, when you were master
ja pahoin miks orjoja pitelit and you treated serfs badly
pahoin maksoit oijoin palkoin.” paid serfs bad wages.”

iso Tuotiin tuliin tuoppi A fiery flagon was brought


tulta, tervaa sisäs with fire and with tar inside
isännälle juotimeks as a drink for the master
juotimeks, syötimeks. as a drink, a meal.

Tuopa ilkeä isäntä That wicked master


m huokaeli, henkäeli: now sighed, now drew breath:
‘‘Mingän tähen tää miullen “Wherefore is this done to me
kuka kuijalle pojallen?” why this to a wretched boy?”

349
H Q Orja ja isäntä I I I
/ y S erf and Master I I I

“Sentähen se siullen: “For this it is done to you:


jo siä saanut olutta juua you had beer to drink
135 isäntänä ollessas, when you were master
pahoin oijoja miks pitelit. and you treated serfs badly.
Sentähen se siulle: For this it is done to you:
pahoin oijoja pitelit you ill-treated serfs
pahoin maksoit oijoin palkoin paid serfs bad wages
im pikkaraisel piool a tiny handful
kaitaisel kappasel a narrow gallon measure
jyväl tohukkahal and corn full of dust
ruumenel rajahisel.” chaff to throw to beasts.1

T a r o i , P ä n t t y ' s d a u g h te r

Hevaa, Kaprio, Ingria


V. Alava, 1891

350
80
HIIHTÄVÄ SURMA I
Death on the Prowl I

Surma aštu šuota myöte


tauti talvitietä myöte D eath was tramping on the marsh
Disease down the winter road
altuu ta ajattelou: tramping, pondering:
“Tappasin talolt isännän “ Were I to kill the master
& taitaa talo hävitä. the house might be lost.
Tappasin talošt emännän Were I to kill the mistress
levinnöykö lehmikarja? would the cattle wander loose?
Tappasin talošta pojan Were I to kill off the son
katonouko kalkikirvel? would the clearing-axe then fail?
10 Tappasin talolta tytön Were I to kill the daughter
häviey hiäverot. the dowry would then be lost.
Tappasin talolta minjan Were I to kill the daughter-in-law
toini tuoho tuotaneh another would be brought in
parempi otettaneh.” and a better one taken.”

Maura Marttinen
Vuokkiniemi, Archangel Karelia
I. M arttinen, 1911

3 51
81
H I I H T Ä V Ä S U R M A II
Death on the Prowl I I

Surma hiihti suota myöten


tauti talavitietä myöten. D eath was skiing on the marsh
Disease down the winter road.
Noin puhuu suuri surma Death the Great spoke thus
aika tauti arveloovi Disease the Strong considered
5 illalla talon takana at evening behind the house
talon aittojen takana: behind the sheds of the house:
“Kenenkä tapan talosta: “Whom shall I kill in the house:
tapanko isän talosta? shall I kill off the master?
Jos tapan isän talosta If I kill off the master
10 taitavi talo hävitä the house may be lost
nuotat tulla tuppeloille the nets may remain folded
veneet vesille jiähä. the boats stay in the water.
En tapa isäntee talosta.” I’ll not kill off the master.”

Surma hiihti suota myöten Death was skiing on the marsh


is tauti talavitietä myöten. Disease down the winter road.
Noin puhuvi suuri surma Death the Great spoke thus
aika tauti arveloovi Disease the Strong considered
illalla talon takana at evening behind the house
talon aittojen takana: behind the sheds of the house:
2o “Kenenkä tapan talosta: “Whom shall I kill in the house:
tapanko pojan talosta? shall I kill the son?
Jos tapan pojan talosta If I kill the son
taitaapi talo hävitä the house may be lost
kaskikirveet kaota the clearing-axes vanish
26 elopumut puolenoovat the corn-bins will be half-full
jyvälaarit laukeavat.” the grain-boxes will run down.”

Surma hiihti suota myöten Death was skiing on the marsh


tauti talavitietä myöten. Disease down the winter road.
Noin puhuvi suuri surma Death the Great spoke thus
30 aika tauti arveloovi Disease the Strong considered
illalla talon takana at evening behind the house

352
Q 1 H iih tä v ä su rm a I I
0 1 D e a th on the P r o w l I I

talon aittojen takana: behind the sheds of the house:


“Kenenkä tapan talosta: “Whom shall I kill in the house:
tapanko emännän talosta? shall I kill off the mistress?
35 Jos tapan emännän talosta If I kill off the mistress
taitaapi talo hävitä the house may be lost
lyhenööpi lehmän lypsyt the cow’s yield will be cut short
maitokupit kuivettuupi the milk-cups will be drained dry
ravistuu vaimon rainnat. the woman’s pails will spring leaks.
40 En tapa emäntee talosta.** I’ll not kill off the mistress.”

Surma hiihti suota myöten Death was skiing on the marsh


tauti talavitietä myöten. Disease down the winter road.
Noin puhuu suuri surma Death the Great spoke thus
aika tauti arveloo Disease the Strong considered
45 illalla talon takana at evening behind the house
talon aittojen takana: behind the sheds of the house:
“Kenenkä tapan talosta: “Whom shall I kill in the house:
tapanko tytön talosta? shall I kill off the daughter?
Jos tapan tytön talosta If I kill off the daughter
so jiäpi suluhaset surulle the suitors will be left sad
poikaset paholle mielin. the young boys in bad spirits.
En tapa tyttöä talosta.** I’ll not kill off the daughter.”

Surma hiihti suota myöten Death was skiing on the marsh


tauti talavitietä myöten. Disease down the winter road.
65 Noin puhuvi suuri surma Death the Great spoke thus
illalla talon takana at evening behind the house
talon aittojen takana: behind the sheds of the house:
“Kenenkä tapan talosta - “Whom shall I kill in the house -
tapanko miniin talosta? the daughter-in-law?
«o Jos tapan miniin talosta If I kill her off, the son
suapi poika toisen naisen will get him another wife
toisen naisen naimisella.** another wife by marriage.”

K a is a L iis a L a p p a la in en
Kiihtelysvaara, North Karelia
A. Rytkönen, 1895

23 353
82
LESKI I
The Widow I

4 4 Y 7 ' olme on korvessa lähettä 4 {fTihree the springs in the forest


J^Jcolm e lohta lähtehessä A three the salmon in the spring
kolme on poikoa minulla: three the sons I have:
empä syöne enkä juone I do not eat, do not drink
5 ilman kultakuppiloita without golden cups
vaskireunoita vadita. copper-rimmed dishes.
Yks on Ruotisa rovasti One’s a dean in Sweden, one
toinen piispa pappilassa a bishop in a palace
kolmas on kotona herra.” the third is a lord at home.”
io Puuttui surma kuulemaan Death happened to hear
ala seinän seisomaan: to be standing by the wall:
tappoi Ruotista rovastin it killed the dean in Sweden
tappoi piispan pappilasta the bishop in the palace
ja tappoi kotoa herran, and it killed the lord at home.
is “Jopa syönen jotta juonen “Now I eat, now drink
ilman kultakuppiloita without golden cups
vaskireunoita vadita.” copper-rimmed dishes.”

J o h a n Sa vo la in en
Hankasalmi, Central Finland
I. Oksanen, 1892

354
83
L E S K I II
The Widow I I

T alotalotässennen,
on ennen ollut
linna muinen Aahouse was here once
house once, a castle of old
jossa nyt on kumia korpi. where now is booming forest.
Kolme on korvessa lähettä Three the springs in the forest
5 kolme lohta lähtehessä: three the salmon in the spring:
yks on lohi neion nuoren one salmon is a young maid’s
toinen nuoren morsiammen another is a young bride’s
kolmas on lesen punaisen. a third is a red widow’s.

Leski lauleli lehossa: The widow sang in a grove:


10 “En oo leski enk oo lempo “Nor widow nor demon I
en oo varaton vaimo nor a woman without means
en oo turvaton tutilas. a weakling without defence.
Kolme on poikoa miulla: Three the sons I have:
yks on Ruotsis rovasti one’s a dean in Sweden, one
is toinen on piispa pappilassa a bishop in a palace
kolmas on kotona herra. the third is a lord at home.
A en oo syönyt enk oo juonut I’ve not eaten, I’ve not drunk
enk oo ihva illastanut neither indeed have I supped
ilman kultakuppiloitta without golden cups
20 vaskireunatta väittä.” copper-rimmed dishes.”

Puuttu surma kuulemaan Death happened to hear


alla tuulen seisomaan: chanced to be standing downwind:
tappo Ruotsist rovastin it killed the dean in Sweden
toisen piispan pappilasta the bishop in the palace
25 kolmannen kotonta herran. and thirdly the lord at home.

Sitt alko leski leinaella: The widow began to grieve:


“Nyt on leski, nyt on lempo “Now widow, now demon I
nyt olen varaton vaimo: now a woman without means:
nyt on sauva saateltava now a staff has to be found
so kepp on käes käyteltävä. now a stick used in my hand.

355
Q O L e sk i I I
OJ T h e W id o w I I

Tulloo syyä, tulloo juua I must eat, must drink


vaskireunoitta vaitta, without copper-rimmed dishes
tulloo ilman illastaia and now I must sup
kultareuna kuppiloitta.” without gold-rimmed cups.”

T a n a K o rp u n a
Vuole, Ingria
F. Pajula, 1894

356
84
ELINAN SURMA
The Death o f Elina

K lavus, E linan muori, E lina , K lavus, E lina ’s mother , E lina ,


K irsti, O lovi, J eesus K irsti , O lovi , J esus

Elina neitty aittahan meni


vaskivakkanen kädes Elina the maid went to the shed
a copper box in her hand
vaskiavain vakkases. a copper key in the box
Klavus vastahan tuli: when she met Klavus:
5 Kl: “Oliskos teillä neittä myydä Kl: “ Might you have a maid for sale
piika pidetty minua vasten?” has a girl been kept for me?”

M: “Ei neittettä mäellä myydä M: “No maid is sold on a hill


eikä kaupita kartanolla: and none traded on a farm:
kyll on minul tupiakin but rooms I have, one
10 toinen tulla, toinen mennä.” for coming, one for going.”

Klavus toi tupahan tuli: That Klavus went to a room:


Elinan viisi veljestä Elina’s five brothers sat
istu kaikki pöydän pääsä each one at the table-head
nousit kaikki seisovalle. and each one stood up.

is E: “O mun muori kultaiseni E: “O my mother, my darling


älä minua Klavull anna!” do not give me to Klavus!”

M: “Mistäs sinä Klavun tunnet?” M: “ How do you know him?”


E: “I know
E: “Tulenosta tunnen tuiman the stern one by his coming
jalon jalan heitanosta.” the swing of his noble foot.”

Miekallansa oven aukais With his sword he pushed the door


tupellansa kiini lykkäis: open, with his scabbard shut:
Kl: “O mun muori kultaiseni Kl: “ My good woman, my darling
onkos teillä neittä myydä have you got a maid for sale
piika pidetty minua vasten?” has a lass been kept for me?”

357
84 surma
The Death o f Elina

25 M : “ P ie n e t o n m in u lla p iija t M : “ S m a l l la s s e s I h a v e
t y t t ä r e t k e s k e n k a s v a n e i t a .” a n d d a u g h te r s h a lf - g r o w n .”

K l : “ O m p a te illä v ä h ä E lin a .” K l: “ Y ou h a v e little E lin a .”

M : “ E i v o i v ä h ä E lin a M : “ L it t le E lin a c a n n o t

p itä ä p e rh e ttä su u rta ta k e c a r e o f a b ig fa m ily

30 k a ts o o s u u rta k a r ja ta r h a a lo o k a fte r a b ig s to c k y a r d

p a n n a t y ö h ö n p a lk o llis t a .” n o r set a h ir e lin g to w o r k .”

K l : “ K y 11 o n m u l l a K i r s t i p i i k a K l: “ S e e , I h a v e t h e la s s K i r s t i

jo k a p itä ä p e re n su u re n to c a r e fo r th e b ig fa m ily

p a n e e ty ö h ö n p a lk o llis ta to se t th e h ir e lin g to w o r k

35 k a tto o s u u r e n k a r ja t a r h a n .” lo o k a fte r th e b ig s t o c k y a r d .”

E: “ K y 11 o n s u l i a K i r s t i p i i k a E: “ Y e s , y o u h a v e th e la s s K i r s t i

j o k a m u n tu le s s a p o lt a t t a a w h o w ill b u m m e in th e fire

p a h o in p ä iv in k u o le tta a .” a n d b a s e ly k ill m e .”

M u t t a k u k a s m u u t k u i n h i k k a r; B u t w h o e ls e b u t t h e p o o r g i r l

40 o tti k ih la t, a n to i k ä ttä t o o k t h e g ift s a n d g a v e h e r h a n d

k ä v e li K la v u k s e n k a r ta n o lla w a lk e d a t K la v u s ’ s m a n o r

k ä si K la v u k s e n k ä d e s. h a n d in h a n d w i t h h i m . T h e la s s

K i r s t i p i ik a k la s is a k ä tte li K ir s ti p e e re d th ro u g h th e w in d o w

v ä r k is te li v ä s t ä r illä : p e e p e d in a t th e p a n e s :

45 K : “ O h o ! m is tä s s e k in tu lis K : “ O h ! th a t so m e b o d y m ig h t c o m e

jo k a tu o n v ä lin p a h e n n a is !” to s p o il t h a t u n io n !”

M e n i o itis K la v u k s e n ty k ö : S h e w e n t a t o n c e to K la v u s :

K : “ O m u n K la v u s k u lta is e n i K : “ O m y K la v u s , m y d a r lin g

O lo v i fr o u v a n k a n s a y h t ä p it ä ä .” O l o v i is w i t h m y l a d y . ”

so K l : “ O m u n K ir s t i p iik a is e n i K l: “ O m y K i r s t i , m y la s s ie

jo s a s tu o tte le t to d e k s i i f y o u c a n sh o w to b e tru e

m itä s s a a tte lit s a n o k si w h a t y o u h a v e p u t in to w o r d s

E lin a n tu le s s a p o lt a n I ’ll b u r n E lin a in fire

s in u n s it v e r a s a k ä y t ä n .” th e n k e e p y o u in c lo t h .”

55 K : “ O m u n K la v u s k u lta is e n i K : “ O m y K la v u s , m y d a r lin g

o le k a u v a s m e n e v ä n ä n s ä b e as o n e g o in g fa r o ff

P o h ja n m a a lle k ä r e jä h ä n , to P o h ja n m a a a s s ize s

358
0 A E lin a n su rm a
0 1 T h e D e a th o f E lin a

aja Ammasten ladolle drive to the barn at Ammas


Pienten niittusten perällä round behind Little Meadows
60 niinpän tuottelen todeksi and then I’ll show to be true
mitän saattelin sanoksi.” what I have put into words.”

Kl: “O mun vähä Elinan Kl: “O my little Elina


sääli säkkihin evästä lay provisions in a bag
pane voita vakkaseen put some butter in a box
66 liikkiö sijan lihaa and a joint of ham
ja karpio kanan munia and a bushel of hens’ eggs
minun kauvas mennäkseni for me to go far away
Pohjanmaalle kärejihin.” to Pohjanmaa assizes.”

E: “O mun Klavus kultaiseni E: “O my Klavus, my darling


70 puhu puolilla sanoilla speak with half-words, another
anna toisest toinen puoli time give the latter half so
niins kauvan elää saat that you may survive
Pohjan noittajen seas.” among the Pohja wizards.”

Klavus toi ajohon lähti That Klavus drove off


76 ajoi Ammasten ladolle drove to the barn at Ammas
Pienten niittusten perällä. round behind Little Meadows:
Kirsti toi pyykille meni. that Kirsti went to wash clothes.
Frouva sit rantahan tuli: The lady came to the shore:
E: “O mun Kirsti piikaiseni E: “O my Kirsti, my lassie
äo älä klappaa niin kovasti do not beat so hard
minun fiiniä vaatteitani: my beautiful clothes:
ei ne ole täällä saatu they were not got here
vaan mun muorini kotona. but back in my mother’s house.
. . . O mun Kirsti piikaiseni . . . O my Kirsti, my lassie
86 älä klappaa niin kovasti do not beat so hard
minun fiiniä vaatteitani: my beautiful clothes:
ei ne ole täällä saatu they were not got here
vaan mun muorini kotona. but back in my mother’s house.
. . . Älä klappaa Kirsti huora . . . Do not beat, Kirsti, you whore
90 niin kovin kovasti quite so very hard
minun fiiniä vaatteitani my beautiful clothes:
sill ei ne ole täällä tehdyt because they were not made here
vaan mun muorini kotona.” but back in my mother’s house.”

K: “Olispa mun lukua K: ”But I do not count-

359
O A Elinan surma
O “ The Death o f Elina

95 vaikka parka palkollinen: I’m only a poor hireling:


olet sinäkin iso emäntä what a great mistress you are
ollut Olevin ohesa who have been with Olevi
pitkäparran parmahissa. on the long-bearded one’s breast!
O mun frouva kultaiseni O my lady, my darling
100 pitäkämme pienet pitoiset let us have a little feast
niin kuin ennenkin on pidetty as we used to have
isännän pois ollesa: when the master was away:
ottakat me oijat työstä let us take the serfs off work
häijyen härkäin perästä.” behind the wicked oxen.”

105 E: “O mun Kirsti piikaiseni E: “O my Kirsti, my lassie


tee itse mitäs tahdot: do just as you wish:
iske kaikki muut tynnörit tap all the other barrels
mutta älä sitä iske but don’t tap the one
kuin on mua varten prykätty.” which was brewed for me.”

110 Kirsti tähän mutkan muisti: And Kirsti thought of this trick:
tompa hän ensin iski. she tapped that one first.

E: “O mun Kirsti piikaiseni E: “O my Kirsti, my lassie


tee mun sian portin päällä make my bed above the gate
kaunihin kamarihin in the fair chamber:
us pane kaksin korvatyynyt set out two pillows
kaksin liinalakanat and two linen sheets
ja kaksin villavaipat. two woollen covers.
. . . O mun Kirsti piikaiseni . . . O my Kirsti, my lassie
eppäs tehnyt niin kuin käskin: you have not done as I said:
120 yksin panit korvatyynyt one pillow you have set out
yksin liinalakanat and one linen sheet
yksin villavaipat.” one woollen cover.”

K: “O mun frouva kultaiseni K: “O my lady, my darling


Olovi teitä tupahan kutsu.” Olovi called you to his room.”

125 E: “Mitästäs minä sielä teen?” E: “But what am I to do there?”

Meni hän sinne arvollansa. She went blindly in.


Kirsti kiirusti peräsä Kirsti hurried after her
yhdeksän lukkuu lukitsi and she locked nine locks
takateljen kymmeneksi. and shot a bolt for the tenth.

360
QA Elinan surma
O ' The Death o f Elina

130 Meni sitt Ammasten ladolle She went then to Ammas barn
Pikku niittusten perällä: round behind Little Meadows:
K: “O mun Klavus kultaiseni K: “O my Klavus, my darling
jopan tuottelin todeksi I have just shown to be true
mitän saattelin sanoksi: what I have put into words:
136 Olovi frouvan kansa makas.’* Olovi lay with my lady.”

Klavus kohta kotia tuli Klavus rushed home, thrust a light


pisti valkeen nurkan alle. in a corner. Elina
Elina klasist sormens pisti. thrust her finger through the pane:
E: "O mun Klavus kultaiseni E: “O my Klavus, my darling
140 älä kadota sormustas do not lose your ring
josas kadotat sormuksen kantajan.** though you lose the ring’s wearer.”

Klavus miekan tupestansa otti Klavus drew his sword


veti oitis sormen poikki. slashed the finger off.
Vähä Elina tuvassa rukoili: Elina prayed in the room:
146 “Kaikki nurkat palakoon “Let all corners burn
tämä vettä vuotakoon but let this one run water
siksi kuin mä muorini näen. till I see my mother. Go
Meneppäs trenki muorini kotio hired man, to my mother’s house
käske häntä tänne tulla!” tell her to come here!”

160 Trenki toi Suomelaan tuli: The man came to Suomela:


O: “O mun muori kultaiseni O: “ My good woman, darling, my
frouva teitä Laukkohon kutsu.” lady calls you to Laukko.”

M: “Voi voi minua, vaimo valju: M: “Woe is me, a wan woman:


kuinka suin sukkiani when I pull on my stockings
165 suin ain edestakaisin. they are always back to front.
Kuinka liene tyttäreni?” How is my daughter?”

O: “Hyvin kyllä, muori kulta: O: “Quite well, good woman:


kukko sielä kuitataan a cock is being scalded
kana sielä kaltataan a hen is being plucked there
iso pikku prinssin pitoon.” for a tiny prince’s feast.”

M: “Voi voi minua, vaimo valju: M: “Woe is me, a wan woman:


kuinka puin pukujani when I dress up in my dress
puin ain edestakaisin. it is always back to front.
Voi voi minua, vaimo valju. Woe is me, a wan woman.

361
Elinan surma
The Death o f Elina

Kuinka liene tyttäreni?” How is my daughter?”

O: “Hyvin kyllä, muori kulta.” O: “Quite well, good woman.”

M: “Kuinka levin liinojani M: “When I put on my kerchief


levin ain edestakaisin. it is always upside down.
Kuinka liene tyttäreni?” How is my daughter?”

O: “Hyvin kyllä, muori kulta.” O: “Quite well, good woman.”

M: “Aij aij, Laukosta saukin suitsee M: “Ah, from Laukko smoke rises
savu Klavuksen kartanosta.” smoke from Klavus’s manor.”

O: “Lampaita slahdataan O: “Lambs are being slaughtered there


sikoja korvetaan and pigs are being roasted
pikku prinssin pitoon.” for a tiny prince’s feast.”

Muori toi laski kontillensa The woman went on her knees


oman vävyns eteen. before her own son-in-law:
M: “O mun Klavus kultaiseni M: “O my Klavus, my darling
ota pois poika tulesta take the boy out of the fire
vaka vaimo valkiasta: the sturdy wife from the flames:
anna mennä muille maille let her go to other lands
töitänsä häpeemään to be ashamed of her deeds
jälkijänsä piilomaan.” to cover her tracks.”

K: “Älä vaan mun Klavus kultan. K: “No, do not, my dear Klavus.


Ota panni pahoja jauhoja Take a pan of bad flour, take
tervatynnöri lisäksi: a barrel of tar as well:
ehk se paremmin palanee. perhaps she will burn better.
Heitä tänne tuleseen!” Throw them here into the fire!”

M: “O mun Elina kultaiseni M: “O my darling Elina


mahdoit olla mielin kielin you might have curried favour
huoran porton kansa.” with the harlot whore.”

E: “Ei ole syytä pienintäkän E: “There is not the slightest cause


ei edes neulan terääkän. not even a needle-point.
Tämä nurkka palakoon Let this corner burn
koskan muorini näin!” now I have seen my mother!”

362
Q A Elinan surma
O i The Death o f Elina

Ei sitt enää mitään menestyn Nothing henceforth prospered in


Laukosa: Laukko:
kuoli tallillinen hevoisia a stableful of horses
navetollinen eläimiä a cowshedful of beasts died
kaikki kuolit korsi suuhun all died with straw in their mouths
200 kaaduit kaurajen nojalle. perished at their oats.
Klavus Kurki, mies kamala Klavus Kurki, dreadful man
sekä istu että itki. both sat down and wept.

Jeesus äijänä käveli: Jesus as an old man walked:


J: “Mitäs itket Klavus Kurki?” J: “Why do you weep, Klavus Kurki?”

206 Kl: “Kyll on syytä itkemistä Kl: “There is good cause for weeping
vaivasa valittamista: and trouble for bewailing:
poltin, poltin puolisoni I have burnt, have burnt my spouse
sytytin hyvän sylini, set fire to my good armful
kuoli stallinen hevoisia a stableful of horses
210 navetollinen eläimiä a shedful of beasts has died
kaikki kuolit korsi suuhun all died with straw in their mouths
kaatuvat kaurajen nojalle.” perished at their oats.”

J: “Älä itke Klavus Kurki: J: “Do not weep, Klavus Kurki:


kyllän tiedän Elina frouvan.” I know Lady Elina.”

215 Kl: “Kusast ompi Elina frouva?” Kl: “Where is Lady Elina?”

J: “Ylimäises taivahisa J: “In the highest of heavens


kuuden kynttilän edes before six candles
kultakirjainen kädes a golden book in her hand
pieni poikainen sylis a little boy in her lap
220 Olevi oven edes. Olevi before the door.
Kyllän tiedän Klavus Kurjen.” And I know Klavus Kurki.”

Kl: “Kusast ompi Klavus Kurki?” Kl: “And where is Klavus Kurki?”

J: “Alimaises helvetisä: J: “ In the lowest hell:


vähän kannuksia näkyy his spurs are just visible
225 pikkaraista kuumottaa. are faintly gleaming.
Kyllän tiedän Kirsti huoran.” And I know the whore Kirsti.”

Kl: “Kusast ompi Kirsti huora?” Kl: “And where is the whore Kirsti?”

363
O A Elinan surma
O « The Death o f Elina

J: “Alimaises helvetisä: J: “In the lowest hell:


vähän palmikoita näkyy.” her plaits are just visible.”

230 Klavus toi ajohon lähti. That Klavus drove off.


Pisti pillit säkkihinsä • He packed his pipes in his bag
soitti suolla mennesänsä played going over the marsh
ajoi päin sulaa merta drove towards the open sea
Kirsti rakkina peräsä. with Kirsti cur-like behind.
235 Toi oli meno nuoren miehen And that was the young man’s loss
kansa naineen urohon. and the married fellow’s too.

S in g er unknow n
Vesilahti(?), Häme
Collector unknown, recorded before 1800

Sfii
85
U SK O L L IN E N MORSIAN I
The Faithful Bride I

almanti iso ritari


Lvaras se vakuun neidon Lalmanti, great knight
pledged an infant maid
anto kättä kätkyelle gave his hand to the cradle
ison kimpun kihlaeli betrothed her with rich presents
5 suurin sormuksin lunasti: bought her with big rings:
“Kokotteles vuotta viisi “Just wait for five years
vuotta viisi, vuotta kuusi five years or six years
kanssa kahdeksan keseä eight summers with them
ynnä yhdeksän suvea and nine warm seasons
10 vuosikausi kymmenettä. a space of ten years.
Kun sa kuulet kuolleheni When you hear I am
kaiketi kadoneheni dead, wholly perished
ottakoos uroo parempi take a better man
älkösä parempatani no better than me
ie älkösä pahempatani and no worse than me -
ota muuton muotohittes.” take one like yourself.”

Eerikki vähä ritari Eerikki the little knight


valhekirjat kannatteli carried false letters
valhekiijat kiiruhulta: false letters in haste:
so Lalmanti se on sodissa voittu Lalmanti conquered in wars
pantu maahan paineloissa. brought to the ground in struggles.
Väen vietiin viintupahan She was led to the wine-house
väen kihlat annettihin, by force, by force was betrothed
väen ei vihille saatu by force could not be wedded -
26 eikä miehin eikä miekan not by men, by sword
eikä uljasten urosten nor by brave fellows
eikä vaimojen valiten nor by choice women
eikä neitsen kauneuden. nor by maids’ beauty.

Inkeri se ihana neito Inkeri the lovely maid


30 istu se lutin solassa sat on the loft balcony
sekä istu että itki: both sat down and wept:

365
Q C Uskollinen morsian I
OJ The Faithful Bride I

katto itään, katto länteen she looked east, looked west


katto poikki pohjasehen. looked away northward.
Näki kykkären merellä: She saw a bulge on the sea:
36 “Jos sa lienet lintuparvi “ If you are a flock of birds
niin sä lähde lentämähän, *then take flight and go
jos sa lienet kalaparvi if you are a shoal of fish
niin sä vaipunet merehen, then sink in the sea
jos sa lienet Lalmantini if you are my Lalmanti
«o laske purtes valkamahan.” move your boat into haven.”

“Mistäs tunnet Lalmantikses?” “How do you know it’s your Lalmanti?”

“Tunnennasta tunnen purtesta “ I know the boat by the way


kahden airon laskemasta. it comes, and its two oars move.
Toinen puoli uutta purtta One half of its boat is new
45 toinen silkkiä sinistä - the other half of blue silk -
silkki Inkerin kutoma the silk Inkeri’s weaving
kauan neidon kaidehtima. the maiden's long fashioning.
Minun nuori veljykäisen My young brother, take
ota ohrilta orhisi your stallion from the barley
50 idulta ikälihani your ever-plump from the shoots
maatajalka maltahilta: from the malts the short-legged
aja vasta Lalmantia.” and drive to meet Lalmanti.”

“Terve nuori näälämiehen “Hullo, young brother-in-law


kuinka Inkeri elääpi?” how is Inkeri faring?”

55 “Hyvin Inkeris elääpi: “Your Inkeri is faring well:


viikkokausi häitä juotu one week the wedding’s toasted
toinen lahjoja ladeltu another the gifts laid out
kolmas annettu antimia.” a third the presents given.”

S in g e r unknow n
Sääksmäki, Häme
E. Lönnrot, 1831

366
86
U S K O L L I N E N M O R S I A N II
The Faithful Bride I I

Rahamies Maanitahan
raho neion kätkyehen T hebought
rich man Maanitahan
a maid in the cradle
suuhun sormuksen sovitti: into her mouth slipped a ring:
kapaloiss on kauppa tehty in swaddling clothes the deal was
5 sana saunan lautosilla. done, the word on bath-house planks.
Tul sulhon sotahan läkki. The bridegroom must go to war:
Neito etsi emosen päätä the maid groomed her mother’s head
illan suussa suntakina one Sunday evening
oven suussa ikkunalla. by the door at the window.

10 Katso ulos ikkunasta: She looked out of the window:


mikä myttynen meressä? what was the lump on the sea?
Neito karkasi kaulle: The maid dashed into the street:
“Kuin sie lienet lehtimytty “ If you are a pile of leaves
niin sie lehin lennättele, then flutter away
is kuin sie lienet heinäpieles if you are a stook of hay
niin sie kaau karhehelle, fall in a windrow
kuin lienet miun vävyni if you are my son-in-law
siit sie soua rantuelle!” then row to the shore!”

“Terve, terve miun vävyni “Hullo there, my son-in-law


20 terve nuori nääläseni! hail, my young brother-in-law!
Mitä kuuluu sotahan?” What’s happening in the war?”

“Ei kuulu mitä kutana: “Nothing’s happening at all:


sovitti soat Jumala God has sorted out the wars
asetti ijäisen rauhan. brought about eternal peace.
25 Mitä kuuluu kotihin? What is happening at home?
Eikös naitu miun omani Has my own one not been wed
eiks viety verellistäni?” my kinswoman led away?”

Veikko vasten vastaeli: The brother answering said:


“Jo ois naitu siun omasi “Your own one would have been wed

367
Q ZT Uskollinen morsian I I
O O The Faithful Bride I I

30 jo ois viety verellisesi your kinswoman led away


ilman maire mammataisi. but for your darling mamma.
Toits emolle tuomisia?” Have you brought your mother gifts?’

“Toin mie laivan tattarista “ In the ship’s hold I have brought


vakan valmista rahaa.” a box of ready money.”

S in g e r u n know n
Tyrö, Ingria
D. E. D. Europaeus, 1848

368
13. Until the 19th century, and in certain remote areas well into
the 20th, land was prepared for cultivation by the burn-beat method.
After burning the felled trees and undergrowth, the farmer sowed in
the ashes and obtained a few meagre harvests before he had to move
Karelia II on to a new area (cf. Plate 28). - Kotkatjärvi, Olonets Karelia, 1942.
14. This area, largely lakes, swamps and dense forest, was rich in
game and for centuries almost untouched by man. The sparse
population was concentrated in small village communities separated
from each other by vast distances over which communication was
arduous and often fraught with risks. - North Olonets Karelia, 1941.
15. The influence of Russian architecture is evident both in the
design of this upland farm building, which also accommodated
livestock, and in its crude ornamentation (in particular, the non­
functional balcony, a typical feature of Karelian buildings) echoing
what the builders had seen or heard of in more palatial dwellings. -
Suojärvi, Ladoga Karelia, 1939.
16. A mother picking the
lice from her child’s head,
a rest-day activity regarded
as a mark of affection
(cf. Poem 120). - Ruka-
jarvi, Olonets Karelia, 1917.
km#
1
A\

J

17. Fishing was tradition­


ally one of the most
important sources of food
in the Finnish area and
fishing rights were strictly-
regulated by ancient local
practice. Different kinds of
fish required different kinds
of net and mesh; the net
being repaired in this
photograph was probably
used for bream and pike. -
Paatene, Olonets Karelia,
1941.
18. Shooting the rapids, one of the hazards of travel in
Karelia, where communication by water was virtually the
only means of transporting any heavy load in the summer
months. —Aittokoski, Archangel Karelia, 1918.
19. Fishing for whitefish at spawning-time with a small
mesh net. - Kiimaisjärvi, Archangel Karelia, 1941.
20. Communication was easiest in winter when sledges
could be used on the ‘winter roads’ (cf. Poems 80, 81)
over the frozen swamps and watercourses. The sledge is
an important subject of hyperbole in Finnish folk poetry
(cf. Poems 66, 110). - Paatene, Olonets Karelia, 1941.
21. Without the help of a skilled guide (the man on the
right) travel was virtually impossible in this area. The
two men on the left, both architects, are ‘exploring’
Karelia and typify their generation of Kalevala
enthusiasts, exponents of the neo-romantic movement
who sought inspiration in the Karelian eldorado
(cf. p. 31). - Kiimaisjärvi, Archangel Karelia, 1894.
22. A performer on the seven-string k a n t e le (cf. p. 75).
- Suojärvi, Ladoga Karelia, 1917.
23. Virzi-Vassi, a singer of Kalevala poetry and laments.
- Suojärvi, Ladoga Karelia, 1917.
87
M O RSIAM EN K UO LEM A I
Death o f the Bride I

Anterus Pyhäjoelta,
Pyhäjoen poika pyhä Anterus from Holy River
Holy River’s holy son
tuli koulusta kotia he came home from school

id est, Andreas ex Pyhäjoki/ Bothnia orientalis that is, Andrew from Pyhäjoki, a parish in
paraecia, venerit ex Schola domum; & interro­ Ostrobothnia, came home from school; and
gate a matres: being asked by his mother

“Mitäs poikan kotia tulit? “Why, my son, have you come home?
Onko koulu kohdallansa Is the school where it should be
Turku uusi toimesansa?” is the new Turku busy?”

cur domum venerit: num immota sit Schola, & why he had come home: surely the school had not
Aboa nova vigeat? respondet ille: se venisse ad been moved, and the new Turku was thriving?
ducendam uxorem, eamqve ex Kokemäki Svet: He answered that he had come to get a wife, and
Cumå: negabat primum mater, verita ne repul- onefrom Kokemäki, Swedish Cumå. At first
sam pateretur, sicut alii qvidam ex Svecia his mother said no, fearing that he would be
nobiles, & Bothnienses divites: instante autem refused, as certain others, nobles from Sweden
illo, sibi cum illa familiaritatem esse; tandem and rich Ostrobothnians, had been: to this he
concessit, qvamobrem adomatus bene eqvis, ser­ promptly replied that he was on intimate terms
vis, & armis; inter ea 7 clypeis, ex qvibus with the girl. The motherfinallyyielded; where­
fore, well fitted out with horses, servants and
weapons, among them seven shields, of which

yljän kilpi kullan kiilsi the bridegroom’s shield glittered gold


kaikki muut hopian hohdit: all the others flashed silver:

proci clypeus auro resplendescebat, reliqvi omnes the bridegroom's shield glittered gold, all the
argentofulgebant: sie profeetus acceptus advenit, others flashed silver, thus he set out and was
sed sponsalitiis peractis, fatis ipsa cessit, rncero- received on his arrival. But after the wedding
rem pro dote summum, Andrea redeunti domum, ceremony had been performed, she happened to
relinqvens. perish, leaving the deepest grieffor a dowry to
Andrew as he returned home.

Singer unknown
South-West Finland
D. Juslenius(?), before 1700
24
88
M O R S I A M E N K U O L E M A II
Death o f the' Bride I I

ntero, Ylinen’s son


Antero Ylisen poika
ylempääsen miehen poika Ason of the high-ranking man
kuutta ratsua rakensi set up six chargers
alla kuuen kosjosmiehen under six suitors
6 seitsemättä itsellensä and a seventh for himself
kaheksatta neiollensa: and an eighth for his maiden:
sen hän kultaan kuvais that one he adorned with gold
hopeaan huoletteli decorated with silver
mihin itse istueli, upon which he himself sat -
10 sil hän vaskee valaa on that one he poured copper
mihin kaikki vellon kansa. where all his brother’s folk sat.

Antero Ylisen poika Antero, Ylinen’s son


ylempääsen miehen poika son of the high-ranking man
meni Korkast kossiin went off to Korkka to woo
is Kavalasta katsomahan to Kavala to look round
meni Konnuilt kossiin went off to Kontui to woo
Kalonniemen neittä nuorta. the young maid of Kalo Cape.

Kielsit isot, kielsit emot Father said, mother said no


kielsit veljet keskimäiset the middle brothers said no
so kielsit nuoremmat sisaret: the youngest sisters said no:
“Älä mene poikueni “Don’t go, my offspring
älä mene, et sie saak!” don’t go, you shall not!”

Toki meni, ei totellut Yet he went, he did not heed


ajoi vasten, ei varrannut he rode against, did not care
25 ajoi vasten vaaruuksia he rode against the fearless
kohti miehiä kovia. towards the harsh men.

Antero Ylisen poika Antero, Ylinen’s son


ylempääsen miehen poika son of the high-ranking man
rahoi neion, tinki neion bought and bargained for the maid

370
QQ M o rsia m e n ku olem a I I
OO D e a th o f the B rid e I I

30 nosti neion ratsahalle lifted her on to his steed


hypytti hyvän selälle leapt upon the good one’s back
toi neion isän kottihen: brought her to his father’s house:
viikon villoilla makotti one week he laid her on wool
toisen viikon höyhenillä another on down
36 kolmannen kokon sulilla, a third on eagle-feathers
meni noihille Viroon . . . went to wizards in Estonia . . .
tuli tuualta kottihen. and came home from there.

Antero Ylisen poika Antero, Ylinen’s son


ylempääsen miehen poika son of the high-ranking man
40 meni matkoa vähäisen went onward a little way
teki tietä pikkaraisen. went a short distance
Kirkko vastahan tuli: and he met a church:
aloit kilkkaa kirkon kellot. the church bells began to clang.

Antero kysyttelööpi: And Antero asked:


46 “Mitä kilkkaat kirkon kellot?” “ Why are the church bells clanging?”

Kirkon katsoja kavvala The sly watchman of the church


kirkon vahti liian viisas the too clever caretaker
sanoin laati suin läkkäis: formed in words, declared by mouth:
“Antero Ylisen poika “Antero, Ylinen’s son
60 sitä soivat kirkon kellot for this the church bells ring out
parkuut papin passunat: the priest’s bugles howl:
ken viimoin vihille käynyt those who last came to be wed
pariskunsin pappilassa a couple in the priest-house
sitä nyt kaksin kaimataan have been brought, the two of them
66 yhennään hauataan.” buried together.”

Antero Ylisen poika Antero, Ylinen’s son


ylempääsen miehen poika son of the high-ranking man
puri huulta, väänsi päätä bit his lip, twisted his head
tuli matkoa vähäisen came onward a little way
60 jo tuli liki kottiaan. now came near his home. He heard
Kuuli koissa kolkettavan knocking in the house, something
veräjissä veistettävän: being shaped within the gates:
“Mitä veistät, velvyein “What do you shape, my brother
seitset sula settäin: and what smite, my sweet uncle:
66 vain veistät sotivenoa are you shaping a war-boat
sotilaivaa rakennat?” a war-ship are you building?”

371
QQ M o rsia m e n ku olem a I I
OO D e a th o f the B r id e I I

“Veistän kudelle kottii “I shape a house for the dead


katonelle kartanoa.” a manor for the perished.”

Antero Ylisen poika Antero, Ylinen’s son


70 ylempääsen miehen poika son of the high-ranking man
iski kahta kämmentään struck his two palms together
kun kahta kalman usta, like the two doors of the grave
viskas viittä sormustaan flung his five Angers up, like
kuin viittä Viron vippuu. the five levers of Estonia.
76 Tuli tuimana tuppaan: Grim, he came into the room:
neito kolkassa lässii the maid lay in a corner
kujertaa kutrotukka. the curly-head was groaning.

Veti veitsen reieltään He drew the knife from his thigh


tempas tupesta tuiman snatched the grim one from its sheath
so paaen parkkinahkasesta, the bad one from its leather
iski kerron neitoaan first struck his maiden
toisen kerron itsiään. and then struck himself.

Niitä kaksin kaimattiin They were brought, the two of them


yhellään hauattiin. buried together.

S in g e r unknow n
Hevaa, Kaprio, Ingria
A. Törncroos, T. Tallqvist, 1859

372
89
PAPIN TAPPAJA
The Priest-Killer

luli Kirsti kiitettävä


r i X T ' irsti came, the praiseworthy
A. läpi maien mainittava J^k.well spoken of through the lands
läksi pyhänä kirkkohon went off to church on Sunday
suin sukien, päin pukien well groomed and well dressed
6 varren kaiken kaunistellen. adorned all over.
Siellä riski Riion poika There Riiko’s strong son
ja kaunis Kalevan pappi and Kaleva’s handsome priest
piti suaman suappahassa preached the sermon in his boots
sekä messun miekka vyöllä. said Mass with his sword-belt on.

io Kuin pääsi suarnastansa When he’d finished preaching he


siitä vuati vaimoksensa demanded her for his wife
huoraksensa houkutteli: enticed her to be his whore:
tuli Kirsti kiitettävä Kirsti came, the praiseworthy
läpi maien mainittava well spoken of through the lands
ie veti veitsen, riisui rauan drew a knife, bared an iron
kuletti tupesta tuiman, bore the grim one from its sheath
syöksi miestä syönalahan plunged it under the man’s heart
Iässä lämmintä lihoa. into the warm flesh.

Itse läksi itkien kotihin She herself went weeping home


20 kallotellen kartanohon. wailing to the farm.
Ennätti emo kysyä: Her mother managed to ask:
“Mitäs itket tyttäreini “Why do you weep, my daughter
nuorra suamaini nureksit?” born in my youth, why complain?”

“Tuota itken emoiseini: “For this I weep, my mother:


26 lähin kirkkohon pyhänä I went to church on Sunday
suin sukien, päin pukien well groomed and well dressed
varren kaiken kaunistellen. adorned all over.
Siellä riski Riion poika There Riiko s strong son
ja kaunis Kalevan pappi and Kaleva’s handsome priest
äo piti suaman suappahassa preached the sermon in his boots

373
Q Q Papin tappaja
O y The Priest-Killer

sekä messun miekka vyöllä. said Mass with his sword-belt on.
Kuin pääsi saarnastansa When he’d finished preaching he
siitä vaati vaimoksensa demanded me for his wife
huoraksensa houkutteli* enticed me to be his whore.
35 tuli Kirsti kiitettävä Kirsti came, the praiseworthy
läpi maien mainittava well spoken of through the lands
veti veitsen, riisui rauan drew a knife, bared an iron
kuletti tupesta tuiman, bore the grim one from its sheath
syöksi miestä syönalahan plunged it under the man’s heart
«o Iässä lämmintä lihoa. into the warm flesh.
Itse läksin itkien kotihin I myself went weeping home
kallotellen kartan ohon.” wailing to the farm.”

Emo sanoi tyttärelle: Mother said to her daughter:


“Älä itke tyttäreini “Don’t weep, my daughter
45 nuorra suamani nureksi. born in my youth, don’t complain.
Ota otrilla orihin Take the horse from the barley
rukihilla ruunan suuren, the big gelding from the rye
sitä aja muille maille and drive it to other lands
maille muille vierahille.” to other strange lands.”

so Tytär varmoin vastaeli: The daughter answered surely:


“Oi emoni kantajaini “O my mother who bore me
ikävä minun tulovi I shall feel homesick
ikävä tulottelovi be feeling homesick
mailla muilla mäntyäni when I’ve gone to other lands
55 mailla muilla vierahilla to other strange lands
tulla tuntemattomille - come to lands unknown -
ikävin tuloo imettäjääni most for her who suckled me
suru suurta syöttäjääni, miss the great one who fed me
pahin muate painajaani.” her most who put me to bed.”

«o Sanoi emo tyttärelle: Mother said to her daughter:


“Ei auta asiassa ikävä: “Longing won’t help now:
siun pitävi mänemän you have got to go
muille maille vierahille.” to other strange lands.”

Siitä Kirsti kiitettävä Then Kirsti the praiseworthy


65 osti otrilla orihin bought a stallion with barley
rukihilla ruunan suuren, bought a big gelding with rye
siitä ajoi muille maille and then drove to other lands

374
Q Q Papin tappaja
O y The Priest-Killer

muille maille vierahille to other strange lands


tuli tuntemattomille. came to lands unknown.
70 Ajoi linnojen torille: She drove to town squares:
linnan koirat haukkumahan the town dogs began to bark
linnan poiat katsomahan! the town boys began to stare!
Puhuteltihin matkamiestä: They spoke to the traveller:
“ Mistäs olet sinä sukusin “What kindred are you
75 kusta sinä rotuisihin?” and from which people?”

“Sanoa minun tulovi “ I must tell it, though


jos tuima tuhottannehen: it were the end of poor me:
olin Kirsti kiitettävä I was Kirsti, praiseworthy
läpi maien mainittava.” well spoken of through the lands.”

Tästä koertoelee Kirsti alusta, kuinka Thereupon Kirsti toldfrom the beginning what
hänelle tapahtunut, ja äitin sanat, joka had happened to her, and her mother's words
hänen tänne lähettänyt, josta linnan pojat who had sent her there, whereupon the town
sanovat seuraavat sanat: boys said thefollowing words:

so “Koska olet niin tehnynnä “Because you have done so, have
olkoon olut viina juoakseis beer and liquor for your drink
lesti leipä syyäkseisi bread from fine flour for your food
ummiskenkä käyäkseisi.” a closed shoe for your walking.”

A n n a L eskin en
Suistamo, Ladoga Karelia
S. Sirelius, 1847

375
90
TUNKEILIJAN TAPPAJA
The Intruder-Killer

Mannun poika haikiain


Mannun poika, mies mattaala T hethegloomy son of Mantu
squat man, son of Mantu
soitti kavvan kanneltaa played long on his kantele
viikon vihmoi pilliää, blew for ages on his pipe
5 nuoria nukuttelloo lulled the young to sleep
vanhempia vaivuttaa, weighed the elders down
sai nuoret nukuttanee and the young began to sleep
vanhempaist vaivuttanee. the elders to be weighed down:
Voisi hän ukset viertehellä greased the doors with wort
10 kastoi kaljalla sarreenat moistened the hinges with ale
jottei ulvois uuet ukset that the new doors might not howl
vieriis ei verkkiset sarreenat nor the canvas hinges creak
Kaisun luokse männessää. as he went in to Kaisu.

Mäni Kaisun kammarii He went to Kaisu’s chamber


is Kaisun vieree vettiis stretched himself at Kaisu’s side
nosti Kaisulta katetta. lifted Kaisu’s covering.

Kaisu vaimo aivoin kaunoi The woman Kaisu, right fair


tuopa vasse vastaeli: answering replied:
“Ku ollet oma uroi “ If you are my own husband
2o nii siä vieree vettii! then stretch yourself at my side!
Ku ollet vieras ventolain If you’re a total stranger
mää pois Kaisun kammarista leave Kaisu’s chamber
Kaisun vierestä vettii!” get away from Kaisu’s side!”

Tuo oli vieras ventolain He was a total stranger:


25 ei olt oma uroi. he was not her own husband.

Kaisa vaimo aivoin kaunoi The woman Kaisa, right fair


tempais tupesta tuiman snatched the grim one from its sheath
pahan parkkinahkaisesta, the bad one from its leather
syssäis ala syämmen thrust it underneath his heart

376
Q /~ V Tunkeilijan tappaja
S V The Intruder-Killer

30 alle rintoin asetti. lodged it in his breast.


Tuost tuli kumu kujalle There was a din in the lane
ääni äijän tanhavalle. a loud noise in the farmyard.

Oli Antti Anninee Antti with his Anni was


luhissa leppäämässä. lying in the loft.
35 Sanoi Anni Antillee: Anni said to her Antti:
“Mää siä Antti katsomaa “Go, Antti, and see
mikä on kumu kujalla what the din is in the lane
ääni äijän tanhavalla!” the loud noise in the farmyard!”

Kaisa seisoo kujalla Kaisa stood out in the lane


«o käessä verriin veitsi. in her hand a bloody knife.

Sanoi Antti Annilleen: Antti said to his Anni:


“Kaisan on kumu kujalla “Kaisa’s the din in the lane
ääni äijän tanhavalla.” the loud noise in the farmyard.”
Antti vasse vastaeli: Antti answering replied:
46 “Oi siä Kaisa kaunis huora “O Kaisa, fair whore
jo teit mitä ei pittäänt: you have done what you should not
teit verran veljillees brought your brothers a bad name
su’ullees suuren soiman to your kin a great reproach
itsellees ikihäppiiän.” to yourself eternal shame.”

60 Kaisa vaimo kaunoi vaimo The woman Kaisa, fair one


tuopa väite vastaeli: she indeed answered:
“Päässin päällään häppiiän “I have freed myself from shame
veljiltään vertauksen my brothers from a bad name
su’ultaan suuren soiman my kin from a great reproach
65 itseltään ikkäisen häppeen.” myself from eternal shame.”

K a ti
Soikkola, Ingria
V. Porkka, 1883

377
91
MIEHENSÄ TAPPAJA
The Husband-Killer

Maieistustyttö maire tyttö


Tormion mäellä. T hesat girlon aMaie, a sweet girl
hill at Tormio:
Ken tuon Maien maasta nosti who raised Maie off the ground
kullan ruojasta ylensi raised the dear one from the mud
5 sille Maie annetaan to him Maie would be given
helmerinta heitetään. the bead-breasted would be left.
Jyrki nuori poisikkainen The young lad Jyrki
tuo vat Maien maasta nosti lifted Maie off the ground
kullan ruojasta ylensi: raised the dear one from the mud:
10 tuolle Maija annettiin to him Maija was given
helmerinta heitettiin. the bead-breasted one was left.

Maia veitsist sängyn laati. Maia made a bed of knives.


Jyrki nuori poisukkainen The young lad Jyrki
hyppäs tuolle vuotehelle: leapt upon that couch:
is siihen rikko rintaluunsa on it he broke his breastbone
halki hartiat porasi. ran his shoulders through.

Anoppi ajoi ylös: Mother-in-law forced her up:


“Nouse ylös miniä parka! “Get up, poor daughter-in-law!
Muien kyytöt kyllin söivät Others’ cows have well eaten
20 kyllin söivät, kyllin joivat: well eaten, well drunk:
meiän kyytöt kytköessä.” our cows are tethered.”

Mihin Maie, kuhun Maie? Where Maie, which way Maie?


Maie mereen pakoon: Maie ran off to the sea:
“Oi meri Jumalan luoma “Sea, creature of God
25 ota minuu, hoia minuu!” take me, care for me!”

Meri vasten vastaeli: The sea answering replied:


“En tohi mie otella: “I dare not take you:
täältä sie löyetään you will be found here
nuotan köyel temmotaan.” snatched with a net-rope.”

378
Q 1 Miehensä tappaja
y i The Husband-Killer

so Mihin Maija, kuhun Maija? Where Maija, which way Maija?


Maija kaivoon pakoon: Maija ran off to the well:
“Oi kaivo Jumalan luoma “Well, creature of God
ota minun, hoia minuu!” take me, care for me!”

“En mie tohi ottaa: “ I dare not take you:


35 täältä sie löyetään, you will be found here
vesipangil veitetään, drawn in water-pails
korennol kotia viiään.” taken home on a cowlstaff.”

Mihin Maija, kuhun Maija? Where Maija, which way Maija?


Maija metsään pakoon Maija ran off to the woods
40 Maija puuhun pitempään Maija up the highest tree
leppään leviämpään: up the most spreading alder.
sieltä Maija löyettiin. There Maija was found:
Tulee Maija puusta maahan. “ Maija, come down from the tree!”

Maije vasten vastaeli: Maije answering replied:


46 “En mie tohi tulla. “ I dare not come down.
Mikä tuli se tapahtu: What was coming has happened:
tein veitsestä vuotehen I have made a couch of knives
tapoin mieheni omani.” I have killed my own husband.”

S in g er unknow n
Narvusi, Ingria
J. Länkelä, 1858

379
92
HYLÄTTY I
The Forsaken M aid I

Annikkainen neito nuori


istu Turun sillan päässä Annikkainen the young maid
sat on the bridge at Turku
kaitti kaupungin kanoja cared for the hens of the town
neuo Turun neitosia. counselled the maids of Turku.
5 “Nousi pilvi luotehesta “A cloud rose from the north-west
toinen lännestä läheni: another from the west came:
se kuin nousi luotehesta that which rose from the north-west
se muuttu neitte haksi, changed into a maidens’ boat
se kuin lännestä läheni that which out of the west came
10 se muuttu kesti haksi. changed into a Hunnish boat.

Jo mun kesti kerran petti I was deceived by a Hun:


söi mun syötetyt sikani he ate the pigs I’d fattened
joi mun joulutynnyrini he drank my Christmas barrels
hukutteli huoran poika, and the whoreson ruined me.
is Minun pieni pellopaitan My little shirt of linen
tahto verkaista hametta, wanted a skirt made of cloth
minun verkainen hamehen my skirt made of cloth
tahto vyötä kullatuista, wanted a gilded girdle
minun vyöni kullatuinen my gilded girdle
so tahto raskaita rahoja, wanted a weight of money
minun raskaat rahani my weight of money
tahto nuorta kauppamiestä, wanted a young trading man
minun nuori kauppamiehen my young trading man
tahto mennä muille maille wished to go to other lands
25 muille maille vierahille: to other strange lands
puhu purjehen siahan and he blew where the sail was
kanto hahtehen kalunsa.” bore his wares into the boat.”

Hikos hirvi juostessansa The elk sweated when it ran


joi hirvi janottuansa the elk drank when it thirsted
30 heranteesta lähtehestä. from the never-frozen spring:
Sihen kuolansa valotti where its slaver dripped
0 0 Hylätty I
The Forsaken M aid I

sihen heitti haivenensa, where it left its hair


kasvo sihen tuomo kaunis there a fine birdcherry grew
tuomoon hyvä hedelmä, on the birdcherry good fruit
36 kärkäs sihen kataja kaunis there a fine juniper sprang
katajahan kaunis maija. on the tree a fair berry.
Joka siitä oksan otti He who took a bough from it
se otti ikäsen oksan, took off an eternal bough
joka siitä lemmen leikkas and he who cut love from it
40 se leikkas ikäsen lemmen. cut off an eternal love.

“Jesuksen jätän siaani “Jesus I leave in my place


Marian hyvän majaani: good Mary in my lodging:
hyv on toiste tullakseni it will be good to come back
ennen tehdyille teloille to stocks made before
46 aiotuille anturoille. to foundations once begun
Kenenkä telat tekemät? And by whom were the stocks made?
Jesuksen telat tekemät By Jesus the stocks were made
Marian anturat alomat. by Mary the keels founded.
Hyv on toiste tullakseni It will be good to come back
60 parempi palatakseni.” better to return.”

S in g e r unknow n
Sääksmäki, Häme
E. Lönnrot, 1831

381
93
H Y L Ä T T Y II
The Forsaken M aid I I

q( i n nnen heitän herkut ruuat ( ( T ’d sooner leave dainty foods


pappilan unoutan
T a p a is t it X roasts behind in the priest’s house
kun on heitän kullaistani than leave my dear one
kun on heitän hertaistani than leave my sweet one
5 hylkeän oman hyväni spurn my own good one
kesän kesyteltyäni I tamed all summer
syksyn syleiltyäni. I hugged all autumn.
Elköhöt nyt nykyset Let them nowadays
nyt nykyset nuoret neiot young maids nowadays
10 ja nykyset morsiammat and brides nowadays
vasta kasvavat kanaset the chickens just growing up
nouatelko miesten mieltä not carry out a man’s will
miesten mieltä, kiurun kieltä a man’s will, a skylark’s word
niin kuin mie polonen nouin as I, poor wretch, did:
is nouattelin miehen mieltä I carried out a man’s will
miehen mieltä, kiurun kieltä: a man’s will, a skylark’s word.
voit ostin, tupakat ostin Butter I bought, tobacco
lihat ostin, leivät ostin meat I bought and bread I bought
kalat ostin kaikenlaiset fish I bought of every kind
so tuotin viinat Viipurista fetched liquor from Viipuri
suolat Saksan kaupungista and salt from the German town
oluet omilta mailta. beer from the homelands.
Mikä minun on kullallani What is wrong with my dear one
kuka kielilinnullani what with my song-bird, that he
25 kun ei tullut liitollehen has not come and kept his bond
sanallehen tänne saanut? kept his word and arrived here?
Liekö viinat viivytellyt Gould liquor have delayed him
vain lie huorat houkutellut or the whores have enticed him
mieron naiset lauhutellut? the wayward women charmed him?
3o Ei oo viinat viivytellyt Liquor has not delayed him
vaan on huorat houkutellut: but the whores have enticed him:
huorat housuista pitävät they hold him by the trousers
mieron laita lahkehista.” women by the trouser-legs.”
0 3 Hylätty I I
7 J The Forsaken M aid I I

Läksi Anni katsomahan: Anni went to look for him:


36 venehesen vei elonsa he was loading up his goods
kanto rantahan kalunsa, bearing his wares to the shore
työntävi venon vesille pushing his boat out
muille maille männäksensä. to go off to other lands.
Heitti neion itkemähän He left the maiden weeping
40 kultansa kujertamahan. his dear one groaning.

Annikki rukoilevi: And Annikki prayed:


“Hoi Ukko ylijumala “O Ukko, high god
mies vanha taivahassa, old man in the sky
luota pilvi luotehesta bring a cloud from the north-west
46 toinen lännestä lähetä from the west send another
kolmas iästä iske from the east strike off a third
viskoa vilulta maalta, toss one from the chilly land:
säre tuo veno vesiltä break that boat on the water
nokka korpehen kohota to the backwoods hoist its prow
50 kanna kaaret kalliolle bear its ribs on to a rock
viskoa vilulle maalle!” toss them to the chilly land!”

Jopa Anni kutittelevi: And Annikki jeered:


“Kutti kutti, poika parka! “So there, so there, wretched boy:
Meren tyrskyt tyynynäsi the sea-surf for your pillow
55 meren vaahet vaippanasi the sea-foam for your cover
aallot on alasinasi, the waves for your undersheet -
ei oo Kirtin kirjatyyny no more Kirtti’s bright pillow
eikä Annin villavaippa nor Anni’s woollen cover
eikä utunen uuvi.” nor a fine-spun bed-curtain.”

S in g er unknow n
Suistamo(P), Ladoga Karelia
R. Polén, 1847

383
94
H Y LÄ TTY III
The Forsaken• M aid I I I

nnikke Turuisen tyttöi


ATurun tyttöi, Saaren neitoi A nnikke, Turuinen’s girl
girl of Turku, Island maid
poltteli turulla tulta burned a fire out in the square
alla vuoren valkeutta and flames below the mountain
5 Turun uuessa tuvassa. in the new house in Turku.
Kesät kestiä pitteeli In summer she kept a Hun
talvet juotti miestä jouten in winter let him drink free
kesät syötti kelleriin summers fed in the cellar
talvet tammikammariin winters in the oak chamber
10 kuukavvet kivoikottiin. months long in the stone dwelling.
Lihat otti, leivät otti Meat she took and bread she took
voit otti, oluet otti butter she took, beer she took
kaloit otti kaikenlaist fish she took of every kind
kalaitsuit kaheksanlaist white bread of eight kinds
is viienlaist viinoit otti five kinds of liquor she took
kestin syöä, kestin juoa for the Hun’s food, the Hun’s drink
kestin kestiä pittää. for the Hun, for the Hun’s feast.

Kestitteli kestiään. She fed, fed her Hun


Eipä tuo kesti kestäkkään but that Hun wanted to run.
20 kesti toivoi kessojaa: The Hun hankered for summer:
“Kiesus kesoin tekkiis “ If Jesus made it summer
Maariain lumen sullais if Mary melted the snow
saisin paatissa paeta I would flee in a vessel
venoissa vieretellä slip off in a boat
26 laivoissa lihutta syöä eat meat in a ship
lyöä luita lainehen!” fling bones to the waves!”

Tuopa Luoja kuulovain Now, the Creator listened


Maaria älyäväin Mary understood
niin Kiesus kesoin tekevi so Jesus made it summer
so Maaria lumen sulasi: and Mary melted the snow:
kesti paatissa pakkeeni the Hun fled in a vessel

384
Q A H y lä tty n i
S H The Forsaken M aid I I I

venoisessa vieretteli. slipped off in a boat.

Annikke Turuisen tyttöi Annikke, Turuinen’s girl


Turun tyttöi, Saaren neitoi girl of Turku, Island maid
36 rannoilla rukoelloo: prayed upon the shore:
“ Tuo, Jummaala, pohjoistuulta “ Bring, God, some north wind
anna vastaissaetta give some rain head-on:
käännä laivoi kallalleen turn the ship over
sysäele syrjälleen shove it on its side
40 aja ankkurit kivviin drive its anchors on a rock
massit maille lykkäele, push its masts on land
saisiit rannikot rahutta that the coasts may get money
kivet pienet penninkiä!” the little rocks coins.”

Tuopa Luojoi kuulovain Now, the Creator listened


45 Maaria älyäväin Mary understood:
toi Jummaala pohjoistuulen God brought the north wind
antoi vastaissaetta gave some rain head-on
käänsi laivoin kallalleen turned the ship over
sysäeli syrjälleen shoved it on its side
60 ajoi ankkurit kivviin drove its anchors on a rock
massit maille lykkäeli. pushed its masts on land.

Annikke Turuisen tyttöi Annikke, Turuinen’s girl


Turun tyttöi, Saaren neitoi girl of Turku, Island maid
Annikke kutittelloo: Annikke gloated:
65 “ Kuti kuti, kietoi kesti “ There, so there, smart Him
kietoi kesti, lietoi leski! smart Hun, wanton widower:
Et oo Annin syömillä you’re not eating Anni’s food
etkä Annin juomilla and not drinking Anni’s drink.
etkä Annin voipaloilla No more Anni’s butter pats
60 Annin et käärykakkaroilla no more Anni’s pancake-rolls
ei oo Annin villoivaippoi nor Anni’s woollen cover
eikä Annin höyhenpatjoi: nor Anni’s feather mattress:
meroin vaahi on vaippanaas the sea-foam for your cover
meroin tuuloi turkkinaas the sea-wind for your fur coat
66 meroin aaltoi on pääsi alla.” the sea-wave under your head.”

O lg o i
Hevaa, Kaprio, Ingria
V. Porkka, 1883

25 385
95
V A I M O N S A T A P P A JA I
The Wife->Killer I

f y annus Pannus mies koria T T annus Pannus, handsome man


X JL läksi Koskelta kosihin X X went off to Koski to woo
Virran nuorinta tytärtä Virta’s youngest girl
pajarin parasta lasta. the boyar’s best child.
5 Sano sinne mentyäsä: He said when he had arrived:
“ Paras minulle, ei pahinta “ The best for me, not the worst
pisin minulle, ei lyhintä!” tallest for me, not shortest!”

Sano Virran nuori tyttö Virta’s young girl said


pajarin parahin lapsi: the boyar’s best child:
10 “ Ei parasta, ei pahinta “ Neither the best nor the worst
ei pisintä, ei lyhintä: neither tallest nor shortest.
sinull on entinen emäntä. You have married a mistress:
Tapa nainen ennen naitu kill the wife you have wedded
murra entinen emäntä!” slay the mistress you’ve married!”

is Hannus Pannus mies parahin Hannus Pannus, best of men


meni Koskelta kotihin went home from Koski
hyppäs sälön säkään leapt on a two-year’s withers
nousi laikon lautasille, mounted a white-face’s flanks
tappo entisen emännän killed the mistress he’d married
20 murti naisen ennen naiun. slew the wife he had wedded.

Meni Koskelle kosihin He went to Koski to woo.


sano sinne mentyäsä: He said when he had arrived:
“ Paras minulle, ei pahinta “ The best for me, not the worst
pisin minulle, ei lyhintä!” tallest for me, not shortest!”

26 Sano Virran nuori tyttö Virta’s young girl said


pajarin parahin lapsi: the boyar’s best child:
“ Ei parasta, ei pahinta “ Neither the best nor the worst
ei pisintä, ei lyhintä! neither tallest nor shortest!
Tapot naisen ennen naiun You have killed your wedded wife

386
Q C Vaimonsa tappaja I
yO The Wife-Killer I

murrit entisen eläjän: slain someone who was alive:


taiat tappoa minunki.” you might kill me too.”

Hannus Pannus mies parahin Hannus Pannus, best of men


usko huoran houkutukset trusted a whore’s lures
pahan vaimon vaavitukset. an evil woman’s temptings.

S in g e r unknow n
Tuupovaara, North Karelia
E. Lönnrot, 1838

387
V A I M O N S A T A P P A J A II
The W ife-Killer I I

-rivana Koijoisen poika T ivana, Koijoine's son


Aitse Iivana Koijoine A h e , Iivana Koijoine
mäni Konnult kossiin went off to Kontu to woo
Konnunniemen neitoloi the maidens of Kontu Cape
6 Kallaniemen kassapäitä. plaited heads o f K alla Cape.

Konnun neiot vastasiit: The maids o f Kontu answered:


“ On teil nainen ennen naitu “ But you have a wedded wife
ennen etsitty emäntä. a mistress already sought.
Tapa nainen ennen naitu K ill the wife you have wedded
10 ennen etsitty emäntä: the mistress already sought:
siit vast miä lähen sinulle.'* only then I'll go to you.”

Iivana Koijoisen poika Iivana, Koijoine’s son


itse Iivana Koijoine he, Iivana Koijoine
tuli tuuvalta kottiin came back home from there
is kysytteli lapsiltaan: and asked his children:
“ Mis, lapset, emoinne teijen?” “ Children, where is your mother?”

Vanhin tyttö vastaeli The eldest daughter replied


nuorin tyttö noin sanneeli: the youngest daughter spoke thus:
“ On kyläs kylpemääs “ She’s in the village bathing
so vallaas vallaimaas.” in the parish washing down.”

Iivana Koijoisen poika Iivana, Koijoine’s son


mäni, sanoi naiselleen went, said to his wife
sanoi saunan ikkunaast said through the bath-house window
saunan ukselt läkkäis: from the bath-house door declared:
25 “ Helena hyvä emäntä “ O Helena, good mistress
Katteeriina vaimo kaunis Katteeriina, fair woman
kylve viimoi löylyseis bathe in your last steam
havvoi viimoi vastaiseis and soften your last bath-whisks
paa päälles parraat!” put on your best things!”
Q £L Vaimonsa tappaja I I
y y j The Wife-Kilter I I

30 Helleena hyvä emäntä Helleena, the good mistress


Katteeriina vaimo kaunis Katteeriina, fair woman
kylpi viimoi löylyiseen bathed in her last steam
hautoi viimoi vastaiseen and softened her last bath-whisks
pani päälle parraat put on her best things
36 hipiälleen hienokkaist fine things on her skin
hipiälleen hiekkaalle on her sweating skin
päivän paistamattomalle. unscorched by the sun:
Tuli tuualt kottiin. she came home from there.

Iivana Koijoisen poika Iivana, Koijoine’s son


40 leikkais pään naiseltaan cut off the head o f his wife
niin kuin naatin naurehelt like the top off a turnip
niin kuin kaalin kannaltaan, like a cabbage off its stalk
pään pani suohon mättähääks made her head a marsh-hummock
hiukset niitylle kuloiks and her hair dry meadow-grass
4 5 sormet suohon virvilöiks her fingers sprigs in a marsh
korvat koivun lehtoloiks her ears leaves o f a birch-tree
silmät siestarin maijaseeks. her eyes blackcurrants.
Tuli tuuvalt kottiin. He came home from there.

Lapset itkööt emmoo. The children cried for mother.


60 Iivana Koijoisen poika Iivana, Koijoine’s son
hään vaan vassen vastaeli: answering replied only:
“ Miä tuon emon paremman ‘‘I’ll bring a better mother
miä tuon viitta viisahamman I’ll bring one five times wiser
viittä kuutta kuuluisamman.” five times, six times more famous.”

56 Vanhin tyttö vastaeli The eldest daughter replied


nuorin tyttö noin sanneeli: the youngest daughter spoke thus:
“ Et siä tuo meille emmoo. “ You’ll not bring us a mother:
Siä tuot naisen itselleis, you’ll bring a wife for yourself
meille tuot tukan reppiiän you’ll bring us one who tears hair
oo tuulelle tukan jakajan who shares hair out to the wind
ahavalle antelijan. gives it to the gale.
K u olliis oma emmonne If she were our own mother
antais viikoos viiet armot she’d be kind five times a week
kuukauees kaheksat armot she’d be kind eight times a month
66 netelääs neljät armot.” kind four times in seven days.”

Mäni Konnult kossiin He went to Kontu to woo

389
%
V aim onsa ta p p a ja I I
T h e W if e - K ille r I I

Kallaniemen neitoloi. the maidens of Kalla Cape.


Nuo vain vassen vastaeli: They answering said only:
“Tapoit naisen ennen nai un “You have killed your wedded wife
70 ennen etsityn emännän: your mistress already sought:
taiat siä tappaa miuisen. ’ you might kill me too.
En miä lähe siulle.” I’ll not go to you.”

M a r i J ä m p sä lä in e n
Serepetta, Ingria
V. Porkka, 1883

390
97
T Y T Ä R T E N S Ä TA P P A JA I
The Daughter-Killer I

1 ~! hittelin velloja t fitted out my brother


XLiehittelin, kengittelin X fitted him out, gave him shoes
ehitin emon sukilla gave him my mother’s stockings
toin vaa sukkia sylellä brought a lapful of stockings
6 varvasrättiä vakalla and a boxful of toe-rags
kapukkoja kainalossa. an armful of socks.
Luulin linnaa mänevä I thought he’d go to the town
herroin asioit ajava: about the gentry’s business:
vello kömpi koisjoiteitä my brother trod wooers’ ways
io käi neion käräjäisteitä went and bargained for a maid
astu neion askeloja. stepped in the steps of a maid.

Tuli koisjosta kottii He came from wooing


pani paatin patsaa put his chestnut at the post
mussan ruunan rummenilla, his black gelding in the chaff
is itse tuulenna tuppaa rushed like wind into the house
ahavanna porstuaa, like a gale into the porch
viskais kypärät kannella flung his cap on the table
kintaat kypärän päällä his mittens upon his cap
itse päällä itkemää. started weeping over them.

20 Emyt luoks luotteloo His mother drew near


likemmäksi likentellöö: she closed in closer:
“ Mitä itet poikueni: “Why do you weep, my offspring:
vai oot pelko miespelissä are you timid in men’s games
vai oot siirretty sisoista or pushed out by your sisters
26 vai oot kaarrettu kanoista?” avoided by the chickens?”

“En ole pelko miespelissä “I’m not timid in men’s games


en ole siirretty sisoista nor pushed out by my sisters
en ole kaarrettu kanoista. avoided by the chickens.
Sitä iten miun emoni For this I weep, my mother:
äo miks ei miulla neiot assu the maids will not step my way

391
Q ^7 Tytärtensä tappaja I
y / The Daughter-Killer I

helmirinnat ei helise the bead-breasted won’t jingle


kaatteripersiit ei karise. the tassel-bottomed won’t drop.
Sill ei miulla neiot assu The maids will not step my way
helmirinnat ei helise the bead-breasted won’t jingle
36 kaatteripersiit ei karise: the tassel-bottomed won’t drop
miks on sisoja paljo because of many sisters
emon lapsia enimmän, more mother’s children I have
paljo paitoja pittää and many shirts are needed
enemmän hyvviä vöitä.” even more good belts.”

40 Emo tudras tuulen mielyt The mother with wits of wind­


havumieline harakka blown flax, twig-minded magpie
vei tyttäret vettee took her girls to the water
kanto lapset lainehessa. bore her children to the waves.

Vanhin tyttö vastaeli The eldest daughter replied


45 kalkkaa tyttö keskimäine: the middle daughter prattled:
“Oi emyt, vanha emoni “O mother, my old mother
vanha maama vaalijani old mamma, my nurse
vielä lie tarvis tyttölöjä there will still be need for girls
vielä lie kaiho kassapäitä still longing for plaited heads
60 ku ei muulloi nii kesoilla even only in summer
keskkesällä, heinajalla. in midsummer, at hay-time.
Kolme on kiirettä kesossa: Summer has three busy times:
yksi on kallis kagran kylvö one is the fair oat-sowing
toine rutto rukkein niitto another rush rye-reaping
55 kolmas hellyt heinäaika.” the third is the hot hay-time.”

Saatii se himottu minno And the desired daughter-in-law was


himotulla vellolla, got for the desired brother
saatii hano halattu the wanted goose was
halatulla vellolla. got for the wanted brother.
60 Pantii kangas kankailla Cloth was put upon the loom
aivinaine alla orren flaxen cloth under the beam
liinane liki lakkia: linen cloth near the ceiling:
eivät noise nuoret niiet the new heddles did not rise
nuoren minjan nossakilla, for the young daughter-in-law
65 ei helise uusi pirta the new reed did not jingle
nuoren minjan helkykillä. for the young daughter-in-law.

Kangas kielellä läkäis: The cloth spoke up with its tongue:

392
07 T y tä rte n sä ta p p a ja I
y 1 T h e D a u g h te r-K ille r I

“Tähä tuskaa miä tukehun “In this pain I am stifled


tähä lämmää miä lähähyn. in this heat I am smothered.
70 Viekää minnua vesitiellä Take me down the water-path
kantakaakka kaivotiellä: bear me along the well-path:
kylän kävijäiset kuttoot the village passers-by will
matkalaiset päät pannoot weave, travellers tie the ends
keräjäiset käävyt tekkööt!” beggars will make the shuttles!”

76 Saatii kangas valmiiksi. The cloth was finished.


Kellä se terävä veitsi? Who had a sharp knife?
Minjällä se terävä veitsi: The daughter-in-law had one
leikkais paijan miehellä cut a shirt for her husband
toisen paijan itsellä, another shirt for herself:
eo äijä raukka ei mittää the poor old man got nothing
ämmä raukka ei mittää. the poor old woman nothing.

Mäni meroin rantuella She went off to the seashore


huusi kerroin tyttäriä called out once for her daughters
huusi kerroin, huusi toisen. she called out once, called out twice.

86 Vanhemp tyttö vastaeli The elder daughter replied


kalkkaa tyttö keskimäine: the middle daughter prattled:
“Oi emyt, vanha emoni “O mother, my old mother
vanha maama vaalijani - old mamma, my nurse
et siä oo miun emoni you’re not my mother
»o etkä vanha vaalijani! and not my old nurse!
Meroi on miun emoni The sea is mother to me
meroin vaahto vaalijani the sea-foam my nurse
meroin laine laukojani. and the sea-waves my parent:
Jo on liiva liitsan syönt the sand has eaten my face
95 someroine sormet syönt.” and the shingle my fingers.”

Anni
Narvusi, Ingria
V. Porkka, 1883
98
T Y T Ä R T E N S Ä T A P P A J A II
The Daughter»-Killer I I

y brother went to Estonia


Läks miun veikkoin Virroo
viemää Viron rahhoi M to take Estonia’s money
moaan rahhoi maksamaa. to pay his land-tax.
Tul miun veikkoin Virosta My brother came back from Estonia
5 viemästä Viron rahhoi from taking Estonia’s money
moaan rahhoi maksamast. from paying land-tax.
Tul heää tuiman tuppaa Grimly he came to the house
pönkkiän pöyvän peähän: proudly to the table-head:
ensin visko viittajaan first he tossed away his cloak
10 lähettel leääppäjää and flung down his cap
itse käi siihen istumaa he went and sat down
istumaa ja itkemeää. he sat down and wept.

Mie oli nuorin siskoloist I was the youngest sister


mie lakasin lattijoaa. was sweeping the floor.
is Mie kyselin velloltain: I asked my brother:
“Mitäs sie suruissa, vello “Why are you grieving, brother
alla päin, pahoilla mielin?” your head down, in bad' spirits?”

“Sitä uon, siso, surussa “For this, sister, I’m grieving:


kuin on äijä siskoloi, that I have many sisters
20 äijä paitoi pittää and many shirts are needed
enemmän hyviä vöitä even more good belts
säkki suuri seäärivöitä a big sackful of leggings
kipukkaine kintahiia and a bundle of mittens
sopukkaine sormikkaita.” and a cornerful of gloves.”

25 Emo kuuli nuo sanaset. Now, the mother heard these words.
Emo kolme tyttöjääse The mother with her three girls
män hää meren rantaselle: went to the seashore:
yhen hurstil hukutti one she drowned there in a sheet
toisen vaipal vajotti one she sank there in a gown
no kolmannen paino paijan kans. one she weighed down with a shirt.

394
Q Q Tytärtensä tappaja I I
yO The Daughter-Killer I I

Siit otti himo miniän She took the desired daughter-in-law


sen himotun, sen halutun. the desired, the wanted one.

Pantii kangas kangahille: Cloth was put upon the loom:


ei kuo himo miniä. the desired daughter-in-law won’t weave.
35 Kangas istu kaiken vuotta. The cloth sat there a whole year.
Kangas kielii rupes The cloth started with its tongue
alko kangas koarittoaa: the cloth began to argue:
“Kivistää miun kinttujaini “I have an ache in my hocks
pakottaa miun jalkojain. I have a pain in my legs.
40 Viekää minnuu vesille Take me to water
kantakoaa kaivotielle, carry me to the well-path:
siel kulkiat kuttoot there the wanderers will weave
käypäläiset keääntelööt the travellers will turn me
ruotsalaiset roisuttaat, the Swedes will swirl me.
45 tuovat torvel kottii They’ll bring cloth home in a roll
ommeltun orren peähän to the beam-end all sewn up
hulpilol huonehiee.” into the room all bordered.”

Emon sotkut sotkematta: Mother’s washing was unwashed:


ei sotke himo miniä. desired daughter-in-law would not wash.
50 Emon lehmät lypsämättä: The mother’s cows were unmilked:
ei lypsä himo miniä. desired daughter-in-law would not milk.

Emo män vettä ottamaa. Mother went to get water


Kolkutti korennan peäätä knocked the end of the cowlstaff
kilkutti meren kivvii: and rapped the rocks of the sea:
55 “Tule vanhin tyttärein “Come, my eldest girl
kutomaa miun kangastain!” come and weave my cloth!”

“En tule, emosuuvein: “No, I’ll not come, my mother.


on siul himo miniä You have the desired daughter-in-law
se himottu, se haluttu. the desired, the wanted one:
60 Miks ei kuo himo miniä?” why will she not weave?”

Kilkutti meren kivvii She rapped the rocks of the sea


kolkutti korennan peätä: knocked the end of the cowlstaff:
“Tule keskin tyttärein “Come, my middle girl
sotkujain sotkemoaa!” and wash m y washing!”

65 “En tule, emosuuvein: “No, I’ll not come, my mother.

395
Q Q Tytärtensä tappaja I I
^ O The Daughter-Killer I I

on siul himo miniä. You have the desired daughter-in-law:


Miks ei sotke sotkujais?’ why will she not wash?”

Kilkutti meren kiwii She rapped the rocks of the sea


kolkutti korennan peätä: knocked the end of the cowlstaff:
70 “Tule nuorin tyttärein “Come, my youngest girl
lehmiäin lypsämeää!” come and milk my cows!”

“En peäse, emosuuvein. “No, I cannot, my mother.


Pilvet peätäin pittäät The clouds are holding my head
hattarat hapeniiain: the vapours my hair:
75 Tuonen poika on polvillain Tuoni’s son is on my knees
Tuonen porras tullaksein.” Tuoni’s step my only way.”

M a r ia Ä ijä
Miikkulainen, Ingria
V. Alava, 1894

396
99
TYTÄR
The Daughter

Saisaiminun saunaan emoni


minun saunaan olkuisille: I n the bath-house my mother
had me, on the bath-house straw:
miun ismarot isoini my noble father
uuet kenkäät kulutti wore out his new shoes
5 Saksan saappahat laotti trampled down his German boots
saunan tietä käyessään. up and down the bath-house road.
Kysyi saunan ikkunasta: Asked through the bath-house window:
“Min sinuille Jumala antoi “What has God given you, what
mitä antoi armollinen? has the merciful given?
10 Loiko Luoja luotinkättä Has God made a threshing-hand
armollinen atrankättä?” the merciful a plough-hand?”

Miun emoin vastaeli: My mother replied:


“Ei luonut Luoja luotinkättä “God has made no threshing-hand
armollinen ei atrankättä: the merciful no plough-hand:
ie loi Luoja tuvan pesiän he has made a house-washer
antoi astiain pesiän has given a dish-washer
kevätkankahan kutojan a weaver of spring cloth, a
talvipoukun poukuttajan.” washer of winter washing.”

Isoi sanoi: Saata suohon! Father said: Put in the marsh!


20 Velloi verkkoi: Vie veteen! Brother: Push in the water!
Setoi: Seinään säräise! Uncle: Dash against a wall!
Seän nainen: Seipähäseen! Uncle’s wife: Fix on a pole!

Ei antant sydän emoini But my mother’s heart would not


eikä vatsa vaaliani nor would my nurse’s belly-
25 ei voinut vetehen viiä could not push in the water
eikä seinään säräistä: nor could dash against a wall:
emoi oli nähnyt suuret vaivat mother had seen great troubles
kärsinyt kovat kipiät had borne grievous pains
saunan maassa maatessaan lying on the bath-house soil
äo olkuisilla ollessaan staying on the straw

397
QQ T y tä r
•7 y T h e D a u g h te r

lauvoilla levätessään. resting on the boards.


Emoi turkkais tutuun Mother pushed me in a cot
laati lapsen kätkyeen: laid her child in a cradle:
monet yöt oli uneta many nights she was sleepless
3 5 monet illat iltaisetta many evenings supperless
monet aamut atriata many mornings with no meal
murkinaiset murkinata, breakfast-times with no breakfast
uuet hunnut kuivatteli and she dried the new napkins
kaheksat hunnut kapaloi in eight napkins swaddled me
40 yhessä kesäissä yössä. in a single summer night.
Muu pere on murkinalla Other kin were at breakfast
miun emoin on minussa kiini my mother was stuck to me
käsin kaksin kätkyessä with both hands in the cradle
viisin sormuisin vivussa with five fingers on the beam
45 kymmenen kynttä kylkipäissä. with ten nails at the edges.
Luuli turvaa tulovan She thought there would be support
varopuuta valmistuvan, a shelter would be prepared
ei tullut emoille turva but for mother no support
tult ei turva tuutijalle no support for her who rocked
äo vara ei viljoin vaalijalle. aid for the bountiful nurse.
Tuli turva tuurasuille There was support for pick-mouths
veen vetäjä versusuille a water-drawer for blabber-mouths
laisoille halon hakkaaja . .. for sluggards a wood-chopper . . .

S in g e r unknow n
Soikkola, Ingria
J . Länkelä, 1858
100
POIKA
The Son

Laari poika laatu poika


Laari laatu poisikkainen Laari boy, excellent boy
Laari, excellent laddie
vesti suksia sykysen shaped skis one autumn
kaplahia kevähen kaiken: and sledge-shackles a whole spring:
6 suen luista vesti sukset of wolf’s bones he shaped the skis
karhun luista kaplahaiset. of bear’s bones the sledge-shackles.
Vuoen säästi vuohen voita One year he saved goat’s butter
kuukauen kukon talia a month long cock’s grease
mil hän voisi suksiahan and with these he greased his skis
10 hanhen rasvalla rapasi. smeared them with goose-fat.

Mäni maita liukumahan He went sliding over lands


liuku maita Uuvuttuja lands that had been slid over
liuku liukumattomia that had not been slid over
liuku suurehen salohon slid into the great backwoods
15 korkeahan koivikkohon, to some tall birches
näki oksalla otuksen saw a creature on a bough
käsnältä punakäköisen. a brown cuckoo on a gnarl
Suin saoi, sanoin läkäsi: said by mouth, declared in words:
“Istu tuossa ilmoin lintu “Sit still there, bird of the air
so kokota Jumalan kokko wait, eagle of God
kunis pyyhin pyssyjäni until I have wiped my gun
ruokin ruosterautajan I’ve cleaned my rusty iron
pyyhin pyssyin tuoreheksi wiped my gun as good as new
ruosterautain rohoon!” my rusty iron on grass!”

85 Ammuin kerran, ammuin toisen I shot once and I shot twice.


ammuin kerran, löin alaitse I shot once, I hit too low
ammuin toisen, löin ylitse I shot twice, I hit too high
puuttui kohti kolmannesti: but it lodged home the third time:
jo putois puhas lumelle the pure one fell on the snow
3 0 rasva hangelle hajoisi. the fat spilled on the snow-crust.

399
100 Th?Son

Tuon sioin serentkuhuini I tied it in my handkerchief


sioin silmäriepuhuini I tied it in my eye-rag
tuon vein emon ehoksi took it to please my mother
maammon maistutuspaloiksi: as a titbit for mamma:
36 “ Emosein, ehtosein “ M y mother, my favourite
maammoseini, marjaseini my mamma, my sweet berry
jokos on maito maksettuna has the milk now been paid for
kova piina kostettuna?” the harsh torment been made good?”

Emo vasten vastaeli Mother answering replied


«o vasten vastahan saneli: for an answer said:
“ Ei oo viel maito maksettuna “ The milk is not yet paid for
kova piina kostettuna. the harsh torment not made good.
Äsen maksat maammon vaivat You’ll pay for mamma’s troubles
kostat piinan kuoriaisi make good your hatcher’s torment
45 kostat vaivat vaaliaisi your nurse’s troubles, only
kuin teet emolle turkin if you make mother a coat
teet turkin tuutialle a fur coat for her who rocked
seitsemän revon selästä out of seven foxes’ backs
kärpän kämmenpyöräsestä round paws of ermine
60 kuuen kuunitsan nahasta.” six skins o f marten.”

Jo teki emolle turkin He made his mother a coat


teki turkin tuutijalle, a fur coat for her who rocked
pani sulkut suita myöten put silk down the openings
aarnitsat alaisin puolin a hemmed linen skirt below
55 veran reunille levitti. laid cloth along the edges.

Laari poika laatu poika Laari boy, excellent boy


kysyy emoseltansa: asked his dear mother:
“Jokos on maito maksettuna “ Has the milk now been paid for
kovat piinat kostettuna?” the harsh torments been made good?”

60 Emo vasten vastaeli Mother answering replied


varsin vastahan saneli: indeed she answered:
“ Voi miun Laari poikueni “ Ah, my Laari, my offspring
äsen on vaivat maksettuna the troubles will be paid for
kovat piinat kostettuna harsh torments made good, only
66 kuin teet tuvan emolle if you build mother a house
teet tuvan tuutijalle build a house for her who rocked
porstuvan tuvan etehen a porch in front of the house

400
100 7 7 a Son

kammarit tuvan sivulle with chambers beside the house


kota kammarin sivulle a hut beside the chamber
70 uuet ukset kammarihin.” and new doors to the chamber.”

Laari poika laatu poika Laari boy, excellent boy


jo teki tuvan emolle built a house for his mother
teki tuvan tuutijalle built a house for her who rocked
porstuvan tuvan etehen a porch in front of the house
76 kammarit tuvan sivulle with chambers beside the house
kota kammarin sivulle a hut beside the chamber
uuet ukset kammarihin. and new doors to the chamber.

Laari poika laatu poika Laari boy, excellent boy


kysyy emoseltansa: asked his dear mother:
so “Jokos on maito maksettuna “ Has the milk now been paid for
kovat piinat kostettuna?” the harsh torments been made good?’

Emo vasten vastaeli Mother answering replied


varsin vastahan saneli: indeed she answered:
“ Voi miun Laari poikueni “ Ah, my Laari, my offspring
85 äsen on vaivat maksettuna the troubles will be paid for
kovat piinat kostettuna harsh torments made good, only
kuin tuot lehosta leivän if you bring bread from the grove
punakuoren koivikosta.” brown-crusted from the birch-wood.”

Laari poika laatu poika Laari boy, excellent boy


m tuopa toi lehosta leivän brought bread from the grove
punakuoren koivikosta. brown-crusted from the birch-wood.

Laari poika laatu poika Laari boy, excellent boy


kysyy emoseltansa: asked his dear mother:
“Jokos on maito maksettuna “ Has the milk now been paid for
95 kovat piinat kostettuna?” the harsh torments been made good?’

Emo vasten vastaeli Mother answering replied


varsin vastahan saneli: indeed she answered:
“Jo on nyt maito maksettuna “ Now the milk has been paid for
kovat vaivat kostettuna.” the harsh troubles been made good.”

S in g e r unknow n
Tyro, Ingria
D. E. D. Europaeus, 1853

26 401
101
ÄITI
The Mother

änin miä marjaa mamoille went after berries for mother


M karpaloo kantajalle, I cranberries for who bore me
poimin miä puolaa poluksen picked cowberries, a sockful
kaksi polusta karpaloja two sockfuls o f cranberries
6 vakan verran vaapukaista a bushel of raspberries
seeglan verran siestaraista a sieveful of currants, an
munan kuoren mussikaista. eggshellful of bilberries.
Tulin illalta kottii. I came home in the evening.

Nii kyssyit kylläist naist So the village women asked


10 sannoit naiset naapurista: women among neighbours said:
“ Anna Maaroi marjojaas “ Give, Maaroi, o f your berries
Katoi karpaloisiaas!” Katoi, of your cranberries!”

M iä vaa vasse vastaelin: But I answering replied:


“ Evät jovva Maaroin marjat “ Maaroi’s berries aren’t to spare
is eikä Katoisen karpaloist, nor are Katoi’s cranberries:
Maaroi viepi mamoille marjat Maaroi takes them to mother
Katoi kantajaiselleen.” Katoi to her who bore her.”

Marjukkain miun mamoin Marjukkain my dear mother


otti marjat polvillee took the berries on her knees
so poimi puolan kieloillee, put a berry on her tongue.
tuostapa voipui vuotehesse Then she sank down on her bed
tuostapa lavvoille lamahti: then went limp on the bed-boards:
oli vuoen vuotehessa she was a year in her bed
kaks oli kyllin kattehessa. two indeed under covers.

es Mitä tehnen miä polioin What am I to do, poor wretch


mitä tehnen, kui elänen? what to do and how to live?
Miäpä noijille Virroo I’ll to Estonia’s wizards
alle linnan arbulille. to augurs below the town.

402
101 The Mother

Evät noise nuoret noiat The young wizards would not rise
30 vanhat arpojat asetu the old augurs would not stand
akan vanhan vaalijaksi. to care for the old woman.

Annoin niitä, annoin näitä I gave them this, gave them that
annoin ainoont aivinaant I gave my only linen
annoin viljaant viimeiseent I gave my last corn
35 annoin kultaa piolla I gave gold by the fistful
hopiiaa kahmalolla: silver cupped in my two hands:
noisi yksi noijan poika one son of a wizard rose
vanha arbuli asettui an old augur stood
akan vanhan vaalijaksi. to care for the old woman.

«o Miä vaa kiireeltä kottii: And I hurried home: I heard


kuulin koissa kolkataa knocking in the house, something
veräjällä vessetää being shaped at the gateway
saranoilla salvetaa. chopped at the hinges.

“ Mitä vessät velvyeen “ What do you shape, my brother


46 sepitset sula settoin: and what smite, my sweet uncle:
vai vessät sotavennooja is it war-boats you’re shaping
sotalaivoja rakennat war-ships you’re building
sotiairoja asseetat?” war-oars you’re fitting?”

Velloi väite vastaeli: M y brother indeed answered:


50 “ En vessä sotavennooja “ I am shaping no war-boats
sota- en laivoja rakenna building no war-ships
sota- en airoja asseeta: fitting no war-oars:
vessän kuolleen kottiia I shape a house for the dead
maaha männeen maijaa.” and a hut for one gone down.”

56 Miä vaa tuisahin tuppaa And I rushed into the house


ahavana porstuaa: like a gale into the porch:
emoi on pesty penkin päällä mother, washed, was on the bench
laaitettu laavitsalla. was laid out on the platform.
Miä vaa luoks luoteliin And I drew nearer
60 likemmäs likentelliin. I closed in closer.

Aloin äänin äikytellä I began to cry aloud


aloin versin vieretellä I began to chant a dirge
sanoin heltehin sanella: and in burning words to say:

403
il vnii Äiti
T h e M o th e r

“Oi miun ehtoisa emmoin “O my dear mother


66 nii lakkaisit miun isolle you’ve left me in need
ku linnun lihan isolle, like a bird in need of meat
nii lakkaisit miun halulle you’ve left me in want
ku harakan veren halulle. like a magpie wanting blood.
Oi miun ehtoisa emmoin O my dear mother
70 anna ääni armottoman give your voice to the orphan
viime sana vierettele and chant the last word
Tuonen maalle mäntyääs now you’ve gone to Tuoni’s land
liivoisehe liikkuaas! now you’ve moved into the sand!
Kirkko on tehty korkiain A church is built high:
75 päällä on risti paistavain on you is a shining cross
päällä on kangas palttinain.” upon you a linen shroud.”

U lja a n a
Soikkola, Ingria
V. Porkka, 1883

404
102
KUOLEVA NEITO I
The Dying M a id I

N eitoi linnassa lässii


alla Saaren sairastaa. A maid lay ill in the town
below the Island lay sick.
Sanoi kulta kuollessaa The dear one said as she died
läkkäisi läsiessää: and declared as she lay ill:
6 “ K u miä kuolen kuulu tyttö “ When I die, a famous girl
ilokalkkala kattoon when I, a joy-bell, perish
tuokaa suku suuni päälle bring the kin before my face
heimo hengen lähtiessä! the clan as my breath departs!
K u tulloo maine matka I f a land-journey is made
10 hepoisilla tultakaa let it be made on horseback
kuusin kullatuin heppoisin upon six gilded horses
toisin kuusin kullattomin! another six ungilded!
K u tulloo vetoine matka If a water-journey’s made
venoisilla tultakaa then let it be made by boat
is kuusin kullatuin venoisin in six gilded boats
toisin kuusin kullattomin!” another six ungilded!”

Sanoi kulta kuollessaa The dear one said as she died


läkkäisi läsiessää: and declared as she lay ill:
“ K u miä kuolen kuulu tyttö “ When I die, a famous girl
so ilokalkkala kattoon when I, a joy-bell, perish
elkää papitta panna don’t bury me priestless, set
kirkkoherratta kiveetä: no stone without a pastor:
tuokaa pappi Paastuelta bring a priest from Paastue
kirkkoherra Kiljannalta! a pastor from Kiljanta!

25 Viekää miuista sinne Carry me out there


viekää sinne, kunne käsken carry me where I command
ja sinne, kunne lähetän and where I send y o u -
Kaarastan kylän kaulle! to Kaarasta village street!
En miä malta tuolla maata I cannot lie there
so noissa liivoissa levväätä not rest in those sands
kaarastiihen karskannalta for the stamp of villagers

405
1 Kuoleva neito I
1 w Z The Dying M aid I

rasvaposkiin roiskannolta for the splash of the fat-cheeks


hevoisravvan raksinnalta. for the clop of the horseshoes.

Pankaa miuista sinne Bury me out there


36 pankaa sinne, kunne käsken bury me where I bid you
ja sinne, kunne lähetän and where I send y o u -
isoin ikkunan aloille beneath my father’s window
velloin seinän vieryee! and beside my brother’s wall!
En miä malta tuoskaa maata I cannot lie there either
40 noissa liivoissa levväätä not rest in those sands
isoin suurelta itulta for my father’s loud weeping
emoin kauvas kaljunnalta for my mother’s long wailing
velloin kerveen vestännältä for my brother’s axe hewing
minnoin kivoin jyryltä daughter-in-law’s stone rumbling
45 sissoin värttinän siruilta. my sister’s distaff whirring.

Viekää miuista sinne Carry me out there


viekää sinne, kunne käsken carry me where I command
ja sinne, kunne lähetän and where I send you
kirkon kirjavan tyvvee to the base o f the bright church
so paaen paksun kainaloo! under the thick boulder’s arm!
En miä malta tuoskaa maata I cannot lie there either
noissa liivoissa levväätä not rest in those sands
papin suurelta parulta for the priest’s loud howl
kirkkoherran kiljunnalta for the pastor’s roar
65 lukkarin virren laulannalta. the deacon singing the dirge.

Pankaa miuista sinne Bury me out there


pankaa sinne, kunne käsken: bury me where I bid you
kauneen kalmain multaisee in the graveyard’s lovely soil
soreii someroisii in the sweet shingle
60 heleii hietasii in the shining sands
mihe on pantu muutki neiot! where other maids are buried!
Siit miä maltan siinä maata Then I can lie there
ja niissä hiekoissa levväätä.” and rest in those sands.”

H e lo i
Kaprio, Ingria
V. Porkka, 1883

4 06
103
K U O L E V A N E I T O II
The Dying M aid I I

riron neiti sairasteli rr-»he Estonian maid lay sick


V sano sairastellessansa: J . and she said as she lay sick:
“Kun ma kuolen kuulu piika “When I die, a famous lass
riutunen tytär rikaspa pine away, a rich daughter
5 työn tietteä hyväin miesten bringer of work for good men
rahan alku aitallisten, source of money for rich men
viekeä minua maata take me to lie down
tupatkate tuutumahan press me down to sleep
ison ikkunan alle!” beneath my father’s window!”

io Eipä saane neito maata But the maid could not lie down
piika pitkään levätä nor the lass rest long
ison ruoskan roiskeelta for her father’s whip swishing
kapinalta karjan kynnen: the trampling of cattle-hoofs:
iso nousee varahin her father got up early
is oritta apettamaan. to feed the stallion.

Viron neiti sairasteli The Estonian maid lay sick


sano sairastellessansa: and she said as she lay sick:
“Kun ma kuolen kuulu piika “When I die, a famous lass
riutunen tytär rikaspa pine away, a rich daughter
äo työn tietteä hyväin miesten bringer of work for good men
rahan alku aitallisten, source of money for rich men
viekeä minua maata take me to lie down
tupatkate tuutumahan press me down to sleep
veikon venovalkamahan.’’ in my brother’s boat haven!”

25 Eipä saane neito maata: But the maid could not lie down:
tuohon saapi Saksan laivat the German ships arrived there
tulee Tukhulmin purret the Stockholm craft came
tervarinnat teutoavat. and the tar-bowed milled about.

Viron neiti sairasteli The Estonian maid lay sick

407
1 Kuoleva neito I I
1 v J The Dying M aid I I

30 sano sairastellessansa: and she said as she lay sick:


“ Kun ma kuolen kuulu piika “ When I die, a famous lass
riutunen tytär rikaspa pine away, a rich daughter
työn tietteä hyväin miesten bringer of work for good men
rahan alku aitallisten, sdurce of money for rich men
35 viekeä minua maata take me to lie down
tupatkate tuutumahan press me down to sleep
emon kellarin etehen.” before my mother’s cellar!”

Eipä saane neito maata: But the maid could not lie down:
emo nousee varahin her mother got up early
40 hulikoita huutomaan to rinse out the tubs
kirnuja kolistamaan. to rattle the churns.

Viron neiti sairasteli The Estonian maid lay sick


sano sairastellessansa: and she said as she lay sick:
“ Kun ma kuolen kuulu piika “ When I die, a famous lass
45 riutunen tytär rikaspa pine away, a rich daughter
työn tietteä hyväin miesten bringer of work for good men
rahan alku aitallisten, source o f money for rich men
viekeä minua maata take me to lie down
tupatkate tuutumahan press me down to sleep
so siskon pellon pientarella.” at the edge o f sister’s field!”

Eipä saane neito maata But the maid could not lie down
sikon värttinän helyiltä: for sister’s distaff jingling:
sikko nousee varahin. her sister got up early.

Viron neito sairasteli The Estonian maid lay sick


55 sano sairastellessansa: and she said as she lay sick:
“ Kun ma kuolen kuulu piika “ When I die, a famous lass
riutunen tytär rikaspa pine away, a rich daughter
työn tietteä hyväin miesten bringer of work for good men
rahan alku aitallisten, source of money for rich men
60 viekeä minua maata take me to lie down
tupatkate tuutumahan lay me down to sleep
kirkon kirjatun sivuun at the side o f the bright church
satalauan lappeasen beside the hundred-boarded
tervaporstuan poveen right inside the tarry porch
65 lihavaan luumäkeen on the fat bone-hill
vierelle vihannan nurmen: beside the lush grass:

408
1 A O Kuoleva neito I I
Iv J The Dying M aid I I

siell on äiä ännetöntä there many silent folk are


paljo paksua väkeä.” crowded together.”

M a te li K u io a la ta r
Ilomantsi, North Karelia
E. Lönnrot, 1838

409
104
H IR T TÄ Y TY NY T N E IT O I
The Hanged M aid I

A nni tyttö aini tytti r r i h e girl Anni, matchless girl


j t \ läksi vastoa metästä X went to the wood for bath-whisks
vastan päätä varvikosta. to the thicket for bath-whisks:
Taitto vastan taatollensa broke off one for her father
5 toisen taitto maamollensa another for her mother
kolmannen kokoeli a third she gathered
nuorimmalla veiollansa for her youngest brother, the
perehen paremmolle. best in the family.

Osmonen orosta kirpo Osmonen slipped from the dell


io Kalevainen kaskimaista: Kalevainen from the clearing:
“ Kasva neito minussa mielin “ Grow, maid, to please me
älä muissa nuorisoissa not the other young people
nuorisossa kaunihissa, the fair young people:
kasvos kaioissa somissa grow in narrow, in neat things
is veny verkavaattehissa.” grow tall in dresses of cloth.”

Anni tyttö aini tytti The girl Anni, matchless girl


läksi itkien kotihin went weeping homeward
kallotellen kartanolle. wailing to the farm.

Isä pääty ikkunassa Father was at the window


20 kirvesvartta vuolomassa: was whittling an axe-handle:
“ Mit itet Anni tytti?” “ Why do you weep, Anni girl?”

“ Kirpo risti rinnaltani “ The cross has slipped from my breast


kirpo sormus sormestani the ring slipped from my finger
kauniseni vyöni päästä my trinkets off my belt’s end
25 simpsukaiset silmiltäni the beads from my eyes
kultaripsut kulmiltani.” the gold tassels from my brows.”

Veljekset veräjän suussa Her brothers in the gateway


kirjokorjoa kirjutetan were adorning a bright sleigh

410
1 (\A Hirttäytynyt neito I
I UT- The Hanged M aid I

laitioa laaitaan: were building a box-sledge: “ Why


30 “ Mit itet Anni sikko?” do you weep, sister Anni?”

“ Ompa syytä itkiäkin: “ There is cause for my weeping:


kirpo risti rinnaltani.” the cross has slipped from my breast.”

Anni tyttö aino ty tti. . . The girl Anni, matchless g ir l. . .

Sisarekset sillan päässä Her sisters upon the floor


35 vyötä kullasta kuotaan were weaving a belt o f gold
hopieista huolitetaan: working one of silver: “ Why
“ Mit itet Anni sikko do you weep, sister Anni
Anni sikko aino sikko?” sister Anni, matchless one?”

“ Kirpo risti rinnaltani “ The cross has slipped from my breast


40 kirpo sormus sormestani the ring slipped from my finger
kauniseni vyöni päästä.” my trinkets off my belt’s end.”

Emo aitan kynnyksellä Mother on the shed step was


voita kiulussa pesee: washing butter in a pail:
“ Mit itet Anni tyttö “ Why do you weep, Anni girl
45 Anni tyttö aino tytti?” you girl Anni, matchless girl?”

“ Läksin vastoa metsästä “ I went to the wood for whisks


vassan päätä varvikosta, to the thicket for bath-whisks
taitin vastan toatolle. broke off one for my father.
Osmonen norosta huuti Osmonen called from the dale
50 Kalevainen kaskimailta: Kalevainen from the clearing:
‘Kasva neito minussa mielin ‘Grow, maid, to please me
älä muissa nuorisossa not the other young people
nuorisossa kaunisossa, the fair young people:
kasvos kaioissa somissa.’ ” grow in narrow, in neat things.’ ”

55 “ Anni tyttö aino tytti “ You girl Anni, matchless girl


älä ite Anni tytti, don’ t weep, Anni girl.
kolm on aittoa mäellä Three are the sheds on the hill.
astu aittaan mäellä Step to the shed on the hill
avaos parahin aitta: open the best shed:
60 syö sie siellä vuosi vuota there eat butter for a year
tulet muita vuolahampi, and grow plumper than others
toisen vuoen sian lihaa another year, pork

411
1 f\A Hirttäytynyt neito /
I L t T The Hanged M aid I

kolmas kuorekakkaroita. and a third, fish pies.


Pane arkku arkun päälle Stand trunk upon trunk
es lipas lippahan lomahan, case on top of case:
avaa sie parets arkku open the best trunk
kimahuta kirjakansi, make the bright lid slam open
pane päälle parainta put on the best things
ripeintä rinnoillasi.” the most gorgeous on your breasts.”

70 Anni tyttö aini neiti The girl Anni, matchless maid


astu aittaan mäellä stepped to the shed on the hill
avasi pahimman aitan opened the worst shed
tuli muita sirkiempi became prettier than others
tuli muita vuolahampi, became plumper than others
75 avasi pahimman arkun opened the worst trunk
löysi kuusi kultavyötä found six golden belts
kaheksan kapalovyötä, eight swaddling-girdles
kuristihin kultavöille strangled herself with the belts
kaakistihen kapalovöille choked herself with the girdles
so kuukistaksen kaakistaksen she staggered, she slumped
riputaksen rihmallansa: hanged herself with her own thread:
siitä riutu lippahalle then she dropped upon the case
kaatu arkun kannen päälle. fell on the trunk-lid.

Emo aittaan tuleepi Her mother came to the shed


86 kolme vuotta oltuohon: when three years had passed:
jop on uupu Anni tytti. the girl Anni was no more.

“Vieres kyynel, viere toinen “Roll, a tear, roll, another


vierkööt vetrehet veteni let my brimming waters roll
hienon helman helmussoilla on my fine skirt-hems
90 ripeille rinnoilleni, on my gorgeous breasts
viere kyynel, viere toinen roll, a tear, roll, another
sulkkusilla vyöni päillä, on my silk belt-ends
viere kyynel, viere toinen roll, a tear, roll, another
sulkkusille sukkasille, on my silk stockings
95 vieläki sitä alemma lower still than that
hienon helman helmysvöillä, on my fine skirt-hems
vieläki sitä alemma lower still than that
kaunehille kantapäille upon my fair heels
kultakengän kantasille, the heels of my golden shoes
loo viere kyynel, viere toinen roll, a tear, roll, another

412
1 (\A Hirttäytynyt neito I
l t r + The Hanged M aid I

vieläki sitä alemma lower still than that


alasihin maaemihin to the earth-mothers below
viere maahan maan hyviksi.” to the earth for the earth’s good.”

Jo tuleepi kolme jokee Now three rivers came


105 tuleepi joki tulinen and a fiery river came
yhen immen kyyneleistä, from one maiden’s tears
rotiupi kolme koivuu three birches were bred
joka joen partahalle, one the bank of each river
rotiupi kolme käkeä three cuckoos were bred
no yhen ihmisen itusta. out o f one person’s weeping.

Kolmas kukku: lemmen, lemmen The third called love, love


lapselle nimettömälle, to the nameless child
yksi kukku: auon, auon the first called Joy, Joy
lapselle auottomalle, to the joyless child
115 toinen kukku: lemmen, lemmen the second love, love
lapselle lemmettömälle, to the loveless child
kolmas kukku: auon, auon the third called joy, joy
lapselle isättömälle. to the child with no father.

S in g e r unknow n
Uhtua, Archangel Karelia
E. Lönnrot, 1834

413
105
H I R T T Ä Y T Y N Y T N E I T O II
The Hanged M aid I I

a lermo Ylermän yrkkä a lermo, Ylermä’s swain


.xVkaiken vallan maan hyvä ,/x o n e of all the country’s best
se vad kyssyy emoltaa: he asked his mother:
“Näitkö neitoo kasvavanna “Have you seen a maid growing
5 tukkapäät ylenevännä?” one with locks rising?”

“Näin mie neijo kasvavanna “Yes, I’ve seen a maid growing


tukkapään ylenevännä one with locks rising
vaa ei sit siulle panna but she will not do for you
siun molotsan morsiameks.” as a bride for you, young squire.”

io Alermo Ylermän yrkkä Alermo, Ylermä’s swain


ehitti laivutta kuusi fitted out six ships
seitsemänne itsellee: and a seventh for himself:
pani purjeet punaset fitted sails, red ones
toiset purjeet siniset other sails, blue ones
is kolmannet koko rohoset, a third lot all green
pani purjeet pursimaa set the sails to sail'
tervarinnat tempomaa, the tar-bows to tug
mäni neitoista kossii. went to woo the maid.

Neito etsi emolta päätä The maid groomed her mother’s head
20 oven suussa orren alla by the door, beneath the beam
kahen ikkuna välillä, between two windows
pisti päätä ikkunasta stuck her head through the window
suuta suuresta lovesta: and her face through the big gap:
“Oi emyt, vana emoni “O mother, my old mother
25 vana mamma vaalijani, old mamma, my nurse
Untomaan sota tulloo.” Untomaa’s war is coming.”

Emyt vassoin vastaeli: Her mother answering said:


“Ei tule Untomaan sota: “No, Untomaa’s war is not:
ne siun kosjosi tulloot. they are your wooers coming.

414
1A r H ir ttä y ty n y t neito I I
1 U J T h e H anged M e id I I

30 Mää aittaa mäelle - Go to the shed on the hill -


siell on kirstu kirstun päällä there is chest on chest
laatikko laatikon päällä: box on top of box:
pane päällesi parasta put on the best things
hienokkaiset hibjällesi!” fine things on your skin!”
The maid
35 Neito mäni aittaa mäelle. went to the shed on the hill
Pani päällese paraimmat put on the best things
hienokkaiset hibjälle, fine things on her skin
otti kuusi kultavyötä took six golden belts
seitsemä hopiavyötä. seven silver belts.
40 Otsat ortehe rapasi She fixed the tips to a beam
keskikohan kaulailee: the middle part to her neck:
siihi suuti surmuse there she choked to death
siihi kaatoi kalmovese. there she fell towards the grave.

Ylennä Alermon yrkkä Ylermä, Alermo’s swain


45 se vad kyssyy emolta: he asked his mother:
“Kussa on vad teijä neito?” “Where then is this maid of yours?”

Emyt väite vastaeli: His mother answering said:


“Neito on aitassa mäellä “She’s in the shed on the hill
aitassa mäellisessä: in the shed upon the hill:
50 mää aittaane mäelle go to the shed on the hill
aittaa mäellissee!” to the shed upon the hill!”

Alermo Ylermän yrkkä Alermo, Ylermä’s swain


mäni aittaa mäelle went to the shed on the hill
aittaa mäellissee. to the shed upon the hill
65 Katso aitan uksen päälle: looked at the shed door:
neito hirressä rippuu. the maiden hung from the beam.

K a t i K ä h ä rä
Narvusi, Ingria
J . Ruotsalainen, 1900

415
106
MENETYS I
The Loss I

M änin suolle sotkemaa


pellolle puristammaa, Iwent to the marsh to wash
to the field to wring
mänin paitani pajulle put my shirt on a willow
hameheni hoavan oksal my skirt on an aspen bough
5 helmen hiekkarantuelle. my beads on the sandy shore.
Sit varas vahti varvikosta A thief watched from the thicket
mies vihaine vitsikosta: a wicked man from the scrub:
vei tuo miun paitani pajulta took my shirt from the willow
hameheni hoavan oksalt my skirt from the aspen bough
10 sukkani sulalta moalta my stockings from the bare ground
kenkäni kesäkiveltä my shoes from the summer-rock
helmet hiekkarantuelta. my beads from the sandy shore.
Mänin itkiihe kottiihe. I went weeping home.

Emo kysy koton ta: Mother asked at home:


is “Mitä itket nuorueni?” “Why do you weep, my youngster?”

“Mänin suolle sotkemaa “I went to the marsh to wash


pellolle puristammaa, to the field to wring
mänin paitani pajulle put my shirt on a willow
hameheni hoavan oksal my skirt on an aspen bough
20 helmen hiekkarantuelle. my beads on the sandy shore.
Sit varas vahti varvikosta A thief watched from the thicket
mies vihaine vitsikosta: a wicked man from the scrub:
vei miun paitani pajulta took my shirt from the willow
hameheni hoavan oksalt my skirt from the aspen bough
25 sukkani sulalta moalta my stockings from the bare ground
kenkäni kesäkiveltä my shoes from the summer-rock
helmet hiekkarantuelta.” my beads from the sandy shore.”

“Elä itke nuorueni. “Don’t weep, my youngster.


Ky11 on kirstu kirjavia There’s a chestful of bright things
30 toinen kirstu kiiltäviä: another of shiny things:

416
1 A /T Menetys I
lU O The Loss I

pane peällesi parasta put on the best things


hipjällesi hienokkaista!” fine things on your skin!”

H elen a
Kupanitsa, Ingria
J . Ruotsalainen, 1901

27 417
107
MENETYS II
The Loss I I

O lin viikon oljamissa


toisen viikon vierahissa, I stayed a week with parents
another week visiting
kuoin mie vaipon kultareunan wove a cloak with a gold edge
hurstin hopian reunan, a sheet with a silver edge
5 menin suone soltumaan went to the marsh to wash them
järven jäälle huhtomaan. to the lake-ice to rinse them.
Putos sormus sormestaan A ring fell from my finger
sanaperä peukalosta a band from my thumb
toinen toisest kädest. and one from my other hand.
10 Menin itkein kotien. I went weeping home.

Emoi enniten kyseli: My mother managed to ask:


“Mitäs itket tyttöeni?” “Why are you weeping, my girl?”

“Sitä itken emoni: “For this I weep, my mother:


olin viikon oljamissa I stayed one week with parents
is toisen viikon vierahissa.” another week visiting.”

“La meidän punikki poikkii “Just wait till our brown cow calves
saadaan Saksan sormuksii we’ll get German rings
Saksan sarapirää and some German bands
sata syltä sarvet pitkät and horns a hundred spans long
20 tuhat syltä turpa pitkä.” its muzzle a thousand spans.”

S in g er unknow n
Skuoritsa, Ingria
K. Stråhlman, 1856

4 18
108
MENETYS III
The Loss I I I

L äksin miä soille sotkemaa


ahoille miä ajelemmaa, Iwent to marshes to tramp
to clearings to drive about:
tuol oli metsät vettä täynnä there woods were full of water
puun juuret punaista olutta tree-roots of brown beer
6 ahot täynnä astioia the clearings full of dishes
kannon juuret kannulois. the stump-roots of jugs.
Otin miä kannun, otin toissen I took a jug, another
kohta kolmatta rupesin, started at once on a third
join miä itseen juovuksii I drank myself drunk
10 join miä itse, juotin miä muita. drank myself, gave others drink.

Rupesi nukuttammaa. I started to feel sleepy


Nukuin miä nurmelle hyvälle slept on the good grass
vaivuin maalle valkialle sank on the white ground, beneath
alle kuusen kukkalatvan a spruce with its top in flower
is alle haapaisen vennoisen: underneath an aspen boat:
vei varas hyvän hepoisen a thief took my good horse, made
hiirenkarvaisen kaotti away with the mouse-hued one -
sekä saamisen satulan. yes, and the ashwood saddle.
Miäpä itkien kottiin I went weeping home
20 kallotellen kartanolle. wailing to the farm.

Isoi aitassa assuu My father was in the shed


emoi aitan rappusilla. my mother on the shed steps.
Isoi ennättää kyssyy: My father managed to ask:
“Mitä itket poikaiseen?” “Why are you weeping, my lad?”

as Miä vasse vastaelin: I answering said:


“Sitä itken miä, issoin: “For this I weep, my father:
vei varas hyvän hepoisen a thief took my good horse, made
hiirenkarvaisen kaotti away with the mouse-hued one -
sekä saamisen satulan!” yes, and the ashwood saddle!”

419
1 H ö Menetys I I I
11/0 The Loss I I I

30 Isoi kielsi itkömästä: Father told me not to weep:


“Elä huoli poikueen. “Do not worry, my offspring.
Eglen meillä lehmä poiki Yesterday our cow calved: she
teki tuo valkoisen vasikan has dropped a white calf
sukkajalan suilahutti. slipped forth one with white hocks. If
35 Tuo vietiin Viipuriin we take it to Viipuri
tuolla me saahaa satoi there we’ll make hundreds
tuhansii tungetaa. thousands will be pressed on us.
Ossetaa oroi parempi We’ll buy a better stallion
taikka tamma sälköväine. or a mare, a young filly.
40 Tuo syöpi kaurat räystähiltä She’ll eat the oats from the eaves
pilvestä veen vettää.” from the clouds she’ll suck water.”

S in g er unknow n
Tyro, Ingria
V. Porkka, 1883

420
109
MENETYS IV
The Loss I V

O lin piennä poikaisena


isän polven korkuiseina Iwas a small boy
as tall as my father’s knee
emon värttänän pituinen. as long as mother’s distaff.
Mänin piennä kyntämää A small boy, I went ploughing
6 varrain vakoilemaa, early furrowing:
kynnin vuavon, kynnin toisen ploughed a furrow, another
kohta kolmatta alotin. soon began a third.
Toi surma sussii paljon Death brought many wolves
kantoi metsän karhuloi: carried forest bears:
10 söivät miun varsani vuavost ate my foal in the furrow
mustan ruunan mullan piält. my black gelding on the soil.
Mie itkinä kottiihen. I went weeping home.

Isä kysyi: “Mitäs itket poikaseni Father asked: “Why do you weep, my lad
valkopiäkköni valitat?” why, my fair-haired one, lament?”

is “Sitä itken mie, isäni: “For this I weep, my father:


toi surma sussii paljon Death brought many wolves
kantoi metsän karhuloi. carried forest bears.
Em mie kyntäkää kerinnyt I had no time for ploughing
ku söivät miun varsani vakosesta for they ate my foal in the furrow
20 mustan ruunan mullan piält.” my black gelding on the soil.”

Isä vasten vastaeli: Father answering replied:


“Älä itke poikaseini “Do not weep, my lad
valkopiäkköni valita! my fair-haired one, don’t lament!
Lähem linnahan kesällä We’ll go to town in summer
26 sekä konnoihen, kopiat, yes, and to market proudly:
ostamma orihevoisen we’ll buy a stallion
tahi tamman sälköväisen.” or a mare, a young filly.”

M a r ia K irp p u
Liissilä, Ingria
J . Lorvi, 1914

421
no
TANSSI
The Dunce

T aian tantsihin ruveta.


Ei oo tantsi miun rotima I The
think I will start dancing.
dance is not my breeding
eikä toisen kumppalini: nor the other’s, my partner’s:
tantsi on tuotu tuonempoa the dance was brought from yonder
5 Uuenlinnan ulkopuolen the far side of Novgorod
Pietarin pihoja myöten through the yards of Petersburg
Vienan väljiltä vesiltä - from the White Sea’s wide waters -
eipä vielä sieltäkänä! not even from there either!

Kasvo marjanen mäellä A berry grew on a hill


10 yleni heliä heinä, fine grass was rising
heposet veti hikiveessä horses sweating drew
varsat vaahtessa samosi, foals wandered foaming
pyyhyöt vihertelevät partridges whistled
Vesasilla vempelillä, on the sapling collar-bows
15 Oravaiset juoksen teli squirrels ran about
aisoilla vaahterisilla, on the maple shafts
tetryöt kukerteli black grouse were cooing
korjan kirjavan kokalla, on the prow of the bright sleigh
vesi tippu vempelestä water from the collar-bow
20 rasva rahkehen nenästä, dripped, fat from the traces-tip
reki rautanen ratsasi the iron sledge creaked
tantsia taluttaessa as the dance was led along
ilokasta tuotaessa. as the thing of joy was brought.

Jo tantsi pihalla saapi: The dance arrived in the yard:


25 ilo kaikki ikkunalla. all joy was at the window.
Keitä mie kysyn lupoo Whose leave should I ask
talunko tantsin tupahan to lead the dance in
talun tantsi vierahani? lead the dance, my guest?

Jo tantsi pihalla saapi: The dance arrived in the yard:


30 lehmät parteh levitti the cows knocked over their pens

422
il l iV n/ Tanssi
The Dance

härät katko kytkyensä the oxen snapped their tethers


kiukoa kivinen liikku the stone oven moved
patsas patvinen järähti. the post of curly birch shook.
Keitä mie kysyn lupoo: Whose leave should I ask -
36 isännältä pöyän päästä master’s at the table-head
emännältä sen sivusta the mistress’s at the side
pojalta rahin nenästä - or the boy’s at the bench-end
talunko tantsin tupahan to lead the dance in
talun tantsi vierahani? lead the dance, my guest?

40 Ei tule tupahan tantsi But the dance could not come in


oviseinän ottamatta: without catching the door-wall:
oviseinä on osmon luista the door-wall was of bear’s bones
periseinä petran luista the rear wall was of deer’s bones
karsina kapehen luista the closet was of sheep’s bones
46 sivuseinä sirkun luista the side wall of bunting’s bones
laki lahnan suomuloista. and the ceiling of bream-scales.

Jo tuli tupahan tantsi. Now the dance came in.


Kenpä tulloo tantsimahan To him who will come dancing
sinne poika syntyöh may a boy be born
50 niin on viisas kun isonsa as clever as his father
läpikäymähän keräjät to go through the assizes
jutut julki polkemahan! to make a case in public!
Ken ei tulle tantsimahan To him who won’t come dancing
sille tyttö syntyöh may a girl be born
65 niin on laiska kuin emonsa as lazy as her mother
alla aian maattavaksi to be laid below the fence
lepikköhön levättäväksi! tumbled among the alders!

Alene alene hyvä roua: Down, down, good lady


jo on taattos kuolemassa! for your daddy is dying!
60 Alene alene hyvä roua: Down, down, good lady
jo on maammos kuolemassa! for your mamma is dying!
Alene alene hyvä roua: Down, down, good lady:
jo on kuollut veikkoesi your brother is dead
jo on kuollut sisarues your sister is dead
66 jo on kuollut morsiosi! and your bride is dead!

Ylene ylene hyvä roua: Up, up, good lady:


jo on taattos vironnut! your daddy’s alive again!

42 3
1 1 A Tanssi
1 l v The Dance

Ylene ylene hyvä roua: Up, up, good lady:


jo on maammos vironnut! your mamma's alive again!
70 Ylene ylene hyvä roua: Up, up, good lady:
jo on veikkosi vironnut your brother’s alive again
jo on sisares vironnut your sister’s alive again
jo on morsiames vironnut! and your bride’s alive again

Singer unknown
Jyskyjärvi, Archangel Karelia
E. Lönnrot, 1835

424
Il l
MEREN KOSIJAT I
The Suitors from the Sea I

Kirstinen kivellä istui


toivo miestä onnellista Kirstinen sat on a rock
hoping for a happy man
lykyllistä lyyrytteli. lilting for a lucky man.
Nousi merestä kultamiesi From the sea a gold man rose
5 jonk oi kultahattu hartioilla with a hat of gold on his shoulders
kultakintahat kälessä: mittens of gold in his hand:
“Tuletkos Kirstinen minulle?” “Will you come, Kirstinen, to me?”

“Ei o suotu eikä luotu “Neither meant nor made


eikä käsketty kotoa nor bidden at home
10 kultamiehelle minua.” for a golden man was I.”

Kirstinen kivellä istui Kirstinen sat on a rock


toivo miestä onnellista hoping for a happy man
lykyllistä lyyrytteli. lilting for a lucky man.
Nousi merestä hopeamiesi From the sea a silver man rose
is jonk oi hopeahattu hartioilla with a silver hat on his shoulders
hopeakintahat kälessä: silver mittens in his hand:
“Tuletkos Kirstinen minulle?” “Will you come, Kirstinen, to me?”

“Ei o suotu eikä luotu “Neither meant nor made


eikä käsketty kotoa nor bidden at home
20 hopeamiehelle minua.” for a silver man was I.”

Kirstinen kivellä istui Kirstinen sat on a rock


toivo miestä onnellista hoping for a happy man
lykyllistä lyyrytteli. lilting for a lucky man.
Nousi merestä kuparimies From the sea a copper man rose
26 jonk oi kuparhattu hartioilla with a copper hat on his shoulders
kuparkintahat kälessä: copper mittens in his hand:
“Tuletkos Kirstinen minulle?” “Will you come, Kirstinen, to me?”

“Ei o suotu eikä luotu “Neither meant nor made

425
m
M e re n k o s ija t I
T h e S u ito rs f r o m the S ea I

eikä käsketty kotoa nor bidden at home


30 kuparmiehelle minua.” for a copper man was I.”

Kirstinen kivellä istui Kirstinen sat on a rock


toivo miestä onnellista hoping for a happy man
lykyllistä lyyrytteli. lilting for a lucky man.
Nousi merestä leipämiesi From the sea a bread man rose
35 jonk oi leipähattu hartioilla with a hat of bread on his shoulders
leipäkintahat kälessä: mittens of bread in his hand:
“Tuletkos Kirstinen minulle?” “Will you come, Kirstinen, to me?”

“Nyt on suotu, nyt on luotu “Yes, both meant and made


nyt on käsketty kotoa and bidden at home
40 leipämiehelle minua.” for a man of bread was I.”

Ju ssi
Heinola, Häme
J . Toppola, 1890

426
112
MEREN KOSIJAT II
The Suitors from the Sea I I

nni on aino neido nni, matchless maid


A istu Suomen sillan peässä A sat upon the Finland Quay
aijoin istu, toisin itki, sometimes sat and sometimes wept
vuotti miestä mielellistä waiting for a likely man
5 sulhasta sulasanaista. for a bridegroom with sweet words.

Mies merellä näytteleikse A man appeared on the sea


oalloilla ylenteleikse rose upon the waves
rauta suussa, rauta keässä iron in his mouth, his hand
rautakintahat käsissä iron mittens in his hands
10 rautahattu on hartijoilla iron hat on his shoulders
rautakihlat kintahissa: iron gifts in his mittens:
“ Jog oot neido miussa varoin?” “ Are you kept, maiden, for me?”

“ Engä siussa engä kessään “ Not for you nor anyone


engä muissa nuorisossa: nor for other young people:
is kasvan kaijoissa sovissa I grow up in narrow clothes
venyn verkavoattehissa grow tall in dresses of cloth
toaton leipäkannikoissa.” on father’s breadcrusts.”

Mies merellä näytteleikse A man appeared on the sea


oalloilla ylenteleikse rose upon the waves
20 vaski suussa, vaski keässä copper in his mouth, his hand
vaskikintahat käsissä copper mittens in his hands
vaskihattu on hartijoilla copper hat on his shoulders
vaskikihlat kintahissa: copper gifts in his mittens:
“Jog oot neido miussa varoin?” “ Are you kept, maiden, for me?”

25 “ Engä siussa engä kessään “ Not for you nor anyone


engä muissa nuorisossa: nor for other young people:
kasvan kaijoissa sovissa I grow up in narrow clothes
venyn verkavoattehissa grow tall in dresses of cloth
toaton leipäkannikoissa.” on father’s breadcrusts.”

427
I 1 ^ Meren kosijat I I
1 The Suitors from the Sea I I

30 Mies merellä näytteleikse A man appeared on the sea


oalloilla ylenteleikse rose upon the waves
tina suussa, tina keässä tin in his mouth, in his hand
tinakintahat käsissä mittens of tin in his hands
tinahattu on hartijoilla hat of tin on his shoulders
36 tinakihlat kintahissa: gifts of tin in his mittens:
“Jog oot neido miussa varoin?” “Are you kept, maiden, for me?”

“Engä siussa engä kessään “Not for you nor anyone


engä muissa nuorisossa: nor for other young people:
kasvan kaijoissa sovissa I grow up in narrow clothes
40 venyn verkavoattehissa grow tall in dresses of cloth
taaton leipäkannikoissa.” on father’s breadcrusts.”

Mies merellä näytteleikse A man appeared on the sea


oalloilla ylenteleikse rose upon the waves
kulta suussa, kulta keässä gold in his mouth, in his hand
45 kultakintahat käsissä mittens of gold in his hands
kultahattu on hartijoilla hat of gold on his shoulders
kultakihlat kintahissa: gifts of gold in his mittens:
“Jog oot neido miussa varoin?” “Are you kept, maiden, for me?”

“Engä siussa engä kessään “Not for you nor anyone


so engä muissa nuorisossa: nor for other young people:
kasvan kaijoissa sovissa I grow up in narrow clothes
venyn verkavoattehissa grow tall in dresses of cloth
taaton leipäkannikoissa.” on father’s breadcrusts.”

Mies merellä näytteleikse A man appeared on the sea


65 oalloilla ylenteleikse rose upon the waves
leipä suussa, leipä keässä bread in his mouth, in his hand
leipäkin tahat käsissä mittens of bread in his hands
leipähattu on hartijoilla hat of bread on his shoulders
leipäkihlat kintahissa: gifts of bread in his mittens:
60 ,cJ 0g° °let neido miussa varon?” “Are you kept, maiden, for me?”

“Jo mie siulla tulen. “Now I’ll come to you.


Jo nyt on suotu, jo nyt seätty Yes, both meant and meet
jo on eukko tuuvittana and rocked by my dame
vanha voaputtana, lulled by my old one
66 jo nyt käsketty kotona yes, bidden at home

428
1 1 ^ Meren kosijat I I
1 1Z> The Stators from the Sea I I

se on sih jo luuveh luotu it is granted, made,


luuveh luotu, seämeh seätty granted, made, made meet
seädämä pyhän Jumalan: meet by holy God
musta valgian varaksi that black to white be a help
70 lyhyt on pitän puoliseksi.” that short to tall be a mate.”

O k k i Gordeinen
Repola, Olonets Karelia
U. Karttunen, 1897

4 29
M3
KAUKAISET KOSIJAT
The Suitors from Afar

Katiijätkukka linnukkaine
istu, kavvan kasvo Kati, a flower, little bird
for ages sat, for long grew
kavvan kasveli kotonna for long she grew up at home
enemmän emoisen luona. longer at her mother’s side:
5 Ei pant emyt pahaksi mother did not take it ill
isyt ei ovvoksi otellut father did not think it odd
Katrin kavvan kasvettua. that Katri was long growing.

Alko Katri kaikatella: Katri began to gabble:


“Miks ei naija nuoret miehet “Why won’t the young men marry
10 miks ei nuoret minusta naija?” why will they not marry me?”

Se oli viekas vellon naine ’Twas her brother’s cunning wife


se oli viekas ja kavala she, cunning and sly
kavalasti kaikatteli: who slily gabbled:
”Sill ei nuo sinusta naija “For this they won’t marry you:
is miks et illalla päätäs pese you don’t wash your hair evenings
aamupäivin harjaele.” nor brush it mornings.”
Alkoi Katri päätä pessä Katri started washing her hair
aamupäivin harjaella. brushing it mornings.
Tultii kosjot kolmiöiset: Three nights wooers came:
20 yhet tultii kuuvalolle some came on the moon’s behalf
toiset tultii päivyelle some came on the sun’s behalf
kolmannet peri Virroo some on further Estonia’s behalf
neljännet omille maille. some on her own lands’ behalf.

Isyt tahto kuuvalolle Father wished her for the moon


25 emyt tahto päivyelle mother wished her for the sun
vello se peri Virroo the brother for further Estonia
neitine omille maille: the maiden for her own lands:
‘‘En mie lähe kuuvalolle. “ I will not go to the moon.
Kuulla on kuusi ammattii: The moon has six trades:
30 välist pistiä pilven alle sometimes it sinks behind cloud

430
1 1 O Kaukaiset kosijat
-1 1 » } The Suitors from A f ai

välist pilveen äären alle. sometimes behind a cloud-edge.


En mie lähe päivyelle: I will not go to the sun:
päivyt polttaa paljo maata the sun burns much land
silmii sitä enemmän. the eyes so much more.
36 En lähe peri Virroo: I’ll not to further Estonia:
vesivellii keitetää there watery gruel is cooked
millä viikko vietetää which is made to last a week
kuukausi kulutettaa.” and a month goes by on it.”

Neitine omille maille She chose those from her own lands
40 oman puolen poikasille. chose the lads of her own part.
Paremp on omilla mailla Better be in your own lands
roppeesta vettä juuvva drinking water from birch-bark
ku on mailla vierailla than be in strange lands
juuvva tuopista olutta. drinking beer from a flagon.

U lja a n a
Narvusi, Ingria
V. Porkka, 1883

431
114
LIKAINEN NEITO
The FouCl M aid

K ulin Konnusta kosihin


Konnun kuulusta kylästä Iwent to Kontu to woo
in famous Kontu village
ankaran apen talosta in a stem father-in-law’s house
ankaran anopin luota. at a stern mother-in-law’s side.
5 Puhuttelin lausuttelin: I spoke, I spoke up:
“Onkos teillä neittä myyä “Have you a maiden for sale
tahi kaupata kanaista?” or a hen to trade?”

“Kanan kauppa orren alla “Hens are sold beneath a beam


neien on nelisnurkkaisessa. maids in a four-cornered room.
10 Menkäähän tuonne tupahan: Go that way into the house:
tupa on tehty miesten tulla a house is for men to come
talli hevosten asua.” a stall for horses to live.”

Meninpä minä tupahan. Well, I went into the house:


Tupa oli täynnä tuppisuita it was full of button-mouths
is lattia lutaneniä and the floor of snub-noses
peräpenkki pierijöitä. and the back bench of farters.
Tuotiinpa oltta tupahan Beer was brought into the house
kannu mettä, toinen oltta. a jug of mead, one of beer:
“Ennen en huoli syömisestä “ I do not care to eat yet
20 enkä huoli juomisesta nor care to drink yet
vaan tahtoisin neittä nähdä: but I’d like to see the maid:
tuokatte neiti tupahan!” bring the maid into the house!”

Tuotihin neiti tupahan The maid was brought in


sisaresten siiven alla under the wing of sisters
26 veljen vaimon vaipan alla the cloak of her brother’s wife
kälysten käsivarassa. arm in arm with her sisters-in-law:
“Ei ole tuosta miehen naia “There is no man’s marrying
ei ole miehen morsioksi: there is no man’s bride:
om musta kuin torakka she is black as a cockroach
30 musta paitaroisku päällä she has a black ragged shirt

432
m
L ik a in e n neito
T h e F oul M a id

jatketut sukat jalassa and patched stockings on her feet


silmät on sian situssa her eyes are deep in pig-muck
korvat koiran kuontiossa . . . ” and her ears in dog-slobber . . .”

Viikon viivyin Viipurissa Long I stayed in Viipuri


36 kauvan suolakaupungissa. for ages in the salt-town.
Muut naivat soreat likat: Others married pretty girls:
mulle herjat heitettihin I was left with the dud ones
kierosilmät kenkättihin. dealt the cross-eyed ones.

N i i l o P öyhönen
Juva, Savo
V. Tarkiainen, 1898

28 433
115
VARAS KOSIJANA
The T h ief as Suitor

ie tein tielle tetrin aian n the road a grouse-fence I


Mahol tein jäniksen aian O built, on the field a hare-fence
kylän ai tein neion aian. by the village a maid-fence:
Miun män neito aitahain a maid went into my fence
s punaposk män pyytöhein. a red-cheek into my snare.

Aloin neiolt kysellä: I began to ask the maid:


“Lähet sie neito vellollein?” “Will you go to my brother?”
Neito vasten vastaeli: The maid answering replied:
“Mikä mies on vellueis?” “What is your brother?”
10 “Kyntäjännä, kylväjännä “A ploughman and a sower
siemenen sirottajanna.” and a scatterer of seeds.”

“En mie lähe kyntäjälle. “ I’ll not go to a ploughman.


Kyntäjäll on kylmä paita: A ploughman has a cold shirt:
ei siiä sivussa moata there’s no lying at his side
16 ali ei leuan lämmitellä getting warm under his chin
ali ei kainalon assuu no settling under his arm
ali ei parran poahkuroia.” no chatting under his beard.”

Mie tein tielle tetrin aian On the road a grouse-fence I


ahol tein jäniksen aian built, on the field a hare-fence
20 kylän ai tein neion aian. by the village a maid-fence:
Miun män neito aitahain a maid went into my fence
punaposk män pyytöhein. a red-cheek into my snare.

Aloin neittä loaitelia: I began to ask the maid:


“Lähet sie neito vellollein?” “Will you go to my brother?”
26 “Mikä mies on vellueisi?” “What is your brother?”
“Seppämies on velluein.” “He is a smith, my brother.”

“En mie lähe sepälle. “I will not go to a smith.


Sepäll on sysinen paita: A smith has a coal-black shirt:

4 34
1 1 r Varas kosijana
1 U The T hief as Suitor

ei siiä sivussa moata there’s no lying at his side


30 ali ei leuan lämmitellä getting warm under his chin
ali ei kainalon assuu no settling under his arm
ali ei parran poahkuroia.” no chatting under his beard.”

Mie tein tielle tetrin aian On the road a grouse-fence I


ahol tein jäniksen aian built, on the field a hare-fence
36 kylän ai tein neion aian. by the village a maid-fence:
Miun män neito aitahain a maid went into my fence
punaposki pyytöhein. a red-cheek into my snare.

Aloin neittä loaitelia: I began to ask the maid:


“Lähet sie neito vellollein?” “Will you go to my brother?”
40 Neito vasten vastaeli: The maid answering replied:
“Mikä mies on vellueis?” “ What is your brother?”
“Kyttämies on velluein.” “He’s a hunter, my brother.”

“En mie lähe kytälle. “I’ll not go to a hunter.


Kyttä haisoo havuloille A hunter smells of pine-sprigs
45 katajille katkujaa: and of junipers he stinks:
ei siiä sivussa moata there’s no lying at his side
ali ei leuan lämmitellä getting warm under his chin
ali ei kainalon assuu no settling under his arm
ali ei parran poahkuroia.’’ no chatting under his beard.”

50 Mie tein tielle tetrin aian On the road a grouse-fence I


ahol tein jäniksen aian built, on the field a hare-fence
kylän ai tein neion aian. by the village a maid-fence:
Miun män neito aitahain a maid went into my fence
punaposk män pyytöhein. a red-cheek into my snare.

56 Aloin neittä loai telia: I began to ask the maid:


“Lähet sie neito vellollein?” “Will you go to my brother?”
“Mikä mies on vellueis?” “What is your brother?”
“Varkahan on velluein.” “He is a thief, my brother.”

“Lähen, lähen varkahalle! “I’ll go, I’ll go to a thief!


so Varkahall on valmis paita A thief has a shirt ready
valmis paita ja valaistu: a shirt ready and whitened:
tuol siitää sivussa moata there is lying at his side

435
1 1 C V aras k o sija n a
1 1 J T h e T h i e f a s S u ito r

alla kainalon assuu and settling under his arm


all on paian poahkuroia!” and chatting under his shirt!”

L u k e ri M e lik o o a
Vuole, Ingria
F. Pajula, 1894

436
116
KELVOTON
The Useless Bridegroom

L aito me kaunoin kallaan


armahain ahvenehen, I sent my fair one for fish
my darling for perch
ei kauno kaloja saanut but my fair one caught no fish
armahain ei ahvenia. my darling no perch.
6 Läksin mie itse kallaan: I went off for fish myself:
panin mie verkot selkähein I put the nets on my back
kiviriipat rinnoillein. the stone weights upon my breasts.
Sousin niemet, sousin soaret: I rowed headlands, rowed islands:
joka saarel sain kalloi on each island I caught fish
10 joka luotoloil lohhii on each crag salmon
joka niemel nieriäistä. on each headland trout.
Menin mie maalle keittämähä I went to land to cook them
isän pitkillä pinoilla with my father’s tall wood-piles
veikon vestoslastusilla. my brother’s shavings. The skins
ib Kuoret konttiin kokoisin I gathered in a knapsack
kannon nuoita sulhon syyvä. took for my bridegroom to eat.

Sulho syöpi kiittelööpi: My bridegroom ate and praised them:


“Hyvä on tämäki ruoka “Now, this is good food
syyvä miehen saamattoman.” for a useless man to eat.”

20 Lämmitin metosen saunan I warmed the fragrant bath-house


metosilla halkoloilla, with fragrant firewood:
kylvin itse kylläksein bathed my fill myself
viel mun kylpiit vierahain. and my guests bathed too.
Lämmitin häkäisen saunan 1 warmed the fumy bath-house
26 häkäsillä halkoloilla: with fumy firewood:
laito sulhon kylpömähän. I sent my bridegroom to bathe.
Minkä sulho vettä huusi When he shouted for water
sen mie löylyn lisäisi. then I added steam.
Tul mun sääly säätöjäin And I pitied my sweet one
äo syvän-kuuro kultajain, felt a pang for my dear one:
tempasin tukista maahan I dragged him down by the hair

437
1 1 K elvo to n
l i v T h e U seless B rid eg ro o m

loin tukista selkähäin threw him on my back, took him


suolla vein sotkuportahiksi to the marsh for washing-steps
sillaks likasioille, for a bridge to dirty spots
36 pään pani suolle mättähäksi his head for a marsh-hummock
silmät suolle karpaloksi hi5 eyes for marsh-cranberries
suun pani suolle lähteheksi. set his mouth for a marsh-spring.
Meni mie tuota katsomalla I went there to see
viien kuuen viikon päästä after five, six weeks
40 mitä mun sulhoin tekköö: what my bridegroom was doing:
ummiskenkii ompeloo. he was sewing some closed shoes.
Keiles nuoita kenkosii? Who were those shoes for?
Sulho vasten vastajeli: My bridegroom answering said:
“Keiles muille ko ei siulle “For who else if not for you
46 ku hyvälle konsanaanki.” as for anyone who’s good.”

Otin mie sulhon sulleen I clasped my bridegroom, carried


kannon tuvan pöyvän päähän him in to the table-head
syötin sulhon, juotin sulhon gave him food and gave him drink
panin sulhon makkoamaha laid my bridegroom down to rest
60 itse viereen vennähän. stretched myself out beside him.

S in g e r unknow n
Sakkola, Karelian Isthmus
H. A. Reinholm, 1848

438
117
KURKI I
The Crane I

it uit, Viro uit


U saksalaine lammas, Ewe, ewe, an Estonian ewe
sheep, a German sheep
villat ne moata veteliivät: its wool dangled on the ground:
otim meä villat itellei I took the wool for myself
5 mani suolle sotkulle. went to the marsh to wash it.

Multa putois sormus. And my ring dropped off.


Mäneppäs tyttö ettimeä! Go, girl, search for it!
Tyttö rupeis itkemeä. The girl starts to weep.

Elä itke tyttö: Do not weep now, girl:


10 mänempä tästä itekkii. I will go myself.
Löysin kure kyntämästä And I found a crane ploughing
varikse vakuamasta. a crow furrowing.

Ajon kure kotii: I drove the crane home:


panin saunan karsinoa into the bath-house closet
is viskasin heinijä etie. put it, tossed hay before it.

Peses tyttö patoa: Wash the pot now, girl


pannoa kurki kiehumoa! and put the crane on to boil!

“Älkeä minuva patoa panko: "Do not put me in the pot:


minä pesem pitkät pöyvät I will wash the long tables
so purstollai meä uunil luuvo with my tail I’ll brush the stove
kaulallai minä vettä kanna with my neck I’ll fetch water
varpaillai minä lakase.” with my toes I’ll sweep.”

Ristiina Kohonen
Lemi, Savo
T. Kohvakka, 1933

439
118
K U R K I II
The Crane I I

Kuulim mnä kuljen kuitattava


pappilan niitulla ruikuttava. Once I heard a crane moaning
in the priest’s meadow groaning.
Kiärsim mnä kuljen karsina: I went round to the crane’s pen:
se poje mul valkose vasika. it bore a white calf for me.

5 Veim mnä olkki ettehe - I put some straw before it


ei se niitä syäny. but it would eat none.
Veim mnä heini ettehe - I put some hay before it -
ei se niitäkä syäny. none of that either.
Veim mnä rukkit ettehe I put some rye before it -
10 ja ei se niitäkä syäny. none of that even.
Veim mnä nisui ettehe: I put some wheat before it:
niit se hiukan nissutteli of that it pecked a little
kapa verran nassutteli. it picked about half a peck.

Panim mnä Maija lypsämä I put Maija to milk it


is ei se löytäny mammoi. but she could not find the teats.
Panim mnä Kaija lypsämä I put Kaija to milk it
se repel kaik karva. but she tore out all its hair.
Menim mnä ite lypsämä I went myself to milk it
lypsi ison kiulun täyre and I milked a big pail full
20 pappila isom paran täyre the priest’s big pot full
lukri iso lusikan täyre and the deacon’s big spoon full
keriläisen kengän täyre. a beggar’s shoe full.

Sofia Siivonen
Pyhämaa, South-West Finland
I. Seppänen, 1928

440
119
AAMUVIRKKU
The Early Riser

TT öin mie päivälle vettoo made a bet with the sun


t
1 kuun kerällä
j lc ilp a e lin JL I vied with the moon
annoin kättä auringolle gave my hand to the daylight
annoin auringon pojalle: gave it to the daylight’s son:
6 kumpi ehti ennen noussa which of us would be first up
ja kumpi enne hava ta - and which first awake -
neitonenko, päivynenko? the maid or the sun?

Neito ehti ennen noussa The maid was first up


sekä ennen ennätellä and beat him to it:
io ehti ennen päivyttään she made it before the sun
ja ennen kuutamoistaan. before the moonlight.
Nousi aamulla ylläälle She rose up in the morning
pesi pienet silmänsä washed her little eyes
karsi kaiat kämmeneen, scrubbed her slender palms
is avvais arrinan lauan she opened the fire-grate hatch
leeslauan leekahutti, shifted the range hatch
otti kuiveet kiukohast took the dried corn from the stove
segloil kuiveet siepoitteli sifted the corn with a sieve
seglalla teräksisellä, with a sieve of steel
eo valoi kuiveet vakkaseen poured the corn into a box
vakkaseen vaskiseen, a box of copper
vei kuiveet kivoikottaan took the corn to the stone hut
saatoi hummarhuonehesen. bore it to the mortar-room.
Jauhoi kuiveet jaarotteli She ground the corn, pounded it
26 katajaiset kivolla with a juniper pestle
honkasel hummarella, in a fir mortar
jauhoi kontin kuivehii ground a knapsackful of corn
vakan vehnii veteli a boxful of wheat she dragged
kulin suolsi suurimoja. lugged a sackful of hulled grain.

äo Meni katsoon päivyään She went to look for the sun


tähystämään kuutamoistaan: to look out for the moonlight:

441
1 1 Q Aamuvirkku
A i v The Early Riser

vielä päivyt makaa but the sun was still lying


kuutamo lepäjellöö the moonlight resting
aurinko lepäjellöö the daylight resting
35 viel ei päivä päätä nosta the sun would not raise its head
kuu ei kulmii ylennä. yet, nor the moon lift its brows.

Tuli neitonen kottiin The maiden came home


toi hän viiet vietrat vettä brought five buckets of water
kuuet uhluet kulutti, six pails she wore out
40 pesi piimoihuonehuen washed out the churn-room
maitolattian lakasi, swept out the dairy
vei rikoit yli veräjän took the dirt beyond the gate
yli laipion lasetti. over the palings tipped it.
Rikoilleen seisahtaihe: She stood on her dirt:
45 rikat seisoi rummeneks she stayed till the dirt was chaff
rummenet tohuks seisoi till the chaff was bran she stayed
tohut seisoi tuoksevaks she stayed till the bran was dust
tuoksevat seisoi heraveeks till the dust was clear water
heraveet lähteheksi till the water was a spring
60 lähe lämmiksi vesiksi till the spring was warm water
lähteheks maanalaitse. an underground spring.

Meni katsoon päivyään She went to look for the sun


tähystämään kuutamoistaan: to look out for the moonlight:
vielä päivyen makaa but the sun was still lying
55 kuutamo kuiskutteli and the moonlight whispering
aurinko lepäjellöö. the daylight resting.
Sääret sänkystä näkkyyt Its legs could be seen in bed
varpahaiset vaipan alta its toes under the cover
jalat viljot vuotehest plenty of feet in the bed
60 kylet kyllin kattehest. sides enough under the quilt.

Tuli neitonen kottiin The maiden came home


keri Sinervon uutin sheared a bluish ewe
talvilampahan takelsi, fleeced a yearling sheep:
karttais Sinervon villat she carded the blue one’s wool
65 viskoi langat viipsin päälle flung the threads upon the reel
sakan orrelle ojensi. and hung the coat on the beam.
Meni katsoon päivyään She went to look for the sun
tähystämään kuutamoista: to look out for the moonlight:

442
1 1 O Aamuvirkku
1 1 y The Early Riser

vasta päivä päätä nosti the sun raised its head only
70 kuu kohotti kulmiaan. now, the moon lifted its brows.

S in g er unknow n
Moloskovitsa - Tyrö, Ingria
A. Törneroos, T. Tallqvist, 1859

443
120
M IEHELLE MENIJÄ
Finding a'Husband

R iitelööt kälyksen kolmen


kolmen kynnyksen yli T hree sisters-in-law quarrelled
across three thresholds
kolmen patsaan takant behind three stove-posts
kolmen vellon vuotehen: and the beds of three brothers:
6 kelle tyttö tehtänöö who would have a girl
kelle tyttö, kelle poika? who a girl and who a boy?
Tehtii tyttö nuoremmalle The youngest one had a girl
nuoremmalle, pienemmälle the youngest, smallest
perehe parahammalle. best in the family.

10 Kust nuo papit saatanoo From where would the priests be got
lukuherrat tuotanoo? the scholars be brought?
Saatii papit Paatitsasta Priests were got from Paatitsa
lukuherrat Luutitsasta. the scholars from Luutitsa.
Kui tuo nimi pantanoo? What should she be called?
ib Pannaa nimi Palaga: Gall her Palaga:
Palaga nimi paha - Palaga is a bad name -
ei tuota suku suvvaa. the kin would not stand for it.
Pannaa nimi Paraska: Call her Paraska:
Paraska pahatapaine - Paraska is ill-behaved -
so ei tuota emo suvvaa. mother would not stand for it.
Pannaa Naasta - lienöö nauru. Naasta? - she might be nasty.
Pannaa Hoora - lienöö huora. Hoora? - she might be a whore.
Hekko kirjasta helähti Hekko tinkled from the book
lehen kannesta lemahti. flitted from the page.

26 Kazvoi tyttö, Hekko tyttö The girl grew, the girl Hekko
Hekko helmien pitäjä Hekko the wearer of beads
mamma markkoin kantaja: the carrier of mother’s coins:
kazvoi jo kaheksa vuotta she grew for eight years
yleni yheksä vuotta she rose for nine years
30 päälle vuove kymmene. for more than ten years.
Miehelle menijä
Finding a Husband

Hekon emoi sannoo: Hekko’s mother said:


“Mikä meijä Hekolla “What is wrong with our Hekko
kuka kukkamaij alla what with our blossom-berry
kui ei tule Hekkoo kossii that none comes to woo Hekko
36 ottamaa omenutta to take the apple
katsomaa kalervuttan?” to look for my precious one?”

Sannoo sopest sokkee A blind man from the comer


evuksest epänäkköi said, sightless from the hallway
pieni lapsi pienkanelta: a small child from the stove-bench:
40 “Sill ei tulla Hekkoo kossii: “For this none comes to woo her:
miks ei pese silmiää she won’t wash her eyes
harjaele hapsiaa will not brush her hair
päivän tulless ei päätä haijaa at sunrise won’t brush her head
kukon kuulless ei kuivaele. at cockcrow will not dry it.
45 Tulloo pyhäinen ilta When Saturday evening comes
pese ei penkin lautasia she will not wash the benches
lakkaa tuvan lattiaa, nor sweep the floor of the house
kui tulloo pyhäinen päivä and when Sunday comes
Hekko kiirei kyllää, she dashes out visiting
so ei etsi emoihe päätä will not groom her mother’s head
karsi päätä kantajalta.” scrub the head of who bore her.”

Hekko tyttö hemme tyttö The girl Hekko, a sweet girl


Hekkoi hemme neitsykkäine Hekkoi the sweet little maid
alkoi pestä silmiää now began to wash her eyes
66 ikä päivä päätä pesi every day she washed her head
kukon laulust kuivatteli. at cockcrow dried it:
Kui tuli pyhäinen ilta when Saturday evening came
pesi penkin lautaset she washed the benches
lakkas tuvan lattia, and swept the floor of the house
60 kui tuli pyhäinen päivä and when Sunday came
etsi emoihe päätä groomed her mother’s head
karsi päätä kantajalta scrubbed the head of who bore her
kahen ikkunan välissä between two windows
kolmen kannen kolkkasessa. where three tables met.

66 Karahti rekko kujjaa A sledge clattered in the lane


tarttu saani salvamee: a sleigh caught in the wood-joints:
tultii Hekkoo kossii someone came to woo Hekko
katsomaa kalervutta to look for the precious one

445
1 O fj Miehelle menijä
1 Finding a Husband

ottamaa omenutta. to take the apple.

70 Tuli manteren matala seppä The squat smith of the mainland


itse seppä inkeroine: came, the Ingrian smith himself:
pani neitoise rekkee he put the maid in his sledge
sai saanin kolkkasee in a corner of his sleigh
silmät silkillä siteli bound her face with silk
75 jalat kattoi kankahalla. covered her feet with wool cloth.
Pani neitoise rekkee He put the maid in his sledge
sai saanin kolkkasee, in a corner of his sleigh
löi ruossalla orroo struck the stallion with the whip
rappaeli rahnikella: thrashed it with the knout:
so oro juoksi, matka joutu the horse ran, the journey sped
reko liuku, tie lyheni the sledge slid, the way grew short
reko rautanen rämisi the sledge of iron rattled
kangas kultanen kumisi the golden heath boomed
vemmel piukki pihlajaine the rowan collar-bow creaked
85 tuota neittä vietäessä as the maiden was taken
kultaa kulettaessa. the dear one was carried off.

E lin a S ä k k i
Narvusi, Ingria
J . Ruotsalainen, 1900

4 46
121
OLJAMISSA KÄYNTI
The Unwelcome Visitor

Sotkin koito kostolia


kotihiseen männäkseen, Iwretch, washed a linen shift
in which to go home
pari paitoja puhastin cleaned a pair of shirts
kaksi paria kalsuloita. two pairs of leggings. I asked
6 Apelta anoin hevoista father-in-law for a horse
ky’yltäin kysyin rekeä brother-in-law for a sledge
omaltani ohjaksia my own love I asked for reins
anopilta tuomisia: mother-in-law for presents:
appi jäätä jähmäseepi father-in-law froze to ice
10 kyty kylmää puhuu brother-in-law, he blew cold
anoppi tavoitti aijaksella. mother-in-law lunged with a fence-prop.
Mie panin reiteni reeksi I used my thighs for a sledge
peräseni peräpajuksi bottom for a wicker-back
sormet suorat ohjaksiksi, and my straight fingers for reins.
is Mänin vellon pellon päähän. I got to my brother’s field:
Tuossa nuo kukkuivat kuivat kuuset there the dry spruces were cuckooing
lauloivat lakkapäät petäjät: the broad-topped pines were singing:
“Ei ole täällä sinun kotisi, “This is not your home:
tääll on syntymäsiasi.” this is your birthplace.”

so Menin tökki, en totellut Yet I went, I paid no heed.


ajoin vellon kartanohon - I drove to my brother’s farm -
vellon lapset ikkunassa his children at the window
vellon nainen vieressä: his wife at their side:
“Tuolt tulee mun tätini.” “There comes my auntie.”

25 Vellon vaimo vastajaapi: Brother’s wife answering said:


“Ei ole se sinun tätisi: “That is not your aunt:
nyt tulee munille murhe now the eggs will start to grieve
tulee kaikatos kanoille the hens will start to cackle
sekä laahe lampahille and the sheep will be put down
30 sekä lehmille levitys.” and the cows will be laid low.”

447
101 O lja m issa k ä y n ti
1 ** 1 T h e U nw elco m e V isito r

Menin tökki, en totellut Yet I went, I paid no heed.


ajoin vellon portin ala, I drove to my brother’s gate
uottelin mä velloain I waited for my brother
porttia avamahan, to open the gate:
35 ei tuo vello tullutkaan. but my brother did not come.
Vein mie veitseni tupesta I drew my knife from the sheath
vyöltäni vein vihaisen rauan from my belt the angry iron
mill avaisin portin auki with which I opened the gate
raksahutin porttirampin. made the gate-bolt crack.
«o Uottelin mä velloani I waited for my brother
rinnustinta riisumaan to take the breast-strap
päällistintä päästämähän, off, to undo the head-strap:
ei tuo vello tullutkaan. but my brother did not come.
Itse riisuin rinnustimen I took the breast-strap
45 itse päästin päällistimet off, I undid the head-strap
itse aisani alensin. I let down the shafts myself.

Menin tökki, en totellut. Yet I went, I paid no heed.


Menin vellon porstuahan - I went to my brother’s porch -
vellon lapset on lastusilla, his children on the shavings.
so Vastais vellon vanhin tyttö: Brother’s eldest girl answered:
“Elä mene täti tupahan “Don’t go indoors, aunt, before
ennen kuin muut murunsa syövät the rest have eaten their crumbs
kohtalonsa kohahtavat cleared up their portions
kaalivatinsa vaihtelevat!” changed their cabbage-bowls!”

65 Menin tökki, en totellut Yet I went, I paid no heed.


menin velloillen tupahan: Went into my brother’s house:
vello istuu pöydän päässä he sat at the table-head
vellon nainen vieressänsä. his wife at the side.
Oven suuhun orren ala At the door, beneath the beam
60 miss on ennen oliit orjat where once the serfs were
ennen orjat, vasta vangit once the serfs, then the captives
siin on tämän talon tytär. was the daughter of this house.

Vello sanoo naisellensa: My brother said to his wife:


“Mene sisoa likistämään!” “Go and embrace my sister!”
66 Vellon vaimo vastajaa: But my brother’s wife answered:
“Ennen liettäni likistän “ I’d sooner embrace my hearth
ennen harkon hahlojani my prong-hooks sooner
ennen kuin talon tytärtä.” than the daughter of the house.”
m
O lja m issa k ä y n ti
T h e U n w elco m e V isito r

Vello sanoo naisellensa: My brother said to his wife:


70 “Tee sisolle talkkunata!” “ Make my sister some porridge!”
“Ves on jäässä, jauhot kylmät: “The water’s frozen, meal’s cold:
sitä on kylmemmät tekijät.” colder still are the makers.”

Vello sanoo naisellensa: My brother said to his wife:


“Tee sisolle munapataa!” “ Make my sister potted egg!”
76 Vellon vaimo vastajaapi: But my brother’s wife answered:
“Ei paistu muna paassa. “The egg won’t cook in the pot.
Arinassa on paksu paasi: There’s a thick stone in the grate:
siitä on paksummat tekijät.” thicker still are the makers.”

Vello sanoo naisellensa: My brother said to his wife:


so “Tee sisolle voimurua!” “ Make my sister butter-crumbs!”
Vellon vaimo vastajaapi: But my brother’s wife answered:
“Kattilass on paksu karsi.” “There’s thick soot in the saucepan.”

Vello sanoo naisellensa: My brother said to his wife:


“Tuo sisolle oltta juoa!” “Bring my sister beer to drink!”
86 Vellon vaimo vastajaa: But my brother’s wife answered:
“Tappi taittui tynnyriin “The tap broke in the barrel
hiiri juoksi hiivan päälle a mouse ran over the yeast
konnikkainen kuohan päällä a frog on the foam
vatikkainen vaahen alla.” a beetle under the froth.”

90 En ole mä munille murhe I did not make the eggs grieve


en ole kaikatos kanoille did not make the hens cackle
enkä laahe lampahille I did not put the sheep down
enkä lehmille levitys: I did not lay the cows low:
harakka on munille murhe the magpie made the eggs grieve
96 susi on laahe lampahille and the wolf put the sheep down
karhu lehmille levitys. and the bear laid the cows low.

S in g er unknow n
Sakkola, Karelian Isthmus
K. Slöör, 1854

29 4 49
122
ONNETON NUORIKKO I
The Unhappy Bride I

N eito itki nellotteli


kaivotiellä kallotteli Aonmaidthewept and sobbed
well-road wailed
joka kukkasen nenässä at every flower-tip
joka heinän helpehessä. at every grass-husk.
5 Puuttui isänsä kuulemahan Her father stopped to listen
tuli iso kyselemähän: father came to ask:
“ Mitäs itket piikueni “Why do you weep, my small one
nuorimpaiseni nureksit: my youngest one, why complain:
vai appi pahoin pitävi?” does father-in-law harm you?”

10 “Ei ole niitä maitakana “That is not the source of it


ei niitä vesiäkänä: nor the spring of it:
niin minulla appi siellä father-in-law treats me there
kuin ennen iso kotona.” as my father did at home.”

Neito itki nellotteli A maid wept and sobbed


is kaivotiellä kallotteli on the well-road wailed
joka kukkasen nenässä at every flower-tip '
joka heinän helpehessä. at every grass-husk.
Puuttui emonsa kuulemahan Her mother stopped to listen
tuli emo kyselemään: mother came to ask:
so “ Mitä itket piikueni “Why do you weep, my small one
nuorimpaiseni nureksit: my youngest one, why complain:
vai anoppi pahoin pitävi?” does mother-in-law harm you?”

“Ei ole niitä maitakana “That is not the source of it


ei niitä vesiäkänä: nor the spring of it:
25 niin minulla anoppi siellä mother-in-law treats me there
kuin ennen emo kotona.” as my mother did at home.”

Neito itki nellotteli A maid wept and sobbed


kaivotiellä kallotteli on the well-road wailed
joka kukkasen nenässä at every flower-tip

450
1 0 0 Onneton nuorikko I
1 eL A , The Unhappy Bride I

30 joka heinän helpehessä. at every grass-husk.


Puuttui vello kuulemahan Her brother stopped to listen
tuli vello kyselemähän: brother came to ask:
“Mitä itket mun sisoni “Why do you weep, my sister
nuorin siskoni nureksit: youngest sister, why complain:
35 vai kyty pahoin pitävi?” does brother-in-law harm you?”

“Ei ole niitä maitakana “That is not the source of it


ei niitä vesiäkänä: nor the spring of it:
niin on mulla kyty kylässä he treats me where I live now
kuin ennen kotona vello.” as my brother did at home.”

40 Neito itki nellotteli A maid wept and sobbed


kaivotiellä kallotteli on the well-path wailed
joka kukkasen nenässä at every flower-tip
joka heinän helpehessä. at every grass-husk.
Puuttui sisko kuulemahan Her sister stopped to listen
45 tuli sisko kyselemähän: sister came to ask:
“Mitä itket mun sisoni: “Why do you weep, my sister:
vai nato pahoin pitävi?” does sister-in-law harm you?”

“Ei ole niitä maitakana “That is not the source of it


ei niitä vesiäkänä: nor the spring of it:
50 niin on mun nato kylässä she treats me where I live now
kuin ennen siso kotona.” as my sister did at home.”

Neito itki nellotteli A maid wept and sobbed


kaivotiellä kallotteli on the well-road wailed
joka kukkasen nenässä at every flower-tip
66 joka heinän helpehessä. at every grass-husk.
Puuttui setä kuulemahan Her uncle stopped to listen
tuli setä kyselemähän: uncle came to ask:
“Mitäs itket neito nuori “Why do you weep, young maiden
vellon lapsi vierettelet: brother’s child, why do you writhe
60 vai sulho pahoin pitävi?” is your bridegroom harming you?”

“Sen on syy, setäsyeni: “It is his fault, my uncle:


eipä arvannut isoni my father did not suspect
eikä arvannut emoni nor did my mother suspect
eipä vetru vellueni nor did my supple brother
65 eikä siityinen sisoni. nor my own sister.

451
m
O nneton n u orikko I
T h e U n h a p p y B rid e I

Kuin näkisin hirtettävän If I saw him being hanged


vielä nuorasta vetäisin, I’d pull harder on the rope
kuin näkisin poltettavan if I saw him being burned
vielä tulta kiihoittaisin, I would stir the fire up more
70 kuin näkisin leikattavan if I saw him being slashed
vielä veistäni hiosin I would sharpen my knife more
nykeäni nyökyttäisin.” I’d swish my knife-end.”

S in g e r unknow n
Sakkola, Karelian Isthmus
A. Ahlqvist, 1854

452
123
O N N E T O N N U O R I K K O II
The Unhappy Bride I I

Itköö mutšoini metlällä


heinätiellä hellerdelöö A bride wept in the forest
on the grass road grieved
kaivotiellä kallerdeloo. on the well-road wailed.
Piädy vieras kuulemalla A stranger came to listen
6 seinän alla seisomaha to stand by the wall
katoksella katšomaha: look from the shelter:
“Midäs itket mutšoiraukka: “Why are you weeping, poor bride:
buatjkoigo sinuo paheksii?” does father-in-law hurt you?”

“Buatjkoi ei minuo paheksi: “ He does not hurt me:


10 buatjkoi on kui oma tuatto.” he is like my own father.”

Itköö mutšoini metsällä A bride wept in the forest


heinätiellä hellerdelöö on the grass road grieved
kaivotiellä kallerdeloo. on the well-road wailed.
Piädy vieras kuulemaha A stranger came to listen
is seinän alla seisomaha to stand by the wall
katoksella katšomaha: look from the shelter:
“Midä itket mutšoiraukka: “ Why are you weeping, poor bride:
muatjkoigo sinuo paheksii?” does mother-in-law hurt you?”

“Muatkoi ei minuo paheksi: “She does not hurt me:


so muatkoi on kui oma muamo.” she is like my own mother.”

Itköö mutšoini metsällä A bride wept in the forest


heinätiellä hellerdelöö on the grass road grieved
kaivotiellä kallerdeloo. on the well-road wailed.
Piädy vieras kuulemaha A stranger came to listen
25 seinän alla seisomaha to stand by the wall
katoksella katsomaha: look from the shelter:
“Midä itket mutšoiraukka: “ Why are you weeping, poor bride:
nadosko sinuo paheksii?” does sister-in-law hurt you?”

453
Onneton nuorikko I I
1 The Unhappy Bride I I

“Nado ei minuo paheksi: “She does not hurt me:


.10 nado on kui oma tšikko.” she is like my own sister.”

Itköö mutšoini metsällä A bride wept in the forest


heinätiellä hellerdelöö on the grass road grieved
kaivotiellä kallerdeloo. on the well-road wailed.
Piädy vieras kuulemalla A stranger came to listen
as seinän alla seisomalla to stand by the wall
katoksella katšomaha: look from the shelter:
“Midä itket mutšoiraukka: “Why are you weeping, poor bride:
kydyskö sinuo paheksii?” does brother-in-law hurt you?”

“Kydy ei minuo paheksi: “He does not hurt me:


40 kydy on kui oma veikko.” he is like my own brother.”

Itköö mutšoini metsällä A bride wept in the forest


heinätiellä hellerdelöö on the grass road grieved
kaivotiellä kallerdeloo. on the well-road wailed.
Piädy vieras kuulemaha A stranger came to listen
45 seinän alla seisomalla to stand by the wall
katoksella katåomaha: look from the shelter:
“Midä itket mutšoiraukka: “Why are you weeping, poor bride:
sulhosko sinuo paheksii?” is your bridegroom hurting you?”

“Sulhoi on kui oma šiida: “ He is like my own devil:


50 joga vitšani vihuaubi every rod hates me
joga varbane varistaa!” every twig burns me!”

N ik it Joro
Suistamo, Ladoga Karelia
I. Härkönen, 1900

454
124
VEDENKANTAJA I
The Water-Carrier I

Anni tytti ainuo neiti


läksi vejen kannantahe, T hewentgirltoAnni, matchless maid
fetch water
otti korvosen olalla took a tub on her shoulder
kauhan käsivarrellahe, and a ladle on her arm:
6 mäni meän, mäni toisen she walked a hill, another
mäni kohta kolmannenkin. soon she walked a third also.
Katso kaivoho syväheh: She looked into the deep well:
jo on kaivo kuivahtaneh the well had dried up
tinapohja tilkahtaneh the tin-bottomed had dwindled
10 vaset laijalla valuneh. the copper-rimmed drained away.

Ottipa vettä ojasta She took water from the ditch


kävi vettä virran alta went for water downriver
j ovesta juotavuo, for drinking water:
toip on vettä toatollahe. she brought some to her father.
is Toatto kirvesvarrellahe: Father with an axe-handle:
“Mänes tästä portto poikes “Get away from here, harlot,
tuonemma, tulini lautta: yonder, scarlet whore:
et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
so punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

Viep on vettä moamollahe. She brought some to her mother.


Moamo peällijen kokalla: Mother at her with a hook:
“Mänes tästä portto poikes “Get away from here, harlot,
25 tuonemma, tulini lautta: yonder, scarlet whore:
et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

so Anni tytti ainuo neiti The girl Anni, matchless maid

455
10/1 Vedenkantaja I
1 Z J-X The Water-Carrier I

veip on vettä veijollahe. brought water to her brother.


Veikko haravan kokalla: Her brother with a rake’s end:
“Mänes tästä portto poikes “Get away from here, harlot,
tuonemma, tulini lautta: yonder, scarlet whore:
35 et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

Anni tytti ainuo neiti The girl Anni, matchless maid


40 veip on vettä tsikollahe. brought water to her sister.
Tsikko löi smeikallahe: Sister struck her with a clasp:
“Mänes tästä portto poikes “Get away from here, harlot,
tuonemma, tulini lautta: yonder, scarlet whore:
et ollut vejen kannannassa, you were not fetching water
45 olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

Viep on vettä tiätällähä. She brought some to her uncle.


Tiätä keihäsvarrellahe: Uncle with a spear-handle:
60 “ Mänes tästä portto poikes “Get away from here, harlot,
tuonemma, tulini lautta: yonder, scarlet whore:
et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace -
55 kautokengän katselussa.” looking for a fancy shoe.”

Anni tytti ainuo neiti The girl Anni, matchless maid


veip on vettä tiätintkällä. brought some water to her aunt.
Tiätintkä ajelupalikalla: Her aunt with a rolling-pin:
“Mänes tästä portto poikes “ Get away from here, harlot,
so tuonemma, tulini lautta: yonder, scarlet whore:
et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

65 Anni tytti ainuo neiti The girl Anni, matchless maid


veip on vettä ukollahe. brought water to her grandad.
Ukko kertoa verttinällä: Grandad once with a distaff:

456
1 A Vedenkantaja I
1 The Water-Carrier /

“Mänes tästä portto poikes “Get away from here, harlot,


tuonemma, tulini lautta: yonder, scarlet whore:
70 et ollut vejen kannannassa, you were not fetching water
olit sulhojen etsossa you were searching for suitors
punapaklan puujelussa toiling after a red lace
kautokengän katselussa.” looking for a fancy shoe.”

Anni tytti ainuo neiti The girl Anni, matchless maid


?5 veip on vettä ämmällehe. brought water to her grandma.
Ämmä otti vettä juua. Grandma took water to drink.

Anni tytti ainuo neiti The girl Anni, matchless maid


Ali on päin, pahalla mielin her head down, in bad spirits
kaiken kallella kypärin her cap all askew
so astu aittahan mäjellä: stepped to the shed on the hill:
nosti arkun arkun peällä she lifted trunk upon trunk
lippahan lippahan lomahe. case where case had been.
Virsilippahan vejälti: It was a dirge-case she drew:
löysi pakloa palasen she found a small length of lace
85 kuristautu, koakistautu strangled herself, slumped
riputih on rinnan kautti she hanged herself by the breast
kaklan kautti koakistautu. by the neck she slumped.

Kolm oi yötä katsomatta. Three nights she was not looked for.
Emo aittahe mänöve. Her mother went to the shed.
eo Katselove, keäntelöve: She looked, she turned her over:
jo on Anni ollun, männyn Anni had been, gone
tinarinta ripsahtane the tin-breasted snapped
riputautu rinnan kautti. was hanged by the breast.

“Anni tytti ainuo neiti “O girl Anni, matchless maid


96 nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing
verevänä vierömästä!” red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: “I cannot rise, I will not:


äijän portoikse polite you condemned me for a whore
loo mieron lautoikse lasite.” damned for a village harlot.”

Emo pirttihin tulove Mother came into the house


jo on noin sanoiksi virkki: put this into words:

4 57
1 'J / l Vedenkantaja I
A The Water-Carrier I

“Jo on Anni ammoin kuollun “Anni is long dead


tinarinta ripsahtane, the tin-breasted snapped
io s riputautu rinnan kautti.” is hanged by the breast.”

Läksi toatto nostamahe Father went off to raise her


vanhempi virottamahe: the parent to revive her:
“Anni tytti ainuo neiti “O girl Anni, matchless maid
nouse nuorra kuolomasta rise as a young one from death
no kauniina katuovomasta a fair one from perishing
verevänä vierömästä!” red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: “ I cannot rise, I will not:


äijän portoikse polite you condemned me for a whore
mieron lautoikse lasite.” damned for a village harlot.”

us Toatto pirttihin tulove Father came into the house


jo on noin sanoiksi virkki: put this into words:
“Jo on Anni ammoin kuollun “Anni is long dead
tinarinta ripsahtane the tin-breasted snapped
riputautu rinnan kautti.” is hanged by the breast.”

120 Läksi veikko nostamahe: Brother went off to raise her:


“ Oi on Anni ainuo neiti “Anni, matchless maid
nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing
verevänä vierömästä!” red-cheeked from rolling" away!”

125 “ Emp on nouse, en käkiekänä: “ I cannot rise, I will not:


äijän portoikse polite you condemned me for a whore
mieron lautoikse lasite.” damned for a village harlot.”

Veikko pirttihi tulove Brother came into the house


jo on noin sanoiksi virkki: put this into words:
130 “Jo on Anni ammoin kuollun “Anni is long dead
tinarinta ripsahtane the tin-breasted snapped
riputautu rinnan kautti.” is hanged by the breast.”

Läksi tsikko nostamahe: Sister went off to raise her:


“Oi on Anni ainuo neiti “Anni, matchless maid
135 nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing

458
1 ''S A Vedenkantaja I
1 £ rt The Water-Carrier /

verevänä vieremästä!” red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: “ I cannot rise, I will not:


äijän portoikse polite you condemned me for a whore
mo mieron lautoikse lasite." damned for a village harlot.”

Tsikko pirttihi tulove Sister came into the house


jo on noin sanoiksi virkki: put this into words:
“Jo on Anni ammoin kuollun “Anni is long dead
tinarinta ripsahtane the tin-breasted snapped
146 riputautu rinnan kautti.” is hanged by the breast.”

Läksi tiätä nostamalle: Uncle went off to raise her:


“Oi on Anni ainuo neiti “Anni, matchless maid
nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing
iso verevänä vieremästä!” red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: “ I cannot rise, I will not:


äijän portoikse polite you condemned me for a whore
mieron lautoikse lasite.” damned for a village harlot.”

Tiätä pirttihi tulove Uncle came into the house


156 jo on noin sanoiksi virkki: put this into words:
“Jo on Anni ammoin kuollun “Anni is long dead
tinarinta ripsahtane the tin-breasted snapped
riputautu rinnan kautti.” is hanged by the breast.”

Läksi tiätintkä nossattamaha: Her aunt went off to raise her:


im “Oi on Anni ainuo neiti “Anni, matchless maid
nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing
verevänä vieremästä!” red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: “ I cannot rise, I will not:


165 äijän portoikse polite you condemned me for a whore
mieron lautoikse lasite.” damned for a village harlot.”

Tiätinkä pirttihi tulove Her aunt came into the house


jo on noin sanoiksi virkki: put this into words:
“Jo on Anni ammoin kuollun “Anni is long dead

4 59
1 A Vedenkantaja /
1 ATT The Water-Carrier I

170 tinarinta ripsahtane the tin-breasted snapped


riputautu rinnan kautti.” is hanged by the breast.”

Läksi ämmä nostamahe Grandma went off to raise her


ämmä itkien mänöve: • grandma went weeping:
“Anni tytti ainuo neiti “O girl Anni, matchless maid
m nouse nuorra kuolomasta rise as a young one from death
kauniina katuovomasta a fair one from perishing
verevänä vierömästä!” red-cheeked from rolling away!”

“Oi on kukki ämmöseni “ My darling granny


nousisinpa, emp on peäse: though I would rise, I cannot:
iso kalma kättä niin pitäve the grave is holding my hand
Tuoni toista hallitsove. Tuoni commands the other.
Etpä portoiksi poline You condemned me for no whore
mieron lautoiksi lasine.” damned for no village harlot.”

H o to Lesonen
Vuokkinicmi, Archangel Karelia
A. Berner, 1872

460
125
V E D E N K A N T A J A II
The Water-Carrier I I

Eeva rikko Riian neito


läksi linnasta veelle Eeva, poor maid of Riga
went from town to the water
läpi linnan lähtehelle through town to the spring
rautasella raennalla with an iron milking-pail
6 tinaisella teekupilla with a tin teacup
vaskireunalla vailla. a copper-rimmed pan.

Akat linnasta kysyvät: The crones of the town asked: “Maid


“Kelle sä neito vettä kannat?” who do you fetch water for?”

“Isälleni silmävettä. “For my father, eye-water.


10 Juot sinä isä, vain janoitset Will you drink, father, or thirst
vain peset sä silmiäsi?” or else will you wash your eyes?”

Isä vasten vastajaapi: Her father answering said:


“En minä juo enkä janoitse “ I will neither drink nor thirst
enkä pese silmiäni. nor yet will I wash my eyes.
16 Kirottu on sinun vetesi. Curst is your water.
Kauvan viivyit kaivotiellä: You dallied on the well-path:
katsoit kaivon korkeutta you were watching the well’s height
mittasit meren syvyyttä were reckoning the sea’s depth
pitkin pienarta makaisit along the field-edge lying
so poikki pienarta lepäsit.” across the field-edge resting.”

Eeva rikko Riian neito Eeva, poor maid of Riga


läksi linnasta veelle went from town to the water
läpi linnan lähtehelle through town to the spring
rautasella raennalla with an iron milking-pail
86 tinaisella teekupilla with a tin teacup
vaskireunalla vailla. a copper-rimmed pan.

Akat linnasta kysyvät: The crones of the town asked: “Maid


“Kelle sä neito vettä kannat.?” who do you fetch water for?”

461
1 V eden kan taja I I
1. jL D T h e W a te r-C a rrie r I I

Eeva vasten vastaeli: Eeva answering replied:


30 “Emolleni silmävettä. “For my mother, eye-water.
Juot sinä emo, vain janoitset Will you drink, mother, or thirst
vain peset sä silmiäsi?” or else will you wash your eyes?”

Emo vasten vastajaapi: Her mother answering said:


“En minä juo enkä janoitse “ I will neither drink nor thirst
35 enkä pese silmiäni. nor yet will I wash my eyes.
Kirottu on sinun vetesi. Curst is your water.
Kauvan viivyit kaivotiellä: You dallied on the well-path:
katsoit kaivon korkeutta you were watching the well’s height
mittasit meren syvyyttä were reckoning the sea’s depth
40 pitkin pienarta makaisit along the field-edge lying
poikki pienarta lepäsit.” across the field-edge resting.”

Eeva rikko Riian neito Eeva, poor maid of Riga


läksi linnasta veelle went from town to the water
läpi linnan lähtehelle through town to the spring
45 rautasella raennalla with an iron milking-pail
tinaisella teekupilla with a tin teacup
vaskireunalla vailla. a copper-rimmed pan.

Akat linnasta kysyvät: The crones of the town asked: “Maid


“Kelle sä neito vettä kannat?” who do you fetch water for?”

50 Eeva vasten vastaeli: Eeva answering replied:'


“Veikolleni silmävettä. “ For my brother, eye-water.
Juot sinä veikko, vain janoitset Will you drink, brother, or thirst
vain peset sä silmiäsi?” or else will you wash your eyes?”

Veikko vasten vastajaapi: Her brother answering said:


55 “En minä juo enkä janoitse “ I will neither drink nor thirst
enkä pese silmiäni. nor yet will I wash my eyes.
Kirottu on sinun vetesi. Curst is your water.
Kauvan viivyit kaivotiellä: You dallied on the well-path:
katsoit kaivon korkeutta you were watching the well’s height
60 mittasit meren syvyyttä were reckoning the sea’s depth
pitkin pienarta makaisit along the field-edge lying
poikki pienarta lepäsit.” across the field-edge resting.”

Eeva rikko Riian neito Eeva, poor maid of Riga

462
I O C Vedenkantaja I I
1 The Water-Carrier I I

läksi linnasta veelle went from town to the water


65 läpi linnan lähtehelle through town to the spring
rautasella raennalla with an iron milking-pail
tinaisella teekupilla with a tin teacup
vaskireunalla vailla. a copper-rimmed pan.

Akat linnasta kysyvät: The crones of the town asked: “Maid


70 “Kelle sä neito vettä kannat?” who do you fetch water for?”

Eeva vasten vastaeli: Eeva answering replied:


“Siskolleni silmävettä. “For my sister, eye-water.
Juot sinä sisko, vain janoitset Will you drink, sister, or thirst
vain peset sä silmiäsi?” or else will you wash your eyes?”

75 Sisko vasten vastajaapi: Her sister answering said:


“En minä juo enkä janoitse “I will neither drink nor thirst
enkä pese silmiäni. nor yet will I wash my eyes.
Kirottu on sinun vetesi. Curst is your water.
Kauvan viivyit kaivotiellä: You dallied on the well-path:
so katsoit kaivon korkeutta you were watching the well’s height
mittasit meren syvyyttä were reckoning the sea’s depth
pitkin pienarta makaisit along the field-edge lying
poikki pienarta lepäsit.” across the field-edge resting.”

Eeva rikko Riian neito Eeva, poor maid of Riga


85 läksi linnasta veelle went from town to the water
läpi linnan lähtehelle through town to the spring
rautasella raennalla with an iron milking-pail
tinaisella teekupilla with a tin teacup
vaskireunalla vailla. a copper-rimmed pan.

90 Akat linnasta kysyvät: The crones of the town asked: “ Maid


“Kelle sä neito vettä kannat?” who do you fetch water for?”

Eeva vasten vastaeli: Eeva answering replied:


“Sulholleni silmävettä. “For my bridegroom, eye-water.
Juot sinä sulho, vain janoitset Will you drink, bridegroom, or thirst
95 vain peset sä silmiäsi?” or else will you wash your eyes?”

Sulho vasten vastaeli: Her bridegroom answering said:


“Sekä juon sekä janoitsen “Yes, I will both drink and thirst

4 63
1 ^ C Vedenkantaja I I
1 The Water-Carrier I I

sekä pesen silmiäni. and I’ll wash my eyes also.


Siunattu on sun vetesi!” Blest is your water!”

S in g e r u n k n o w n
Toksova, Ingria
K. Slöör, 1854

464
30. The home of a farmer or
merchant. - Liissilä, 1911.

31. A village community


typical of those areas of
Ingria south of present-day
Leningrad. In contrast to the
Archangel and Olonets
Karelians, the Ingrians lived
in relatively dense groups
arranged and administered in
the same way as the Russian
village community. -
Soikkola, 1911.
32. The men are brewing beer, an activity traditionally 33. The vessel in this photograph was intended for inshore
performed at a fixed time of the year (cf. Poems 34, 38; sailing along the Gulf of Finland, (cf. Poems 26, 27). -
pp. 539, 541). - Kremena, 1911. Narvusi, 1911.
34. The well was one of
the centres of social activity
in Ingrian villages and
frequently occurs in folk
poetry. - Markkova, 1911.

35. Spinning (cf. Plate 5).


The head ornament is
frequently used metonymic-
ally in Finnish folk poetry
to refer to women (cf.
Poem 23). - Miikkulainen,
1923.
36. In Ingria poems frequently
survived as the accompaniment
to games (cf. p. 75). A typical
situation in which they were
sung was at the village swing,
where girls often gathered
after the day’s work, and on
Sundays and other holy days.
- Soikkola, 1914.

37. A peasant and his wife


returning from the fields at the
end of the day.-Soikkola, 1911.
38. A horse herdsman calling
his herd on a birch-bark pipe.
The herdsman, who had
responsibility for the horses
of the whole community, was
chosen at a village meeting
and engaged for the whole
summer. Frequently, herdsmen
were Finns who travelled each
year to Ingria specifically for
this purpose. - Soikkola, 1914.

39. Social and economic life


in Ingria and Karelia centred
on the extended family which
could consist of up to thirty
people (cf. p. 59). Ingrians
often fostered children from
the orphanages of St Petersburg
in return for payment. -
Kupanitsa, 1911.
126
NEITOJA VENE I
The M aid and the Boat I

looked up, looked down:


Katson yläh, katlon alah:
ylähöänä päiväne paistau I the sun was shining above
alahoana venone šoudau, a boat was rowing below
istuu venozešša rodnoi toattone. and in the boat my own father sat.
6 “Ota toattone milma venozehel!” “Take me, father, in your boat!”

“Et mahu, et mahu tytär rukka: “No room, no room, poor daughter:
itle mie issun peräzellä I myself sit in the stern
jalgazet miula sebäzellä.” I have my feet in the prow.”

Katšon yläh, katšon alah: I looked up, looked down:


10 ylähöänä päiväne paistau the sun was shining above
alahoana venone šoudau, a boat was rowing below
istuu venozešša rodnoi moamone. and in the boat my own mother sat.
“Ota moamone milma venozehel!” “Take me, mother, in your boat!”

“Et mahu, et mahu tytär rukka: “No room, no room, poor daughter:
is itše mie issun peräzellä I myself sit in the stern
jalgazet ne lebäzellä.” my feet, they are in the prow.”

Kation yläh, katlon alah: I looked up, looked down:


ylähöänä päiväne paistau the sun was shining above
alahoana venone loudau, a boat was rowing below
so istuu venozella rodnoi veikkone. and in the boat my own brother sat.
“Ota veikkone milma venozehel!” “Take me, brother, in your boat!”

“Et mahu, et mahu sizar rukka: “No room, no room, poor sister:
itse issun mie peräzellä I myself sit in the stern
jalgazet ne lebäzellä.” my feet, they are in the prow.”

25 Katlon yläh, katlon alah: I looked up, looked down:


ylähöänä päiväne paistau the sun was shining above
alahoana venone loudau, a boat was rowing below

so 465
1 TZT N eito ja vene I
1 The M aid and the Boat I

istuu venozešša rodnoi tšikkone. and in the boat my own sister sat.
“Ota tšikkone milma venozeh!” “Take me, sister, in your boat!”

30 “Et mahu, et mahu sizar rukka: “UJo room, no room, poor sister:
itše mie issun peräzeSsä I myself sit in the stern
jalgazet ne miula SebäzeSSä.” I have my feet in the prow.”

Katšon yläh, katšon alah: I looked up, looked down:


ylähöänä päiväne paistau the sun was shining above
36 alahoana venone šoudau, a boat was rowing below
istuu venozešša rodnoi minjane. and in it the daughter-in-law sat.
“Ota minjane milma venozeh!” “Take me, my own, in your boat!”

“Tule tule nado rukka: “ Come, come, poor sister-in-law:


mie hotj istuotšen peräzeh I am sitting in the stern
40 a šie hotj istuotšet Sebäzeh.” but you shall sit in the prow.”

S in g e r u n k n o w n
Nyebelitsa, Novgorod District
V. Petrelius, 1892

46 6
127
NEITOJA VENE II
The M aid and the Boat I I

A jo kaksi karjalaista r r iw o Karelians came driving,


.xVkolme puoin poikasii. i . three shopkeeper-lads.
Olin neito pikkaraine: I was a tiny maiden:
aloin kitkii sinnoo began to weed the blueflower
5 puhastella pillervoo. to trim the flax-plant.

Sano miulle puotipoika: A shopkeeper said to me:


“Kui sie tietäsit vähäse “ If you knew a bit
pikkaraisen arvajaist, guessed but a little
etkä kitkiis sinnoo you would not weed the blueflower
io puhastais pillervoo: nor trim the flax-plant:
sie oot neito meille myöty you, maiden, are sold to us
meill oot kaupattu kanane.” made over to us, chicken.”

“Kuka möi miun polosen “Who has sold poor me


kuka kauppas kanasen?” who made over the chicken?”
16 “ Iso möi siun polosen “Father sold poor you
iso kauppas kanasen.” he made over the chicken.”

“ Mitä sai isä miulla?” “What did father get for me?”
“Issäis sai kivisen kirkon “Your father got a stone church
moamois sai Mahikki-lehmän your mother the cow Damsel
20 vellois sai sotioroisen your brother a war-stallion
sissois sai sinervä uutin.” your sister got a blue ewe.”

Venäläin oi viekas poika The Russian, a tricky boy


viettel neion venosehee lured the maid into the boat
sai neion venosehee. got the maid into the boat.
25 Neitonen kujertelloo The little maid lamented
venäläisiin vennees in the Russians’ boat
Punaparran purjehis: in the Redbeard’s craft:
“Souvva tuonne rantasee: “Row towards that shore:
tuol tuikkaap tuloinen there a fire twinkles

467
\ r) FJ Neito ja vene I I
■1** / The M aid and the Boat I I

30 valkiaine vaikuttoaa, a flame is showing


suur on paimmenen tuleks too big for a herdsman’s fire
pien on vältinvalkiaks. and too small for a camp fire.
Tuo tul on ison tuloine.” That fire is my father’s fire.”

Neito huusi huikahutti: The maid called out, shouted out:


35 “Lunasta iso miuista!” “Ransom me, father!”

Iso vasten vastajel: Father answering replied:


“ Millä mie siun lunastan?” “What shall I ransom you with?”

“ On siul kivinen kirkko “You have a stone church


miun peähäin peästimeks for the release of my head
40 henkein lunastimeks.” for the ransom of my life.”

Isä vasten vastajel: Father answering replied:


“Ennen luovun lapsestain “I’d sooner give up my child
ennen kun kivisest kirkostain.” than my church of stone.”

Venäläinen viisas poika The Russian, a clever boy


45 souteluoo jouteluoo rowed along, idled along
Suome suurel merel to Finland’s great sea
Ruotsin ruokorantases. Sweden’s reedy shore.
Neitone kujertelloo: The little maid lamented:
“Souva tuonne rantasee: “Row towards that shore:
50 tuolla tuikkaa tuloine there a fire twinkles
valkiaine vaikuttaa, a flame is showing
suur on paimenen tuleks too big for a herdsman’s fire
pien on vältinvalkiaks. and too small for a camp fire.
Tuo tul emon tuloine.” That fire is my mother’s fire.”

55 Neito huus huikahutti: The maid called out, shouted out:


“Lunasta emo miuista!” “Ransom me, mother!”

Emo vasten vastajel: Mother answering replied:


“Millä mie siun lunastan?” “What shall I ransom you with?”

“ Onhan siul Mahikki-lehmä “Well, you have the cow Damsel


60 miun peähäin peästimeks for the release of my head
henkein lunastimeks.” for the ransom of my life.”

468
1 0 7 Neito ja vene I I
± I The M aid and the Boat I I

“Ennen luovun lapsestain ‘T d sooner give up my child


kuin Mahikki-lehmästäin.” than my cow Damsel.”

Venäläine viekas poika The Russian, a tricky boy


66 souteluoo jouteluoo rowed along, idled along
Suome suurel merel to Finland’s great sea
Ruotsin ruokorantases. Sweden’s reedy shore.
Neitonen kujertelloo The little maid lamented
venäläisiin vennees in the Russians’ boat
70 punaparran purjehis: in the redbeard’s craft:
“Tuolla tuikkaa tuloine “There a fire twinkles
valkiaine vaikuttoaa, a flame is showing
suur on paimenen tuleks too big for a herdsman’s fire
pien on vältinvalkiaks. and too small for a camp fire.
76 Se siit on vellon tuloine.” That there is my brother’s fire.”

Neito huusi huikahutti: The maid called out, shouted out:


“Lunasta miuista vello!” “Ransom me, brother!”

Vello vasten vastajel: Brother answering replied:


“Mil mie siun lunastan?” “What shall I ransom you with?”

so “On siul sotioroine “Well, you have a war-stallion


miun peähäin peästimeks for the release of my head
henkein lunastimeks.” for the ransom of my life.”

Vello vasten vastajaa: Brother answering replied:


“Ennen luovun siskostain “ I’d sooner yield my sister
86 kuin sotiorosestain.” than my war-stallion.”

Venäläine viekas poika The Russian, a tricky boy


souteluoo jouteluoo rowed along, idled along
Suome suurel merel to Finland’s great sea
Ruotsin ruokorantasella. Sweden’s reedy shore.
»o Neitone kujertelloo The little maid lamented
venäläisen vennees in the Russian’s boat
punaparran purjehissa: in the redbeard’s craft:
“Tuol tuikkaa tuloine “There a fire twinkles
valkiaine vaikuttoaa, a flame is showing
96 suur on paimenen tuleks too big for a herdsman’s fire
pien on vältinvalkiaks. and too small for a camp fire.
Siit se on sison tuloine.” There, that is my sister’s fire.”

469
1 0 * 7 Neito ja vene I I
~ * T iu M aid and the Boat I I

Neito huusi huikahutti: The maid called out, shouted out:


“Lunasta siso miuista!” “ Ransom me, sister!”

loo Siso vasten vastajaa: Sister answering replied:


“ Mil mie siun lunastan?” “ What shall I ransom you with?”

“On siulla sinervä uutti “You have a blue ewe


miun peähäin peästimeks for the release of my head
henkein lunastimeks.” for the ransom of my life.”

105 Siso vasten vastajaa: Sister answering replied:


“Ennen luovun siskostain “ I’d sooner yield my sister
kuin sinervä uutistain.” than yield my blue ewe.”

“ Issoin kivine kirkko “ May my father’s church of stone


kannollee koatukoo, fall down to the ground
no moamoin Mahikke-lehmä may my mother’s cow Damsel
maitoihe mahettukkoo, be barren of milk
velloin sotioroine may my brother’s war-stallion
kirkkotiel kirvotkuoo drop on the church-road
kirkkotiel kiistates, while racing on the church-road
us siskoin sinervä uutti and may my sister’s blue ewe
villoihiee viipyköö flop down with its wool
vuonihiee voipukoo!” and be worn out with its Iambs!”

Soh vi

Vuole, Ingria
V. Alava, 1894

470
128
NEITOJA VENE III
The M aid and the Boat I I I

^ rcnhäläinen verikorva Russian, a bloody-ear


a
V soutaa ja joutaa, was rowing, idling:
neitty istuu kajutissa a maid sat in the cabin
itkee ja huokaa weeping and sighing
5 kädet paatin laidalla her hands on the vessel’s side
polvet meren pohjassa, her knees on the sea’s bottom
näki isänsä kävelevän rantaa. saw her father walking on the shore.
“Rakas isä, kulta isä “Dear father, darling father
lunasta minua täältä!” ransom me from here!”

io “Millä mä sinun lunastan?” “What shall I ransom you with?”


“Ompa sulia kolme hevosta: “You have three horses:
pane paras pantiksi.” Give the best one for a pledge.”
“Ennen luovun tyttärestä “ I’d sooner yield my daughter
ennen kun paraasta hevosestani.” than the best of my horses.”

is Venhäläinen verikorva A Russian, a bloody-ear


soutaa ja joutaa, was rowing, idling:
neitty istuu kajutissa a maid sat in the cabin
itkee ja huokaa weeping and sighing
kädet paatin laidalla her hands on the vessel’s side
so polvet meren pohjassa, her knees on the sea’s bottom
näki äitinsä kävelevän rantaa. saw her mother walking on the shore.
“Rakas äite, kulta äite “Dear mother, darling mother
lunasta minua täältä!” ransom me from here!”

“Millä mä sun lunastan?” “What shall I ransom you with?”


26 “Ompa sulia kolme lehmää: “Well, you have three cows:
pane paras pantiksi.” Give the best one for a pledge.”
“Ennen luovun tyttärestäni “I’d sooner yield my daughter
ennen kun paraasta lehmästäni.” than the best one of my cows.”

Venhäläinen verikorva A Russian, a bloody-ear

471
1 O ö Neito ja vene I I I
A The M aid and the Boat I I I

30 soutaa ja joutaa, was rowing, idling:


neitty istuu kajutissa a maid sat in the cabin
itkee ja huokaa weeping and sighing
kädet paatin laidalla her hands on the vessel’s side
polvet meren pohjassa, her knees on the sea’s bottom
3 5 näki veljensä kävelevän rantaa. saw her brother walking on the shore.
“ Rakas veli, kulta veli “Dear brother, darling brother
lunasta minua täältä!” ransom me from here!”

“Millä mä sinun lunastan?” “What shall I ransom you with?”


“Ompa sulia kolme miekkaa: “Well, you have three swords:
40 pane paras pantiksi.” Give the best one for a pledge.”
“Ennen luovun sisarestani “I’d sooner yield my sister
ennen kun paraasta miekastani.” than the best one of my swords.”

Venhäläinen verikorva A Russian, a bloody-ear


soutaa ja joutaa, was rowing, idling:
46 neitty istuu kajutissa a maid sat in the cabin
itkee ja huokaa weeping and sighing
kädet paatin laidassa her hands on the vessel’s side
polvet meren pohjassa, her knees on the sea’s bottom
näki sisarensa kävelevän rantaa. saw her sister walking on the shore.
50 “Rakas sisar, kulta sisar “Dear sister, darling sister
lunasta minua täältä!” ransom me from here!”

“Millä mä sinun lunastan?” "What shall I ransom you with?”


“Ompa sulia kolme kruunua: “Well, you have three crowns:
pane paras pantiksi.” Give the best one for a pledge.”
65 “Ennen luovun sisarestani “I’d sooner yield my sister
ennen kun paraasta kruunustani.” than the best one of my crowns.”

Venhäläinen verikorva A Russian, a bloody-ear


soutaa ja joutaa, was rowing, idling:
neitty istuu kajutissa a maid sat in the cabin
60 itkee ja huokaa weeping and sighing
kädet paatin laidalla her hands on the vessel’s side
polvet meren pohjassa, her knees on the sea’s bottom
näki ylkänsä kävelevän rantaa. saw her bridegroom walking on the shore.
“Rakas ylkä, kulta ylkä “Dear bridegroom, darling bridegroom
65 lunasta minua täältä!” ransom me from here!”

472
1 O Q Neito ja vene I I I
1 Z O The M aid and the Boat I I I

“Millä mä sun lunastan?” “What shall I ransom you with?”


“Ompa sulia kolme sormusta: “Well, you have three rings:
pane paras pantiksi.” Give the best one for a pledge.”
“Ennen luovun sormuksestani “I’d sooner give up my rings
70 ennen kun sinusta, morsiameni!” than yield you, my bride!”

“Isäni hevoset kaatukoon “ May my father’s horses die


paraana toukoaikana, in the best sowing season
äiteni lehmät ehtyköön may my mother’s cows dry up
paraana lypsyn aikana, in the best milking season
76 veljeni miekat kätkeköön may my brother’s swords snap off
paraana sota-aikana, in the best season for war
sisareni kruunut sulakoon may my sister’s crowns melt down
kihkeenä kirkon aikana, at the great moment in church
ylkäni sormukset pitäköön may my bridegroom’s rings hold good
so kaiken elinaikani.” every moment of my life.”

S in g e r u n kn ow n
Ylöjärvi, Häme
B. Paldani, 1852

473
129
POIKA JA PILVI I
Boy and Cloud I

T äksi poika puolukahe ^ \ n e boy went for cowberries


.Li toinen poika mustikahek V ^ / another for bilberries
kolmas jäniksen ajohon. a third hare-hunting:
Tuli poika puolukasta one boy came with cowberries
5 toinen tuli mustikasta, the second with bilberries
kolmas ei tullukkana. the third did not come.

Läksi isä etsimähek His father went seeking him


otrasella oluella with some barley beer
kakrasella kannikalla with a crust of oats
io leivällä rukehisella: with a loaf of rye:
eip on löytänt poikoansa but he did not find his son
kultaista omenoansa. his golden apple.

Läksi emä etsimähek His mother went seeking him


otrasella olutveellä with some barley beer-water
is kaurasella kannikalla with a crust of oats
leivällä rukehisella: with a loaf of rye:
eip on löyä pojuttahek she did not find her offspring
kultaista omenuttahek. her little golden apple.
Mäni itkein kotihin She went weeping home
2o kallutellen kartanolle. wailing to the farm.

Läksi veikko etsimähek His brother went seeking him


otrasella olutveellä with some barley beer-water
kakrasella kannikalla with a crust of oats
leivällä rukehisella. with a loaf of rye.
25 Läksi sikko etsimähek His sister went seeking him
otrasella olutveellä with some barley beer-water
kakrasella kannikalla with a crust of oats
leivällä rukehisella: with a loaf of rye:
“Missäp olet veikkoseni?” “Where are you, my dear brother?”

474
1 OQ P ° ik a j o p i l v i I
1 Z y B o y a n d C lo u d I

30 “Täällä olen siukkuseni “Here I am, my dear sister:


pilvi päätäni pitävi a cloud is holding my head
hattara hivuksiani a vapour my hair
toinen toista jalkojani.” another my other foot.”

S in g er unknow n
Uhtua, Archangel Karelia
E. Lönnrot, 1834

475
130
P O I K A J A P I L V I II
Boy and Cloud I I

Läksi poika piähkiniä


toinen poika tuorehie Oneanother
boy went for nuts
for game
kolmas läks kesäkalal a third went for summer-fish
neljäs läks jänön jälil a fourth went tracking a hare
6 viijes läks suven vivoil. a fifth went trapping a wolf:
Tul poika piähkenest one boy came with nuts
toinen poika tuorehest the second with game
kolmas kesäkalast the third came with summer-fish
neljäs jänön jälilt, the fourth from tracking a hare
10 ei tullut suven vivoilta. but not from trapping a wolf.

Keiles poikaa ikävä Who misses the boy


halu lasta laajitella? wants to look after the child?
Isol tul poikaa ikävä The father misses the boy
halu lasta laajitella. wants to look after the child.
15 Iso mänkyö etsimiä - The father went out searching -
ets sutena suuret korvet searched great forests like a wolf
jäniksenä peltopuistot spinneys like a hare
karitsana korvet korjat high forests like a lamb, flew
itikkana lensi ilmat. through the air like an insect.
20 “Tule pois poikasein!” “Gome away, my little boy!”

“En pääse isosuvein: “ I cannot, my kind father:


pilvet piätäin pittiät the clouds are holding my head
hattarat hapeniijain. the vapours my hair.
Ota olkii kuponen Take a sheaf of straw
25 pärehii vihkeröinen a bundle of splints
millä poltat pilven reunat with which bum the cloud-edges
pilven hattarat hajotat.” break up the cloudy vapours.”

J e r la 's O ute
Metsäpirtti, Karelian Isthmus
A. Koskivaara, 1913

476
131
N E I T O J A PILVI
M aid and Cloud

Marjukkain miun emmoin


Karjukkain kantajaan Marjukkain, mother of mine
Karjukkain, she who bore me
kuwais tytärtä kuutta brought forth six daughters
lasta viittä laaitteli: cared for five children:
5 viisin saatteli vihille five she saw to the altar
kuuennen kottiihe jätti - but the sixth she kept at home -
jätti Maijen tyttäreksi kept Maije for a daughter
kultia kuluttammaa to spend the gold and
hopeia hoitamaa. to guard the silver.

10 Kulutti isoihe kullat And she spent her father’s gold


hoisi veljehä hoppiat, guarded her brother’s silver
laati kullat kulmillee set the gold upon her brows
sinilangat silmillee the blue threads upon her eyes
vaskilangat varrellee copper threads on her figure
is vyöllehee hoppialangat. at her belt the silver threads.

Otti koivuiset korennat She took the birchwood cowlstaves


otti pangat patsan puista, the handles from the stove-post
mäni kaivolle kahulle went to the well-way
pellolle kylän perälle to the field past the village
20 läpi uuvven kuuen linnan went through six new towns
läpi kampulin kaheksan: through eight parishes:
sieltä Maijoi varrassettii and there Maijoi was stolen
vetoitieltä temmaistii. on the water-road was snatched.

Kelle etso, kulle etso? Who will seek her, who will search?
26 Ved ei kelle kui emoille: Well, no one but her mother:
emoin etso ensimäin mother sought her first
siis perästä perreehen etso. after her the family sought.

Emoi kenki jalkojaa The mother put on her shoes


jalan kenki kynnyksellä shod one foot on the threshold

477
1 OI Neito ja pilvi
U I M aid and Cloud

30 toisen Maijen kirssun päällä, the other on Maije’s trunk


mäni etsi Maijojaa went in search of her Maijoi
käi suttena suuret metsät trod the great woods like a wolf
karhuna komiat korvet the fine forests like a bear
oravana puijen oksat the tree-boughs like a squirrel
35 jäniksenä järven rannat. and the lakeshores like a hare.

Nousi suurelle mäelle She went up on a great hill


korkealle kankahalle, up on a high heath
kiljahti kiiaan täynnä yelled at the top of her voice
suun tävven suikkaeli: let fly a mouthful:
40 “Tye Maijoini kottii!” “Gome home, my Maijoi!”

Maijoi vastaa parriis: Maijoi answering screamed out:


“En pääse emoi kottii: “ I cannot come home, mother:
pilvoi päästäni pittää a cloud is holding my head
pilvoin poikoi polvistaan a cloud’s son my knees
45 hattarain hiuksistaan. a vapour my hair.
Mää siä emoi kottii You go home, mother
keitä ozrasta olutta brew some barley beer
makuvettä maltaisesta!” some tasty malted water!”

Emoi juossulla kottii The mother rushed home


50 keitti ozrista olutta brewed some barley beer
makuvettä maltaisesta, some tasty malted water
antoi pilvoille pikkaarin gave a glassful to the cloud
toisen pilvoin poikoiselle another to the cloud’s son
kaksin kaikelle väelle. two to the whole crowd of them:
55 Siis pääsi Maijoi kottii. so Maijoi reached home.

Tatiana
Soikkola, Ingria
V. Porkka, 1883

478
132
KADONNUT SUKA
The Lost Brush

■fT» mo synnytti miuista: /ry mother gave birth to me


.H i mie syytä synnyttelin. IV X and I bore my hair,
Isoi kasvatti minuista: father brought me up:
mie kassan kasvattelin. I was rearing locks.

6 Kasvo miulle kassa pitkä Long the locks I grew


kassa pitkä, tukka tuima long the locks and tough the hair
pellavaan pion pituus as long as a length of flax
meren vaahen valkeuus: as white as sea-foam:
ei voinut suka sukia brush could not brush it
io sian harjus harjaella. pig-bristles could not groom it.

Mäni velloni Viroon My brother went to Estonia


viemähän verojyviä to take the tithe-com
maksamaan maarahoja. to pay the land-tax.
Mie virkin vellollein: I said to my brother: “Bring
is “Tuo vello suka Virosta a brush from Estonia, brother
sian harjus moisiosta.” pig-bristles from the manor.”

Toi vello suan Virosta He brought a brush from Estonia


sian harjuksen moisiosta. pig-bristles from the manor.

Mänin meren rantaselle I went down to the seashore


20 istsin saarelle kivelle I sat on an island-stone
panin lauvan polvellein I put a board on my knees
harotin haluset hiuksen I shook my sad hair
halusille hartioille, out over my sad shoulders
aloin päätäni sukia I began to brush my head
25 harjaella hiuksiani. and to groom my hair.
Suikahti suka merehen: The brush slipped into the sea:
painettaisin katsomahan I bent down to look for it
täyvyttäisin ottamaan had to pick it up
kallistaisin katsomaan, I leaned out to look for it

47 9
Kadonnut suka
m The Lost Brush

30 suikahin suan jälestä I slipped after it


kaglast saa kalaveteen to my neck in fish-water
kulkust saa kalan kutuun. up to my throat in fish-spawn.

Puuttu miekka purstohoin A sword was caught in my tail


miekan kannoin kaglahain: a scabbard-sling round my neck:
35 mie miekan maalle kannoin. I carried the sword to land.
Kuhun miekka, mihin miekka Which way the sword, where the sword
kuhun miekka kelpajaa? what was the sword useful for?
Mie miekan vellollein. I took it to my brother.
Mihin miekka, kuhun miekka? Where the sword, for what the sword?
40 Vello miekan moisioon. He took it to the manor.
Isännät imehtelööt The masters marvelled
emännät ajatteloot: the mistresses considered:
“Tämä miekka on miestä syönyt “This sword has been eating man
miestä syönyt, verta juonut has eaten man, has drunk blood
45 rauta rajunut uroa the iron has hurt heroes
teräs miest on tempaellut.” the steel has snatched men away.”

Vello vasten vastaeli: My brother answering said:


“Ei oo miekkoi miestä syönyt “The sword has not eaten man
miest ei syönyt, vert ei juonut not eaten man, not drunk blood
50 rauta ei rajunut uroa nor the iron hurt heroes
teräs ei miestä tempaellut: nor the steel snatched men away:
tää miekka on merestä tuotu this sword was brought- from the sea
meren pohjasta otettu.” was taken from the seabed.”

S in g e r unknow n
Narvusi, Ingria
D. E. D. Europaeus, 1853

480
133
KADONNUT HANHI I
The Lost Goose I

frisked, I frolicked
H ypyttelen, hymmertelen
lekuttelen, lellertelen I
I skipped, I scampered
tinatipukaisilla on hoppers of tin
vaskivarpahuisilla on toes of copper
5 kultaista kujoista myöten down a lane of gold
hopiaista tietä myöten. a road of silver.
Tulipa ojani vastah Now, I met a ditch:
ojasell on mättähäini by the ditch was a hummock
mättähäisellä kotani, by the hummock was a hut.
io Kolkkasin kovan ovie I knocked upon the hut door
rämähytin räyssäspuuta: rattled the eaves-wood:
impi itkien tulou. a girl came weeping.
“Mitäs itet impi raukka?” “Why are you weeping, poor girl?”

“Ompa syytä itkijällä “She who weeps has cause


16 vaivoa valittajalla: she who laments has trouble:
Veijoni on sotahan viety my brother has been taken
ison polven korkevuona to war, tall as father’s knee
emon värttinän pituona.” and long as mother’s distaff.”

“Elä ite impi raukka: “ Do not weep, poor girl:


so jo veijos sovasta tuloo - your brother’s coming from war -
alta meren airot läikkyy down on the sea his oars flash
peältä linnan peä näkyvi.” above the town his head shows.”

“No mitäpä annan Veijollani? “ What shall I give my brother?


Annan paian palttinasta I’ll give him a linen shirt
26 ku ei kaiva kainaloja which won’t dig under his arms
kutšuta kuvellihoja. itch below his ribs.
Mitäpä miulla veio tuopi? What will my brother bring me?
Tuopi hanhen kostintšoikši. He’ll bring a goose for the gift.
Kunne panen hanhuoni But where shall I put my goose
30 minne mielilintuseni? my favourite bird?

31 481
1 O O Kadonnut hanhi I
1 D The Lost Goose I

Panisin viliavakkahain Put it in my wool-basket


villani vanuttanoo, it will mat my wool
panisin osrapuumuhun put it in my barley-bin
okahih juuttunoo, and it will catch on the spikes
36 panisin ruispuumuhun put it into my rye-bin
rukehih juuttunoo, and it will catch on the rye
panisin riihen räystähäl put it on the threshing-house eaves
savuhun läpehtynöö, it will stifle in the smoke
panisin leävän räystähäl. . . put it on the cowshed eaves . . .
40 panin leävän räystähäl. yes, upon the cowshed eaves.
Olin päivän, olin toisen I stayed a day, another
olin kohta kolmannenkin. soon I stayed a third as well:
Mänin lintuo kattšomah: I went to look at the bird
jo oil lintun ollut männyt. but my bird had gone.
45 Kunne sai miun hanhuoni Where had my bird gone
kunne mielilintuseni?” my favourite bird?”
“Saipa rautasoappoat “She got iron boots
kostelisen kolmanneks.” a crutch for a third.”

Läksi lintuo ettåimäh: She went in search of the bird


60 mäni matkoja vähäsen she travelled a little way
kulki teitä pikkusen. walked a short distance.
Kuunteloo: sumu kuuluu. Listened: heard a hum.
Kattšo: Katti tien kylessä Looked: Katti at the roadside.
Katti kangasta kutou She was weaving doth
65 impi pirtoa pitäy a girl was holding the reed
hanhi siellä käämittäy. the goose there winding.

“Sieltä löyän hanhuoni “There I found my goose


panen parempah tilah.” put it in a better place.”

K a tti N ykänen
Akonlahti, Kontokki, Archangel Karelia
A. R. Niemi, 1904

4 82
134
KADONNUT HANHI II
The Lost Goose I I

Mänin suolle sotkemaan


löysin suosta mättähäisen Iwent to the marsh to scrub
in the marsh found a hummock
mättähäisestä kotosen. on the hummock found a hut.
Kolkutin kotosen usta I knocked upon the hut door
5 rämäytin räystäspuuta: rattled the eaves-wood:
sieltä neitonen širahti a maiden slunk out
räkkikoira neion kaa. a cur with the maid.

Tuo neito sanaksi virkki: That maid put in words:


“Mitäs etsit neito nuori: “What is it you seek, young maid:
10 vai etsit punapaninta is it red trappings you seek
vai etsit Saksan saappahia or do you seek German boots
vai etsit Suomen sormuksia or do you seek Finnish rings
vai etsit linnan linttipäitä?” or ribbon-heads from the town?”

Tuo neito sanaksi virkki: That maid put in words:


15 “En etsi Suomen sormuksia “No, I don’t seek Finnish rings
eikä Saksan saappahia nor yet German boots
enkä linnan linttipäitä: nor ribbon-heads from the town:
etsin nuorta velloani. I’m seeking my young brother.
Miks mäni nuorena sotaan Why has he gone to war young
so maitosuuna tappeluun?” to battle as a milk-mouth?”

“Älä itke neito nuori. “Do not weep, young maid:


Tuo veikkos kotihin tuloo: your brother is coming home -
linnut piikkaa pivossa birds are chirping in his hand
hanhet kaljuut kainalossa.” geese honking under his arm.”

25 “Mihin paan mie vellon linnut? “Where to put my brother’s birds?


Tien mie tarhan tanhavalle I’ll make a pen in the yard
koppelin kovalle maalle, and a coop on the hard ground:
paan mie kukon kuulemaan I’ll put a cock to listen
mustan linnun muistamaan a black bird to mark

483
1 Kadonnut hanhi I I
1 3 r The Lost Goose I I

30 tervaskannon tietämään. and a tarry stump to know.

Itse mänin jauhamaan I myself went to grind com:


jauhoin vakan, jauhoin toisen ground a boxful, another
jauhoin kolmatta vähäisen. ground a little of a third.
Mänin hanoo katsomaan I went to look at the goose
35 jo oli hanoni paennut: but my goose had fled:
ei tuo kukko kuullutkaan that cock had not heard at all
musta lint ei muistantkaan nor the black bird marked
tervaskanto ei tietäntkään. nor had the tarry stump known.

Mänin hanoi etsimään: I went in serach of the goose:


40 juoksin virstan, juoksin toisen I ran a verst, another
vaaksan valuin vatsallani. slid a span on my belly.
Tuli sotkijat vastaan. I met the washerwomen:
‘Oi sotkijat sisarueni ‘Washerwomen, my sisters
oi sotkijat emäni lapset my mother’s children
4& näittekö te miun hanhojani? have you seen my goose?
Tästä lensi liehoitteli.’ It flew, it fluttered this way.’
‘Mikä oli merkki hanhoillasi?’ ‘What marking did your goose have?*
‘Tinat oli suuhun tilkutettu ‘Patches of tin on its mouth
vasket varpahiin välissä. of copper between its toes.
50 Tässä lensi liehoitteli: It flew, it fluttered this way:
yksi siipi vettä viilsi one wing parted the water
toinen taivast tavoitti.’ the other reached for the sky.’
Juoksin virstan, juoksin toisen I ran a verst, another
juoksin kolmatta vähäisen, ran a little of a third
55 puutuin uuteen kylään came upon a new village
puutuin uuteen taloon: and came upon a new house:
hano kiehui kattilassa the goose, boiling in the pot
häntää häilyttää was wagging its tail
siipee siputtaa.” was beating its wing.”

S in g er unknow n
Narvusi, Ingria
J. Lukkarinen, 1909

484
135
KADONNUT VELI I
The Lost Brother I

Kolm on meitä veljeksiä


kolme veljen poikasia. T here were three of us brothers
three brother-lads, we:
Läksi yksi hirven hihantahan one went skiing after elk
toinen jänön ajohon the second hunting a hare
s kolmans revon pyytännähän. and the third to snare a fox.
Tuli tuolta yksi veli Back came one brother
jänön on käpäle käessä, with a hare’s paw in his hand
tulpa tuolta toinen veikko back came the second brother
revon kaakku kainalossa, a fox-skin under his arm
10 kolmanspa ei tullutkana. but the third did not come back.

Vuotin päivän, vuotin toisen I waited a day, two days


vuotin kohta kolmannenki. soon I waited a third too.
Kyselin kylän akoilta: And I asked the village crones:
“Sait sie sanoa kantajilta “You have heard from messengers:
is näitkö minun veikostani?” have you seen my dear brother?”

“Näin eillen näillä päivin “I saw him at this time yesterday


selvällä meren selällä upon the clear open sea:
istu suurella kivellä he sat upon a big rock
suki suruista päätä brushing his sorrowful head
20 harjaeli halunalaista: grooming his dejected head.
sorotti suka merehen The brush plopped into the sea
harja kirpesi kiveltä. the bristles fell from the rock.
Kallistihin katsomahan He leaned out to look for it
ojentihen ottamahan, he stretched out to pick it up
25 surotti suvalle jälestä: and he plopped in after it:
‘Voi mun armas äitiseni ‘My darling mother
ellös panko taikinoa do not make dough, don’t
meren veellä viskaelko! sprinkle it with seawater!
Mikäli on meren vesiä As the seawater
30 sikäli on minun veriä, so also my blood

485
1 I f Kadonnut veli I
1 J J The Lost Brother I

mikäli rannalla risuja as the brushwood on the shore


sikäli minun luitaki.’ ” so also my bones.’ ”

S in g er unknow n
Suistamo, Ladoga Karelia
R. Polén, 1847

486
136
KADONNUT VELI II
The Lost Brother I I

■t i tsin viikon velloani aweek I sought my brother


JZjkuukauen kulervuttaini a month sought my precious one
etsin Suomet, etsin Saaret I searched Finland, the Island
Moskovan molemmat puolet both sides of Moscow
6 kahen puolen Kapriota: the two sides of Kaprio:
en löytänyt sielläkään. did not find him there at all.

Mänin rannoille meroille I went down to the seashore


näin laivoin lainehtivan saw a ship cleaving the waves
punakieloin purjehtivan a red-keel sailing
io solkkuvan sotivenoisen a war-boat pitching
sotipaatin paurakkoivan. a war-craft rolling. Promptly
Suotta luottiisin loheksi I changed into a salmon
vetiisin vesikalaksi turned into a water-fish
asettaisin ahveneksi, set myself up as a perch:
is uin laivoin porraspuille I swam to the ship’s ladder
laivan keploille kejahin. to the ship’s bows I darted.

Kysyin laivoin vanhimmatta: And I asked the ship’s master:


“Onko täällä velloani “ Is my brother here
onk täällä emoni lasta?” is my mother’s child?”

so Harvoin haasto laivoin vanhin Slowly the ship’s master spoke


päältään tutilahalta with his head trembling
hiuksiltaan harmahilta: and his hair gone grey:
“ Ei oo täällä velloasi “No, your brother is not here
ei täällä emosi lasta.” your mother’s child is not here.”

26 Kysyin laivoin vanhemmalta: And I asked the ship’s master:


“ Miksi on vesi punainen “Why then is the water red
vaahti valkea verinen?” the white fcam bloody?”

Laivoin vanhin vastaeli: The ship’s master made reply:

487
K a d o n n u t v eli I I
5 T h e L o s t B ro th er I I

“Sill on vesi punainen “For this the water is red


30 vaahti valkea verinen: the white foam bloody:
halastihin hauvin vatsa a pike’s belly has been slit
sivastiihin siian vatsa, a whitefish’s belly stabbed
suolet luotihin merehen the guts cast into the sea
maksat maalle kannettihin.” the entrails borne to the land.”

36 Velloin veosta lausu From the water my brother


emoin lapsi lainehista: spoke, from the waves mother’s child:
“Ei halaistu hauvin vatsa “No pike’s belly has been slit
ei sivaistu siian vatsa: no whitefish’s belly stabbed:
halaistihin vellon vatsa brother’s belly has been slit
40 suolet luotihin merehen his guts cast into the sea
maksat maalle kannettihin.” his entrails borne to the land.”

Vei siso emolle viestin: My sister took the tidings


“Elköhön minun emoni to mother: “May my mother
polttaa merestä puita: never bum wood from the sea:
45 kuin polttaa meroista puita if she bums wood from the sea
niin polttaa pojoihe luita. she’ll bum her son’s bones.
Elkää miun isoini And may my father
juoa merestä vettä: not drink water from the sea:
kuin juopi merestä vettä drinking water from the sea
50 niin juopi pojahen verta. he’ll drink his son’s blood.
Elköhön miun emoni And may my mother
pitsilakkia pielkö never wear a lace bonnet
kantaa kultaotsimusta, bear a gold headband
elköhön miun sisoini and may my sister
56 silkkiriepui siellä, never tie on a silk scarf
elköhön miun velloini and may my brother
verkaviittoja veellä, never dress in a cloth cloak
elköhön miun isoini and may my father
syyä meren kaloja: never eat fish from the sea:
60 kuin syöpi meroin kaloja if he eats fish from the sea
niin syöpi pojoin lihoja.” he’ll eat his son’s flesh.”

S in g er unknow n
Tyro, Ingria
D. E. D. Europaeus, 1853

488
137
SOTAANLÄHTÖ I
The Warrior*s Departure I

Kulerva Kalervan poika


läksi soitellen sotaan
ulerva, Kalerva’s son
Kwent with music off to war
ilon lyyen muilen mailen plucking joy to other lands
kulleroijen Karjalaani. merrily to Karelia
6 Sano isälle sanoman: said these words to his father:
“Hyvästi hyvä isäni “Fare you well, my good father
ikäni elättäjäni: my provider all my life:
itkeskös sinä minua will you weep for me
koskas tiijät kuolleeni when you know that I am dead
10 meren jäälle jäänneeni left on the sea-ice
kansasta katoneeni lost to my people
väestä väheneeni?” taken away from my folk?”

“En minä sinua itke: “No, I will not weep for you:
poika toinen tehtäneen another boy will be got
16 vielä markkoo parempi one mark better still
taleria taitavampi.” and one daler more skilful.”

“Äitiseni kultaiseni “ My dear mother, my darling


minun kaunis kantajani fair one who bore me
ikäni imettäjäni: my nurse all my life
so etkös sa minua itke?” won’t you weep for me?”

“Poikaseni kultaiseni “My little son, my darling


etkös tunne äitin syäntä? don’t you know a mother’s heart?
Niin minä sinua itken - Yes, I’ll weep for you -
lumet niljeneksi weep the snow to slush
26 ja ne niljet suliksi maiksi the slush to soft soil
ja sulat maat vihoittamaan.” and the soil to bloom.”

S in g er unknow n
Juva, Savo
C. A. Gottlund, before 1871

489
138
SOTAANLÄHTÖ II
The Warrior's Departure I I

A nterus koria poika, a nterus the handsome boy


xY sulho nuoren nuorukkaine AX the young bridegroom in his prime
heä valiasti tulise ruunan harnessed the fiery gelding
tulisella tantereita in the fiery field
5 tulise rien ettiene - in front of the fiery sledge -
veri kiehu vempeliestä blood boiled from the collar-bow
rasva rahkien nenästä — and fat from the traces-tip -
sotahoan on männäksiesen. to go off to war.

Anterus koria poika Anterus the handsome boy


io sulho nuoren nuorukkaine the young bridegroom in his prime
miehen kanta kaunukkaine fair beginning of a man
kirja! linnasta lähätti sent out letters from the town
paperit pahalta moalta: papers from the evil land:
“Itketk sie iso miuista “Will you weep, father, for me
15 kui sovassa sorrettoane if I’m felled in war
linnan alla ammuttoane?” and shot below the castle?”
“ Itken, armas poikuveini.” “I will weep, my sweet offspring.”

Anterus koria poika Anterus the handsome boy


sulho nuoren nuorukkaine the young bridegroom in his prime
2o miehen kanta kaunukkaine fair beginning of a man
kirjal linnast lähätti sent out letters from the town
paperit pahalta moalta: papers from the evil land:
“Itketk sie miuista neito “Will you weep for me, maiden
kui sovassa sorrettoane if I’m felled in war
25 linnan alla ammuttoane?” and shot below the castle?”

Neito vaste vastajieli: The maiden answering said:


“Mitä mie siuista itken? “And why should I weep for you?
Kuin näkisin poltettavan If I saw you being burned
vielo tulta kiihottaisin, I would stir the fire up more
3o kuin näkisin leikattavan if I saw you being slashed

490
1 O O Sotaanlähtö I I
1 J O The Warrior's Departure I I

viel mie veistäi hihoisin I would sharpen my knife more


nykäjäin on nyrsyttäisi, I ’d swish my knife-end
kuin näkisin hirtettävän if I saw you being hanged
viel nuorasta vetäsin.” I ’d pull harder on the rope.”

M a t t i S u telain en
Metsäpirtti, Karelian Isthmus
A. A. Borenius, 1887

491
139
SOTAANLÄHTÖ III
The Warrior's Departure I I I

£1 usi juoksi suota myöten A wolf ran over the marsh


O karhu kangasta samosi. i l a bear wandered on the heath.
Suo nousi suen jaloissa The marsh rose at the wolf’s feet
kangas karhun kämmenissä: and the heath at the bear’s paws:
5 kasvo rautaset orahat iron shoots sprang up
suen suurille jälille in the wolf’s great tracks
karhun kämmenen tiloille. and where the bear’s paws had been.

Tuop oli seppo Ilmarinen ’Twas that smith Ilmarinen


otti rautaset orahat took the iron shoots
io tempasi terässekaset snatched the steel-blended
suen suurilta jäliltä from the wolf’s great tracks
karhun kämmenen tiloilta. from where the bear’s paws had been.

Jopa seppo Ilmarinen Now, the smith Ilmarinen


takoja iänikuinen the everlasting craftsman
is takoa taputtelevi hammered, tapped away
lyöä helkähyttelevi beat, clattered away
pajassa ovettomassa in the forge without
ilman ikkunattomassa. doors, without windows.
Tako miekan mielellisen He hammered a likely sword
20 kilven kaikkien parahan and a shield, the best of all
kätehen Kalevan pojan: for the hand of Kaleva’s son:
tuonpa kuu kärestä paisto now, the moon shone from its point
päivä västistä välötti. and the sun glowed from its hilt.

Tuo kaunis Kalevan poika That fair son of Kaleva


25 läksi taitellen sotahan went with music off to war
hotelien ihmisihin rejoicing off among men
ilon taiten tappeluhun, playing joy into battle
sano kohta mentyähän said as soon as he’d arrived
suurelle sotakeolle upon the great battlefield
30 miesten tapputanterille: on the slaughter-lands of m en:

492
1 O Q Sotaanlähtö I I I
1 J 7 The Warrior's Departure I I I

“Hiietki yhen urohon “ Even the demons will guard


sovissahan suojelevat a hero with their war-gear
kaavuissahan kattelevat will cover him with their cloaks
suurilla sotakeoilla upon the great battlefields
36 miesten tappotanterilla.” on the slaughter-lands of men.”

Jo tuolla tuli tuhua Now destruction came


pääty päiviä pahoja: evil days befell:
jo Kullervo kukistettihin now Kullervo was conquered
kaattihin Kalevan poika Kaleva’s son was struck down
40 suurille sotakeoille upon the great battlefields
miesten tappotanterille. on the slaughter-lands of men.

M is h i Sissonen
Ilomantsi, North Karelia
D. E. D. Europaeus, 1845

49 3
140
K UO LINSANO M AT I
N ew s o f Death I

i v r inerva Kanervan poika - T T - inerva, Kanerva’s son


■ läjä k si soitellen sotahan J ^ .w e n t with music off to war
ilo lyöen muille maille. striking joy to other lands.
Pisti pillit säkkihinsä He thrust whistles in his bag
6 soitti suolla mennessänsä played as he went through the marsh
kajahutti kankahalla: echoed on the heath:
suo surahti, maa järähti the marsh hummed and the ground shook
kangas vastahan kajahti. the heath echoed in reply.

Tuotihin sanajälestä: The word was brought after him:


io “Jo isos kotona kuoli!” “ Your father at home has died!”

“ Saan mie ison mokoman - “ I ’ll get a father like him -


saan rungan lahosta puista a body of rotten wood
jalat raian haarukoista legs of forked sallows
pääranin pataranista a skull of a worn-out pot
is vatsan vai vasen säkistä belly of a beggar’s bag .
silmät liinan siemenistä and eyes of flax-seeds
korvat koivun lehtosista.” and ears of birch-leaves.”

Kinerva Kanervan poika Kinerva, Kanerva’s son


läksi soitellen sotahan went with music off to war
20 ilo lyöen muille maille. striking joy to other lands.
Pisti pillit säkkihinsä He thrust whistles in his bag
soitti suolla mennessänsä played as he went through the marsh
kajahutti kankahalla: echoed on the heath:
suo surahti, maa järähti the marsh hummed and the ground shook
25 kangas vastahan kajahti. the heath echoed in reply.

Tuotihin sanajälestä: The word was brought after him:


“Jo emos kotona kuoli!” “ Your mother at home has died!”

“ Lienöhö kuollut, kuolkohon! “ If she has died, let her die!

494
1 AA K u olin sa n o m a t I
1 H -U N e w s o f D e a th I

Saan mie emon mokoman - I ’ll get a mother like her -


so saan rangan lahosta puista a body of rotten wood
jalat raian haarukoista legs of forked sallows
pääranin pataranista a skull of a worn-out pot
vatsan vaivasen säkistä belly of a beggar’s bag
silmät liinan siemenistä and eyes of flax-seeds
35 korvat koivun lehtosista.” and ears of birch-leaves.”

Kinerva Kanervan poika Kinerva, Kanerva’s son


läksi soitellen sotahan went with music off to war
ilo lyöen muille maille. striking joy to other lands.
Pisti pillit säkkihinsä He thrust whistles in his bag
40 soitti suolla mennessänsä played as he went through the marsh
kajahutti kankahalla: echoed on the heath:
suo surahti, maa järähti the marsh hummed and the ground shook
kangas vastahan kajahti. the heath echoed in reply.

Tuotihin sana jälestä: The word was brought after him:


45 “Jo veljes kotona kuoli!” “ Your brother at home has died!”

“ Liep on kuollut, kuolkohon! “ If he is dead, let him die!


Saan mie veljen mokoman - I ’ll get a brother like him -
saan rungan lahosta puista a body of rotten wood
jalat raian haarukoista legs of forked sallows
50 pääranin pataranista a skull of a worn-out pot
vatsan vaivasen säkistä belly of a beggar’s bag
silmät liinan siemenistä and eyes of flax-seeds
korvat koivun lehtosista.” and ears of birch-leaves.”

Kinerva Kanervan poika Kinerva, Kanerva’s son


55 läksi soitellen sotahan went with music off to war
ilo lyöen muille maille. striking joy to other lands.
Pisti pillit säkkihinsä He thrust whistles in his bag
soitti suolla mennessänsä played as he went through the marsh
kajahutti kankahalla: echoed on the heath:
60 suo surahti, maa järähti the marsh hummed and the ground shook
kangas vastahan kajahti. the heath echoed in reply.

Tuotihin sana jälestä: The word was brought after him:


“Jo siskos kotona kuoli!” “ Your sister at home has died!”

49 5
K u o lin sa n o m a t I
3 N e w s o f D e a th I

“Jos on kuollut, niin kuolkohon! “If she’s dead, then let her die!
65 Saan mie siskon mokoman - I’ll get a sister like her -
saan rungan lahosta puista a body of rotten wood
jalat raian haarukoista legs of forked sallows
pääranin pataranista a skull of a worn-out pot
vatsan vaivasen säkistä belly of a beggar’s bag
70 silmät liinan siemenistä and eyes of flax-seeds
korvat koivun lehtosista.” and ears of birch-leaves.”

Kinerva Kanervan poika Kinerva, Kanerva’s son


läksi soitellen sotahan went with music off to war
ilo lyöen muille maille. striking joy to other lands.
75 Pisti pillit säkkihinsä He thrust whistles in his bag
soitti suolla mennessänsä played as he went through the marsh
kajahutti kankahalla: echoed on the heath:
suo surahti, maa järähti the marsh hummed and the ground shook
kangas vastahan kajahti. the heath echoed in reply.

so Tuotihin sanajälestä: The word was brought after him:


“Jo vaimos kotona kuoli!” “Now your wife at home has died!”

“Voi mie polonen poika: “Poor boy that I am:


uupu uutimen tekiä she who made curtains grew tired
vaipu vaipan kirjottaja. she who worked mantles sank down.
85 Voi mie polonen poika Poor boy that I am
voi poika polon-alanen! wretched, downcast boy!
Millä pesen vaimoani? What shall I wash my wife with?
Pesen Saksan saipohilla. I’ll wash her with German soap.
Mihin käärin vaimoani? What shall I wrap my wife in?
90 Käärin Saksan pakinahan. Wrap her in German linen.
Mihin panen vaimoni? Where shall I bury my wife?
Panen kirkon sillan alle Under the church floor
alle alttarin asetan.” under the altar put her.”

S in g er unknow n
Suistamo, Ladoga Karelia
R. Polén, 1847

496
40. A revival of the once traditional local Whitsuntide festival in
Ritvala (cf. p. 34). The origin and history of the festival in *
Western Finland are still a matter of debate (cf. Poems 75, 76, 85,
Finland 86, 92-94). Ritvala, Sääksmäki, Häme, ca 1930.
41. The crossroads at the centre of the village of
Ritvala. As part of the traditional Whitsuntide festival
the girls of the village walked in procession along the
four roads, thus making-the sign of the cross, before
taking part in an open-air religious ceremony
(cf. p. 34). - Ritvala, Sääksmäki, Häme, 1913.

42. This woman is one of the last survivors of the


girls who took part in the traditional performance of
the Whitsuntide festival which began in the Middle
Ages and died out in the second half the of the 19th
century. Ritvala, Sääksmäki, Häme, 1913.
43. A village community engaged in the traditional occupation
of seine-net fishing. - Naantali, South-West Finland, ca 1900.

44. In ancient times the smith was a master craftsman, often a


worker of magic, and as such occupied an especially prestigious
position in society. It was the craft attributed to Finnish culture
heroes (cf. Poems 7, 8, 12, 21, 22) and was the subject of
much hyperbole. - Maaninka, Savo, 1928.

O v e r le a f .

45. The Naantali region was one of the areas in which the
Western Church first became established in Finland (cf. p. 52).
The area grew rich through agriculture, fishing and trade,
and was only later surpassed by Turku. - Naantali, South-West
Finland, 1891.

46. The vast plains of South Ostrobothnia were an area of


static population and prosperous farms. - Lapua, 1929.
141
K U O L I N S A N O M A T II
N ew s o f Death I I

M änin viinaa Viroista


Osmeroilta ottamaa. I went to Estonia
for liquor from Osmeroi
Vierähti sana jälestä: and the word rolled after me:
“Jo siun issois kuoli.” “ Your father has died.”

5 Millä pessä miun issoin? W hat shall I wash father with?


Ossan Saksan saippuaa: I ’ll buy German soap:
sillä pesen miä issoin. with it I ’ll wash my father.
Millä vaattoitan issoin? What shall I dress father in?
Ossan linnan liesenkii: I ’ll buy Silesian linen in town:
10 sillä vaattoitan issoin. with it I ’ll dress my father.
Mistä teen isoille kirssun? W hat make father’s coffin of?
Kirssun kullasta kuvvaan I’ll shape the coffin in gold
hopiasta huolittelen work it finely in silver
hopianaaglat nappaelen. tap in silver nails.

is Menin viinaa Viroista I went to Estonia


Osmeroilta ottamaa. for liquor from Osmeroi
Vierähti sana jälestä: and the word rolled after me:
“Jo siun emmois kuoli.” “ Your mother has died.”

Millä pessenen emmoin? W hat shall I wash mother with?


20 Ossan Saksan saippuaa: I ’ll buy German soap:
sillä pesen miun emmoin. with it I ’ll wash my mother.
Millä vaattoitan emmoin? W hat shall I dress mother in?
Tuon sulkkua sylellä: I will bring an ell of silk:
sillä vaattoitan emmoin. in it I’ll dress my mother.
25 Mistä teen emoille kirssun? W hat make mother’s coffin of?
Teen miä kirssun Kilpin luista: I ’ll make it of Fleetfoot’s bones:
siihe paan miä emmoin in it I ’ll put my mother
puunaaglat nappaelen. tap in wooden nails.

Menin viinaa Viroista I went to Estonia

32 497
1 /1 1 K u o lin sa n o m a t I I
l i i N e w s o f D e a th I I

30 Osmeroilta ottamaa. for liquor from Osmeroi


Vierähti sana jälestä: and the word rolled after me:
“ Kuoli jyrkkä miehyees “Now your stem husband has died
vaipui vaatteen-allain yqur bedfellow has sunk down
kaatui katteen-allain.” your bedmate fallen.”

35 Millä pesen miehyeen? What shall I wash my man with?


Keltaisen kanan pasalla. With a yellow chicken’s shit.
Millä vaattoitan miehyeen? What shall I dress my man in?
Kylän kyntyrättilöillä. In the village ploughing-rags.
Mistä teen kirssun miehyelleen? What make my man’s coffin of?
40 Menin allasta kyllää I sought a trough in the village
mihe paan jyrkän miehyeen - to put my stem husband in -
en saant allasta kylästä. got no trough from the village.
Otin pölkkyä pyörsin I took a log and rolled it:
siihe panin jyrkän miehyeen there I put my stem husband
4 5 rautanaaglat nappaelin, tapped in iron nails.
kasit panin kirjaa lukomaa Gats I set to read the book
koerat koulua kantamaa. and dogs to keep school.
Vein miä alas mäkkee: I brought him down the hill: go
mää sie Hitoin kättee into the hands of Hittoi
5o seitsemälle perkelelle! to seven devils!

K a t i , K i r i l ä ’s w if e
Soikkola, Ingria
V. Porkka, 1883

49 8
142
SOTURI
The Warrior

ensi lintu alta linnan bird flew from below the castle
L sulka valkia vaelsi: A a white-feathered one wandered:
se toi sotasanomet it brought news of war
sotaviestin vieretteli tidings of war it trundled
5 sotakelloin kieli laulo. with bells of war its tongue sang.

Kenen on sottaa männä? Who shall go to war?


Sison on sottaa männä The sister shall go to war:
vellon on kottii jäähä. the brother shall stay at home.
Emyt mielille pahoille Mother fell to bad spirits
10 syämmille surkeille, to sadness of heart:
isyt mielille hyville father fell to good spirits
syämmille lämpymille. to a warmth of heart.

Alko herrat henkäellä Lords began to gasp


kuninkaatki kummistella kings too to marvel
is esivallat arvaella: and powers to ponder:
“ Ei uo noita enne kuultu “These things were not heard before
enne kuultu, enne nähty - heard before or seen before -
sormussormia soassa ringed fingers at war
linttipäitä alla linnan.” ribbon-heads at the castle.”

äo Lensi lintu alta linnan A bird flew from below the castle
sulka valkia vaelsi: a white-feathered one wandered:
tuo toi sotasanomet it brought news of war
sotaviestin vieretteli tidings of war it trundled
sotakelloin kieli laulo. with bells of war its tongue sang.

25 Kenen on sottaa männä? Who shall go to war?


Vellon on sottaa männä The brother shall go to war:
sison on kottii jäähä. the sister shall stay at home.
Isyt mielille pahoille Father fell to bad spirits
syämmille surkeille, to sadness of heart:

499
1 A ^ Soturi
lH Z The Warrior

30 emyt mielille hyville mother fell to good spirits


syämmille lämpymille. to a warmth of heart.

Siso saunan lämmitteli The sister warmed the bath-house


lämmitti sotien saunan heated the warrior’s bath-house
sotaselle vellolle. for the warrior, her brother:
35 Vei vettä, kanto puita she took water, carried wood
vei vellon kylpömää. she took her brother to bathe.

Vello kylpöö lautasilla Brother bathed upon the boards


siso neuvoo kynnyksellä: sister advised on the step:
“Oi vello emoni lapsi “O brother, my mother’s child
40 ku saat sottaa mänemää when you get to war
elä uo uhkia soassa do not be valiant in war
aivan tarkka tappelussa: nor very keen in battle:
elä mää ettee muita don’t go before the others
elä jää jälellä muita, don’t lag behind the others
45 kierrä keskellä väkkee cling to those in the middle
liki lipunkantajaa! close to the standard-bearer!
Lipunkantaja kavala: The standard-bearer is sly:
lippu maaha lipsahtaa, if the standard slips to earth
lipsaha lipun sihalle! slip into the standard’s place!
50 Oi halli hevoisueni O grey, my dear horse
vanhin taatan valkoruuna father’s oldest white gelding
ku saat sottaa männä when you get to war
elä heitä velloani don’t leave my brother
lakkaa emoni lasta!” or forsake my mother’s child!”

55 Kulu yötä viisi kuusi Five, six nights went by


katosi kaheksan yötä. eight nights passed away.
Hirnahti hevo kujalla. A horse neighed in the lane. I
Pistin päätä ikkunasta thrust my head through the window
suuta suuresta lovesta: and my face through the big gap:
60 “Oi halli hevoisueni “O grey, my dear horse
vanhin taatan valkoruuna father’s oldest white gelding
mihi heitit velloseni where have you left my brother
lakkasit emoni lapsen?” forsaken my mother’s child?”

Halli väite vastaeli: The grey indeed answered: “Your


65 “Vellosi oli uhkia soassa brother was valiant in war
aivon tarkka tappelussa: and very keen in battle:

500
1 AO SThe
oturiWarrior
1

ajo ettee muien he drove before the others


välistä jäi jälellä muita at times lagged behind others
kiertänt ei keskellä väkkee. nor clung to those in the midst.
70 Suuni suitsilla revitti He tore my mouth with bridles
jalat katko kannuksilla.” broke my legs with spurs.”

A n n i P o rissa
Narvusi, Ingria
V. Porkka, 1883

501
143
K A A R LE-H ERTTU A
Duke Charles

H yvä herra herttu Kaarle


Ruotsin kullainen kuningas T heSweden’s
good lord Duke Charles
precious king
vahva Suomen valtamies Finland’s strong ruler
isänmaan iso isäntä the fatherland’s great master
5 hankiskeli hahtejans got his craft ready
laitteli laivojans: he laid out his ships
tyyrin vartta valmisteli prepared the tillers
Suomen tielle toimitteli set out for Finland
oijensi pisimät pielet dressed the tallest masts
10 suurten hahtein hartioil on the shoulders of great craft
ylensi purjeet punaiset hoisted the red sails
kirjoiraakansa rakensi. put up his brightly-worked yards.

Tuimast siit tulit venhet Grimly the boats came


hartaast myös hahdet suuret eagerly too the great craft
ie kovasti ison kokoiset hard those of large size
pikaisesti pitkät järvet swiftly over the long lakes
läpi laski lainehita through the waves they sailed
kohdastansa koukkupaikat in order through tight places
järjestänsä järvet suuret in line over the great lakes
20 syrjällänsä syvimät sundit edging past the deepest sounds
kalliot vaelsi kaarittain the rocks they skirted
karttain taittet taampaa skirting the cliffs more widely
paitsi juoksit paksut mäet they ran beyond the firm hills
sivuitsen sitkiät vuoret. beside the steadfast mountains.

25 Rantahan siit laivoja rakensi He put in to shore


tuli Turun vierrahaksi came to Turku as a guest
Suomen suureksi hyväksi to Finland as a great good
linnan liiaksi vierrahaksi. to the castle unbidden.

Suomehen siit saatuansa When he arrived in Finland


so Papinluotohon pantuansa reached Papinluoto

502
IA O Kaarle-herttua
I H O Duke Charles

Ruskiankalliohon ruvettuansa set out for Ruskiakallio


linnan alla tultuansa and canfe below the castle
leirins levitti kedolle he pitched his camp in a held
meren rannalle rakensi put it up by the seashore
36 ankkurins asetti merehen dropped his anchors in the sea
maalle karvahti kappalehens landed his pieces
laivans kiinitti lainehille fastened his ships on the waves
venhens istutti vesille: sat his boats on the water:
ranta raskui, meri häälyi the shore rang and the sea rocked
40 kalliot kovin kajasit and the rocks loudly echoed
hahdet hartaasti vapisit the craft eagerly trembled
pyssyt parvuit partahilla. and guns roared at the gunwales.

Astui siit maalle manterelle He stepped on to the mainland


istuten Ispostenmäelle he sat on Isponen’s Hill
46 henkeänsä vetämähän to get his breath back
jalkojansa levättämään. and to rest his feet.

Lähetti kirjan kiiruhusti He sent a letter in haste


varhain paperin rahdun a scrap of paper early
nopiasti hyvän sanomansa his good news quickly
60 kauniin kultaisen puheensa his fair precious speech to the
Suomen sonnein kylihin villages of Finland’s sons
suurten sankarten salihin to the halls of great heroes
tothollarein tupihin the houses of governors
linnan vahvinten vajoihin: the huts of the town’s strongest:
66 “En mä tullut sotia varten “I have not come here for war
enkä varten tappelusta nor yet for battle
vaan Suomee sovittamaan but to bring peace to Finland
ankaroita asettamaan to settle the fierce
tappeluksia taittamahan to interrupt fights
«o riitoja ratki rikkomahan to break up quarrels
vääriä oikein kääntämähän to turn wrongs to rights
tottelemattomia toru mahan.” to scold the heedless.”

Ilkiät siit isännät linnan Then the town’s evil masters


pappein pojat pannaiset outcast sons of priests
66 Turun suutarritten suvusta Turku cobbler-kin
karjakoiran kodosta reared by cattle-dogs
kovasti kovat puhelit harshly the harsh spoke
häijysti häpiämättömät wickedly shameless

503
1 A 'J Kaarle-herttua
1 i J Duke Charles

valjusti valjut vastaisit bleakly bleak answered


70 pahasti pahantapaiset * ill the ill-behaved
purit huulta, väristit päätä bit their lips and wagged their heads
kallistelit kallojansa waved their skulls about
mulistelit muotoansa twisted their faces
Ruotsin sotaa vastaan: against Sweden’s war:
75 “Herttuan merehen heitämme “We’ll throw the Duke in the sea
hahdet halvoksi rikomme chop up his craft for firewood
venhet särjemme vesille!” smash his boats on the water!”

Hyvä herra herttu Kaarle The good lord Duke Charles


Ruotsin kullainen kuningas Sweden’s precious king
so se kyl lausui lapsillens indeed addressed his children
puhui poikaen tykö: and spoke to his sons:
“Lähtekämme liikkumahan “Let us be going
vahvasti vaeltamahan.” strongly on our way.”

Kulki siitä Kupitsalle He walked then to Kupitsa


85 harpaisi Hanhenpajustohon strode to Hanhenpajusto
krapsais Turun kallioille scrambled up the Turku cliffs:
jopa jouduttiin Tallimäkehe now they reached Tallimäki
johon siirsi laumansa on to which he moved his flock
laitti levitti leirinsä laid, spread out his camp
9 0 sodan siirsi sivullansa moved a war-band to one flank
toisen toiselle puolellansa. another to his other.
Siehen rattaat rakensi There he put the wheels
asetti myös arkkelins placed his artillery too
kuljetti kuparipyssynsä transported his copper guns
95 vaivaisi vaskikappalens. settled his brazen pieces.

Hyvä herra herttu Kaarle The good lord Duke Charles


Ruotsin kullainen kuningas Sweden’s precious king
pyssyt päästi pylvimähän let the guns bellow
nuolet suuret kulkemahan the great arrows fly
too vitjat pitkät vinkumahan: and the long chains creak:
kupari kovin kilisi the copper resounded loud
kansa kaikki vaskitorvet with it all the brazen horns
puupillit pärisit sekahan the wooden pipes shrilled as well
pärmät vahvasti pärisit and the drum-skins strongly boomed
1 0 5 kansa kaikki kalvolaudat. with all the drum-slats.
Orhi hirnui, kangas kaikui, Stallion whinnied, heath echoed

504
1 A O Kaarle-herttua
1 T O Duke Charles

harniskaiset hartioilla and armour on men’s shoulders


rautamiehet ratsoilla the iron men on horseback
vahvistetut vahvoill aseil. strengthened with their strong weapons.

no Hyvä herra herttu Kaarle The good lord Duke Charles


Ruotsin kullainen kuningas Sweden’s precious king
ottaa tulta tuttisestans took fire out of his fire-fork
väkevitä vierrestänsä power out of his side
hamppunuorran hartioiltansa hempen cord from his shoulders
us vyöltänsä viritysnuorran, from his belt a cord
kohta ruutia rakensi lifted gunpowder
vänkkipannuun panepi. put it in the pan.

Kovin siit kirppuisit kipinät Hard then the sparks hopped


luodit läksit lentämähän shot came flying out
120 sauvu sateli perästä: smoke poured after it:
sivut poikki miehet silloin surmattiin... then the men were tom ap art. . .

Singer unknown
Turku, South-West Finland
Collector unknown, early 18th century

505
144
JAAKKO PONTUS
Jacob Pontus

aakko Pontus jalo herra acob Pontus, noble lord


J viisas Viipurin isäntä
laittoi laivoja merelle
J wise master of Viipuri
laid out some ships for the sea
pani poikia sisään: put some boys inside:
5 laittoi laivat lastinkiin he loaded the ships
purjehensa pustinkiin, and he trimmed his sails
pani tuulet tuulemaan set the winds to be windy
puijeita puhelemaan. to blow on the sails
Ajo Riian linnan alle. and drove below Riga town.

10 Ensin tyrsäytti tykillä First he fired cannon


valkkunilla vangutteli: made falconets roar:
alkoi linna liikahdella the castle began to shake
torit maahan torkahella towers to tumble to the ground
muurit vieriä veteen. walls to roll in the water.

is Näin puhuu Puolan herra Thus spoke Poland’s lord


linnan vanhin vastajaa: the castle’s eldest answered:
“Ele riko Riikajani “Don’t wreck my Riga
ele Naarvan kaupunkia: nor yet Narva town:
tule siivolla sisään come quietly inside
20 saat olutta juuakseis have a drink of beer
mielimettä syyäkseis.” eat some sweet honey.”

Moni mies, moni heponen Many a man and many a horse


moni herra höyhenhattu many a feather-hatted lord
moni miekka kultavästi many a golden-hilted sword
25 Riian virrassa viruut. lie outstretched in Riga’s stream.
Ukko kuusessa toruu An old man up a spruce-tree
närehessä nälkyttää: scolded, up a young fir nagged:
“Jo nyt hytyä aholla “There are hats now on the heath
sängellä säkin siteitä.” on the stubble bits of rags.”

506
1 ^ /| J a a k k o P o n tu s
1 i i J a c o b P o n tu s

30 Jaakko Pontus jalo herra Jacob Pontus, noble lord


viisas Viipurin isäntä wise master of Viipuri
ajo naiset Naarvan alle drove the wives below Narva
piiat pitkään sotaan the lasses to the long war
jotk ei taitaneet tapella who did not know how to fight
35 eikä jousta jännittää. nor to draw a bow.

Herra, armias Jumala The Lord, gracious God


piti pilvissä keräjän held assizes in the clouds
rakehista rauan ilman filled the air with iron hail
ettei ruutinen palanut so the powder did not burn
«o eikä tykki paukahellut. nor the cannon boom.

S in g e r unknow n
Liperi (?), North Karelia
E. Lönnrot, 1839 (?)

507
145
IIV A N A
Ivan

ivana iso isäntä


Imeijän kuulu kullansolki I van, great master
our famous golden buckle
suoritti sotaväkiense put his war-band in order
niin kuin sotka poikijanse as a scaup-duck its ducklings
5 tavi laitto lapsijanse, or as a teal its children
laski heän laivoja mereh and he launched ships on the sea
niin kuin sotka poikijanse as a scaup-duck its ducklings
tavi laitto lapsijanse: or as a teal its children:
vaimot itki miehijänse the wives wept for their husbands
10 akat itki poikijanse the matrons wept for their sons
kun soatih miehet miekan alla as men went under the sword
rauvan kirkkahan kisah to the game of bright iron
rauvan valkien varah. the mercy of white iron.
Leset leikkie panouve The widows fell to joking
is tyttäret iloin eletäh: daughters went about joyful:
“On nyt miestä mielehistä “Now there are some likely men
sulhaista monen nävöistä!” some different-looking bridegrooms!”

Laski heän laivate mereh He launched the ships on the sea


nosti purjon puun nenähe raised the sail to the mast-top
20 voattien varpojen varahe, the cloth into the mast’s care
laskie karuuttelouve sailed steadily off
Inarihi ilkijöhe to Inari the evil
rohkijehe Ruotsin moaha. to the bold land of Sweden.
Työnsi heän kirjan kiirehestä He wrote a letter in haste
25 paperin pakon perästä: and a demanding paper:
“Onko linnassa lihoa “ Is there meat in the castle
eli voita Volmarissa butter in Volmar
Iivanalla iltasekse for Ivan’s supper
venäläisellä verokse the Russian’s tribute
30 syyvä miehen nälkähisen for the hungry man to eat
haluta halunalasen?” that the needy needs?”

508
145 J£T
Sieltä on varsin vastajeltih: Back indeed came the answer:
“Ei ole linnassa lihoa “There’s no meat in the castle
eikä voita Volmarissa. butter in Volmar:
as Vaipu valkija hevoni a white horse dropped down
se on jeäny järven peähä and is left at the lake-end
Iivanalla iltasekse for Ivan’s supper
venäläisellä verokse.” the Russian’s tribute.”

Iivana iso isäntä Ivan, great master


40 muurti suuta, muurti peätä twisted his mouth, tore his head
muurti mustoa haventa: tugged at his black hair:
pani pyssyt pyrkimähe made his guns thunder
jalot jouset jahmamahe. his great bows rumble.
Ampu kerran, noin ylitsi He shot once - too high
45 ampu toisen, noin alatsi he shot twice - too low
ampu kolmannen kesellä: shot a third time - on target:
jo nyt räystähät rämyöve now the eaves rattled
tuohen levyt lentelöve. the sheets of birch-bark fluttered.

“Venäläini veikkoseni “ Russian, my brother


50 karjalaini, kenkä kaunis fair-shod Karelian
tapoit toaton, tapoit moamon, you’ve killed father, killed mother
tapoit viisi vellijäni killed my five brothers
seitsemän sisarijani: my seven sisters:
ota nyt kultija kovera take now a fistful of gold
66 hopieita huokin täysi a felt hatful of silver
oman peäni peästimekse for the release of my head
henkeni lunastimekse!” for the ransom of my life!”

“Kusen konna kultihisi “ I piss, villain, on your gold


ilkie, hopiehisi: evil one, on your silver:
60 Ruotsin on kullat ruostunuote Sweden’s gold has gone rusty
soastunuot Savon hopiet. tarnished is Savo’s silver.
Peästä aivoni avaisit.” You’d take the brains from my head.”

P o a v ila Sirkeinen
Uhtua, Archangel Karelia
K. Karjalainen, 1894

509
146
KAARLO X II
Charles X I I

Läksi Kaarle kaupungilta


verolla verikäpälä Charles went from the town
for the tax, the bloody-pawed
Ruotsin murha murkkinalla the Swedish cut-throat for food
pillomus Piiterillä the wrecker to Petersburg
5 päälle päien päässäkseen. to turn the place upside-down.

Venähen väki väkevä Russia’s stout forces


kuninkahan miehet kuullut the king’s famous men
maailman valitut miehet choice men of the earth
alinomaiset kasakat Cossack regulars
10 illoin, aamuin vuotetaan evenings and mornings waited
kerta keskipäivällään. once at midday too.
Kovat kostinsa osuvat: Harshly they treated their guests:
leivota kivestä leipä Bake a loaf of stone
kakku päissä kalliosta make a cake of rock
is tulovallen vieraalle for the coming guest
saavalle käkievällen. the intending visitor.
Kovat kostinsa osuvat. Harshly they treated their guests.

Kaarlo kaukoa näkyy Charles was seen far off


sinisorkka sinnempätä the blue-hoofed yonder
20 kahen luotosen lomatsi in between two crags
päällitse Atimosaaren - over Atimo Island:
etänähki on Koroinen. some way off was Koroinen.
Pannaan pyssyt pyykämään The guns were set thundering
avokurkut ampumaan the open-throated shooting
25 jalojouset joukomaan the great bows twanging
jäntiet järäjämään the bowstrings trembling
kohti Kaarlen karpasoa towards Charles’s boat
Punaparran purtta myöten: against Redbeard’s craft:
jos tiirut tipahteloo then the steering-oars dropped in
30 mastot maiskavat mereen the masts smacked into the sea
teräsnuolen tempoissa as the arrow of steel wrenched

510
1 A £L K a a r lo X I I
IH -O C h arles X I I

rautanuolen raastaissa, as the iron arrow tore


purjehet tomahteloo the sails were thudding
nuiksi tuulen vietäviksi to be carried by the wind
36 ahavan ajeltavaksi. driven by the squall.

Karku Kaarlella tuloo And Charles took to flight


tullessa tulisen nuolen as the fiery arrow came
rautaharkon raastaissa as the shaft of iron tore
teräsnuolen tempoissa. as the arrow of steel wrenched.

40 “Venäläinen, veikko rukka “Russian, poor brother


anna vettä juoakseni!” give me a drink of water!”

Venäläinen vet sanoo But the Russian said


kovarinta kolkkasoo: the hard-hearted snapped:
“On vettä veneses alla “There’s water beneath your boat
46 alla laian lakkimista.” underneath the ship to lap.”

Kaarlo varsin vastoaa: Charles indeed answered:


“Verell on vesi meressä: “Bloody is the seawater:
rannat Ruotin raaviskoi ta the shores are heaped with Swedish
myssypäit on myllistetty corpses, capped heads overthrown
60 pyöräpäitä pyöritetty.” round heads have been rolled around.”

T ro h k im a m en S o a va
Akonlahti, Kontokki, Archangel Karelia
E. Lönnrot, 1832

511
147
REKRYYTTI
The Conscript

Meijen kudreva kuningas


vahoitukka linnan vanki
ur curly-haired king
Othe wax-haired castle-captive
istuu, ajattelloo sat and considered
rautaisen rahin nenällä, upon a bench-end of iron
6 teki kirjat kiireest wrote letters in haste
papeerit pakoin perästä demanding papers
lähetteli meijen maille sent them to our lands
meijen maille maireille. to our lovely lands.

Ken nois kirjan katsojaksi Who should look at the letter


10 ken lehen levittäjäksi? who spread out the leaf?
Vallan staarasta tasane The parish elder
vallan kylmä kymmenikko the cool parish dean
se nois kirjan katsojaksi he should look at the letter
se lehen levittäjäksi. should spread out the leaf.

15 Mitä on kirjaa kirjutettu What’s written in the letter


ja pantu paperin päälle? and set out on the paper?
“Ottakaamma soitattia “Let us take soldiers
valitkaamma vankiloja!” let us choose captives!”

Vallan staarasta tasane The parish elder


20 vallan kupias kuuloisampi its most famous chief
tuli kyytillä kyllää drove to the village
yövalolla, kuuvalolla by night-light, moonlight
päivän valkian valolla and in white daylight
hevosella hiirakalla on a mouse-hued horse
25 kalahavvin karvoisella, of a pike’s colour
korjas kylän kokkoo called the village together
ajo vallan vainiolle. drove the parish to the field.

Kysy kylän Ukkoloilta: He asked the old village men:


“Onko vallassa varasta “Does the parish have a thief

512
I A l Rekryytti
I t / The Conscript

30 pienen pillan tehnehiä any petty wrongdoers


kovan kortsin käynehiä?” frequenters of the tavern?”

Vallan ukot vastaeliit: The old parish men answered:


“Ei oo vallassa varasta “No, the parish has no thief
pienen pillan tehnehiä and no petty wrongdoers
36 kovan kortsin käynehiä?” frequenters of the tavern.”

Meijen kudreva kuningas Our curly-haired king


vahoin-tukka linnan vanki the wax-haired castle-captive
istuu, ajattelloo sat and considered
rautaisen rahin nenällä: upon a bench-end of iron:
40 “Mitä tehnen miä poloine “Poor me, what am I to do:
riisunenko rikkahia shall I strip rich men
vai valinnen vaivaisia?” or pick on wretches?”

Puuttu rikas kuulemaa: A rich man happened to hear:


rikas kävi riitelemmää the rich man went quarrelling
46 riitelemmää, tappelemmaa. quarrelling, fighting.
Rikas rinnalla aijaa Where the rich men drive abreast
köyhä käyp käeksyttää, the poor men walk arm in arm:
rikkaan raha kulluu where the rich man's money flows
köyhän raisan pää männöö. the poor man’s head wears away.

60 Kumpa arpo arvomaa? Which lot would be drawn?


Visattii se viijen arpa The lots of five men were cast
arvottii se kolmen arpa: the lots of three men were drawn:
hyppäs arpa armottoman the lot of the orphan leapt —
isättömän, onnettoman the fatherless, the luckless
66 äitittömän äärimäine. the motherless, the last lot.
Siottii isätöin poika The fatherless boy was bound
käet nuorilla kovilla, his hands with harsh ropes
siottii emätöin poika the motherless boy was bound
jalat rautaa rapsattii, his feet were clapped in irons
$o vietii kylä kylältä led from village to village
saatettii talo talolta escorted from house to house
vietii ottajiin oville to the doors of the takers
kupemaatterin kujille the lanes of the governor
katsojiin kartanolle the farm of the selectors
66 isvassikkoin ikkunalle. the windows of the drivers.

33 513
1 A l M w*
1 i / The Conscript

Mäntii Kolkanpään kohalle: They went towards Kolkanpää


vangit männööt iessä the captives going in front
raw at rapsaat jalassa, irons clanking on their feet
vahit männööt jälessä and the guards going behind
70 rautakeppiset käessä with iron rods in their hands
millä vangit vaivataa with which the captives were hurt
pikkaraiset piinataa. the little ones tormented:
Mäntii Kolkanpään kohalle they went towards Kolkanpää
Väämojan kylän välille. beside Väämoja village.
76 Vanki juoksulla pakkoo: A captive took to his heels:
vierähtiit veripisarat drops of blood rolled down
tuisahti tuline kyynel and a fiery tear spurted
vangin sirkun silmästä. from the lively captive’s eye.
Otetti kii vanki-parka The poor captive was seized, led
so vietii ottajan ovelle. to the door of the taker.

Kuningas tulloo kujalle The king came into the lane


kyssyy kuningas: and the king asked him:
“Oot siä omasta syystä “Are you here through your own fault
vai oot vallan vääryestä or through parish injustice
86 va oot kylän vihosta?’* or village anger?”

Poika vastoin vastaeli: The boy answering replied:


“Meit on paljo poikaloja “There are many of us boys
kaikki on adran kantajia: and all plough-bearers:
miun poloisen arpa hyppäs the lot of poor me leapt up
90 miun oli arpa äärimäine.” mine was the last lot.”

Sano suuri sulkaherra: The great plumed lord said:


“Ky11 on tässä poikaloja “Here are boys enough:
vaikka viessoilla visata even if they’re weighed
vaikka punterilla mitata.” measured with steelyards.”

96 Vietii mittohuoneesse To the measuring-room he


mitottii, mierottii was led, measured, tried for size
arssinoilla arvottii: reckoned up with a yardstick:
viel oli verskaa pitempi he was too long by an inch
olen kortta korkiampi. and too tall by a straw-stalk.
loo Issutettii stuolin päälle He was seated on a chair:
siinä hiukset hillottii there his hair was clipped
lieminäiset leikottii his tresses were cut

51 4
1A l Rekryytti
1 i / The Conscript

kerittä se kultakudra his golden curls shorn


tukka maaha tuisattii his locks were showered to the ground
m tukka tuulee Jumalan his locks to God’s wind
ahavaisee armollisen. the gracious one’s squall.

Siis tuotii hattu päälaelle They brought a hat for his head
tuotii sinisineli they brought a blue overcoat
tuotii musta munteri brought a black tunic
no tuotii paita päällä polven they brought a shirt on their knee
tuotii kaatiat kainalossa they brought pants under their arm
tuotii sukkia sylellä they brought an armful of socks
varvasrättiä vakalla and a boxful of toe-rags
tuotii saappaat vaskikannat they brought boots with copper heels
us vaskikannat, kultavarret. copper heels, gold legs:
Heitettä poika parka the poor boy was tossed about
silmät pestä, pää kerittä his eyes were washed, his head shorn
soviteltii soltatiksi fitted to be a soldier
maniteltii matrossiksi. worked on to be a sailor.
iso Tuotii tulinen pyssy They brought him a fiery gun
saatii verine miekka: they fetched him a bloody sword
pyssy annettii akaksi gave the gun to be his wife
miekka mieliksi hyviksi. the sword to be his pleasure.

Vietä oppii omenat They took the apples to be


iss vietä kurjat kulkemaa trained, took the wretches walking
marjukkaiset marssimaa the berries marching
läpi uuven kuuven linnan through six new castles
läpi kaupungin kaheksan through eight towns, took them
vietä suuren väljän päälle: over a great plain:
130 ei osaa opissa olla he was no good at learning
maha ei kävvä marssimassa. could not keep in step.

Lensi sieltä hanhiparvi. A skein of geese flew that way.


Vanki hanhille saneli: The captive said to the geese:
“Kun työ määttä sinne maalle “When you reach the land
136 missä on miun emoni where my mother is
viekää viestit miun emoille take tidings to my mother
sanat saunantuojalleni: who had me in the bath-house:
itkeköö miun emoni may my mother weep
haleksikkoo hautojani! she who hatched me grieve!
im En ossaa opissa olla I am no good at learning

515
1 A l ÄeArxr«!
± t l The Conscript

maha en käwä marssimassa. cannot keep in step.


Kyllä on täällä kuija olla: It is wretched enough here:
pyhät pyssyjä puhassa on Sundays it’s gun-cleaning
aret käwä ampumassa. on weekdays it's out shooting.
im Ku tuloo pyhäinen päivä Come the holy day
ja se paras praasnikkapäivä and that best feast day
siin vinkuu vihaine vitsa then the angry lash whistles
ja painuu pajune keppi and the willow rod presses
vinkuut vitsat pihlajaiset the rowan lashes whistle
iso painuut koivuset patukat and the birch truncheons press down
miun poloisen hartiosse.” on the shoulders of poor me.”

Vieri tuosta viikko, toine: A week rolled by, another:


oli kurja kulkemassa the wretch was walking
marjukkaine marssimassa. the berry marching.
166 Lensi sieltä joutsenjoukko. A flock of swans flew that way.
“Joutsueni, joukkuveni “My dear swans, my flock
ku jovvutte sille maalle when you reach the land
missä on miun emoni where my mother is
viekää viestit miun emolle: take tidings to my mother:
160 älköö itkekö miun emoni may mother not weep
haleksikko hautojani! may she who hatched me not grieve!
Hyvä on olla soltattinna It’s good to be a soldier
kaunis miekan kantajanna: fine to be a sword-bearer:
leipä on selkee, vaate valkia the bread is smooth, the clothes white
166 suharia on syötävännä there are rusks to eat
merivesi juotavanna. seawater to drink.
Se on soassa pahempi: It is worse in war:
pyhät pyssyä puhassa on Sundays it’s gun-cleaning
aret käwä ampumassa.” on weekdays it’s out shooting.”

Stefitt
Narvusi, Ingria
V. Porkka, 1883

5 16
148
LOPPUSANAT
Epilogue

Mikä sorti äänen suuren What so oppressed a strong voice


äänen suuren ja sorian a strong, handsome voice
äänen arinahan alenti brought down a sweet voice, that it
jottei nyt jokena juokse does not as a river run
6 vesivirtana vilaja as a stream sparkle
koskena kylän kohassa as rapids by a village
lammikkona lailattele? as a pool ripple?

Välein vähä väsyy Quickly the small one wearies


pian uupu pikkarainen: soon the tiny one is tired
10 heponenki hengähtää the horse also gasps for breath
pitkän matkan juostuaan, having run a long journey
rautanenki raukenoo the scythe too grows weak
kesäheinän lyötyä, having cut the summer hay
vetonenki vierähtää water also rolls away
is joen polven käytyä, having passed the river curve
tulonenki tuikahtaa dying fire flashes
yön pitkän palettuansa. having burned all night.

Täysi täysi, kyllä kyllä All, that’s all, enough, enough


tämän illaista iloa joy for this evening
so päivänlaskuhun laulantota. song for this sunset.

Laulanta runolla työtä Singing is the poet’s job


kukunta kesäkeällä cuckooing is the cuckoo’s
painanta Sinettärellä pressing is the Blue Girl’s job
luonta Kankahattarella. weaving the Loom Girl’s:

517
1 AO L o p p u sa n a t
1 iO E p ilo g u e

26 Laul ei laulaja hyvänä singer, though good, does not sing


laul ei tyyten virsiähä his fill of verses
eikä koski vuolaskana nor do rapids, though swift, come
lase vettäsä lopeten. to their water’s end.

Herennemmä, heittänemmä We will stop, we will leave it


äo luonemma, lopettanemma we will round off, we will end
paremmille laulajille for better singers
taitavammille runoille. more skilful poets:
Käärin virteni kerälle I’ll wind my verse in a ball
sovittelen sommelolle, I’ll arrange it in a coil
36 panen aitan parven päähän put it up in the shed loft
luisten lukkujen sisälle inside locks of bone
jost ei pääse päivinähän whence it shall never be freed
selviä sinä ikänä nor ever get out
ilman luien lonsumata unless the bones are shaken
40 leukain leviämätä the jaws are opened
hammasten hajoamata the teeth are parted
kielen keikkelehtämätä. the tongue set wagging.

1 —7 S in g e r unknow n 8 —17 S in g er unknow n


Karelian Isthmus Karelian Isthmus
E. Lönnrot, 1837 E. Lönnrot, 1837

18 —20 S in g e r unknow n 21—28 M o o se s A honen


Savo (?) Latvajärvi, Vuokkiniemi, Archangel Karelia
A. I. Arwidsson, E. A. Crohns, before 1836 A. A. Borenius, 1877

29 —42 S in g e r unknow n
Kemi, North Ostrobothnia
Z. Topelius, 1803 or 1804

518
COMMENTARY
T herelated
materials in the Commentary are arranged in three sections. Each poem, or group of
poems, is accompanied by a General Commentary that provides information about
the poem’s possible origin and diffusion, and examines its relation to folk tradition outside the
Baltic-Finnish area; in cases where syncretism or the singing technique has obscured the
narrative, it discusses the underlying idea and, if necessary, attempts to reconstruct the arche­
typal form of the poem. Each separate poem or variant is also provided with an Explanatory
Commentary, the nature of which is determined by the contents of the poem in question.
The general policy in compiling the Explanatory Commentaries was to provide sufficient
information to allow the reader to see how the poem relates to and differs from the archetypal
form, to appreciate how the poet-singer handled his material (especially in sequences
and patchwork poems where the narrative is frequently conveyed by stock and surrogate
phrases), and to draw attention to points of particular folkloristic or aesthetic interest. Each
Explanatory Commentary is preceded by a reference to the motifs in the poem, indicated
by the Stith Thomson code number (cf. Motif Index, pp. 590-594), and followed by a Line
Commentary. The purpose of the latter is to provide information about the significance of
imagery and metaphors, especially when they are tied to archaic or unfamiliar tradition,
and other details necessary for a full appreciation of the poem. For the non-Finnish reader,
the meaning of certain Finnish expressions has been elaborated where adequate translation
has not been possible. For Finnish readers, etymological and lexical information has been
provided in the case of words which are obscure for historical or dialectal reasons and which
cannot be found in Nykysuomen sanakirja; attention is drawn in particular to Karelian and
Ingrian words which have a surface form similar to that of their Finnish cognates but a
different meaning. The Commentary does not provide information on proper names; for
this the reader should consult the Name Index (pp. 578-589).

The following abbreviations are used in the Commentary and Name Index:

Est. = Estonian Kar. Karelian OFi. = Old Finnish


Fi. = Finnish MDial. Modern Dialect OSc. = Old Scandinavian
Ingr. = Ingrian MFi. Modem Finnish OSw. — Old Swedish
Ru. = Russian Sw. Swedish

521
PROLOGUE 1, EPILOGUE 148 wandered from farm to farm, entertaining their hosts
with song. In return they received money and pro­
visions to keep them during term-time. The poem is
A recurring and ancient feature in the singing addressed to the hosts and thanks them for their
of Kalevala epic poetry, especially in Kare­ hospitality.
lia, was the use of various stock passages to 23—47 Incorporated in this passage, which was used
introduce and conclude the performance of a with incantations, are images associated with Arctic
animism and shamanism. The first stanza describes
poem or sequence of poems. There was no how the singer, or shaman, acquires his powers from
sharp distinction between prologue and epi­ natural objects in his immediate environment. The
logue materials and it was for the singer to ‘hummock’, 'bright rock* and 'thick boulder’ in the
decide for which of these functions a particu­ second stanza are characteristic of nature animism
which invests strikingly-shaped natural objects with
lar variant was used. In the poems the singers spiritual properties. It was to these a shaman’s soul
reflect on the act of singing and on the source was thought to travel in search of magic powers; m
and power of their songs: sometimes they ask more advanced cultures this act evolved into the
for beer to moisten their throats and on concept of the journey to the otherworld; 26 luote <
OSc. cf. b l6 t 'the means by which a divinity was
occasions defend themselves against possible approached’, hence ‘spell’; 37 a ita n p a r v i ‘shed loft’:
criticism of their performance. a metaphor for ‘skull’, hence 'memory’ (this metaphor
The predominant stylistic characteristic of is more fully developed in 148: 35—42) 4 4 Concer­
these stock passages is the use of metaphor. ning sa m p o see p. 525-528; 4 6 -4 7 The significance
of these lines is uncertain: they appear to mean that
A parallel can be drawn here with, for ex­ the singer knows so many spells about the sam po and
ample, the kenning of Old Norse literature: Lemminkäinen that even Lemminkäinen would die
while the modern reader may find the images and rot away before the singer had sung all his
obscure and difficult to grasp, they are firmly poems. This fragment is more commonly associated
with the ancient shaman Vipunen (cf. Poems 28,
rooted in the cultural and social milieu from 29); 4 8 -5 2 A recurring male metaphor, the signi­
which they were drawn and were readily ficance of which would have been immediately ob­
understood by those listening to the perform­ vious to the listeners. In the northern winter, the
ance. Journey metaphors were characteristic hunter or traveller who faced the hardest task was
the one who opened up a new track after the fall
of male singers, while women used those of fresh snow. He had to tread the soft snow into a
associated with spinning, weaving and other firm track which others could then use. He marked
domestic functions. Laying down and marking the route by bending branches of trees, an act often
a track and spinning and winding thread into referred to in variants of this passage.
a ball are typical metaphors for the perform­
ance and memorizing of a poem. Some schol­ THE CREATION 2, 3, 4, 5
ars see a similarity in the function and style
of these passages with corresponding devices Poems about a bird that flies over the open
employed by several ancient poets, including sea in search of a nesting-place, where it lays
Homer, Virgil, Propertius and Horace, and one or more eggs, have been collected from
later by Dante, who frequently began and Karelia, Ingria and Estonia. Some event
ended their poems with a journey metaphor causes the egg or eggs to break or to roll
such as the raising and lowering of sails. into the sea. From the pieces of the egg evolve
the main components of the cosmos - the sun
1 and moon, the sky and earth, and the stars.
F871
The myth of the creation of the world from
an egg is widely known over an area that
1—14 The singing procedure favoured by men in Kare­ extends from the eastern Mediterranean to
lia (cf. pp. 74—75; see Plate 10); 9 k e m p p i < Sw. cf.
k ä m p e ‘hero; warrior’ (the adjectival usage 'splendid, India, Japan, Polynesia and Peru. The ver­
proud’ was a secondary development that only occur­ sion collected in the Baltic-Finnish area in­
red in Finnish). corporates the ‘diver’ myth - the bird that
1 5 -22 This fragment of a poem, of which many var­ plunges into the sea - which is common
iants have been collected from Archangel Karelia
and Central Ingria, is thought to have evolved from among Arctic poeples. The bird, which is
a medieval custom whereby groups of schoolboys often referred to as ‘bird of the air’, is a

522
scaup duck or goose in the Karelian variants attribute the shaping of the world to Väinämöinen.
and a swallow in those from Ingria; variants In the redaction which this variant represents, the
C rea tio n myth is introduced by a fragment of a poem
in which the bird is an eagle have been col­ (11. 1-19) which reflects the traditional hostility be­
lected from both regions and are thought to tween the Lapps and the Finns; the underlying theme
represent an older version of the myth. - the murder of a hero by a blind man - has parallels
Typical of all the Baltic-Finnish variants is in many parts of the world, e.g. the Scandinavian
myth about Baldr, a friendly and benevolent god,
the formation of the sun and moon from who according to some versions was accidentally
parts of an egg. However, this is preceded in killed by an arrow of mistletoe shot by his blind
the Karelian variants by the formation of the brother.
earth and sky, also from an egg. The identical 2 v iik k o ‘week’: a term commonly used in some dia­
lects to mean ‘a long, unspecified period of time’;
structure of the cosmogonic ending, not only 8 ru oja ‘cripple’ is a strong pejorative; 10 sokian
in the Karelian and Ingrian variants but also (accusative): a mistake by the singer, the nominative
in those from Estonia, points to the antiquity so k ia is the expected form; 38 la m p i < Sw. cf. OSw.
of the poem. (pi.) lim b e r ‘limbs’.
The original theme survives most clearly
in the Ingrian variants (Poems 2, 3). Poem 5
2, which was sung by Russian Orthodox A13.2 A641 A713.1 A811 A814.9 A1012.3 B264.2
Ingrians, depicts the bird laying its eggs on D1121 D1273 N825.2
a hummock and their being blown into the This typical Archangel Karelian series (see pp. 69-71)
sea by a great wind sent by the pagan god, brings together four themes. The first (11. 1-64) is
Ukko. Poem 3, which was sung by Lutheran drawn from T h e W o u n d (cf. Poem 6) and describes
Ingrians, retains the same theme but intro­ how the injured Väinämöinen searches for a shaman
who knows a spell to staunch the flow of blood. The
duces more recent motifs. The Christian second theme (11. 65-78) is a variant of the poem
divinity replaces Ukko and the poem ends about the shooting of Väinämöinen, which in the
(11. 25-41) with a surrogate passage, which Karelian redaction (Poem 4) has been associated
is itself largely compiled from stock phrases. with T h e C rea tio n . The remainder of the poem in­
corporates two myths. In the third theme (11. 79-87)
Väinämöinen is described as the shaper of the sea
2 bed (a role that probably belongs to the earliest
stratum of Väinämöinen motifs), while the fourth
A13.2 A142 A641 D853 *F859 N855 theme (11. 88-127) uses the Bird myth to describe
26 tu u tsa < Ru. cf. tucha ‘cloud’; 3 1 -4 3 A reference the creation of the cosmos. This part of the poem
to the works of creation performed by the smith also incorporates the motif of the struggle between
Ilmarinen which are described in greater detail in a giant pike and a giant eagle (11. 103-115); this
Poems 8, 12, 14, 15. myth, in which the warring animals possibly sym­
bolize the familiars of two shamans, has close parallels
with the Indian Sun-theft myth which describes how
3 the sun was stolen and released from the stomach of
a fish (cf. p. 525). In certain areas the series of themes
A13.2 A641 A814.9 F735 from 1. 65 to the end was frequently associated with
32 n a p p isa k sa t lit. ‘button-Germans' (concerning the the s a m p o - p o e m s .
second component see German [y] /Saksa in Name 80 a p a ja ‘hole’: lit. ‘part of a lake where good catches
Index): i.e. pedlars who purveyed cloth and small of fish were customarily made’; 95 k u lo ‘dry grass’:
metal wares that were in great demand outside the lit. ‘dry, withered grass of the previous year’.
few Finnish towns (cf. p. 35); 35—41 this stereotype
description has been compared to that used in
medieval Scandinavian ballads to describe the speed
and splendour of a journey (another version of this
THE WOUND 6
description is found in 120:76-86). A1012.3 D1121 D1273 D1503.1 F841 H335 H1021-
1022 N825.2
4 This poem usually occurs as the epic component of
incantations to stop bleeding. The emphasis on the
A13.2 A641 A814.9 F735 amount of blood as such was not the poet’s principal
The Suistamo variant provides a link between the interest; his main concern was to describe the prim­
earliest stratum of C rea tio n myths and those which eval wound and thus to acquire the knowledge

5 23
needed to effect a cure. In this variant T h e W o u n d reference to the same act is also found in
is represented by 11.31-73 and is introduced (11. 6-30) The Singing Match (cf. 10:32-38).
by a surrogate passage from T h e T a s k s (Poem 7).
Features of T h e W o u n d suggest that the poem may
be based on an old myth which describes an iron
world-mountain on the summit of which stood the
7
North Star; the heavens were thought to revolve A142 A1447 F663 H335 LI 13.6 S62 *T75.4.1
around the star.
In this variant the motifs of the boat, wound and The intention of the singer of this variant was to
flood have parallels with Deluge myths recorded in present a version of T h e C o u rtsh ip (cf. Poems 16, 17,
many other parts of the world, e.g. the Biblical 18). He drew his materials from four sources. The
fragment of the lost myth-poem is found in 11. 18-23,
account of the great flood and Noah's Ark. O f par­
ticular importance, when considering the form of the while the character of the smith in the opening
myth in the Baltic-Finnish tradition, are the visionary episode (11. 1-15) has been elaborated in lines in­
fluenced by stock phrases associated with Ilmari­
writings of St Methodius of Patara (d. 311), which
nen and T h e G olden B r id e (Poems 21, 22). The theme
were widely known in the Eastern Church: Method­
ius’ account of the construction of the Ark stated and structure of the wooing episode (11. 16-34)
reflect the T a s k s S e t F o r A S u ito r poem, while the
specifically that it was built on a mountain. The
view that the poem springs from popular adapta­ conclusion is a surrogate passage borrowed from
T h e W if e - K ille r (Poems 95, 96). The motif of the
tions of the Biblical story finds support in the ref­
forging of the sky as a task set for the suitor is rare,
erence in some variants to Väinämöinen as ‘holy
and has found its way into this poem because of
hero’ and in an incantation in which the Virgin
its direct association in the mind of the singer with
M ary staunches the flow of blood from Jesus’ knee.
Ilmarinen.
The Boat-building motif can also be associated with
that of the primeval boat in T h e V oyage (Poems 26, 14—15 i.e. the place near the door where uninvited
or unimportant visitors had to remain, a stock pas­
27) and T h e S p e ll (Poems 28, 29). In certain variants
sage borrowed from poems about Lemminkäinen
of the S am po poems, in which Ilmarinen is told to
(cf. 34:155-158).
construct the sam p o from the fragments of a distaff
(cf. 12:102), the singers have substituted ‘boat’ as
the object of the impossible task. 8
1 -5 The names in this mythical fragment are com­
mon in incantation poetry; 56 p a a rn a < Sw. cf. A142 A527.1 A1447 F663
b a m ‘child’, p a n k k o < Sw. cf. b a n k ‘bench’; 6 9 -7 3
A stock hyperbole to demonstrate the skill of healers;
70 j a l o (MFi. ‘bold’) commonly means ‘great, large’
in dialects. FIRE 9
A142 A1414 »A1415.2.2. Å1457.3
This poem, together with numerous variants which
THE TASKS 7, THE SMITH 8 preserve the myth of the origin of fire, survived in
the Baltic-Finnish area as an incantation for treating
The Tasks and The Smith are the best ex­ bums. Its original function, however, is thought to
amples of a number of variants which pre­ have been part of a seasonal fire-lighting ritual - an
important and often difficult task until relatively
serve fragments of an otherwise lost myth- recent times (cf. 11. 81-88). The ritual was probably
poem about how the smith Ilmarinen forged performed, for example, in connection with burn-
the sky. The fragment represented by Poem beat cultivation (i.e. the felling and burning of trees
8 identifies the smith as Ilmarinen and es­ and undergrowth and the growing of crops in the
ashes (see Plate 13), lighting the first fire in a
tablishes his role as either a culture-hero or new home or lighting a ritual bonfire at the summer
deity. Poem 7, in which the smith is not or winter solstice.
mentioned by name (although the context Folklore about animals that carry a spark occurs
leaves no doubt of his identity), dwells more as far afield as New Guinea and North-West Amer­
on the nature and performance of the smith’s ica. Older variants of the Finnish poem reveal
features that have numerous parallels throughout the
craft and points to a culture-hero rather than Arctic region. Some describe, for example, how the
a deity. Other references to Ilmarinen's forg­ spark was struck from three eagle feathers by ‘the
ing of the sky are found, for example, in bird of the air’ (cf. 15:134-143), a motif similar to
certain variants of the Sampo poems, in which, the Arctic myth about the bird that strikes thunder.
The variant represented by Poem 9 acquired its
because he is known to have shaped the sky, present form during the early Christian era (cf. pp.
he is asked to make the sampo; an obscure 53-54). The opening lines (11. 1-4) illustrate the

524
clash between old and new beliefs: the spark is struck of an exchange of magic power. Similar
by Väinämöinen and Ilmarinen, but in a series of themes are known, for example, in Mordvin
‘heavens’, reflecting the concept of heaven that was
common among some early Christian sects (cf. the and Vogul foklore. The final episode of each
doctrine of the early Church). In some variants variant (10:86-103; 11:118—134) incorporates
the ancient heroes are replaced by the Virgin Mary a much later feature, the ‘returning-home-
and Jesus. Other examples in the variants of the weeping’ formula (cf. Poems 106, 107, 108,
clash between old and new beliefs are fragments of
prayers addressed variously to a female pagan spirit 109; pp. 59-60).
and the Virgin Mary.
One of the poem’s older motifs is the carrying of 10
the spark in the belly of a fish. This may have been
influenced by European versions of the Indian Sun- D523 »D791.2.3 D1275 *R90
theft myth (cf. p. 523). The description of the prim­
eval fishing net is another ancient feature found 7—9 vesa ‘shoot’: a corruption of veri ‘blood’ (cf. 11:
in the Baltic-Finnish area only in poems about the 13-15 where the older form, a battle metaphor,
origin of fire. Certain variants describe how stone survives). The singer(s) of Poem 10 appear to have
tools were used to spin and weave the net from the been influenced by a similar metaphor in T h e S p e ll
inner bark of juniper or from heather, while the (cf. 28:28-30); 25 siverret: i.e. MFi. Syvärit, syöverit;
fishing technique described in the poem is known 27 tunti: i.e. nominal derivative of Kar. tuntie ‘to
throughout Asia and much of Europe. Some scholars know; feel’; 43 nisulihat ‘waist’: lit. ‘part of the body
see a connection between the fishing motif and the immediately below the ribs’; 103 la n k o (MFi. ‘brother-
Scandinavian myth of how Loki, who has been in-law’) commonly means ‘male relative’ in OFi.
compared to Prometheus, attempts to escape his and some dialects.
pursuers by changing into a salmon and is caught
in a seine-net. 11
21 siik a ‘whitefish’: a member of the sa lm o n id a e
family, sometimes called 'laveret’; 48 A h in a ita ‘Ahti’s A1251 B184.1.4 D523 »D791.2.3 D1275 N542.1 *R90
fence’: a kenning, i.e. the shore. 20-21 vesi ‘water’ in 1. 21 is a corruption caused by
the association with ‘sea’ in 1. 20 and phonetic clash
with the earlier form, i.e. Ingr. v e za (cf. Fi. vesa)
‘shoot, sapling’ (the parallel to ‘stump* in 1. 20).
THE SINGING MATCH 10, 11 The two lines are a fragment of a myth about how
man originated from a tree-stump that splits in two
The poem of the duel between Väinämöinen (the fragment occurs in a clearer form and context in
and Joukahainen is one of the outstanding 41:7-8); 47 raunio ‘cairn’: lit. ‘pile of stones cleared
products of Finnish epic poetry. It describes from an area of land to facilitate ploughing’; 99-103
i.e. she eats food that makes her plump and is there­
the encounter of the two principal characters fore by contemporary criteria beautiful.
either on the frozen sea or a narrow road
and their quarrel about who should give
way. Various theories have been advanced THE SAMPO 12-15
to explain the significance of the duel: the
participants have been seen as the gods of More than any other theme in Finnish folk
water and ice, as Viking heroes, and as rival poetry, the story of the sampo, how and why
shamans. The poet-singer’s main aim seems it was made, stolen and lost, has stimulated
to have been to depict the great power of debate among scholars and captured the
Väinämöinen and his singing, i.e. magic, and imagination of poets and artists. Indicative
various devices are employed to emphasize of the 150 years of conjecture about the
the difference in the participants’ personal sampo is the fact that it is frequently difficult
qualities, including a reference to Väinämöi- to separate scholarship from fantasy. Scholars
nen’s role in the creation of the world (cf. failed to explain the origin and purpose of
10:29-38). The interpretation of the poem as these poems because they worked from false
a duel between two rival shamans (who premisses and imposed an anachronistic logic
would also have been rival tribal leaders) on their material. They assumed that the
seems the most appropriate, for the poem poems had been created as a unified whole
contains several symbols associated with in which the sampo had a clearly defined
shamanism and the duel itself takes the form function. Hence, until recently, attempts to

525
understand these poems were based largely sampo*. Some scholars link to these three
on etymological and ethnographical conjec­ episodes the poems about rival suitors (cf.
ture about the sampo and the associated - in particular Poems 16, 17) and The Golden
often parallel - kirjokansi lit. ‘brightly-worked Bride (Poems 21, 22), although it is agreed
cover’. More recently, however, scholars have that they became associated with the Sampo
abandoned this approach and begun to study Epos only at a later date. Briefly summarised,
the inter-relationship of the sampo poems; the postulated epos told the following story:
they have reduced them to their component Väinämöinen is shot by an enemy and drifts
themes and sought to discover how these wounded for several years at sea where he
were combined and shaped into their sur­ performs various acts of creation. Finally, he
viving form. This new approach has shown is washed ashore at Pohjola, whose mistress
that questions about what the sampo was can undertakes to return him to his own people
never be satisfactorily answered and that on condition that he forges her a sampo. He
even if they could, an answer would probably promises that his fellow hero Ilmarinen will
make little contribution to the understanding do this and is allowed to return home. Ilma­
of the poems. rinen agrees to forge the sampo, in return for
It seems clear that by not later than the which he is told that he will receive the
12th century several poems of separate origin daughter of the mistress of Pohjola. Thus the
and very different age had become establish­ sampo is made and provides the inhabitants
ed in a fixed sequence. It had three main of Pohjola with great and unending wealth.
redactions, each of which was tied to an Jealous of this, Väinämöinen and Ilmarinen
area of permanent settlement - Häme, Ostro- sail to Pohjola and steal the sampo. They are
bothnia, Karelia - and for a time each was pursued and a furious battle takes place at
sung in a rigid form before it began to frag­ sea, during which the mistress of Pohjola
ment and develop new series. An explana­ changes into a wyvern, the sampo is smashed
tion for the period of fixed presentation may and the pieces are lost in the sea. These and
lie in the ritual function of the poems for some fragments that are washed ashore bring
there is evidence to suggest that they were fertility to the land and sea. The motif that
performed as the accompaniment to fertility links the three poems forming the Sampo
practices. The earliest forms of the poem Epos to The Courtship (and The Golden Bride)
appear to refer to the fertility of the sea (cf. is that of the wooing of the daughter of the
Poem 13), and the implication that the sea mistress of Pohjola.
is more fertile than the land, a theme found The three main poems brought together
over a large area, is seen as evidence of the in the epos represent three distinct themes.
poem’s origin in a coastal fishing environ­ The first, that of creation, contains two sub­
ment (the emphasis in Archangel Karelian themes. The works of creation at sea and
variants on the sampo’s importance in en­ their background are discussed in connec­
suring the fertility of the land is thought to tion with The Creation (see pp. 522-523); the
be a secondary development by poet-singers second sub-theme, the shooting of Väinämöi­
who lived in inland areas). The breaking of nen, has been compared to that of an ancient
the sampo into small pieces may be an early incantation for curing pains (in this earlier
secondary development based on the ana­ form it did not refer to a ‘slit-eyed Laplander’
logy of other fragmentation episodes (cf. The who ‘harboured hatred’ and these secondary
Creation). motifs indicate Germanic or possibly early
The sequence of poems that are postulated Scandinavian influence). The second main
to have been performed as the accompani­ theme, the account of how the sampo is forged,
ment to some kind of fertility rite is known is more difficult to analyze; the sequence of
as the Sampo Epos. It consisted of three main events and to some extent the structure sug­
episodes: ‘The creation of the world*, ‘The gest that its inclusion in the epos may have
forging of the sampo’ and ‘The theft of the been determined mainly by the following

5 26
poem which presupposes the existence of an with mythical creatures appear to have been
object worth stealing. The singers themselves transferred, almost translated, to a Finnish
were uncertain about what the sampo was; milieu. The main theme of the Scandinavian
many depicted it as a device that produced legends is a journey to a distant land, e.g.
wealth, some ascribed the fertility of land and Gandviky Dumbshqf, Jötunheimar, Kirjdlabotnar,
sea to its fragments, while others understood Helsingjabotn (the -botn place-name component
it as some kind of mill. corresponds to Finnish pohja as in Pohjanmaa
The association with fertility has already ‘Ostrobothnia’ and Pohjola, the destination of
been mentioned and there may be a connec­ the heroes in the sampo poems), to steal a
tion here with early animistic beliefs that magic device or to release a maiden guarded
invested natural objects with tutelary spirits by a witch; the latter is either portrayed as
(cf. the reference to the sampo being rooted a bird or assisted by a monstrous bird. Bosa
to the earth in 12:252-253). In more devel­ saga illustrates the extent of the similarity
oped forms of animism practised in Arctic between the Scandinavian legends and the
regions special columns were set up and events that surround the theft of the sampo.
worshipped. The Lapps, for example, are To obtain a pardon for having murdered a
known to have erected symbolic ‘world pil­ prince, Bosi has to steal the egg of the giant
lars’. These were often provided with or­ gammr, conceived as an enormous bird. He
nately-worked metal tops representing the sails with a companion to a distant land and,
North Star and around which the heavens with the aid of a girl he has seduced, he
(i.e. kirjokansi) revolve. They were thought to and his followers discover where the egg is
ensure success in hunting, fishing and animal hidden, kill the monsters guarding the egg,
breeding and it was not uncommon for minia­ release an imprisoned princess, and return
ture symbols of the same kind to be made out home safely with their booty. Before long
of valuable metals. Hence it is possible that Bosi and his companion set out again, accom­
the original function of the second theme of panied by a third man called Smidr (‘smith’).
the epos was a fertility incantation which Their task is to save a maid who is to be
was performed as part of the worship of a married against her will. As the wedding
valuable, symbolic object. ceremony is about to begin, they carry her
The concept of the sampo as a device that off to their boat where Bosi conceals her in
produces wealth, often a mill, may be the his miraculous harp. A furious battle takes
result of a confusion with and reinterpretation place in the boat during which Smidr strikes
of the Scandinavian myth of the grotti, a the most dangerous of the enemies with his
magic mill owned by King Frodi of Den­ magic sword. The enemy changes into a flying
mark which had the power to produce dragon, spits poison over the boat and swal­
whatever its owner desired and was finally lows Smidr. The dragon is in turn attacked
destroyed by an enemy’s magic. Against this by a giant bird and Smidr’s foster-mother
interpretation, however, must be set the who joins the battle in the shape of an ani­
relatively late date of the grotti poem and mal.
the fact that ‘mill’ is not the only inter­ Although the Scandinavian influence is
pretation of the sampo by Finnish singers: evident in the motifs of the third theme of
other objects of great value are also called the sampo epos, the basic structure appears
sampo. to be Finnish. Stylistic evidence shows that
The third theme, the theft, shows clear these borrowings date from a very early pe­
evidence of Scandinavian influence and the riod when contacts between the peoples on
main motifs, although not the themes to which either side of the Gulf of Bothnia were still
they are tied, appear to have been borrowed infrequent. Moreover, the motifs that were
from medieval mythical-heroic fomaldarsögur. borrowed also recur in Finnish folk poetry
The parallels are striking. Their accounts of in contexts that have no connection with the
journeys to strange lands and encounters sampo epos. Hence there is no question of

527
the Finns’ having borrowed an ancient epic from wedding poems (cf. 66:55-59 and notes); 237
as such from Scandinavian sources. A corruption of j u u ta la in e n ] ‘Jewish’ (i.e. non-Chris­
tian) as the parallel to ‘pagan’ in 1. 238; 326-341
Typologically this episode is related to die world­
12 wide tale of T h e M a g ie F lig h t in which escape is
nought by throwing in the path of pursuers small
A142 B31 B184.1.4 D152.2 D672 D853 D1175 objects that grow into great obstacles, a theme that
D1364 D1419.3 D2142.1 F871 *N381.2 T52 is more clearly represented in Poem 32 (cf. pp. 537-
538); 330 Kar. m esta ta ‘to throw’; 345 leivo ‘skylark’:
This is the best known and longest example of the a corruption of lievo < lieve ‘mythical bird’.
S am po E p o s. Sung by one of the most remarkable
singers of folk poetry, Arhippa Perttunen, it is typical
of the series of poems that provide the framework 13
for the epos in Archangel Karelia, the area where A ll 15 B31 F871
the largest number of sa m p o poems survived. The
three main themes are all represented. The shooting This fragment is of historiographical and historical
of Väinämöinen and his works oi creation shift to interest. Not only it is one of the earliest examples
the second theme at 1. fiO. The account of the forg­ of poetry collection inspired by the early 19th century
ing of the sam po assumes that the listeners are fa­ Turku Romantic movement (which culminated in
miliar with T h e C o u rtsh ip (Poems 15, 16, 17); this the K a le v a la and K a n te le ta r ), it is also the earliest
secondary theme enters at 1. 124 when Väinämöinen recorded reference to the existence of a magic device
persuades Ilmarinen to forge the sa m p o in return called the sa m p o . The historical importance of the
for the daughter of the mistress of Pohjola; the fragment lies in the fact that it was collected not
question of the task being a ransom for Väinämöi­ in the Finnish area but among the Värmland Finns
nen is not mentioned. The second theme moves of Central Sweden, descendants of emigrants from
easily into the third at 11. 192-215 which are an Savo who left during times of hardship in the 16th
undated attempt by a poet-singer to provide a bridge and 17th centuries. Hence this fragment shows con­
passage explaing why Väinämöinen and Ilmarinen clusively that the sa m p o poems were once known in
wish to steal the sa m p o . areas to the west of where they survived in the 19th
1 -3 6 Various reasons have been suggested to explain century. This has led many scholars to the view
why it was a 'Laplander’ who shot Väinämöinen. that the separate poems, and possibly the chain that
Some scholars see in this an allusion to the medieval forms the epos, first took shape in an area close to
expeditions of the Birkarls to rob and levy taxes on the west coast of Finland.
the Lapps and the resulting hostility. Others associate The variant represents the third theme of the
‘Laplander’ with the Lapps’ traditional reputation archetypal epos, although the reference at the end
as powerful workers of magic. Since the poem dates of the fragment to the powers of fertility conferred
from an early period, an alternative explanation by the sa m p o point to the postulated ritual function
would be that the choice of ‘Laplander’ as the enemy of the epos and the underlying theme of the second
reflects the hostility and suspicion common between main poem. The singer did not understand what
groups of different culture and language living in the sa m m a s was, or even what the poem was about,
relatively close proximity. Hence ‘Laplander’ may for the sa m p o is confused with the mythical bird into
be a pejorative comparable to ruotsalainen ‘Swede’ which, according to most variants, the mistress of
and venäläinen ‘Russian’ at later periods (cf. Lapland Pohjola changed. The fact that the details described
in Name Index); 100 passim k irjo k a n si 'brightly- by the singer and the three verses in her account
worked cover’: the most common parallel of sa m p o . are so close to the corresponding passages in Kare­
The first component, k ir jo -, is cognate with MFi. lian variants emphasizes how deeply rooted and
k irja v a ‘(multi-)coloured’ and derives from a word widely known the sa m p o poems must have been.
denoting ‘ornamented’. Several theories have been
advanced to explain the second component; most 14
scholars relate it to MFi. k a n si ‘cover, lid’, although
B31 B872.1 D152.2 D672 D1121 D1175 D1208
it has been suggested that it may be cognate with
D1275 D1419.3 D2153.1 F871 *N381.2
k a n ta ‘base’. In folk poetry it came to be understood
as 'ornamented lid, cover’ and in this sense was This variant is the most reminiscent of the motifs
used synecdochically to mean 'sa m p o ', ‘sky’, and associated with the fo m a ld a rsö g u r. As in Poem 13,
'chest with a painted lid’; 101—105 Cognate forms the singers were uncertain of the identity of the
of this series of impossible tasks occur in several parts sa m p o . The booty stolen by the three heroes is var­
of Europe, including Scotland, Denmark, Germany, iously described as ‘spoils’ (11. 10, 72, 74), ‘farm’
and Russia. In the Finnish area the formula is pri­ (1. 73), and ‘sturgeon’ (1. 29). The latter, Fi. sa m p i,
marily associated with tasks set for suitors. Its occur­ is a folk etymology of sa m p o . Where sa m p o occurs in
rence here is secondary, probably influenced by the the variant, it means ‘boat’.
association of the sa m p o poems with the T a s k s 66 dial, k u lk k u : i.e. k u rk k u ; 98 Kar. su v i ‘south’;
f o r S u ito rs theme; 180— 185 The description of the 100 Kar. luode ‘west’; 109 ta m m a ta < Sw. cf. sta m p a
ornamentation of the sledge is a surrogate passage ‘to stamp’.

528
15 poem, which in turn produced numerous
redactions. The theme of the task set for a
A142 A284 A811 B31 B576 D152.2 *D791.2.3 D853
Dl 175 D1275 F735 F871 H335 LI 13.6 R225 T52 suitor comes from an ancient fairy tale
{Märchen) about a girl, usually a supernatural
This variant is a typical example of the form of the
sam po epos sung in the area bounded by southern
being, who is promised to the man who can
Archangel Karelia and Lake Ladoga. The search for perform a series of specific tasks. The form
a bride, drawn from T h e C o u rtsh ip (cf. in particular and structure of the wooing theme developed
Poems 16, 17), has replaced the theft of the sa m p o differently according to area and period. In
as the central theme. The singer’s approach is one
of allusion, making frequent use of surrogate pas­ Ladoga Karelia, the girl is the daughter of
sages to refer to themes and motifs that he knows the demonic Hiisi (Poem 17); in Ingria, the
will be familiar to his listeners. The structure of his wooing takes place in the otherworld (Poem
poem consists of six episodes: 1 Väinämöinen wants 18), while in North Ostrobothnia, the girl
a bride and woos the daughter of the mistress of
Pohjola (11. 1-105). 2 He can have her on condition is depicted as an air-virgin (cf. Poem 6).
that he forges the sa m p o (11. 106-108). 3 He does A form of the tale in which the girl is not
this and receives his bride (11. 109-112), but 4 steals so obviously associated with a supernatural
the sam po and sails away (11. 113-120). 5 The mis­ background is found in The Gift (Poems 19,
tress of Pohjola pursues and defeats him, and, it
appears, recovers both daughter and sa m p o (11. 121— 20) .
156). 6 Väinämöinen seeks another bride and ob­ In all these variants the conditions set for
tains Joukahainen’s sister (11. 157-196). the suitor follow the impossible-task formula.
The surrogate passages employed by the singer The specific nature of the tasks varies, again
come from several well known poems and are linked
to sam po material in such a way that the underlying according to place and period; they have also
narrative is clear. Episode 1 draws on T h e C o u rtsh ip ; been influenced by other typologically similar
2 alludes to the bargain struck between the mistress motifs. The oldest stratum is possibly repre­
of Pohjola and Väinämöinen for the latter’s release sented in Poem 7, in which Ilmarinen has
(cf. 12:98-105), while 3 uses lines about Ilmarinen
to indicate that the sa m p o was forged (cf. 12:158-170).
to perform cosmogonic acts. The tasks in
In episode 4 the poet has drawn on well known Poem 17 suggest a culture in which sha­
accounts of the theft and the struggle over the sa m p o manism was practised, while those perform­
(cf. 12:225-375; Poem 14). Episode 5 provides the ed by the smith in Poem 18 belong to a
best illustration of the singer’s use of stock phrases relatively recent period. A stage between
and surrogate passages: to depict Väinämöinen’s
defeat at sea, the loss of his bride and the sa m p o , shamanism and the era represented in Poem
followed by the shipwreck, the singer has woven 18 may underlie Poems 19 and 20; the tasks
together verses from variants about the O rig in o f associated with fiery objects and walking on
F ire (cf. 9:4—10) and from the passage describing
the drifting at sea in T h e C reation (cf. 5:72-102). In
sharp points suggest the influence of medieval
episode 6, the singer indicates to his listeners that Christian legends of hell, while fairy tales
Väinämöinen has found another bride by incorpo­ which reached the Finnish area through
rating a short version of T h e S in g in g M a tc h (Poems Russia provided such motifs as the knotting
10, 11). of an egg. The Golden Bride (Poems 21, 22)
91 kasa k k a 'servant, hired m an’ < Ru. cf. k a z a k
‘Cossack’; 99-100 i.e. of firewood; 131-134 An ob­ was often sung as the continuation of The
scure surrogate passage from a Finnish version of Courtship, either to describe how a wife was
the world-wide M a g ie F lig h t tale (cf. pp. 537-538); found for the rejected suitor, or for his rival,
134 Ilm a n ukko ‘Old Man of the Air’: cf. 9:1-2 and who in some way had lost his bride as they
Name Index.
were returning home together.
The second of the two main themes occurs
THE COURTSHIP 16-18 in those variants of the Sampo Epos in which
the daughter of the mistress of Pohjola is
The Courtship frequently combines two main promised to Ilmarinen in return for making
themes: tasks set for a suitor and the rivalry the sampo. In the form in which the theme
between two suitors. Although the first of is incorporated in The Courtship, Väinämöinen
these is far older, similarity of content led in also wants to marry the girl, but as he sets
some areas to their combination into a single off to woo her, he reveals his intention to

34 529
Ilmarinen’s sister, Anni. She tells her brother, of the ship’s huge red sail, hyperbole to denote
who races to Pohjola to claim his bride. De­ Väinämöinen’s great wealth; 130-131 These lines
and the corresponding passage in Poem 17 (11. 162—
spite Väinämöinen’s offer of great riches, she 167) show that both poet and audience associated
is given to his rival. The three variants of this episode with the S a m p o E p o s.
The Courtship illustrate the various stages in
the evolution of this poem. The separate
existence of the two themes can be seen in 17
Poems 16 and 18, while their assimilated A142 B264.2 B576 D152.2 F87 F989.15 H335
form is apparent in Poem 17. H335.0.1 HI 154 HI 188 LI 13.6
Stylistic evidence suggests that the rivalry An early stage in the assimilation of the two main
theme without reference to the requirement themes is evident in this variant; the ancient tale
and the later account of the rival suitors are partly
to perform certain tasks, the form represented in juxtaposition and partly interwoven, leading in
by Poem 16, took shape during the Viking places to apparent conflict in the narrative. This
period. Although many background motifs can be seen in the first two parts of the poem (11.
are mythical, certain details indicate a poetic 1-87, 88-145), where the listener is expected to
know that the girl has been pledged to Ilmarinen,
tradition very different from that of the and in the final episode (11. 146-251) where the poet-
earlier myth poems. The variants preserve an singer refers to an earlier betrothal ceremony be­
ethnographically accurate picture of daily tween Ilmarinen and the girl (e.g. 11. 162-167) and
life in early medieval Finland: travel, meth­ there is no longer any suggestion of a rival suitor.
At the end of the poem the demon changes his
ods of hunting and fishing, the tasks allotted daughter, now married to Ilmarinen, into a gull,
to men and women, and even the problem possibly as a punishment for having helped her
of recalcitrant servants. Another feature typ­ suitor; in most variants from Ladoga Karelia (where
ical of the style of this later period is the psy­ this episode also functions as the O rig in o f the G u ll
myth), the wife irritates Ilmarinen with her spite
chological portrayal of the characters, espec­ as they return from the otherworld and it is Ilma­
ially of the women: the femininity of Ilma­ rinen himself who punishes her.
rinen’s sister and the vanity that prompts 5 A wooden implement with a broad spade-like end
her to strike a bargain with her brother be­ for beating washing, often painted and decorated
fore she will reveal what she knows about with ornate carving, customarily a gift from a young
man to his betrothed; 11 ruoan ru o tsi ‘Swede to feed’:
Väinämöinen are traits that mark a different cf. 66:86 (from a variant of which this epithet has
approach to poetry, one that is separated by been borrowed); 15 i.e. mating dances performed by
several centuries from the tradition to which, certain fish; 3 6 -3 9 A hyperbole describing a Viking
for example, the mistress of Pohjola be­ long-ship; 165—166 i.e. icons, a reference to the Rus­
sian Orthodox betrothal ceremony (a surrogate pas­
longs. sage possibly borrowed from a variant of T h e B o n d ,
cf. 39:5-8); 165 Kar. ju m a la ‘god’ has the secondary
16 meaning ‘icon*; 224—231 These lines are an obscure
version of the ancient theme of the struggle between
A142 B576 LI 13.6 T52 the pike and the eagle (cf. 5:1030; pp. 523, 527);
This variant, an outstanding example of the psy­ 248-251 These verses arc to be read together with
chological and ethnographical realism of the poetry 61:77-79 for a more complete description of the
of the Viking period, preserves a version of the punishment inflicted on the girl; 251 lo re s ‘stone’:
rivalry between two suitors in a form close to that lit. ‘stone for weighing down fish nets’.
of the archetypal poem. The text does not describe
how Ilmarinen had already made the sa m p o in order
to obtain his bride because the singer expected his 18
listeners to be familiar with the relevant sa m p o poems A142 B184.1.4 D853 F87 H335 HI 131.1 LI 13.6
(in association with which this was sometimes sung).
N542.1
The final episode (11. 133-136) indicates that this poem
was linked in a chain to T h e G olden B rid e (cf. 21:1-6). The main motifs of the ancient fairy tale are evident
27 k u u lta a ‘to catch’: i.e. with a seine-net (k u lle ); and the girl is a supernatural being. While a smith
53 tin a rin ta ‘tin-breasted’: i.e. wearing a large, tin is the suitor and has to perform the impossible
brooch on the breast;7 7 -8 2 A surrogate passage from tasks, there is no suggestion of a rival.
a Karelian wedding poem, sung to the bridegroom 2 senihka < Ru. cf. zh en ik ‘betrothed; bridegroom*;
as he took the ritual purifying bath before setting 21 ra h a risti ‘money-cross’: ‘money-’ here is a quali­
off to claim his bride; 103 i.e. red from the reflection fier to denote an object of value.

530
THE GIFT 19, 20 understand the horrific final scene (19:153—
181; 20:81-113), reminiscent of the legend of
The Gift, a poem that enjoyed great popu­ Atreus and Thyestes.
larity in Karelia and Ingria, is an adaptation
of the bylina about Ivan Godinovich. The 19
Finnish variants retain several features of the
Russian poem, including the name of the A142 D853 G61 H335 HI 154 N855 Q451.9 S62
principal character, his refusal of the hospi­ The Archangel Karelian variant reveals the extent
tality offered by the girl’s parents, the violent of the influence of T h e C o u rtsh ip on Finnish adapta­
tions of the Russian bylina. Structurally, 11. 1-147
way in which he removes her from her home, are closer to the Finnish analogue than to the Rus­
the tracks of the three animals seen on the sian original. Apart from the underlying theme, the
return journey, a duel, and the mutilation only obvious Russian features that remain are the
of the girl. The main differences lie in the names, and the motif of the animals which run across
way in which the motifs of the Russian poem the path of the sledge on the journey to Kojo’s home
(11. 94, 116, 138); these refer to an episode at the
are used and in the reasons for the atro­ beginning of the bylina which describes how com­
city. panions of Godinovich set out, each to hunt a dif­
In the Russian version Nastasia’s betrothed, ferent animal, leaving Nastasia and Godinovich
the Tartar Prince Koshcherishcho, fights a alone. Kojo’s reason for killing his wife is not stated in
duel with Godinovich. Helped by the girl this variant, although vengeance is the likely expla­
the Tartar defeats his opponent and leaves nation. This is implicit in the final episode, while
him tied to a tree. Shortly afterwards, Kosh­ the references to carving ‘meat without a knife’ and
cherishcho dies in an accident; Nastasia re­ pouring 'blood without a ladle’ (11. 102-103, 124-
125, 146-147) suggest that revenge will be exacted
turns and releases Godinovich, who there­ on the wife by demanding that she in turn should
upon slices off those parts of her body that perform impossible tasks (this theme is developed in
‘have served the pagan’. In the Russian ver­ greater detail in Poem 20).
sion, Godinovich’s behaviour is approved by 1suitable
-9 The lament about the difficulty of finding a
husband incorporates a pun in 1. 3: apart
the poet. The Karelian or Ingrian poet, how­ from being a male name, J o u k o also means ‘swan’,
ever, who adapted the bylina to local tradi­ hence the references to ‘river-water’ and ‘buck-beans’
tion, did not understand the pathos of Godi­ in 11. 8-9; 2 6 -2 7 ,4 1 -4 3 , 65 The various impossible
tasks come from very different sources. The cosmo­
novich’s sense of pride, the dominant feature gonic tasks probably go back to an early stratum of
of the original. He omitted all reference to myth poetry, the second task suggests the influence
the pagan Tartar and instead produced a of shamanism, while the third is reminiscent of medi­
melodramatic story about a brutal mur­ eval concepts of the torments of hell; 87 p a tv in e n
‘curly-birch’ :i.e. having a curly grain; 88 saverkka <
der. Ru. cf. za v y o r tk a ‘something twisted, tied’; 154 Kar.
Finnish singers frequently associated and k o stin tsa < Ru. cf. g o stin e ts ‘gift from a visitor’.
sometimes confused The Gift with the The
Courtship (Poems 16, 17, 18); the latter is the 20
source of the impossible-task theme, which
does not occur in the bylina. The confusion B184.1.4
S62 *S177
G61 H335 H373 H1021 H1022 Q451.9
of the two poems may also explain the form
The variant illustrates the simplification that occur­
of the revenge motif as it occurs in the Fin­ red in the Ingrian adaptation, which has been put
nish variants. The Ladoga Karelian variant together from numerous stock phrases. Nothing sur­
of The Courtship (Poem 17), in which Ilma­ vives of the proud Russian boyar; Kojonen’s epithet
rinen punishes his vexatious wife, possibly is pejorative, he is portrayed as boorish and as one
who intrudes where he is not wanted (cf. 11. 34-41).
illuminates the way in which the motif took The tasks he is set are based on two separate motifs.
shape; in certain variants of The Gift the The first, to sit in ?. burning house, is from medieval
reason for the husband’s brutality is to avenge Christian tradition (cf. also ‘fire’ and ‘fiery’ in 11.
the hardships he had to suffer in accomplish­ 3-5), while the second that of making a rope from
ing the impossible tasks set by his father-in- chaff, is a motif of great antiquity that was known
4000 years ago in Babylon and also occurs in Ancient
law. Against this background, it is easier to Greek legends. The tasks set for the wife suggest

531
that the poet-singer was familiar with versions of the 22
widely known C lever P e a sa n t G ir l tale and the Russian
redaction of the E lfin K n ig h t ballad in which the girl A142 B102 F663 LI 13.6 T117.il
and boy ask each other to perform impossible tasks.
T h e G olden B r id e generally survived as a separate
12 m olotsa passim < Ru. cf. m o lodets ‘young man’;
3 4 -3 7 A stock phrase drawn from poems sung as the poem in Ingria, where long sequences occurred less
accompaniment to wedding ritual (cf. 84:7-10). often and where the S a m p o E p o s does not appear to
have been known. This variant retains a form rela­
tively close to the archetypal poem.
1 -1 0 The opening lines are a secondary feature,
THE GOLDEN BRIDE 21, 22 probably dating from the Middle Ages, and refer
to the division and allocation of land practised in
The concept of a ‘golden bride’ is known in West Finland and Estonia. In medieval Estonia it
was customary for the village smith to set up his
many parts of Arctic Eurasia; peoples as far forge on the common land of the village (cf. 11.
apart as the Lapps, the Ostyaks and the 5-8); 3 p iu s ta ‘rod’: approx. 1.04 m ;4 v a a k sa 'span’
Voguls are known to have named certain approx. 20 cm; 21 va a rn a ‘peg’: i.e. from which to
cult objects or places ‘Golden Bride’ and hang things; v a lta ‘estate*: lit. ‘noble and his family,
and their land’; 25 m a rk k a ‘coin’: i.e. for ornamen­
Russian accounts of the mission of St Stephen tation; 7 3 -7 4 passim i.e. that has lived one autumn
of Perm to the Zyryans in the 14th century or winter.
describe pagan worship of ‘idols, fire and
water, a golden woman, witches, and trees’.
Similar references to the worship of ‘golden THE KANTELE 23-25
woman’ idols are found in 16th and 17th
century travel accounts. Several theories have Variants of The Kantele have been recorded
been advanced to explain the origin and throughout the Baltic-Finnish area. North of
significance of the poem in the Baltic-Finnish the Gulf of Finland and Lake Ladoga the
area. The style and content of The Golden poems about the origin and playing of the
Bride are typical of the old stratum of aetio- kantele were generally linked to poems about
logical epic. A later poet-singer introduced the construction of the primeval boat and a
the courtship and impossible-tasks themes, voyage (cf. Poems 26, 27); together they
and the structure of the latter is evident in formed a miniature epos comparable to the
the smith’s three attempts to make himself Sampo cycle (Poems 12, 13, 14, 15). Ingrian
a wife. Another view is that The Golden Bride and Estonian variants, however, show clearly
was composed to deride a culture-hero and that these poems were originally sung sep­
is comparable, typologically, to the Greek arately.
myths that ridicule the god of crafts, Hephaes­ Numerous secondary developments and
tus (who was assisted by ‘golden maids’ and additions make it difficult to identify the
made Pandora, the first woman) and the precise content, still less the archetypal form
Indian Tvashtria, the builder of the universe. of the Baltic-Finnish poems about the origin
A third theory sees the poem as the highly of the kantele and the primeval boat. It is
individual, plaintive elegy of an aging bach­ not possible even to establish with any cer­
elor, composed about the time of Christ in tainty the identity of the hero who created
an area on the southern shore of the Gulf of them. Comparative evidence suggests, how­
Finland. ever, that he was a smith. Typologically, the
poems appear to have been close to a type
of aetiological epic in which animals played
21 an important role: the kantele, and originally
A142 B102 F663 LI 13.6 T117.il the boat also, were constructed from the
In Archangel Karelia T h e G olden B rid e was usually bones of a bird, fish, or reindeer, and it was
sung in a series as the continuation of T h e C ourtship animals which tried in turn to play the kantele.
after the suitor - Väinämöinen or Ilmarinen - had The two poems about the origin of the
been rejected or had lost his wife. The warning in
11. 73-78 is secondary and was probably added during instrument and the boat were combined by
the Christian period. a poet-singer of outstanding skill and know-

532
ledge some time during the Middle Kalevala internal rhyme, he paid attention to the
period. He consciously brought together a aesthetic choice of words and images and to
series of unrelated mythical themes about the the effect of their juxtaposition. This sense
construction of these two objects from parts of conscious aesthetic appreciation is one of
of animals and linked them to the character the most striking features of the poem: the
of Väinämöinen. The animal motifs were poem contains evidence not only of an en­
used figuratively: the materials from which joyment of language for its own sake, but
the boat was constructed came to denote also of the poet’s eulogy of such an aesthetic
speed; the materials of the kantele provided experience.
the poet with music metaphors and a kenning
(e.g. hyvin soitti hauen hammas ‘the pike’s tooth 23
played well’); the animals which once played A1461 D1419.3 D1443.1.3.2 N774.2
the instrument became the audience and were
This variant is an example of the miniature epos
used to illustrate the power of the music. form, although it lacks the description of how the
Some scholars argue that the poet intro­ boat was constructed with which most versions begin;
duced certain other themes known in many 11. 1-40 are drawn from poems about the primeval
parts of the world: he may have elaborated occurs boat and the voyage; the shift to the k a n tele poem
at 11. 41-45 (sometimes it is provided by Väi-
kantele origin myths with traits drawn from nämöinen’s ship running aground on a rock where
The Singing Bone, a tale recorded in many he finds the bones of a fish or by his raking the bones
parts of Europe, Africa and India about how up from the sea bed). A typical epic feature is the
a fisherman made a harp from the body of formula of three people, or three groups of people,
the first two of which fail to accomplish a task,
a drowned girl. Her skull provided the frame, which is then performed by a hero.
her nails the pegs and her hair the strings. 26 su k a p å ä ‘brush-headed*: the meaning is obscure
The kantele origin poem also incorporates and could describe ‘short-cropped hair*, ‘hair brushed
another widely known myth - a boat that smooth*, ‘some kind of head-dress’, or ‘brush orna­
mentation on a helmet’; 29 i.e. an ornament worn
catches fast on an object in the open sea (the on the forehead (see Plate 35); 35 The simile is flatter­
Jonah motif) - which the poet used to link ing: Väinämöinen is compared to an object of
the poem of the primeval boat to that of the great value; it is probable that 40:53-58 originally
belonged here; 63 ilo ‘joy* and so itto ‘playing of a
kantele. The description of the power that Väi- musical instrument* frequently mean ‘musical in­
nämöinen’s playing had over mortals, immor­ strument* in Finnish folk poetry and as such are
tals and animals was possibly influenced by often the subject of word-play.
North European versions of the Orpheus le­
gend, which enjoyed great popularity in early 24
medieval Europe. The Orpheus and Jonah
features in The Kantele have been compared A 142 A1461 D1441.1.3.2
with the Sadko bylina. One school of thought The Ladoga Karelian variant illustrates how the
argues that the bylina could have been in­ stylistically more developed northern sequences (cf.
Poem 23) influenced those further south. LI. 1-12
fluenced by the Finnish poem. It seems more represent an old form of the ka n tele poem in which
likely, however, that the Finnish and Russian there is no association with a voyage, while the de­
poems both spring from versions of these scription of how the instrument was played and of
its effect (11. 13-59) is typical of the Archangel Ka­
themes known in Scandinavia. relian variants. A further ancient feature in this
The unified whole which the poet created variant is the separate identity of the maker and
from these various myths and legends proved the player of the ka n tele. The identification of the
immensely popular and spread from settle­ maker as a smith is a typical southern feature and
ment to settlement, becoming in turn the in Ingria, for example, the smith is always Ilmarinen.
2 Viron sep p ä ‘Estonia’s smith’: this phrase is obscure.
source of new poems about the kantele, the According to one theory, V iro here is analogous with
primeval boat, and the voyage. The poet’s V iro in the compound V irokannas , a proper noun that
skilful handling of his material and his care­ is used as a parallel for ‘world’, hence Viron sep p ä
ful choice of vocabulary point to a conscious would mean ‘world-smith’, i.e. ‘shaper of the world’,
an epithet suggestive of Ilmarinen, who is sometimes
artistic approach. In addition to initial and known as k a ik en m a a ilm a n ta k o ja ‘forger of all the

533
world’. A second theory explains Viron as a corrup- of wood, is associated here with Christian festivals
ion of virren (genitive of v irsi ‘song’), hence ’song- (11. 3-4). A possible survival of an early stratum of
smith’; 25 toprouuem a local derivative from Ru. cf. the poem is seen in 11. 39-42, where animal bones
dobry den' ‘good day!’: 55 k en k iä < Sw. cf. sk ä n k a provide the materials from which the boat is built.
‘to present’. The factually accurate description of the selection
df the crew, departure and the voyage (11. 52-80)
25 contain features that were originally used to depict
Ahti’s voyage in T h e B o n d (Poems 39, 40), but which
A142 A1461 D853 D1441.1.3.2 N855 no longer survive in that poem; the account of the
The North Ingrian variant has developed in a mark­ storm may also be another common feature with
T h e B o n d . The passage about Pentti’s castle is usually
edly different way from Poems 23 and 24. While it
retains the main theme of the Ingrian variants - i.e. followed, as here (11. 126-131), by the pagan G reat
O x (Poem 51); this variant is also typical in that it
the making of the k a n tele by a smith - the singer has
compiled this variant from stock phrases and sur­ incorporates a fragment from the satirical G reat P ig
rogate passages. The opening (11. 1-21) is a fragment (Poem 52).
from an otherwise lost poem about the origin of a 5 2 -5 3 A riddle: i.e. a boat; 67 aivinainen ‘linen’: i.e.
horn instrument which the singer has loosely asso­ white; 110 P e n tti : possibly a corruption of the second
ciated with the ka n tele (cf. the apparent conflict that component of the name J a a k k o P o n tu s (cf. Jacob
occurs in several places, e.g. 11. 20-27). Pontus in Name Index). In variants of the poem
6 - 7 These lines are suggestive of the Finnish proverb: about the siege of Riga (Poem 144), Pontus’s name
P ä ä P y y tä jä lle , p y rstö p is tä jä lle , k e sk ip a lk k a k e ittä jä lle
was often confused with that of the officer command­
‘The head for the catcher, the tail for the slaugh­ ing the garrison, a possible explanation for Pentti’s
terer, the middle part for the cook’. hostility in T h e V oyage; 141-145 These lines do not
belong to this poem and are a typical example of
stock Prologue/Epilogue materials (see p. 522).
THE VOYAGE 26, 27 27
The only feature that these two poems have B877.1.2 D950.2 D1121 D1419.3 F841 G5Ö0
in common is the theme of travel at sea with This version, generally known as T h e Voyage o f the
all its associations of danger. This has served Son o f G o d , incorporates two Christian themes within
as a nucleus for many different themes, the the framework of T h e V oyage: the accounts of God’s
struggles with Leviathan, drawn from The Psalms
earlier of which were linked to Väinämöi- and Job, and the story of how Jesus calmed the
nen’s construction of a boat and a kantele (cf. storm on the Sea of Galilee. This particular com­
Poem 23) and formed a miniature epos com­ bination of Old and New Testament stories was
parable to the Sampo cycle (Poems 12, 13, 14, especially popular throughout Central Europe in the
Middle Ages and it was probably in this form that
15). In more recent redactions of The Voyage the theme of the poem reached the Finnish area.
other persons also appear in the role of the It has been suggested that the account of the struggle
hero, e.g. Untamo (Poem 26) or God (Poem with Leviathan is an adaptation of an ancient tra­
27). The original poem about the building dition to which, for example, also belong the Baby­
lonian myth of how Marduk slew Tiamat and the
of the boat evolved into a account of the accounts of the struggles between an eagle and a
search for wood suitable for its construction pike in the oldest strata of Finnish folk poetry (cf.
(a theme that is also widely known in Esto­ p. 523, 530). It should be noted that this Christian
nia) and was cast in the framework repetition version of the poem did not enjoy great popularity
in the Finnish area; the older form, in which Väi­
form. Poems that survived in Ingria show nämöinen is the hero, is far more common.
that this theme was later adapted by Chris­ 1 passim The reference to Sampsa Pellervoinen,
tian poets to describe the search for wood traditionally a fertility figure (cf. Poems 46, 47; pp.
suitable for the construction of a church (cf. 544-546), may be the result of association and poss­
ibly confusion with the Russian Orthodox St Sam­
Poem 68). son; in most variants of this poem, it is God or the
singer-ego who searches for wood; 3 Concerning the
26 ritual significance of the oak see p. 547; 13—16 passim
i.e. the wood was rotten. It was commonly believed
B16.1.5.1 B871 D1121 F841 X1201 in the Middle Ages that ravens sought out dead or
This is a typical example of how Ingrian singers dying trees; 59 passim S a n tta A n n i ‘Saint Ann’: a
often linked T h e V oyage to J a c o b P o n tu s (Poem 144): corruption of A n tti, i.e. St Andrew, the brother of
the poems are joined here at 11. 110-140. The opening St Peter (cf. 1. 60 passim). 85 venom a corruption
(11. 1-51), describing the search for the right kind of veen (— veden) on.

534
THE SPELL 28, 29 relatively stiff. This is possibly explained by
the poem’s ritual function, a factor that
While The Visit to Tuonela (Poem 30) and frequently inhibits, or at least delays, change
The Spell contain many characteristic features and adaptation to new styles.
of the Christian period, they provide an in­ In variants of The Spell the shaman who
teresting illustration of how Finns in the pre- sets off in search o f‘knowledge’ is, depending
Christian era understood the role of the sha­ on area, either Väinämöinen, Ilmarinen, or
man. As such these poems also contain several Lemminkäinen. There is evidence to suggest
features which have close parallels in many that the shaman was originally Lemminkäi­
parts of the world. ‘Knowledge’, i.e. magic nen and that Vipunen, an even more power­
power, was obtained from the spirits of the ful shaman, was his deceased father. Lem­
dead who, depending on region and period, minkäinen was first replaced at a relatively
were believed to inhabit natural phenomena early period by the other two heroes in those
or their own otherworld - in the Finnish variants which were sung in connection with
area Tuonela or Manala. To acquire his spells their exploits and then, by analogy, he was
the shaman first fell into a trance, which often also replaced in variants that were never
allowed his soul, often in the shape of an associated with Väinämöinen or Ilmarinen.
animal, to travel to the abode of a specific A medieval poet-singer added the motifs of
dead person, frequently a shaman of great sword-blades and needle-points (cf. 28:32-33)
repute, or to the otherworld. and other images from vision poetry. Well-
The first of these methods of acquiring versed in Christian legend, he renamed the
‘knowledge’ is illustrated in The Spell, which dead shaman Anterus (i.e. ‘Andrew’) and
describes Väinämöinen’s journey to the grave reshaped his character in the light of the
of a famous shaman, Antero Vipunen. The Jonah motif, interpieting literally metaphori­
latter’s refusal to give Väinämöinen the cal references to the mouth and belly of the
‘knowledge’ he needs and the struggle that shaman as the source of spells: hence Väinä­
follows refers to the great rivalry that often möinen is depicted as slipping into Vipunen’s
existed between shamans. mouth and being swallowed. The shift to the
The main ideas of The Spell and The Visit Jonah motif may also have been partly stim­
to Tuonela date back to the Pre-Finnic period; ulated by linguistic confusion; the medieval
it is possible that they had been incorporated poet-singer possibly misunderstood, or delib­
into poems describing the acquisition of spells erately misinterpreted, the word used in some
as early as the Stone Age and were sung in variants for Vipunen’s mouth: kita lit. ‘ani­
connection with the ritual induction of a mal’s mouth’, and in some dialects also ‘gills'.
shaman. The purpose of the induction cere­ A singer in East Finland or Karelia could
mony was to show how spells had been ob­ easily have associated the word with Ru. kit
tained at the beginning of time and to in­ ‘whale’. The development from an old sham­
struct the new shaman to maintain this tra­ an poem to an adventure poem incorporating
dition. In the form in which The Spell sur­ popular medieval themes could have been
vives, its structure has changed and has at­ prompted by the fact that as Christianity
tracted several secondary motifs. In style and gained strength the original purpose and idea
content the variants are often closer to the of the poem were becoming obscure, or even
Sampo Epos than to the earlier myth poems. meaningless, for many people.
The motifs of strife and travel, for example,
are typical of the Middle Kalevala period,
although the older stratum of the poem is 28
evident in the lack of other stylistic features D1121 D1275 D1810.13 F81.1.2 F152.1.6.1 F531.2.6
typical of that period: there is no trace in F841 HI 382.1
The Spell of the ebullient dialogue style of The Archangel Karelian variant illustrates the old
the later period and the language remains shaman myth of how a hero seeks the magic words

535
to complete the contsruction of a boat; as such this also means ‘area widened by a river; depths’; 98 Con­
is an elaboration of the motif of the primeval boat cerning so itto ‘instrument’ see p. 533; 112 Concern­
in Poems 26 and 27. The account of the visit to ing ilo ‘joy’ see p. 533; 141 naroda < Ru. cf. narod
Vipunen’s grave has been reinterpreted in terms of ‘people’; 149-150 In his excitement the singer has
medieval concepts of the journey to hell and the momentarily stopped singing and continued in prose,
narrative makes frequent use of stock phrases. It has at device often used to hasten the narrative.
been suggested that the detail of how Väinämöinen
tormented Vipunen was influenced by a Russian
tale about a boy who is swallowed by a whale, or
a giant pike, as he is carrying timber home. He kills THE VISIT TO TUONELA 30
the fish and escapes by chopping the wood and
lighting a fire in its belly. Versions of this tale are A672 D191 D1810.13 »E420.1 E481.2.2 F141.1
known as far afield as the East Baltic and Polynesia. F167.il.1
10-20 An augury metaphor; 2 6 Concerning v iik k o This poem develops the theme, referred to briefly
‘ages’ see p. 523; 30 veneh h a a p a ‘boat aspen’: the in Poem 29 (11. 7-13), of Väinämöinen’s visit to Tuo­
oldest Finnish boats were hollowed from aspen logs, nela to acquire the necessary words of magic to
an especially hardwearing wood, and it is thought complete the building of his boat. As such, T h e
that one of the ancient Finnish tribes used such boats V isit to T u o n ela provides a vivid account of what
to cross to the northern shore of the Gulf of Finland; was believed to happen when a shaman fell into a
34—37 A surrogate passage borrowed from T h e M e s ­ trance and his soul went to the otherworld. The poem
sia h . An example of the passage in its original con­
has been associated with an event in certain variants
text can be seen in 59: 201-211; 4 9 -5 0 i.e. and cause of L em m in käin en and K a u k a m o in en (Poems 34, 35, 37,
Vipunen to disgorge him (a surrogate passage bor­ 38), which refer to the presence of a singer and his
rowed from T h e C rea tio n , cf. 4:38-39). sledge among the revellers; it breaks and has to be
repaired. The incident is an elaborate metaphor that
29 (cf. p. 522) describes a shaman's, or a bard’s act
of singing; hence the symbol of the sledge breaking
♦D791.2.3 D1121 D1275 D1419.3 D1441.1.3.2 and the need to repair it means that the singer has
D1810.13 F81.1.2 F93.1 F141.1 F531.2.6 F841 forgotten the words of his song and has to go to the
HI 382.1 otherworld to find them.
The archetypal form of the poem can be seen at the The description of Väinämöinen’s arrival at the
beginning of this variant (11. 1-33), where it has Tuonela river and his request to be rowed across,
been handed down from the pre-Christian era with­ reminiscent of the Styx and Charon, also reflects a
out the thematic changes introduced by the medieval widely held belief that the deceased arrives in the
poet-singer. On the other hand, the shamanistic otherworld in the state in which he died (cf. 11.
function of the ancient poem has become obscure 41-64). A distinctive shamanistic feature is the ac­
and the variant has evolved into a poem about Väi­ count of how Väinämöinen changes into a lizard
nämöinen, intended to entertain rather than accom­ or worm and swims back across the river to the world
pany ritual. of the living. The lizard, worm or snake was one of
Several popular themes in which Väinämöinen is the more common forms a shaman's soul was thought
the central character have been brought together in to assume.
a loosely linked series. Beginning with the spell motif Although the main theme is ancient, the form in
taken from variants about the primeval boat (1. 1-17, which the poem has survived is characterized by
18-33), the singer has combined two poems to take numerous secondary features: it is an unusual com­
Väinämöinen first to Tuonela (cf. Poem 30) and pilation of ancient beliefs, and stock phrases, frag­
then to the grave of the famous shaman. The second ments of surrogate passages, and images from var­
theme (1. 34—89) has been drawn from T h e V oyage, ious strata. The present form of the poem took
with the addition of various stock ideas to emphasize shape during the Middle Kalevala period, although
the power of the great hero; the theme of T h e several of the stylistic features are later additions; the
Voyage stops where the ship runs aground on the conversation with the daughters of Tuoni is modelled
shoulders of a great pike and shifts to T h e K a n te le on the Viking period dialogue in the opening of
(1. 90-120). The link (11. 121-129) to the final theme, Poems 16 and 17, while the structure of certain
T h e S in g in g M a tc h (11. 130-163), makes use of several subordinate clauses is typical of medieval poetry.
allusions. The 'water’s mistress’ in 1. 118 appears to Above all, the poem has attracted several- features
have been associated by the singer with the mistress that are characteristic of the early Christian period:
of Pohjola, and is therefore an enemy figure who Väinämöinen is on his way to church when the
has to be attacked. This task falls to Jougamoinen sledge breaks, and the description of the journey to
( ~ Joukahainen), traditionally Väinämöinen’s an­ the otherworld uses horror-images borrowed from
tagonist and very often the man who shoots him vision poetry. The warning at the end of the poem
(cf. 4:8-19). against the practice of shamanism (11. 94-101) sug­
16 sau n a i.e. savuna 'as smoke’: a corruption of sa u k ­ gests that this variant was used as propaganda by
kona ‘as a beaver’; 88 In Kar. dialects Ia m b i ‘pond’ the early missionaries (cf. pp. 53-54). The poet-

536
singer’s own attitude towards pagan practices is (5:116-127) is possibly a fragment that be­
possibly indicative of how the early missionaries them­ longs to the same tradition and can be com­
selves understood Christianity: his message is not
that there is no otherworld from which spells can pared to the episode in the Indian sun-theft
be acquired, but that it is wrong for Christians to myth describing how the primeval couple
go there before they die. found the sun and moon, took them home,
4 1 -4 2 passim i.e. killed by a weapon; 57 -5 8 passim and later placed them in the sky. It has been
i.e. burned to death; 9 1 -9 2 Some variants have
‘snake’, and refer to an iron net stretched across suggested that the more complete versions of
the river to prevent Väinämöinen’s escape (cf. 11. Sun and Moon were transmitted to the Fin­
29-30). nish area by Slav peoples, for a corresponding
myth is known by the Ukrainians and rela­
SUN AND MOON 31-33 tively complete variants of the poem have
been recorded only among Russian Orthodox
A myth known all over the world tells how Karelians and Ingrians.
the sun and moon are imprisoned and pre­ Within the Finnish area the incorporation
vented from performing their normal func­ of fragments of Sun and Moon into evocations
tions. They are released from captivity by a by early Christian missionaries indicates how
cunning animal culture-hero, e.g. a crow, deeply-rooted the poem was. It is uncertain,
hedgehog, or coyote. In Eurasian versions of however, whether the closing theme, express­
the myth the liberator can also be a human ing ideas of social equality (cf. 32:76-91;
culture-hero, Prometheus being the most ob­ 33:146-152), was part of the version that
vious example. Though it has not been poss­ originally reached the Finnish area and was
ible to establish a genetic relationship to the elaborated during the Middle Ages by Do­
Finnish form of the myth, a very similar minican mendicant monks, or whether it
version in known in Kalmuk mythology. An was added by them (cf. pp. 54-56).
outcast angel, Irlik-khan, leaves his home in
the depths of a mountain, and steals the sun 31
having foiled its female guards. Men, animals A142 A527.1 A672 A734 A737 A1447 *B91.8 D2142.1
and plants begin to perish in the darkness
This variant, which survived in an area from which
and cold until the leader of the guards, Okun- epic poetry had largely disappeared, is a fragment
tengri, disguises herself as a beggar and de­ of a longer, already forgotten poem and was probably
scends to Irlik-khan’s home. She puts the remembered more as a Väinämöinen poem than as
guards to sleep and after a bitter fight over­ a variant of Sun a n d M o o n . Although the variant is
defective and composed largely of stock phrases, it
comes him and releases the sun from a gaping contains several motifs associated with the Sun a n d
wound in his body. M o o n theme, e.g. the opening verses (11. 1-3) and
The myth originally had a ritual function. the reference to how Väinämöinen restored the sun
Throughout the Arctic regions strikingly and moon to the sky (11. 23-24). The release of the
sun and moon is not described as such, but is sym­
similar myths exist to explain the disappear­ bolized by a stock Smith passage (11. 4-12; cf. Poem
ance of the sun during the winter months 8; 17:49-55), which the singer associates with the
and ceremonies evolved to ensure its return forging of the sa m p o , and the allusion to the journey
in the spring. Sun-worship is also known to to Pohjola to steal it (11. 21-24). The journey itself
has been partly conditioned by accounts of a sha­
have played an important role in pre-Chris­ man’s journey to the otherworld similar to those that
tian cults in Fenno-Scandinavia, although it underlie T h e V isit to T u on ela (Poem 30).
is believed that the form of the ritual and
myths associated with it among the Lapps 32
and Karelians were borrowed from peoples
further east. Various versions of this particu­ A605.1 A714.2 A734 A739.8.1 D672 D1364
lar myth reached the Finnish area, some more A more complete version of the poem is found in
complete than others. The passage in The this variant, which probably dates from the early
Christian period. While it retains the structure of a
Creation of how the eagle’s eggs changed into shaman poem, especially the description of the jour­
the sun and moon in the belly of the pike ney to the otherworld to recover the sun and moon,

537
the poet-singer has introduced Christian features by shaman’s journey to the home of a rival
making the smith-culture hero’s daughter perform (Väinämöinen and Lemminkäinen are tradi­
her tasks in the service of God. A parallel has been
drawn between the smith’s daughter and Okun- tionally enemies), where a contest takes place
tengri of the Kalmuk myth in that both of them and the latter is either killed or banished to
foil the guards of the otherworld by putting them the otherworld. The motifs used to denote
to sleep. the preparations for the journey, the warn­
A second motif, the world-wide M a g ic F lig h t tale,
has been introduced to describe the return of the ings, the dangers, and the way in which
smith’s daughter to the world of the living. The Lemminkäinen overcomes the obstacles are
subject of this tale is usually a young man who typical of shaman poetry (cf. Poems 28, 29,
escapes from the otherworld by outwitting his pur­ 30, 32, 33). It is possible that the substance,
suers with various magic devices. The tale ends with
the young man crossing the otherworld river and if not the detail, reflects the ancient custom
leaving his pursuers on the opposite bank; hence of contests between the shamans (i.e. cham­
the river that the smith’s daughter creates in 11. pions) of neighbouring communities. The Sing­
61-68 marks the boundary of the otherworld. ing Match is another example of this custom.
20 passim versta ‘verst’: 1069 metres; 39 i < Ru. cf.
i 'and; even’.
In some variants Lemminkäinen’s destination
is Luotola, which until the late Middle Ages
33 was one of the names of the South-West Fin­
nish Archipelago; this has led to speculation
A605.1 A714.2 A734 A736 A739.8.1 D1562 F141.1 that the theme of Lemminkäinen was originally
*U62
a contest between the shaman-champions of
While retaining the underlying structure of Poem a coastal and a skerry fishing community. In
32, this variant has been cast in the form of a medi­
eval legend poem. The theme of the magic flight more northern areas certain motifs, in parti­
has been reversed, to describe the journey to hell, cular that of the snake-infested beer, attract­
and modified; all that remains of the earlier poem ed two other poems to the main theme:
is the use of magic devices to overcome the obstacles Päivölän pidot (The Feast at Päivölä’), the
that are placed in the way of Jesus. accompaniment to brewing ritual, and Kau-
16 h en gesti < OSw. cf. h in g ist ‘stallion’; 17 kan k a ro <
OSw. cf. g dn gare ‘pacer’; 17—23 A hyperbole com­ kamoinen, a poem from the later Viking period
monly associated with horses, possibly a fragment about a man who has to flee after killing a
from an otherwise lost poem about a giant horse; rival. In this later version of Lemminkäinen,
4 0 -4 3 passim The splitting of an object by pouring the account of the singing contest between
beer or mead over it is a secondary feature that
evolved from the confusion of two images: the split­ the two shamans is described in greater de­
ting of a rock, a Finnish version of the Biblical ac­ tail.
count of the rending of the rock of Golgotha (cf. The second main theme, Lemminkäinen’s
35:263 for a primary occurrence of this image), and death and his mother’s efforts to restore him
the image of snakes drinking beer within a rock (cf.
Poem 55: 7-8); 4 6 -5 0 A stock passage, probably to life, is a version of the earlier poem that
borrowed from wedding poetry, to emphasize the was probably recast in the Savo region during
size and importance of the road; 50 p a a sto < Ru. the period known as ‘barbarian Christianity’,
cf. p a s tv a ‘parishioners’; 103—104 A stock hiding-place i.e. when Christian ideas were permeating
phrase.
the Finnish area but before the Church had
obtained a firm foothold. The nature of Lem­
LEMMINKÄINEN 34-36 minkäinen’s death and the events surround­
ing it have been likened to the murder of
The Lemminkäinen poems form a composite Baldr. In some variants Lemminkäinen per­
miniature epos, comparable to The Sampo, and forms acts of benevolence for all but one of
The Kantele and The Voyage, and syncretize those present; the man left out takes his re­
shamanistic and early Christian beliefs. venge by killing Lemminkäinen with a sprig
Lemminkäinen is built around two main themes. of hemlock, the one means of attack against
The first is a poem that took shape some­ which Lemminkäinen had neglected to pro­
where in the southern Finnish area, probably tect himself (cf. Achilles’ heel). Comparison
in the late pagan period - a description of a has been drawn to the sprig of mistletoe,

538
which according to some myths was the cause to owe their origin to the thematically similar
of Baldr’s death (cf. p. 523). It is is not Russian Vavilo bylina.
thought, however, that Lemminkäinen is a Fin­
nish version of the Scandinavian myth, but 34
that they both derive from Dark Age or early
medieval myths based on the story of the A671.2 B437.3 B875.1 D615.1 D945 D1275 F142
F771.5.1 P677
death and resurrection ofChrist; in the Fenno-
The theme of the shaman’s journey to compete with
Scandinavian area such myths were also another shaman is found in the Archangel Karelian
possibly associated with fertility beliefs. Some variant in 11. 69-75, describing Lemminkäinen’s in­
scholars go further and suggest that all these tention to attend the feast uninvited, followed by 11.
themes are related to the ancient Egyptian 76-152, which fell of the dangers that face him and
myth of Osiris. The influence of Christian show how he will overcome them; 11. 153-200, the
trial of magic power with the assumed victory of
beliefs, however, appears to have been weak Lemminkäinen, are also part of this theme. The
for attempts to resurrect Lemminkäinen fail context is typical of poems of the shaman period.
and he has to remain in the otherworld; the The obstacles that Lemminkäinen faces combine
motifs and images with which this episode is features which are known throughout the Arctic
region and reveal the efforts to adapt pagan con­
depicted are mainly drawn from shaman cepts to a Christian framework; it is often difficult
epic, although later Christian influence is to distinguish between shamanistic and early Chris­
evident. tian visions.
The form that the Lemminkäinen miniature from The opening scene (11. 1-59) is a surrogate passage
T h e O rig in o f B eer (of which a second var­
epos later acquired owes much to a medieval iant is incorporated in Poem 38), an ancient poem
Christian poet-singer who syncretized the old associated with brewing ritual throughout the East
beliefs, in their primary and ‘barbarian Chris­ Baltic region. Knowledge of brewing was acquired by
tian’ shape, and the new beliefs introduced the Finns from the Ancient Balts and the ritual prob­
ably comes from the same source. The importance of
by Christian missionaries. The poem is simi­ beer in ancient Finnish society is illustrated by the
lar to The Visit to Tuonela (Poem 30) in that ritual poems about its origin which formed the ac­
it warns of the dangers of visiting the other- companiment to annual festivals comparable in sig­
world, and to The Voyage (Poems 26, 27), nificance to the Greek Dionysos cult. Until relatively
recent times, the festival was celebrated in Ingria
The Fishing (Poem 56) and Leavetaking (Poems on a specific saint’s day, preceded by communal
57, 58) in its depiction of how a monster or brewing and accompanied by communal drinking
a pagan is banished or ridiculed. Other addi­ (cf. pp. 541-542, 545; see Plate 32).
tions by the medieval poet-singer include the The contest between the two heroes also reflects
the influence of the two different periods represented
introduction of the sexual taboo violation by the contents of the poem: 11. 153-200 are from
motif, the ‘all-but-one’ emphatic stylistic the older poem about the struggle between the rival
device, and certain specifically Christian shamans, while 11. 213-233, preceded by an insult
traits. (11. 201-212), describe a duel between boisterous
Vikings. The latter theme, borrowed from the later
The motifs with which these two themes K a u k a m o in en (cf. Poems 37, 38), has influenced the
are expressed come from many different former to the extent that the Viking chieftain, Ahti,
sources and it is often difficult to distinguish has assumed at 1. 153 the role of the shaman-hostess,
between direct influences and unrelated the­ Osmotar, who originally offended Lemminkäinen by
matic parallels. The latter invite comparison leaving him uninvited (Ahti first appears in the var­
iant as one of the guests, cf. 1. 49; role-variation of
with the Osiris myth: Osiris married his sister, this kind is typical of folk epic).
was killed and mutilated; his wife-sister re­ 7 ,8 sa la p u id a : a corruption of salo puita-, 2 6 -2 7 The
covered the parts of his body, and he was tips of conifer branches were used as a substitute
granted immortality and made judge of the for hops until relatively recent times in parts of
Scandinavia; 4 3 -4 8 A Christian trait based on M at­
otherworld. Direct influences came from medi­ thew 22:2-14 and Luke 14:16-24; 63 p ä re ‘splint’:
eval vision poetry and certain motifs, e.g. i.e. a long, narrow, slow-burning sliver of wood
the obstacles guarding the approach to the fixed at right angles to the wall, until the end of
the 19th century the most common source of arti­
rival’s palace and the form of versions of the ficial light in Finnish and North Russian peasant
magic contest, are thought by some scholars homes; 72 p iir u t < Ru. cf. p ir ‘feast, banquet’; 8 6 -0 9

539
passim Images of this kind are common both in 36
Arctic shaman tradition and Christian vision poetry;
127—129 A surrogate passage borrowed from an in­ A671.2 B575.1 B875.1 D945 D1610.9.1. F167.11.1
cantation for protection against snakes; 138—146 stock F771.5.1 F833
terms used by shamans to describe how their rivals
protected themselves; 155—158 cf. 7:14-15 and note; This is one of the few examples of L em m in käin en
162—163, 164—165 The poet-singer has brought to­ recorded as far south as Ingria and preserves a version
gether two Finnish proverbs; 166—200 These animals of the earlier poem that does not incorporate the
are usually interpreted as the shaman’s familiars; secondary K a u k a m o in en features that characterize the
169—170 passim i.e. from the beams, for the house Karelian variants. The underlying theme of the ri­
would have only a hole in the roof to let out the valry between two neighbours - here relatives - is
smoke; 191—198 The hyperbole is a surrogate passage reduced to basic essentials, and the series of ob­
from T h e G rea t O x (cf. 51: 3-9); 209 to p p a ‘serpent’: stacles and traps set for the young man are images
lit.'snake that hibernates in a cowshed’; 216-217 typical of shamanistic poetry. Certain details in the
variant illustrate how originally fantasy themes were
A stock phrase borrowed from medieval vision poems
and describing the journey to hell; 2 2 3 -2 2 6 A fuller modified and given a realistic interpretation in the
version of this stock passage is found in 37:119— later Viking period, e.g. the episode in 34:201-205,
123. in which Lemminkäinen is offered worm-infested
beer, would appear in the light of Poem 36 to have
had a mythical origin (cf. 11. 64-651. The opening
35 lines (1-4), based on a surrogate passage borrowed
A671.2 B575.1 D1275 E186 E363.3 £761.1.7 F142 from T h e L o st G oose , cf. 133:10-11; 134:3-8), and
F167.11.1 F771.5 *F859 P231 Q560 R153.4 T415 linguistic evidence reveal considerable Estonian in­
V229.1 fluence.
1 p o isik k a in e < Est. cf. p o isik e ‘small boy’; 6 m in ta a
Read together, Poems 34 and 35 are close to the < Est. cf. (partitive) m in d ‘me’; k a a sa < Est. cf.
archetypal form of the L em m in k ä in en E p o s . While k a a sa ‘wife’, ka a so ‘bridesmaid’; 7 p r ä s k ä < Ru. cf.
Poem 34 recounts the adventures of Lemminkäinen p r y a z h k a ‘buckle’; 10 vih m a < Est. cf. vihm ‘rain’;
up to the point where he defeats the rival shaman- 38 passim The ‘speaking sword’ is a popular source
chieftain, Poem 35 is mainly concerned with the of wise advice in Finnish fairy tales; 41 -4 2 Surrogate
theme of his death at the hands of a man he had lines from a lyric that warns against village gossips;
insulted. The variant is a typical example of an early 62 sissee < Est. cf. sisse ‘[to] inside’.
Christian poet-singer’s adaptation of a shaman’s jour­
ney to the otherworld (cf. Poem 30).LI. 1-199 lend
themselves to interpretation as a duel between a
pagan and Christian priest and several features sug­ KAUKAMOINEN 37, 38
gest that the poet-singer’s own conviction of the
supremacy of the Christian doctrine was only rudi­ Kaukamoinen has been described as structurally
mentary (cf. Väinämöinen’s hesitation when threat­ the most coherent, textually the most skilful,
ened by the magic of Lemminkäinen’s mother, 11. and contextually the most masculine product
229-240). Seen as whole, however, it is the Christian
doctrine which proves the more powerful, and the of ancient Finnish poetry. It is an emotionally
concluding cautionary lines (11.275-306) a re a power­ uncomplicated tale of an early medieval, per­
ful warning of the horrors of hell. sonable profligate, a powerful Viking who
81 passim The function of the brush as a life-token does not hesitate to run away when out­
is not unusual. Shamans are often represented by
symbols which serve as an indicator of their fate, numbered by his enemies, a sexually attract­
generally an animal or some object closely associated ive young man of Herculean prowess, who
with the shaman’s life (in some variants the token becomes involved with women almost by
is a comb); 142 tsuppu < ? Ru. cf. srub ‘flimsy wood­ accident - an adventurer, but not a seducer.
en structure; living-room’; 152—155 The singer mo­
mentarily uses prose to emphasize the force of Väi­ The Viking world in which Kaukamoinen
nämöinen’s refusal; 228 taivosen sa ra n a t ‘sky’s hinges’: moves is not that of the Atlantic Coast or the
a metaphor for the pivot, often associated with the Gulf of Bothnia, but of the Varangians who
North Star, on which the Finns and the Lapps be­ travelled east along the southern coast of
lieved the heavens to revolve. It was feared that if
the pivot broke, the heavens would fall and the earth Finland into Russia and south to Byzantium.
would be destroyed by fire; 235—236 passim i.e. the Earlier attempts to identify events, characters
edge of the world below which the otherworld river and places in Kaukamoinen have thrown little
flows; 2 6 3 sininen k iv i ‘blue rock*: a nature image light on the poem’s historical background. In
commonly used to denote the otherworld; 29 3 -2 9 8
A popular concept in medieval vision poetry (cf. 30: so far as it has any historical significance, it
86-87). is as an illustration of attitudes during the

540
early East Viking period: Kaukamoinen is the K a u k a m o in en . The poem opens with a surrogate pass­
product of a virile, adventure-hungry, often age from T h e O rig in o f B eer (11. 1-7) and the de­
scription of the journey to Päivölä (11. 8-94) has been
ironical male fantasy. borrowed from L em m in k ä in en . The events associated
The main theme is uncomplicated: an in­ with Kaukamoinen’s arrival and the style of pre­
sult at a Viking feast leads to a duel. One sentation are depicted by motifs drawn from several
of the warriors is killed and his opponent has sources. The entry into the rival’s home (11. 95-98)
is simple and realistic, while the following verses (11.
to flee across the sea to escape revenge. In 95-102), cast in terms that show the singer’s personal
the land where he finds refuge, all the women­ disapproval of the host, are a popular stock passage
folk fall in love with him, he performs feats taken from later poems based on Christian legends
of great sexual prowess and again has to take (cf. Poems 59, 63, 64, 65). The choice of Herod as
Kaukamoinen’s opponent is a result of confusion by
flight across the sea to escape the wrath of the singer. The provocation, leading to the duel,
the menfolk. The place where the Viking first has been influenced again by L em m in k ä in en to the
finds refuge is generally known as ‘the Island’. extent that the motif of the drunken, quarrelsome
Various theories about its location have been Viking has been lost, although the Viking background
is readily evident in the detailed description of the
advanced; Gotland, Saaremaa and Ahvenan­ duel - from the measuring of the blades and choice
maa are among the many Baltic islands of site to the fatal blow (11. 124-153). The death of
that have been suggested. An alternative ex­ the rival, Herod, and Kaukamoinen’s flight to his
planation is that ‘the Island’ is merely a nar­ home (11. 154-194) are reminiscent of byliny. Al­
though the following episodes (11. 195-274) - escape
rative device to provide a place to which the to ‘the Island*, the amorous adventures, and the
hero could flee. It has also been suggested need to flee again - are all features commonly asso­
that the poet could have been influenced by ciated with Viking poetry, items of detail drawn
Scandinavian poetry and that the flight to from byliny further support the hypothesis of an
origin in an East Finnish area where poets were
‘the Island’ is a typological parallel of the familiar with Russian heroic poetry.
legends of Viking heroes who fled from Nor­ 5 2 Leppänen ‘alder’: because of its red sap ‘alder* is
way to Iceland, or from Iceland to Green­ a synonym of ‘blood’; 112—115 i.e. Kaukamoinen’s
land, to escape revenge, the law or obtrusive generosity is greater than anyone else’s; 155—194
authority. The question Kaukamoinen’s mother asks are all
motifs that occur in byliny; 164 tsa rk o < Ru. cf.
Although the poem is a characteristic pro­ charka ‘cup, goblet’; 177 i.e. in racing; 191-194 i.e.
duct of the Viking period, several points of custom demands that Herod’s death be avenged;
contact with byliny suggest that it originated 198—199 Possibly an allusion to the practice known
in Karelia or Ingria rather than in West in many parts of Europe of maintaining well-stocked
communal hiding-places for shelter in time of war.
Finland. The description of the dangers that In Finland such hiding-places were either deep in
beset the journey to Päivölä in Poem 37 ('ll. the forest or on islands; 275 cf. 1:50-52; p. 522.
8-94), borrowed from Lemminkäinen, preserves
fragments of the Vaviio bylina which no 38
longer survive in the Russian source poem (cf. FI 12 P677 R310-317
11. 22-30, 81-85). Other motifs and stylistic The Ingrian variant is closer to the archetypal poem
features taken over from byliny include the than Poem 37. While it has a similar structure, its
description of how Kaukamoinen returns main features are more distinct and the narrative
home dejected, *his helmet askew’, and both flow is not obscured by so many secondary features.
The theme is introduced by a version of T h e O rig in
the structure and content of the dialogue be­ o f B eer (11. 1-29), that is relatively close to the original
tween mother and son. form of the poem; when read together with the cor­
responding passage in Poem 34 (11. 1-38) the prin­
cipal features and form of T h e O rig in o f B eet emerge
37 clearly (concerning the ritual function and significance
A671.2 B575.1 D1275 FI 12 F142 F777.5.1 P677 of the poem see p. 539).
The drinking festival leads to the quarrel between
S139.2.2.1
the two drunken, boisterous Vikings, ending in Ka-
The Archangel variant illustrates how L em m in käin en lervo’s death and Kaukamoinen’s flight. The narrative
and K au kam oin en were associated and often confused: employs some of the secondary motifs found in the
the first part of the framework of the new poem has corresponding passage in Poem 37. To heighten the
been drawn from L em m in k ä in en , the remainder from tension, the poet-singer has incorporated a surrogate

541
passage from a variant of the Estonian H u s b a n d -K ille r is no less complicated than Kyllikki’s; his
at 11. 78-122 (cf. 91:22-37); this dramatizes Kauka- behaviour is determined by different but
moinen’s plight and brings out the desperation of
the action to which he finally resorts. The conclusion equally powerful factors: the Viking’s long­
of the variant has the same structure as Poem 37. ing for adventure and honour, elaborated
10 m e llakoida ‘rumble’: i.e. the noise caused by by the role of a second, also newly-wed Vik­
fermentation; 19—25 These verses are a factual de­ ing, Teuri, whom the poet uses to emphasize
scription of brewing technique. The use of animal
slobber as a source of enzymes to start fermentation the strength of this emotion (cf. 40:30-
was common in many parts of the world and a 42).
reference to it is found in the Icelandic sagas. Until The Bond survives only in fragments. The
yeast came into common use, pig slobber was espe­ two main variants are represented here, one
cially favoured by the Finns. The reference to the
pair of 'pigs in heat’ who ‘tumbled below a moun­ from Olonets Karelia (Poem 39), the other
tain’ describes the mating dance when pigs produce from Archangel Karelia (Poem 40). Both
unusually large amounts of slobber; 48 A battle variants are defective, but it is possible to
image; 152 Concerning k a r ttu ‘bat’ see p. 530. reconstruct from them the main features of
the original poem (according to one estimate
THE BOND 39, 40 about 100 lines have been lost). The recon­
structed narrative falls into eight parts. Ahti’s
The Bond belongs to the same East Viking and Kyllikki’s courtship is represented by
tradition as Kaukamoinen; in some fragments 39:1-4 and is followed by the vow of fidelity:
Kaukamoinen is Ahti’s companion and, con­ 40:1-8 describes the nature of the vow, while
versely, Ahti appears in Lemminkäinen and 39:5-9 illustrates its solemnity. The factors
Kaukamoinen. Stylistic factors, especially the that weaken each partner’s resolve are found
dialogue and repetition, are similar, but there in the Archangel Karelian variant: .40:9-12
are important differences in content. Kauka­ shows Ahti’s rough handling of Kyllikki and
moinen is expansive and boisterous, and de­ her disenchantment. Ahti’s longing for the
spite its emphasis on amorous adventures, it Viking way of life is symbolized by his boat's
is emotionally uncomplicated. The picture it lament (40:13-20). Kyllikki’s response to her
presents of the Viking is stereotype, and often husband’s behaviour is echoed in his sister’s
superficial and romanticized. While The Bond malicious report of what she has been doing
lacks the scope of Kaukamoinen, it has never­ in the village (39:10-13), which provides
theless more psychological depth: the char­ Ahti with the excuse to prepare for departure
acters are aware of their emotions, they try (39:14-16; 40:21-47). At this point the poet’s
to come to terms with them, and suffer in interest moves from male to female psycho­
trying to do so. logy to show how Kyllikki tries to persuade
Ahti and Kyllikki share the same desire as her husband to stay at home, depicting viv­
Kaukamoinen - a longing to do what appeals idly the abrupt change in her attitude when
to them as individuals - though in their case she realizes that Ahti cannot be dissuaded.
they do their best to suppress their own The longer passage, depicting Teuri’s readi­
desires for the sake of their life together. After ness to leave his wife and the alacrity with
a long and difficult courtship (cf. 39:1-4) which he joins Ahti, is indicative of the fun­
they marry and swear to give up their for­ damentally male approach to the theme. 40:
mer ways. Kyllikki breaks, or appears to 48-65 provides scant details ofAhti’s voyage
break, her vow, which gives Ahti the oppor­ and his being trapped by the early onset of
tunity to sail away in search of adventure. winter. The remainder of the poem has been
The psychological interest is heightened by lost; 39:48-53 and 40:66-72 are surrogate
Kyllikki’s attitude to her apparent misde­ passages from The Flk (Poems 53, 54).
meanour: she does not regard one lapse as Some indication of the possible end of the
sufficient to render the vow invalid, which poem is found in an Ingrian variant of The
contrasts with Ahti’s readiness to see himself Voyage, in which fragments of The Bond are
released from his own vow. Ahti’s personality embedded. In this variant, Ahti is the cap-

542
tain of the boat and is assisted by Kauko. THE ORPHAN 41-43
An old woman, whose son, Antero, they
want as navigator (cf. 26:52-62), warns them The Orphan is a medieval adaptation of themes
that a great north wind will overturn the and motifs from the Middle Kalevala period.
boat. This prophecy invites comparison with Stylistic features typical of the early Middle
Kyllikki’s dream in 39:18-23 warning Ahti Ages include the references to the shining of
of a catastrophe at sea. silver and gold, the ‘all-but-one’ emphatic
stylistic device, the herdsman who is provoked
39 into committing murder, the motifs of the
shackled wolves and bears, the fence motif,
D1812.5.1.2 M l 14 M205
and the morbid interest in brutality. The
5 -8 cf. 17:165-166 and note; 12-13 i.e. she was original poet used these features in a poem
taking part in the games of unmarried girls. Social
custom drew strict boundaries between what was
that also brings together several well-known
permissible for unmarried girls and for married themes.
women; the two states were marked by styles of dress, The dominant theme and the structure -
hair, adornment, and also by deportment. Hence a the feud between the two families and the
woman who did not behave according to accepted
norms would quickly attract attention and gossip; taking of revenge - have parallels in the for-
18-23 Prophetic dreams are not common in Finnish naldarsögur, while details of the acts of the ill-
folk poetry, although they often occur in Scandina­ treated youth recall the heroes of West Scan­
vian folklore (a wife's prophetic dream is a motif dinavian ballads who tear up trees by their
that is also known in many other parts of the world).
This, together with certain contextual features, has
roots and brandish them at their enemies.
led some scholars to draw parallels with Old Ice­ The latter are often giants whose gory deaths
landic poetry, in particular with the themes of am­ are depicted in great detail and with obvious
bition, preference for adventure to the security of enthusiasm. The poet’s handling of his mate­
home and family, and the need to demonstrate mas­ rial appears to have been strongly influenced
culinity; 46 m arkka ‘mark’: the word’s earlier mean­
ing (dating from 875 AD), in which sense it spread by various other features popular in many
from Scandinavia to Central Europe, was as a gold parts of Europe. The motif of the stone baked
and silver weight measure (8 oz) and it is probably in a cake, for example, is known in various
this that is intended here; 48-51 ly ly ‘left ski’, siv a k k a , other connections. The most important factor
kolh u ‘right ski’: English lacks the vocabulary to
translate these words adequately. L y ly is a long, in giving the poem its present shape was the
narrow ski used for gliding; North Fi. siv a k k a and world-wide Strong John folk tale. Parallels
South and Central Fi. k a lh u is a short, broad ski with this tale include the child who displays
covered in hide, not unlike a modern snow-shoe, superhuman strength while still in the cradle
with which the skier propels himself.
and who later as a young man is unable to
do anything to the satisfaction of his master,
40 often a smith (cf. Poem 42). Other similarities
M l 14 M205 are the incidents with wild animals and un­
4 i.e. a lifetime; 18 p u n a p a rra s ‘red side’: a corruption successful attempts to bring about the youth’s
of p u u n i p a rra s, a stylistic variation of p a r r a s p u u n i) death. Despite the importance of the in­
'(m y ) gunwale’; 4 6 -4 7 i.e. the boat was ready to fluence of the Strong John tale, it is almost
depart: all the other warriors have boarded and certainly secondary and to some extent ob­
stowed their spears in the upright position. An alter­
native explanation is that this symbolizes the Viking scures the earlier revenge theme.
warriors’ sense of brotherhood. An important dating
criterion is found in an older Archangel Karelian
variant of this passage which describes Teuri’s spear 41
as one on which ‘a wolf blew on the shaft, a cat A1251 H1510 LI 11.4.4 P173.2 Z356
mewed on the nail’: zoomorphic motifs formed the
basis of most Nordic ornamentation in the Viking The Ingrian version of T h e O rph an retains some simi­
period; 67 k e itti ‘steamed’: a corruption of k e tti ‘at­ larity with Scandinavian poetry, especially in its
tached a hide to the underside of the ski'; 68, 71: structure; it describes the cause of the feud between
cf. 39:48-51 and note; 71 lå p y ‘hole’: i.e. through two brothers, the ensuing massacre and the survival
which the strap was attached. of the child of superhuman strength. A few Ingrian

5 43
variants also describe how the child, on reaching which extends from Ingria to Archangel Ka­
adulthood, avenges the death of his own family by relia. The reference in several Ingrian var­
killing his uncle. The singer has emphasized the
child’s strength by borrowing the description of the iants to Turku as the city from which he is
attempted burning of St Catherine and substituting returning suggests that the poem originated
the child for the saint (cf. 64:21-30; 65:17-24). •in West Finland; certain linguistic and the­
7 - 8 These lines are a relic of a myth about the matic features lend support to this hypothesis.
origin of man that is known in many parts of the
world (cf. p. 525); 2 2 - 2 4 A stock passage indicating The Finnish variants are based on a Swedish
that preparations were made quickly and at short ballad about the three sons and three daugh­
notice; 39 h u llu kkain : lit. ‘child below the age of two’; ters of one Tor or Ture (the source of the
40 va g a h a in : lit. ‘small child not yet able to sit up’; Finnish name).The sons, who were abducted
58 h ih n at s u ih k u tit ‘strings of silk’: i.e. from which the
cradle hung (see Plate 4); 5 9-60 ‘lime’ and ‘maple’ while still young and brought up as brigands,
were highly-valued woods and indicate the impor­ return as grown men to their former home
tance of the child; 60 vip u ‘beam’: i.e. to which the and ravish and murder their sisters, unaware
cradle was attached (see Plate 4). of their identity. When they discover what
they have done, they prefer death to flight.
42 The Swedish ballad was itself an adaptation
B845 D945 D1222 F614 LI 11.4.4 P I73.2 of a theme which originated in France and
8— 9 Lines referring to the period when this part of was known in Italy, Switzerland, Germany,
Finland and Karelia was still under the same ruler. Scotland, the Faroe Islands and Iceland.
The context shows that the child was sold into a
wealthy family; 5 4-56 i.e. he is longing for the sun 44
to set so that he can return home, a surrogate pass­
age borrowed from herdsmen’s lyric; 60-61 These N365.3 T415
were essential items of a herdsman’s equipment in A secondary feature in the Ladoga Karelian variant
the Finnish area; the horn was used to call the cattle is the closing description of Tuiretuinen’s flight to
and the rattle to frighten away dangerous animals escape punishment, a surrogate passage borrowed
(and possibly spirits). from variants of K a u k a m o iru n (cf. 38:78-86).

43 45
D412.2.1 D1222 H1510 LI 11.4.4. P173.2 Z356 N363.3 T415
The Ladoga Karelian variant is suggestive of both The Ingrian variant preserves a form closer to the
the Scandinavian family saga and the k å m p a v tia tra­ archetypal poem. It also differs from the Ladoga
dition. It is a rare combination, found only in Olo­ Karelian variant in language and in the choice of
nets Karelia (although the singer came from Ingria), images, both of which reveal much greater Russian
of the themes of childhood and the stone baked in influence.
a loaf, leading to the taking of revenge. It was 6 o b ra k k i < Ru. cf. o brok ‘quit-rent’; 13 k a ssa p ä ä
probably this redaction that gave Lönnrot the idea ‘plaited-head’: i.e. she was unmarried; 15 saara <
of bringing these themes together to produce the Ru. cf. s a n i ‘sleigh’; 44 -47 i.e. a paradise metaphor;
outstanding cycle of Kullervo poems. 51 The image may derive from the Russian Ortho­
1 -1 3 It is likely that ‘Finland’ and ‘Karelia’ are dox practice of building a small wooden structure
to be understood in a specifically local sense, i.e. over the grave.
as ‘Lutheran’ and ‘Russian Orthodox* communities.
32 In other variants the son is described as still a
baby; 50 -6 2 i.e. he had almost emptied the sea;
8 3 -8 4 A Finnish proverb characterizing a person THE SOWER 46, 47
who is less pleasant than he appears to be.
The Sower, originally a framework repetition
poem, is a survival of what was once the ac­
THE INCEST 44, 45 companiment to the performance of an
annual rite at which an offering of food and
Variants of a medieval ballad of how a man drink, preserved in a small container {vakka),
(Tuurikkainen is only one of several names) was made to a fertility deity or spirit. The
unwittingly seduces his sister while returning character of Säm(p)sä and the accompanying
from paying his taxes are known over an area ritual have been compared to the rites

544
associated with Dionysos, the Greek fertility Finnish area Sämpsä generally occurs in the
god, the Latvian tutelary spirit of grain, Ju- role of the planter of various kinds of tree,
mis, the Estonian Pekko, and Russian Ortho­ while in Ingria he is credited with the sowing
dox beliefs linked with St Samson. Relics of of grain. Also associated with him are con­
the rite survived until relatively recently cepts of a ‘holy wedding’ and illicit love: he
among Russian Orthodox Ingrian Finns as is said to have had sexual intercourse with
a result of the pagan tradition being incor­ his stepmother - possibly personifying the
porated into a Christian festival celebrated earth - amongst the corn ricks, and then
on St Peter’s Day (29th June in the Ortho­ gone away to an unspecified place.
dox calendar); attendance in church and The purpose of the ritual was to find him
prayers for a good harvest were thus paral­ and bring him back to set the process of
leled by the ritual drinking of freshly brewed growth in motion again. The description of
beer in an enclosed wooded area (correspond­ how first the son of winter and then the son
ing to the old pagan sacred grove). of summer competed to wake Sämpsä has
Poem 47, the Ingrian variant (usually been compared to ancient spring customs in
known as the Ukko Song) is an example of which creatures representing winter and sum­
the accompaniment to the Christian adapta­ mer fight and from which the latter emerges
tion of the old rite. It was preceded by an as victor (this invites comparison with the
evocation for rain: “Holy Ukko, merciful one, medieval Scandinavian spring ceremony in
give juice to your lands, softness to your which horsemen representing summer and
fields.” Further north, in Lutheran Finland, winter join in combat and the summer-
rituals of this kind were gradually stamped horsemen win).
out by churchmen. There is evidence to
show, however, that they were still alive as 46
late as the 16th century; in 1551 Finland’s
Bishop Mikael Agricola complained: ‘And A430 A1425 A2681 N365.3 T415
when the spring sowing is done, a toast is The form of this variant is such that it is not poss­
drunk to Ukko. Ukko’s tankard is brought ible to know whether the collector obtained two
defective versions and attempted to combine them,
out and both girls and women drink. Then or whether the singer was uncertain of the poem
many shameful things are both seen and and sang two versions or simply confused the sequence
heard to be done.’ The origin of the fertility of the lines. To reconstruct the narrative, it is necess­
practices which so angered Mikael Agricola ary to read the lines in the following order: 1-20,
25-31, 21-24, 32-63, 69-79, 64-68, 80-93. In this
probably lies in a monistic view of the world, sequence the shape of the refrain poem begins to
according to which every living thing - ani­ emerge. Gaps in the narrative remain, however, and
mate and inanimate - was thought to be part comprehension is obscured by the numerous stock
of a single entity (cf. 47:39-43 passim). Acti­ phrases and surrogate passages with which the singer
elaborates, rather than expounds, the narrative.
vity in one area, therefore, was believed to At the beginning of the poem Sämpsä is identified
stimulate similar activity in every other area; by a brief reference to his sexual impropriety, given
hence human fertility practices were thought as the reason for his disappearance; the actual dis­
to set in motion the process of reproduction appearance is described in terms usually associated
with Väinämöinen’s adventures (cf. 14:6-8; 30:88—
in animals and plants and thus ensure the 90). The approach of spring is marked by Ahti, a
continuing supply of the resources on which land-owner, who is growing impatient because the
man’s existence depended. soil is barren. The lines used to emphasize his annoy­
In Finnish folk poetry Sämpsä’s role is that ance (16-20) are a fragment of an otherwise lost
poem about a wealthy man.
of the sower. One of the first forage plants It is not difficult to follow the next stage in the
of the year in the Finnish area, the forest- narrative - Ahti’s realization that someone must go
rush (scirpus silvaticus), is named after him and persuade Sämpsä to make the land fertile. More
and it is possible that at one time this plant complicated, however, is the singer’s use of a ‘wolf’
for this purpose. Comparison with Poem 47 shows
was regarded as the personification of the that the first person to go was the ‘winter-boy’, who
fertility spirit. In the northern part of the brought bad weather with him and thus failed; he

35 545
was followed by the ‘summer-boy’. A characteristic of the animal was accompanied by complicated,
of Poem 46 is that winter has been personified as often dramatized ritual intended to protect the
su si ‘wolf’, an abbreviation of susikuu ‘wolf month’ (i.e. hunters and their families from the bear’s avenging
the wolf’s mating season which can be any time in spirit. Similar practices have been recorded among
winter). The extension of the personification to the peoples throughout the Arctic region and also among
summer (1. 49) appears to have been an error by the Indians of North America.
the collector who either heard or noted su v i ‘sum­ The Finnish version of the myth of the origin of
mer’ incorrectly as su si. the bear has much in common with myths of the
While Poem 46 no longer retains all the charac­ linguistically related Voguls and Ostyaks. These tell
teristics of a framework repetition poem, the original of a young bear whose father, the supreme deity,
structure can still be discerned in the description of lowers him to earth at the end of a gold and silver
the visit of the two wolves to Sämpsä. Several chain (cf. 11. 8-10). The antiquity of rituals asso­
verses appear, however, to be missing after I. 41. ciated with the bear in the Finnish area is demon­
The archetypal poem probably contained a descrip­ strated by archeological finds. Fifteen stone imple­
tion of how the winter-wolf told Sämpsä that ‘Ahti ments ornamented with bear-heads and apparently
kept brooding’ followed by 11. 10-14 (cf. 56-60). L. 42 used in connection with ritual have been discovered
would then refer to Sämpsä’s and 1. 43 to Ahti’s abuse (there is evidence to show that the elk was also the
of the wolf. The repetition framework is again defec­ object of worship in the same area, cf. pp. 548-549).
tive at 11. 48 and 49. A repetition of 11. 25 —31, and The Finnish poems were sometimes sung at the
a near-repetition of 11. 21-24, probably occurred beginning of hunting expeditions and, very rarely,
here. at the ensuing celebrations; as such these are the
6 7 -6 8 Images commonly used to describe places only examples of myth poems which retained their
where seeds were stored; 7 7 -7 9 These lines appear original function until relatively modern times. More
to be a fragment of an otherwise lost poem, probably commonly, however, the poems were adapted for
stimulated by the association with fish in the previous other purposes. In the 19th and 20th centuries frag­
line; 93 Concerning Kar. luode see p. 528. ments of T h e B e a r survived in incantations, as in
this poem, which is a typical example and was sung
47 when cattle were let out to graze in the forest after
the long winter under cover. The taboo felt by the
A430 N819.5 singer against mentioning the animal’s name and
The archetypal form of the poem survives more his use of endearments are psychological features
clearly in the Ingrian variant. The sequence of associated with the bear and other dangerous animals
events is also in the correct order and the seasons throughout the world (cf. 1. 2, 4, 17).
and their attributes are explicit. The idea of fertility, 13 so n ta reisi ‘dung-shank’: i.e. cow.
as something apart from growth, also emerges and
the reference to ‘maids’ as one of the objects of fer­
tility points to the sexual activity that so outraged
the early churchmen.
THE OAK 49, 50
3 k a s k i ‘clearing’: i.e. where trees, shrubs and other
undergrowth are cut and burned, and a crop sown The myth of an oak that grew up to the sky
in the ashes. Burn-beat remained a common method and deprived the world of light, and of how
of cultivation in Karelia and East Finland until it was felled originates from the same cult­
the present century (see Plate 13); 14—15, 17 s e it- ural tradition as the myth about the crea­
se n risti ‘seven-crossed’, kym m en n yb lå ‘ten-buttoned’
and p u n n a iset r iv a l ‘red-braid’ possibly refer to the tion of the world from an egg. It is known
ornamentation of some kind of ritual object or idol from the Mediterranean to the Pacific. Schol­
used in the fertility ritual. They have also been com­ ars are divided about its original significance.
pared to the markings which in certain ancient According to one theory it describes the origin
phallic rites symbolize the buckles by which Dio­
nysos was fastened to the womb of his father Zeus; of the Milky Way, which in ancient times
3 7 -38 This passage is obscure; a possible explana­ was thought by many peoples to be the path
tion is that the singer made a mistake in anticipation along which the soul passed to the other-
of 11. 65-66 and should have sung P a h o in te il tu lle s- world. Comparison with similar themes out­
s a is /v ie lä pah em m in o llessa is ‘It was ill that you c a m e l
still worse that you stayed’. side the Finnish area suggest that The Oak
derives from this kind of aetiological myth,
traces of which are thought to survive in the
THE BEAR 48 Archangel Karelian variant (cf. 50:35-51).
A 1836 D1273 The most likely origin of the secondary
The bear was the animal held in greatest respect redactions, of which the Finnish poem is one,
in ancient Finnish society. The killing and eating is a poem about beer froth (a motif that

546
has parallels in Mordvin tradition); this centre and ranked in importance with Tallinn; 4 1 -4 6
was probably connected with brewing and These lines refer to the reputation that the Baltic-
Finnish peoples had in Russia as skilful smiths;
formed part of ritual practices similar to those 44 u u litsa < Ru. cf. u litsa ‘street’; 65 The construc­
which the Ancient Balts performed around tion of the bath-house from fragments of the oak
an oak at the centre of a sacred grove. The may also have a ritual significance. Among the
oak is variously said to have grown from one Baltic-Finnish peoples, the bath-house was a place
associated with supernatural forces and where women
of several possible sources; the blood of a delivered their children; bathing was also an essential
goose or a beer-drinking snake, the tears of preliminary ritual to many activities.
an orphan or an adder, the slobber of an
elk that had flowed into a stream (cf. p. 549), 50
or from the fragments of drinking vessels. A625 A2681.2 D950.2 E481.2.1 F95.5 F535 F610.2
Although the ritual function of the poem In the Archangel Karelian variant T h e G rea t O a k
appears to have been forgotten, traces of it survives as part of an incantation for curing various
can still be discerned in some of the surviving diseases (i.e. 11. 9-34). Both the opening episode
Baltic-Finnish redactions. In Estonia it be­ (11. 1-8) and the conclusion (11. 42-51) are typical
came a gay song sung by girls as they played of incantation poetry. Some singers concluded the
poem with prayers addressed either to the pagan
on swings and describes how the wood from Ukko or to the Virgin Mary. The opening is a sur­
the oak would be used to make a betrothal rogate passage borrowed from an incantation to cure
gift; in Ingria it became a lusty drinking sudden internal illnesses, while at the end the per­
song, with the wood being used for beer sonified cause of the illness (11. 42-44) is encouraged
to leave the sick person and go to the otherworld,
barrels and drinking vessels. In Karelia it where conditions are described as more congenial
was adapted as the prologue to incantations (cf. 11. 48-51). The same underlying idea, i.e. to
for curing sudden attacks of illness; the un­ make the passage of the personified cause of the
derlying idea was that pain was caused by illness to the otherworld as speedy as possible, is
also the reason for felling the oak, thus providing the
arrows made by a worker of magic from the spirit with easy passage to the otherworld.
wood of the oak, and that by describing the 1—12 Other variants describe how the oak grew on
cause of the illness their magic power could a sandy ridge at the point where three seas meet;
be destroyed. 9 An association with magic: the Lapps were famed
as workers of magic and in some variants the fire
is started by more obviously mythical characters, e.g.
49 Ukko or Tursas; 18—19 These lines retain the orig­
A652 A2681.2 D950.2 inal, mythical reason for felling the oak; 20—21
i.e. life ceased. This couplet embodies two of the
Many features of an early form of the secondary main factors in a primitive economy - burn-beat
redaction survive in the Ingrian variant. It is a cultivation and fishing; 36 i.e. the river marking the
typical example of the poem’s function as a drinking boundary of the otherworld; 37, 4 2 The motif of
song: the tree originates from beer froth and its the bridge to the otherworld has parallels in Indian
wood is used for drinking vessels. The conclusion of mythology, but is otherwise almost unknown in Fin­
the poem, in which an Estonian place-name occurs nish folk poetry.
hyperbolically, suggests that this redaction may have
been translated and adapted from an Estonian poem.
The first-person narrative style, however, a charac­
teristic of Ingrian lyrical epic, was probably a result
THE GREAT OX 51
of adaptation.
2 k ä r ä jä t : ‘assizes’: i.e. a meeting of freemen to settle A672 B16.1.5.1 B871 F610.2 X1201
matters pertaining to the whole community; 8 Ingr. The subject of T h e G re a t O x has been variously in­
punainen ‘brown’; 14— 22 The original idea that the terpreted as a constellation, a rainbow, and a north­
oak had to be felled because it obscured the light ern version of the opponent of Mithras. It is more
has been lost from this variant (cf. 50:18-21); 15 As likely, however, that the poem was sung as the ritual
in many other parts of Europe, the rowan was accompaniment to the sacrifice of an ox, either at
regarded as a sacred tree; 39 The reference to Mos­ the time of the annual sowing or at harvest time.
cow, rather than to St Petersburg, probably reflects In some areas the poem was incorporated into in­
a pre-Petrine period in the development of the poem; cantations for healing burns, the function of this
40 Kaprio is used here not in contrast but as a particular variant. In Ingria and Karelia the ritual
parallel to Moscow, i.e. a second large town, for in function was forgotten and T h e G rea t O x was linked
the Middle Ages it was a major fortified trading to other epic poems.

547
Structural and stylistic details suggest that several was thought to depend. The spirit of a large
features were borrowed from T h e G re a t O a k (Poems
49, 50). These include the emergence of a man from
and dangerous animal had to be treated with
the sea, who fells the oak, and the concluding list special respect for fear that it might seek
of products obtained from the wood of the tree. revenge. In some parts of the north, rituals
I t is thought that the idea of the destruction of a éven included attempts to convince the dead
huge object, such as the oak, was extended to in­ animal’s spirit that someone other than the
clude large animals e.g. the ox, and later other
domestic animals. The theme recurs in animal hus­ hunter had killed it. In more developed forms
bandry incantations, in poems sung to accompany of the bear and elk cult all the a n i m a l s of the
group work in autumn, and in children's poems. species were credited with a non-specific tutel­
ary spirit which was worshipped instead of an
THE GREAT PIG 52 individual animal’s spirit; The Elk is an exam­
ple of this development, the tutelary spirit in
A284 B871 Z1201 the Finnish versions being the demonic Hiisi.
Although some scholars have interpreted T h e G re a t The form of the poem known in the Fin­
P i g as a ritual poem comparable to T h e G re a t O x , it nish area - the pursuit of Hiisi’s elk by a
seems more likely that it is a parody of the latter hunter on skis - probably derives from one
composed by Christian missionaries to ridicule pa­ of the North Eurasian versions of the Orion
gan practices. In some variants the ‘other gods’
(1.23), who are put to flight and made to look fool­
myth, which are also known among the
ish, are called Ryönikkä (or Rauni), thought to be Ostyaks and Voguls. The Baltic-Finnish poem
the wife of Ukko, Virokannas, or Päivänen. The based on the myth is thought to have taken
propaganda content of the poem suggests that it shape between 1000 and 1300 AD on the
was composed at about the same time as the de­ west or south-west coast of Lake Ladoga.
scription of the banishment of Iku Turso in T h e
V oyage (27:91.0). The main theme describes how a Lapp makes
1 k o rtissa < Ru. cf. r g o s ti ‘as a guest'; 17-1 9 i.e. a pair of skis and tries three times to catch
the h a m m e r (?thunderbolt) customarily associated the elk. Two separate poems evolved from
with Thor. this nucleus. Traces of the triple-attempt
motif survive in the poem that spread south
THE ELK 53, 54 into Ingria, although it was obscured by
many secondary features and changes (cf.
The material and spiritual interdependence Poem 100). The Elk represents the form of
between man and animal is one of the most the poem in the northern area; the principal
important themes of primitive epic. In Fin­ character appears to have been a boastful
land, as elsewhere in the Arctic region, the hunter who caught the elk but lost it. He is
animals most relevant to this relationship sometimes described as a Lapp and much of
were the bear and the elk. Both were highly the narrative is set in areas said to be inhab­
prized as a source of food and hides and all ited by Lapps (cf. Lapland in Name Index).
activity associated with them appears to have Some variants suggest that the elk escapes by
been conducted with elaborate ritual. Rock fleeing to a mythical place, possibly the arch
paintings and archeological evidence indicate of the sky.
the great age of this phenomenon and show
that such practices existed in the Finnish area 53
long before the ancestors of the Finns spread BI84.4 F849
north from south of the Gulf of Finland (cf.
The Ladoga Karelian variant preserves the principal
Poem 48; pp. 21-27). The respect shown features of T h e E lk . LI. 1-16 describe how the aids
for the spirit of the dead animal was an in­ were made, the chase and capture. L. 16 may have
tegral aspect of the primitive beliefs. Some been noted down incorrectly, or misunderstood by
living objects - and among some peoples even the singer: it implies that the hunter caught the elk.
The preparations for the ritual slaughter and eating
plants and features of the landscape - were of the animal (11. 17-25) bring out the motif of the
believed to possess spirits, on the reincarna­ boastful hunter, although this is more obvious in the
tion of which the continuation of a species Archangel Karelian variant (cf. 54: 76-80). The

548
account of the elk’s escape (11. 26-38) reflects the During the following centuries the bestiary was copi­
beliefs associated with the slaughter ritual and a ed many times and its fantasies were embroidered
tutelary spirit. The relationship between the Finnish and given new interpretations. In an 11th century
version and the Orion myth is suggested by 11. 35-42 German version of the bestiary, for example, the
with the elk’s escape into the heavens denoted by stag swallows the snake, hurries to a spring and
‘suns’ and the parallel ‘moons’; these lines are the spits out the poison. At the same time, it sheds its
hunter’s admission of his inability to catch the elk fur and antlers and an oak grows from the place
as it moves in the heavens and his plea to it to return where they fall. In the following century, the German
to earth, i.e. the ‘woods’. The significance of 11. St Hildegard (1098-1179) retold the tale in more
43-44 is obscure; comparison with other variants colourful and imaginative terms and added that the
suggests that T a p io n ta a k k a 'Tapio’s load’ is a parallel stag, after shedding its fur, regained its strength by
of k irjo m a n i lit. ‘ornamented mountain’; the latter eating herbs and drinking spring water.
has been associated with ancient rock paintings of The popularity of the tale in the Middle Ages
elks made at places where they were trapped and sprang mainly from its allegorical association with
where incantations for success in hunting were recited. the principal tenets of Christian doctrine. The stag
While this does not clarify ‘load’, it helps to clarify symbolized man, the spring Jesus or God, and the
the last five lines of the poem; taken from a hunter’s snake the Devil. The swallowing of the snake re­
incantation, they are a realistic description of the presented the Fall; the running to the stream and
method of trapping elks (and in Lapland reindeer) the spitting out of the poison symbolized baptism
by driving them into an area from which there is no and absolution; the loss of the stag’s antlers and fur
exit: escape might be blocked by a rock face (‘iron were the renouncing of the flesh, while the recovery
hill’), a wooden stockade (‘fiery birch tree’), or by of strength by eating herbs and drinking spring
the land falling away steeply into a river of lake. water symbolized the sacrament of the Eucharist.
The final episode of the allegory, the acquisition of
54 eternal life by taking a branch from a tree (i.e. the
Cross) that had grown from the discarded fur or
B184.4 F849 antlers, referred to the atonement for the sins of
The Archangel Karelian variant retains part of the mankind by the death and resurrection of Christ.
structure of Poem 53: the making of the skis, the Several of these features are found in Poem 55;
chase and capture, the elk’s escape and the hunter’s 11. 1-12 retell the main theme of the account in
P h ysio lo g u s , although the sequence of events has
failure to recapture the animal are all evident. The
flight of the elk to the heavens, however, is omitted. changed; the acts of recovering strength and drink­
A distinctive stylistic feature is the ironical-satirical ing (11. 3-4) occur before the struggle with the snake
tone of this variant; the chase is a challenge to the (a more detailed and clearer rendering of the act of
boastful hunter. This and other satirical features, recovering strength and the acquisition of eternal life
including the naming of the hunter as ‘Lemmingöine’, is embedded in T h e F orsaken M a i d , cf. 92:28-40).
are all secondary. LI. 13-24, however, show that a poet-singer, though
32 te v a k s i : possibly a hyper-correction of tevana ‘elk’, apparently aware of the structure of the original
on the assumption that -n a marked the essive and tale, introduced a second theme for the poem shifts
that translative - k s i was better suited to the sense of to the legend of St Margaret of Antioch, who over­
the line; 7 9 -8 0 i.e. on the elk’s pelt; 89 lä p i ‘hole’: came a dragon that had swallowed her (in parts of
a horizontal hole for the foot-strap bored crosswise Europe she was believed to be the protector of
through the ski at its midpoint. snakes, sometimes referred to as her ‘cattle’). An
explanation for the combining of the two themes
may lie in the fact that they both symbolize the
struggle between good and evil. The influence of
ELK AND SNAKE 55 the E lk a n d S n ake allegory possibly explains why St
M argaretes mother] draws the snake’s poison, i.e.
A2681 B 184.4 B531.2 redeems sin, and why symbolically splendid trees grow
E lk a n d S n ake is a northern adaptation of T h e S ta g , from where the milk (i.e. poison) had spilt.
one of the zoological fantasies included in the second- 1 -2 H iie n m aa ‘Hiisi’s land’; puolen (k a n g a s) ‘cowberry
or third-century P h ysio lo g u s. The earliest record of (on the heath)’: these two phrases may be corrup­
the theme of the stag that swallows a snake is in tions of H iid e n m a a , i.e. the Estonian island H iiu m a a
the N a tu r a lis H isto ria of Pliny the Elder (23-79 AD). and P u o la ‘Poland’; 6 k o m its a < Ru. cf. g o m its a ‘up­
He described how stags look for holes and crannies per room’; 17 passim Ingr. punainen ‘brown’.
in which snakes live, blow them out and swallow
them. The account was incorporated and elaborated
by the author of P h ysio lo g u s to explain the opening THE FISHING 56
verse of Psalm 42: ‘As the hart panteth after the B81.13.11.1
water brooks, so panteth my soul after thee, O God.’
The anonymous Alexandrian churchman compared The poem’s underlying idea, a mermaid and her
the stag with Christ and the snake with the Devil. relationship with a mortal, is known throughout

549
Europe. The Finnish version is reminiscent of the Certain other features also point to Scan­
Scandinavian nature myth ballads, which frequently
described a brief erotic encounter between a mortal
dinavian influence. The reference to the
and an immortal. An earlier form of Poem 56 appears Maelstrom, the whirlpool through which men
to have been sung in the first person; the substitution and ships were sucked down to the other-
of Väinämöinen occurred when early Christian .world, reflects a myth which appears to have
singers were composing poems to ridicule the pagan survived long after the formal adoption of
heroes (cf. pp. 53-54). The influence of this teaching
is evident in the depiction of Väinämöinen as a Christianity in Scandinavia (e.g. Olaus Mag­
senile, helpless character. nus’s map of the North, 1539, locates the
2 - 3 The durative function of the Finnish construc­ Maelstrom close to the Lofoten Islands).
tion, indicating a steady, unhurried repetition of the The pagan theme of Leavetaking has be­
action over a long period cannot be adequately repro­
duced in English; 53—54 This couplet does not appear come associated with a Christian legend. The
to be part of the original poem and was probably episode in which the child speaks and names
added by the singer of this particular variant. his father appears to be an adaptation of the
French legend of St Goar (cf. pp.556-557), who
LEAVETAKING 57, 58 was summoned to baptize a three-day-old
bastard. When no one will admit paternity,
Leavetaking, together with The Fishing (Poem the child himself names his father, Bishop
56), represents the final period of Väinämöi­ Rusticus. The latter throws himself at the
nen poems when the ancient hero was being mercy of the saint and is made to do penance
used by early churchmen to denigrate the old for seven years. The same theme occurs in
beliefs. The poem combines some pagan and The Foundling (Poems 70, 71).
Christian features which illuminate how the
early Christians often adapted pagan prac­ 57
tices to their own ends. In some variants the
S341.1 T585.2 T5961 Z252
poem ends with an account of how Väinä­
möinen will one day return. Some scholars The theme and function of L e a v e ta k in g are d ear in
this Archangel Karelian variant; 11. 1-9 refer to the
believe this to be a Finnish version of the Scandinavian name-giving custom, 11. 10-22 repre­
world-wide myth of the hero who leaves his sent the Christian legend, and in 11. 23-31 the
people, promising to come back at the end Christian poet combines the two themes to discredit
of time. the pagan heroes.
5 - 9 i.e. ‘Father’, ‘mother’, etc. of the family that
The main theme, name-giving, is a factual found the abandoned child; 15—20 This is the only
account of a practice common throughout recorded reference to Väinämöinen’s involvement in
pre-Christian Scandinavia: a child had to be an incestuous relationship. It is probably the poet's
given the name of a recently deceased relative own addition and appears to have been influenced
by one of Lemminkäinen’s epithets describing him
in order to establish a link with the deceased’s as the man who seduced his sister (cf. 35:9-11);
soul and thus ensure its freedom of move­ 31 This line reflects the popular belief that the Mael­
ment in the otherworld. In some areas it was strom was caused by a giant whale sucking the sea
even believed that the soul could not pass into its throat (cf. 58:47-48 where the motif is
from the grave to the otherworld until a child clearer).
had taken its name (a belief also held else­
where in the world). Conversely, if a child 58
received the wrong name, it could fall ill or C102 D1275 S341.1 T311 T585.2 T596 Z252
even die. Until a child had been baptized,
The poem begins with a surrogate passage from T h e
it could be put to death by exposure or drown­ F o u n d lin g (Poems 70, 71) containing fragments made
ing; illegitimate children, therefore, were up variously of time, wealth and chastity hyperbole
generally allowed to live only if someone ad­ which to not survive separately, but occur as stock
mitted parentage. A more detailed illustra­ introductory material in many poems (cf. Poems 61,
tion of the importance of choosing the right 71, 75).
13 p a ljo , p a l ’l'o ‘poor’, cf. Fi. p a lja s ‘bare’; 14 leena
name for a child can be seen in Finding a ( < le in ä , cf. Fi. lein a ‘weak’) < Ru. cf. Ien' ‘lazi­
Husband (120:10-24). ness*.

550
THE MESSIAH 59^62 main features of the poem were transmitted
to the Finnish area by missionaries of the
The series of poems about the life of Jesus Eastern Church who, by the late 12th cen­
formed a miniature epos that survived among tury, were active as far west as Turku; it is
Russian Orthodox Karelians and Ingrians. clear that legends 2,3, and 5 arrived by this
Although the epos attracted numerous second­ route. The recurrent sun-moon-star symbol­
ary themes, the main body of the narrative ism also appears to have come from the same
was constructed around five widely known source where it is an even more important
poems:— phenomenon than in the west and is thought
1. The ‘Berry Legend’, which describes the to derive from an Iranian-Slav sun-cult.
miracle of the Virgin Mary’s impregnation While it seems likely, therefore, that the
by eating a berry, apple or nut; arrangement and style of The Messiah are
2. The legend of the ‘Search for a bath­ largely Russian Orthodox in origin, when
house’ for Mary’s confinement, which por­ the poems entered the Finnish area they were
trays the cruelty shown towards the unmar­ not translated but reinterpreted in the Kale­
ried mother and the birth of the child in a vala epic style. The reinterpretation affected
stable; not only language and prosody but also the
3. The legend of the ‘Search for the Lost characters and their milieu, e.g. the birth of
Child’, based on the stories of how the young Jesus in a bath-house, the traditional place
Jesus went off and was found in discourse for confinements in the Baltic-Finnish area.
with the learned men in the temple. Two or A particularly interesting example of local
more of these three poems were usually sung adaptation is the Baltic-Finnish motif of the
in sequence, possibly as a popular presenta­ berry as the cause of impregnation. It is
tion of the Christmas Gospel. Singers fre­ thought that this explanation of Mary’s im­
quently extended the basic story with a fur­ pregnation was the result of a misunderstand­
ther two poems; ing by local poet-singers of church paintings
4. The ‘Resurrection legend’ about how depicting the flight into Egypt (i.e. the epi­
the sun, the Creator’s most faithful servant, sode in which Mary asks for cherries and
put the guards around Jesus’ tomb to sleep obtains them as a result of divine interven­
and melted the nails of his coffin to allow tion). In variants from the southern parts of
him to rise from the grave; the Finnish area, the fruit is an apple (cf.
5. The legend of the ‘Shackling of Hiisi’s 62:10-15), but further north, where apples
smith’, which describes how the Devil, who were not known, local tradition interpreted
was forging chains intended for the Creator’s it as a berry (Fi. marja). The homonymic
neck, was outwitted and chained for eternity clash of marja and Marja (^.Maaria) ‘Mary’
to a rock, i.e. to the mythical mountain at appears to explain why in Finnish tradition
the centre of the earth. the berry came to be seen as the source of
Although it is known that this form of the impregnation (pregnancy resulting from
presentation of the life of the Messiah did eating something has typological parallels in
not originate in the Finnish area, it has not many parts of the world), i.e. syntyi {Neitsyt)
been possible to identify its source with any Marjasta lit. ‘[he] was born from (the Virgin)
certainty or whether it entered the Finnish Mary’ was understood as ‘[he] was born
area as a whole or in parts. The closest from a berry.’ Another obvious example of
parallels are found among the White Russians adaptation to local tradition is the description
and Ukrainians, and in Rumanian Christmas of the winter landscape.
carols; similar themes have also been recorded
among Russian Orthodox believers in the 59
Estonian province of Setumaa. The survival B401 D1311.6 H I 385.2-3 T511.1.1-2 T581.4
of The Messiah only in established Orthodox W155.6 Z216
areas and other evidence suggest that the The Archangel Karelian variant preserves the basic

551
structure of T h e M e s s ia h , incorporating the legends Certain passages have a remarkable aesthetic quality
of impregnation (11. 1-28), the search for a place (e.g. 11. 26-30, 60-63), ideas are expressed in a highly
to deliver the child and the birth (11. 29-230), and individual style (e.g. 11. 85-89), and the poem as a
the search for the lost child (11. 231-294). whole reveals the personality of a singularly indi­
The style of presentation suggests that the poet- vidual poet: the opening lines, in particular, suggest
singer was using the poem as a commentary on a a priest who has grown weary with the wayward­
series of church paintings or panels depicting the ness of his parishioners.
life of Christ. It is uncertain how familiar he was The description of the deathand burial of Christ
with the details of his subject. The opening verses (11. 1-20) differs in certain details from other var­
suggest a painting of a picture showing how Mary, iants of this poem. Christ’s murderers (11. 7-8) are
while fleeing into Egypt, asked for the fruit of a usually the guardians of his tomb (cf. 11. 45-48).
tree. The singer appears to have confused this with LI. 11-15 should be seen as an aside, describing the
the conception of Jesus and attempts to describe the ornamentation of the spears, and is possibly a relic
event in terms that his listeners will understand. of an otherwise lost fragment of T h e B o n d (cf. 40:
Nevertheless, some sense of uncertainty seems to 43-44).
have remained in the poet’s mind: cranberries grow The second episode (11. 21-57) is an interpreta­
on low shrubs, not on trees, and 11. 17-18 show tion, unique in Finnish poetry, of the events be­
him trying to reassure his listeners - and perhaps tween the burial and resurrection and is a further
himself - that it really was a berry even though it example of the poet’s individuality. He has com­
was so high above the ground (11. 19-20) that Mary bined the roles of the sun - as the indicator of the
had to climb up a pole to reach it (11. 21-22). The passing of the days before the resurrection - and of
retarded, step-by-step description of how Mary the angel who puts the guards to sleep. In some
swallowed the berry (11. 23-28) and the phases of variants the sun makes Christ’s resurrection possible
her pregnancy, with the concluding joke (11. 39-40), by melting the stones that cover his tomb.
suggest a poet-singer who was consciously and skil­ The final episode (11. 66-139), Christ’s descent
fully developing dramatic tension and who was well into hell, is thought to be based on the apocryphal
versed in Kalevala poetry; the model for the de­ Acts of Pilate, which describe Christ’s struggle with
scription was T h e F lo w in g o f T e a rs , a poem known the Devil and how he finally chained his opponent
throughout Estonia, Ingria and Karelia. He uses by the neck. The underlying themes of .how the
a framework repetition structure to create a similar powers of good outwit the powers of evil, and how
tension in the description of the onset of M ary’s a superhuman being is chained to a rock for eternity
labour and of how her maid had to run back and (cf. the Prometheus legend) are known in many
forth in search of a place to deliver the baby, and parts of the world. The version in T h e M e ssia h has
later when Mary searches for her lost son. its closest parallels in Lithuanian tradition where the
6 4 -6 5 In Baltic-Finnish dwellings it was customary disguised Christ meets Lucifer and asks him why
for the menfolk to sit on one side of the main living he is forging chains. When Lucifer replies they are
area and the womenfolk on the other: the descrip­ for Christ, the latter asks Lucifer to demonstrate
tion of Herod’s wife at the centre of the floor implies how he will attach the chains and, when Lucifer
that she bullied and dominated the household; 78 demonstrates on himself, Christ locks them and thus
passim tu u len lau tat ‘scarlet women’: lit. ‘whores fit traps him for ever. The theme in T h e M e ssia h is
for burning’ (the long -«- results from the collector’s essentially the same and employs similar motifs.
misunderstanding of the singing technique); 2 0 5 It is 9 —10 e ik eho illa : a corruption of e i k eih o illa 'not with
uncertain whether the bath-whisk is a local adapta­ spears’; 6 6 -6 7 i.e. to hell; 73 ju u tta a t ‘Jews’: the
tion of a fig-leaf or whether it reflects pagan prac­ term used in this context derives from J u d a s .
tices in which protection was obtained from danger­
ous spirits by sweeping with a whisk; 216—222 These 61
lines are an interesting example of how the singer
has taken a well-known medieval legend (i.e. how A677.1 A 1071.1 C102 D1311.6 E481.2.2 F93.1 F960
the animals in the stable where Jesus was born H I 385.2-3 T 311 T511.1.1-2 V10.1 V211.7 Z216
showed reverence) and adapted it to local tradition While all five legends can be identified in the Olo­
(e.g. the steam that comes when water is thrown nets Karelian variant, they are no longer so clearly
on the bath-house stove is provided by the breath defined. The singer retains the main themes of T h e
of the horse); 230 A popular ‘horse’ metaphor in M e s s ia h , but often only alludes to them, using long
Finnish folk poetry. surrogate passages from other poems to denote the
underlying idea. The variant also lacks the tight
60 structure of the Archangel Karelian poems, in which
the flow of the narrative is uninterrupted and the
A677.1 A733.6 A1071.1.1 N818.1 V211.2.1.3 V211.7 shift from one theme to another is clear.
V211.8 The poem falls into seven main episodes. The first
The Archangel Karelian series of the resurrection (11. 1-37) describes impregnation. This passage itself
and descent into hell is regarded as one of the finest is in two parts. The singer begins with popular in­
poems that survive from pre-Reformation Finland. troductory material (cf. 58:1-7; p. 550) to characterize

552
the daughter of a wealthy family who shows no by the birth in the stable (11. 18-52); the ill-treat­
inclination to leave home. T h e M e ssia h as such be­ ment of M ary is implied by the choice of stock
gins at 1. 22. phrases and surrogate passages associated with Poh­
The second episode (11. 38-40, 69-81) describes jola and its mistress. The third episode, describing
the realization of pregnancy. The singer has drawn St Stephen and his horse (11. 53-74), the miracle
surrogate passages from several sources. LI. 70-75 that marks the birth of Christ, is a surrogate passage;
are a chastity hyperbole generally found in intro­ the concluding lines of this episode, which should
ductory material (cf. 58:1-7; p. 550), while 11. 77-79 describe the miracle, have been substituted by lines
preserve an otherwise lost passage from T h e C o u rtsh ip from an incantation about the origin of diseases (11.
(cf. 17:248-249, pp. 529-530). LI. 41-68 and 82-86 69-72).
are a digression stimulated by the family’s refusal to The fourth episode (11. 75-109) describes Mary’s
believe that Mary is a virgin. This prompted the search for her lost son; the concluding line and the
singer to introduce surrogate passages from T h e line in prose suggest that the singer was beginning
W a te r-C a rrie r (Poems 124, 125), substituting ‘berry’ to confuse the search with the descent into hell, but
for ‘water’, and of which she sings a relatively com­ then corrected herself before shifting to the fifth
plete version (there is slight confusion at 11. 66-68). episode (11. 110—36); 11. 115-120, depicting the site
The third episode (11. 87-91) incorporates a medi­ of Christ’s crucifixion, may possibly have been in­
eval legend, adapted to the Finnish milieu, of how fluenced by descriptions of pagan sacred groves. The
M ary attempts to take her life. This leads to the opening lines (11. 137-142) of the final episode
fourth episode (11. 92-96), the birth in the stable. illustrate the transposition of the resurrection into
The singer has interpolated as the fifth episode (11. a wholly Finnish context. The remaining verses (11.
97-107) a brief account of how Herod tries to dis­ 143-251) are the most complicated part of the va­
cover whether Christ has been born - 11. 97-100 riant. They have the same framework as Poems 60
and 102-104 being spoken by Herod and 11. 101 and 61: the descent into hell and the struggle with
and 105-107 by his servants (cf. S t S teph en , 63:32-49, the Devil. Within this framework, however, are
in which Herod demands three miracles before he embedded two layers of Christian propaganda. The
will believe that Christ has been born). earlier is the Christian missionaries’ efforts to deni­
The sixth episode (11. 108-122) combines legends grate pagan beliefs, while the later layer reflects the
of the search for Jesus and his death. The episode struggle between the mendicant monks and the es­
concludes with an allusion to the persecution and tablished clergy (cf. pp. 54-56). The description of
crucifixion and shifts directly to the seventh episode, Christ riding a horse that falls, and of how he cures
the descent into hell (11. 123-145). The singer’s use its injury (11. 137-186) is from a medieval incanta­
of surrogate passages is most marked in the final tion for curing sprains that was known throughout
episode. She has drawn 11. 123-134 from T h e V isit to Europe and was a Christian adaptation of an earlier
Tuonela (Poem 30) to describe the journey to the incantation dating from about the 10th century.
otherworld and in 11. 135-145 sings an abbreviated The poet uses the incident to show that Christ’s
account of the struggle between Christ and the Devil. powers were stronger than those of an ordinary (i.e.
Only 11. 140-145 are original to T h e M essiah-, 11. pagan) worker of magic: Christ found no ‘singer of
135-139 are a stock passage that could have been bor­ spells’ and had to perform his own magic. As he
rowed from any of the numerous poems about smiths. continues on his journey into hell, he comes to a
1 The construction is obscure; in Kar. dialects bridge, which marks the incorporation of a variant
vaim o often means not only ‘wife’ but also ‘woman’. of T h e B rid g e a n d the Church poem (11. 187-217).
Hence this line appears to mean that it was Kaija’s The poet-priest, clearly himself a mendicant, con­
‘small woman’, i.e. daughter, who gave birth to the strues a folk explanation (11. 211-217) to explain
children; 13 u m biken ka ‘closed shoe’: i.e. a shoe with why Christ showed reverence to the bridge and
uppers attached and made by a skilled cobbler. In not to the church (i.e. because he found sanctuary
a society where people wore boots or only the most beneath a bridge when he was being hunted, but
rudimentary footwear (or went barefoot), a shoe of was taken prisoner in a temple.) The historical rea­
this kind was an indication of wealth; 41 to a tto < sons, however, for the Dominicans’ attempts to ele­
Ru. cf. ta ta ‘daddy’; 47 Concerning ‘brushed hair’ vate the bridge and denigrate the church were both
see p. 533; 48 k a p lu k k a < Ru. cf. k a b lu k ‘heel’; 49 secular and non-secular. On the one hand, bridges
p a g la < ?Ru. cf. p a k ly a ‘oakum’; 86 bunukka < Ru. were frequently built in the Middle Ages in Europe
cf. vnuk ‘grandchild’; 96 Concerning * so ra jo vi (a cor­ on the initiative of various religious orders to en­
ruption of su orajouhi) ‘straight-hair’ see 59:230. courage the passage of pilgrims (cf. the medieval
French Fratres Pontifices, an order founded specific­
62 ally for this purpose); thus there is an obvious asso­
ciation of bridges with religious activity. On the
A677.1 A733.6 A1071.1 B130 B184.1.4 C623 other hand, bridges were, and have remained in
D1311.6 D 1503.1 E471.1.1.2 F960.1 H1385.2-3 some parts of the Finnish area, the places where
N818.1 T511. 1.1-2 T581.4 V138 V211.7 V211.8 members of the local community gather for formal
The Ingrian variant is in six episodes. The first (11. and informal activities. Hence bridges were the ob­
1-17) is a simple account of impregnation, followed vious places for the mendicant monks to hold im­

553
promptu open-air services and to hear confessions. only believe this if the dead cock on the table crows.
The concluding verses (11. 218-251) preserve a rela­ The bird comes to life, rises and crows ‘Christ is
tively complete version of how Christ tricks the bom ’. Herod summons his executioner and has
Devil into fixing the shackles around his own neck. Stephen stoned to death (the punishment for blas­
7 - 8 v its a ‘lash’ and ruoska ‘whip’ are folk interpre­ phemy laid down in Mosaic Law). The legend
tations of improperly understood motifs in medieval , reached Finland through Sweden, where it was al­
church paintings (cf. pp. 551, 561); 86 hos < Ru. cf. ready well-known in the 12th and 13th centuries.
k h o t ’ ‘if’; 109 ta < Ru. cf. d a ‘yes’; 140 Concerning In Scandinavia the stoning episode was omitted and
p ä r e ‘splint’ see p. 539; 156 p u u ‘tree’: a corruption church paintings indicate that by this time St Stephen
of p y y ‘hazel grouse’; 165-167 passim These lines had begun to be portrayed not as a scullion but as
depict one of many ways of performing spells and a groom; this probably resulted from the coincidence
soothsaying. The spells were chanted (i.e. ‘mutter’) in many parts of pre-Christian Europe of St Stephen’s
over salt (the vital importance of salt in a primitive day with the ritual watering of horses at the winter
economy has given rise to numerous superstitions, solstice to ensure their health and strength through
many of which still flourish) and at the same time the coming year. There are many parallels, especially
the worker of magic would perform (i.e. ‘bind’) in Germany, for the subsequent association of such
with ‘threads’ and ‘ribbons’ of different colours a rites with St Stephen.
soothsaying (i.e. ‘speak’) ritual; 250 va a tu < Ru. cf. In Finland the medieval St Stephen legend was
v adu ‘in hell’. adapted to a framework that, together with the
animal disguise, represents an older, pre-Christian
stratum of winter solstice rites. The Christian legend
is found in 11. 2-49. This is followed by a request
ST STEPHEN 63 for beer (11. 50-55) and a song of thanks (11. 56-71).
The boisterous carnival spirit that pervades the per­
B130 C623 D1311.4.0.1 E32 E168.1 E471.1.1.2 formance of the poem is apparent in 11. 2, 25-26
F838.3 F960.1 H252 and the concluding couplet. Parallels for the three
is an example of a poem that dates from
S t S teph en Nativity miracles (11. 32-49) are found throughout
the medieval period before the new Christian teach­ Europe and the motif of the crowing cock is com­
ing had either completely eliminated or assimilated monly used in this context. A distinctive Finnish
pagan beliefs and practices. Certain of these practices development, however, appears to be the bringing
became associated with St Stephen and survived in together of these various miracles into a composite
ceremonies which accompanied the singing of the Nativity series.
poem on St Stephen’s Day (26th December). In West 4 Concerning k o n k a ri see p. 538; 17—18 A stock
Finland, where the practices survived until the 20th Finnish hyperbole (cf. 51:3-4); 25—26 Lines inter­
century, they were linked to mumming customs polated by the performers as a comment on their
observed on the days immediately after Christmas. own boisterous behaviour; 33 i.e. the cock that is
The song was performed to the accompaniment of trussed and roasted. In a more complete variant this
dance by a group of young men, who went from verse is foilwed by the lines: j o k a on p a is tin a v a d is /
house to house repeating the ceremony and receiving höyhenet tu lip a d a ssa ‘which is roasted on the plate /
beer as payment. The group would include one man feathers in the fiery pot’; 35 f a r t t i < Sw. cf. k v a rte r
dressed up as ‘St Stephen’, i.e. with a straw tether 'quarter of an hour’; 5 4 -5 5 Surrogate lines borrowed
wound around him, while some of his companions from a much later, unidentified song.
could be dressed as goats or bears and wore various
kinds of masks. The custom evolved from pagan
rites connected with the winter solstice, a time of
the year when evil spirits were thought to be par­ ST CATHERINE 64, 65
ticularly active. Throughout the world this has pro­
duced ceremonies of great complexity designed either These variants illustrate how the saints’ le­
to protect men against the power of spirits or to gends became confused both with each other
placate them and secure their support for the coming
year. The St Stephen ritual illustrates how such prac­ and with pre-Christian myths. According to
tices were adopted and assimilated as part of Chris­ the earliest sources, St Catherine of Alexan­
tian ritual. Customs comparable to those known in dria was a virgin of noble birth and excep­
Finland, particularly donning animal disguise, have tional learning, who was tortured on a wheel
been recorded in many parts of Europe and North­
ern Asia. and then beheaded (307 AD) because she
The version of the legend on which Poem 63 is had protested at the persecution of the
based is known in many parts of Europe. It originated Christians by Emperor Maxentius. Legends
and took shape in England, and describes how about her martyrdom did not begin to
Herod’s scullion, Stephen, sees a vision of Bethlehem
in the sky above the stars. He tells his master that spread, however, until the 10th century; by
the Saviour has been bom, but Herod says he will the late 13th century they were widely known

554
in Sweden and St Catherine was especially however, have been borrowed with only small
revered by the Dominicans, the order that changes from T h e G olden B rid e (Poems 21, 22). The
reference to Väinämöinen in 1. 43 could either
was most active in medieval Finland. She is have been influenced by the earlier reference or have
the subject of numerous church paintings, in been borrowed from a variant in which Väinämöi­
which one of her symbols is the wheel on nen appears as a smith.
which she was tortured (cf. the ‘Catherine- 2 p ir ta ‘reed’: a weaver’s tool for separating warp
threads.
wheel’ firework). In the Finnish area this
was understood as a spinning wheel, hence
in Finnish poetry she is generally associated ST HENRY 66, 67
with spinning or weaving. Accounts of her
martyrdom by burning are again the result St Henry, the legend of the martyrdom of
of confusion. It is not known what fate was Finland’s patron saint, is the best known
originally ascribed to her in Scandinavian poem of the Roman Catholic period in Fin­
and Finnish tradition. In a corresponding land. Bishop Henry, according to tradition
Swedish poem St Catherine is carried up to an Englishman, accompanied the Swedish
heaven by white doves. The Finnish variants King, Eric Jedvardsson, on a crusade to Fin­
suggest that she may have escaped martyr­ land (1154 or 1155) and remained there as
dom. head of the Church after Eric’s return to
The Finnish poet-singer has used stock Sweden. According to legend, Henry was
phrases and surrogate passages from poems murdered by a peasant, Lalli, on 20th Jan­
about Ilmarinen, in particular The Golden uary 1156 while crossing the ice of Lake
Bride (Poems 21, 22), to describe the at­ Köyliö in South-West Finland. Henry’s death
tempted burning of St Catherine. It is un­ was commemorated in a Latin liturgical text,
certain whether the wooing motif, which has composed in Turku, and read regularly in
no foundation in the earliest records of the Finnish churches. It stated that the Bishop
legend, was inspired by The Golden Bride had wished ‘to impose on a certain murderer
or came about through confusion with legends the corrective discipline of the Church in
about St Margaret (cf. Poems 70, 71). The such a way that he would not regard a pardon
substitution of Herod for Maxentius is a easily acquired as encouragement to further
further example of confusion, with Herod criminal acts. Then that unhappy, blood­
occurring as a stock character to represent thirsty man attacked the servant of right­
evil. eousness and cruelly killed him.’
The official account and the wealth of
64 local folklore stimulated by the crime gave
Q414 T326.3
birth to St Henry. It appears to have been
composed towards the end of the 13th cen­
28—30 These lines, in which the identity of St Cath­ tury by a poet of some learning - familiar
erine has changed, can be compared to medieval
Swedish church paintings in which the saint is with contemporary Scandinavian chivalrous
depicted as reading. ballads (e.g. the ‘noble-servant-grey horse’
combination), a versatile exponent of Kale­
65 vala epic poetry technique and also well
versed in contemporary Catholic legends, on
B102 Q414 T117.il T326.3
which the structure of the poem is modelled.
The Savo variant is a compilation of stock and sur­ The factual style and earthy vocabulary,
rogate passages. A Finnish variant of the St Cath­
erine legend survives in 11. 1-9, 17-24. The substi­ however, suggest that it was not the conscious
tution of Väinämöinen for Herod in 11. 10-16 was intention of the poet to imitate popular legend
probably confusion by the singer and suggests the poems, but rather to compose a chronicle
influence of the Christian poems composed to deni­ of Bishop Henry’s life and work in Finland,
grate the pagan heroes. While the Finnish S t C a th ­
erine legend is apparent in 11. 17-24, it is cast against
embroidering his narrative with as many
the background of poems about Ilmarinen; 11. 25-54, facts as possible (cf. the unusual number

555
of proper names). Several features such as the or Swedish-speaking Finnish officials, had the right
description of the journey and the concluding to claim free board and lodging when travelling on
government business, a privilege that was frequently
episode about divine judgement were added abused; 8 6 -£ 7 Concerning the translation of sa k sa
by a later poet-singer. see German[y]/Saksa in Name Index; 178 p a n n a <
The purpose of the poem, of which fourteen ,Sw. cf. p a n n a ‘brow’.
manuscripts or fragments of manuscripts
survive, was to attract pilgrims to the church 67
at Nousiainen, where Henry was first buried. B155.1 C949.2 K2127.3 V111.3
Nousiainen continued to be an important
place of pilgrimage even after Bishop Henry’s
remains were moved to Turku Cathedral in THE TREE 68
1280. The historical validity of the poem has D950.2
been the subject of much controversy. Lalli’s T h e T re e is an adaptation by early Christian Ingrians
behaviour on hearing his wife’s lies, for ex­ of a pagan theme. The original idea is found in
ample, is less surprising in the context of the T h e V oyage (Poems 26, 27) as the description of the
time when abuse of the privilege of free search for timber suitable for the keel of a boat. The
motifs in the adaptation have a symbolic function
board and lodging was regarded as a punish­ comparable to those in E lk a n d S n a k e (Poem 55; cf.
able act. It would seem, however, that the pp. 549, 564): the wood of the tree is rejected as
poem’s propaganda purpose, its legend struc­ unsuitable for a church because it has been defiled
ture and the changes introduced by later by animals associated with evil.
25—26 These verses suggest that the archetypal poem
generations of singers have obscured the contained a passage describing how the woodmen
historical relevance the poem may once have sought and found a suitable tree, i.e. one associated
had. with animals symbolizing God and virtue (cf. 27:
36-44).
66
B155.1 C949.2 K2127.3 Q,172 Q560 VI 11.3 THE FOREST 69
33 tta n tti ‘coachman’: lit. ‘coachman who stood at
the rear of the sledge behind the passenger’. The C998 D705.2 F979.23
word derives through Swedish from Latin in fa m ; it T h e F o re st appears to have been composed in Esto­
was probably this association, together with allit­ nia, from where it spread into Ingria and north
eration, that determined the choice of va a k sa ‘span’ along the Karelian Isthmus. The association of the
as attribute; 40 m u rsunluiset ‘walrus-bones’: i.e. the moral protest with fertility suggests that the poem
various fixtures by which the traces were attached is a description of some kind of purification ritual
to the shafts and the horse; 41 It is thought that used by Christian priests in places where crops had
v a lja a t ‘harness’ referred solely to the bit; 50 -5 9 A failed to flourish; the lack of fertility was ascribed
stock metonymic passage describing sounds associated to pollution caused by sinful behaviour (cf. 11. 3-6).
with travel; in the view of some scholars the images Hence 11. 7-12 depict the dire consequences of such
may also refer to the designs carved or painted on behaviour: the absence of fertility (11. 7-9), the in­
the sleigh; 50 v ir m a : an associative change from k irm a terruption of the natural cycle (1. 10), and the
‘hood placed over a sleigh or carriage’. It is known plunging of the earth into total darkness (11. 11-12).
that these hoods were frequently decorated with The remainder of the poem, describing the purifi­
animal motifs; 5 0-55 Hence these verses describe cation ceremony (11. 13-15) and the subsequent re­
the decoration on the sleigh hood; 55 i.e. the bear­ storation of fertility, is an interesting illustration of
skin cover on the horse that was attached by iron how early Christian thought and practice were under­
clips. At one time it was also common to fix pieces stood and propagated in the Baltic-Finnish area.
of iron to the bear-skin as protection against evil
spirits and spells; 56 i.e. the bell attached to the
harness (bells were frequently compared to singing
birds); 57 i.e. the ringing of the bell in close prox­ THE FOUNDLING 70, 71
imity to the bear-skin horse blanket; 58—59 A refer­
ence to the popular custom of decorating travel-rugs The Foundling, which is also known in Estonia,
in the same way as the sleigh-hood; 66 k y rsä ‘roll’: brings together several popular medieval
i.e. a flat, round, hard rye loaf with a hole in the
centre; 85 ru okaru o tsi ‘Swede to feed’: a pejorative themes. The underlying idea is the legend of
that derives from the 14th century when Swedish, St Margaret of Antioch (also known as St

556
Marina), who according to some versions of 71
the legend committed suicide to save her
H1510 LI 1.4.4 S341.1 T475.2.1 T585.2
virtue; in other versions either the prefect
Olibrius or the Devil disguised as a dragon (cf. The variant from the Karelian Isthmus preserves a
fuller version of the St M argaret legend. The opening
Poem 55; p. 549) attempts to seduce her while lines (11. 1-14) employ stock introductory material
she is herding pigs. From as early as the 7th (cf. 58:1-7; p. 550) and the legend begins at I. 15. The
century, St Margaret was honoured in the seduction, marking the shift to the ballad theme,
Eastern Church and later was one of the occurs against the girl’s will, thus preserving some
vestige of the ancient legend. The remainder of the
saints commonly invoked by women in labour. poem has the same structure as Poem 70, though
In these variants the main themes of the with greater elaboration of the theme and motifs.
legendäre cast in a ballad framework, simi­ 37 i.e. the moment had come to give birth; 45
lar to that, for example, of The Forsaken Maid passim m iehiin tu p a ‘men’s house’, n a isiin tu p a ‘women’s
house’: a wealthy home, such as M arketta’s, would
(cf. Poems 92, 93, 94; pp. 563-564); the have separate quarters for the men and women who
seducer, Hannus, also belongs to the same worked there.
tradition: a medieval Finnish Don Juan
character. The legend of St Margaret is
apparent at the beginning of the Finnish THE MAID AND THE DRAGON
poem where Marketta is approached by a 72-74
stranger while she is herding in the forest.
The Finnish version departs from the original The theme of the dragon that refuses to eat
in that Marketta is seduced and conceives, a young woman is unique to Finnish poetry
possibly a reflection of the saint’s association and is one of the first poems to introduce a
with childbirth. The end of the poem, in vein of humour into the generally serious
which the parentage of the child has to be poetry of medieval Finland. Linguistic and
established before it can be baptized, com­ stylistic features indicate that it was com­
bines pagan name-giving practices and ver­ posed in South-West Finland and was prob­
sions of the French legend of St Goar (cf. ably the work of one particular, skilful poetess
Poems 57, 58; p. 550). The Finnish adapta­ who also produced several other poems that
tion of the legend was used as a cautionary won wide popularity. Composed on the mod­
poem to warn girls of the dangers of be­ el of the legend of St George and the Dragon
coming emotionally involved with strangers (in some variants the young man is called
(cf. pp. 563-564, 568). Yrjö ‘George’), the purpose of the satire is
to rebuke men who are unfaithful to their
70 women, by teasingly suggesting that they
H1510 LI 11.4.4 S341.1 T585.2 should be put to death, and at the same time
Traces of the St Margaret legend can be discerned to draw attention to the importance of women
in 11. 1-16, while 11. 17-24 represent the pagan in a male-dominated society by emphasizing
name-giving practices. The concluding lines skil­ their role as mothers.
fully and symbolically combine the pagan practices, The use of the first person plural and the
which place the child’s life in jeopardy, with the
St Goar theme. opening lines show that the poem was per­
3 -5 These lines illustrate the process of change as formed by girls as they walked in procession.
a motif passes from singer to singer. Together with While it is not possible to date the poem’s
11. 1-2 they are a surrogate passage from T h e K a n te le
(cf. 23:4-5). The earlier form was S u vikunnan su ite t composition precisely, textual evidence sug­
v y ö llä ,/v a rsa n v a lja h a t o la lla ‘at his belt the yearling’s gests the early 16th century; dragon themes
reins/shouldering the colt’s harness’; as the poem occur in Swedish and Finnish church painting
was transmitted su vik u n ta ‘yearling’ (lit. 'one-summer-
old’) became sukukunta ‘kin’ (su v i and suku are near­ only after 1480 and references to war in some
homonyms in certain inflected forms), and varsa of the variants appear to be to Danish attacks
‘colt’ became v a lta (cf. p. 532); 8 v a sta s ‘bath-whisk’: on the southern coast of Finland some
i.e. leafy twigs bound together, with which bathers
beat themselves to stimulate perspiration. twenty years later.

557
72 maritan woman at a well (John 4). The leg­
P19.4.1 Q413
end originated in France and spread through­
out Europe. Two versions were transmitted
The S t G eorge legend and the satire are obscure in to the Finnish area, most probably by men­
the West Finnish variant. The theme and motifs
become clearer, however, when the variant is com­ dicant Dominican monks for St Mary was
pared with Poems 73 and 74; 11. 1-7 suggest the their patron saint. In its advocacy of humility
assembling of girls in preparation for a procession and condemnation of social differences, the
in which each person, or group of persons, has a poem epitomizes Dominican teaching (cf. pp.
particular role to play. LI. 8-15 correspond to the
episodes in Poems 73 and 74 that describe the 54-56).
hanging.
9 i.e. learning to sing; 10 n iin i 'bast’: inner bark of 75
the lime tree used in rope-making (cf. 73:4—7); 12
h irret 'gallows’: a corruption of Y rjö 'George’, i.e. V211.2.1.3 V223.3
'to hang (St) George*; 13 tien su u 'road’s end’: the The version which survived in West Finland, where
traditional gallows site; 14—15 i.e. a public place, it was performed as part of the Sääksmäki Whitsun­
possibly the area in front of a castle or palace. tide celebrations, is regarded as one of the outstanding
products of medieval Finnish poetry. It differs mark­
73 edly from the corresponding German, Scandinavian
and Slav versions which are closer to the Latin orig­
B11.8 P19.4.1 Q413 inals, and does not describe M ary’s sexual impropri­
The variant from the Karelian Isthmus brings out ety, wickedness, and punishment in the same colour­
more clearly the principal motifs; 11. 1-14 and 17-18 ful, lewd and malicious terms; the Finnish poet-
describe the procession to the gallows to hang the translator introduced a refined sense of moral con­
young man and the reason for his execution. LI. sciousness and cast his version in a restrained style
13-16 are the first stage in the satire cast in terms that skilfully heightens the effect of the dramatically
that recall Pontius Pilate’s inquiry about the reasons powerful climax. Other features added by the poet-
for the condemnation of Jesus. It is possible that a translator include the description of what Mary’s
passage has been lost at 1. 19 where the poem shifts three murdered children might have become, which
to the legend of S t G eorge a n d the D ra g o n ; it would is structurally and thematically similar to T h e W id o w
be in keeping with the satirical tone of the variant (Poems 82, 83), and the emphasis on the difference
for the man to be pardoned and the maid to be in social status between M ary and Jesus, who is
condemned. LI. 19-33 contain the full thrust of the disguised as a herdsman. The portrayal of Mary’s
protest and at the same time throw a rare shaft of vanity as when she regrets the fading of her beauty
light on how women saw their role in Finland in when she sees her reflection in a stream, 11. 16-26)
the Middle Ages (cf. 11. 29-33). is a motif found in the earlier French and Italian
versions but not in those recorded in Sweden.
6 -1 5 Stock introductory material (cf. 58:l-7:p. 550);
74 11 A medieval legend that St Mary Magdalen was
of royal descent has led to her often being depicted,
B11.8 P I9.4.1 Q413 especially in church paintings, as wearing a crown;
4—8 A change has occurred in that the lime tree 28 Concerning k a sk i ‘burnt clearing’ see pp. 524, 546;
which was originally the source of the bast now 57 i.e. the stones or wooden stumps that were placed
provides the timber for the gallows; 8 h ylk ö i ‘wretch’: in marshes to aid travellers; 6 3 -6 4 Two features
a corruption of Y rjö ‘George’; 27 A reference to the have been confused here; stumps placed in marshes,
conditions in which a serf was wholly at the disposal i.e. as a ‘bridge’, and stock phrases about drifting
of his master and could make no appeal to higher at sea. Fi. s ilta originally meant 'wooden plank(s)
authority; 3 2 -3 5 These lines illustrate how a or beam(s) on which to walk’, which explains why
singer, who might herself never have seen a picture it means ‘bridge’ in some dialects and ‘floor’ in
of a dragon, tries to describe one to listeners who others.
know even less; it is possible that she may have had
a picture of a crocodile in mind. 76
T 5 11.1.1-2 V223.3
MAGDALEN 75, 76 The Ingrian redaction was transmitted not through
Finland but through Estonia. It preserves features
that are not found in Scandinavia, but which can
The legend of St Mary Magdalen reached the be shown to be linked to Romance tradition, e.g.
Finnish area in a form that was associated with the concluding episode in the church (11. 48-64).
the account of Jesus’ meeting the sinful Sa­ Christ here is very different from the merciful char­

558
acter in the Sääksmäki redaction; this trait is also a is possible that the poem originally functioned
feature of Romance tradition and appears to have as the text of a moralizing drama.
been intended specifically to emphasize the impor­
tance of celibacy among the clergy. The variant
brings out more clearly the pathos of Mary’s shame;
the poet heightens this by presenting her as the 77
epitome of an upper-class young woman of her time
- frivolous, arrogant, fashion-conscious and con­ Q,171 0560 U90 V515.1.1
temptuous (11. 1-31). The surrogate passage at 11. The Ladoga Karelian variant retains the three-part
32-42, borrowed from T h e M e ssia h (cf. 62:11-17) structure of the archetypal poem. The opening lines
and possibly influenced by accounts of the forbidden (11. 1-20) are a surrogate passage from a lament lyric
fruit, alludes to Mary’s sexual wrong-doing and sug­ sung by serfs; 11. 21-31 describe the serf’s harsh death,
gests that the listeners were already familiar with 11. 32-52 portray the master’s retribution and punish­
the salient facts of the legend. ment after death, and the concluding lines (11. 53-70)
5 k o p u tti < Ru. cf. h a p o t ‘bonnet, hood’; 52 A ref­ elaborate the Dominican doctrine that wickedness
erence to the traditional procession around the by the rich towards the poor was a sin that could
church that forms part of the Easter Vigil ceremonial; not be atoned in purgatory. To heighten the pathos,
57 passim vateru t < ?Sw. cf. f a d e r ‘father’ (the Swed­ the singer has used a surrogate passage (11. 1-13)
ish versions refer to a priest in this context). borrowed from another poem in the same tradition,
T h e S e r f 's L a m e n t , as a prologue, and has used 11.
13-20 as a warning, i.e. the wealthy are given an
opportunity to mend their ways if they wish.
SERF AND MASTER 77-79 22 Kar. lu p a ‘leave, permission’ and Kar. v a lta ‘power;
leave, permission’ have overlapping semantic fields
Serf and Master is an outstanding example of which cannot be adequately translated; 15 Con­
how the Dominicans taught the sanctity of cerning tsu p p u see p. 540; 18 Concerning ku lo see
p. 523; 55 k y y n ä rä ‘cubit’: i.e. 59 cm; 57 k a p p a
poverty. Better than any other poem, it pres­ ‘gallon’: i.e. a dry capacity measure, 4.58 litres;
ents the doctrine in its most simple form, 6 9 -7 0 i.e. the only source of water he could
emphasizing the uncompromising way in find.
which the poor understood sin and virtue,
retribution and reward. The association in
many variants of the Christian heaven with 78
pagan Tuonela suggests that the poem took A661.0.1.2 Q.172 0560 U90 V515.1.1
shape at a time when Christianity was only The main features of the original poem survive most
beginning to gain supremacy over the old clearly in the Central Finnish variant, having par­
beliefs. The concepts of a separate heaven ticular historical interest for it was collected in
and hell had still to take root; life after death an area where serfdom never existed. Although this
variant lacks the detailed didactic content of the
was thought to be in the same place, though Ladoga Karelian and Ingrian versions, its laconic,
with differing conditions, for everyone. terse style reveals a greater depth of bitterness, a
The theme is thought to be a popular feature that has parallels in other types of oral
adaptation of the parable of Dives and La­ tradition.
1 -2 A stylistic device, rather than a statement of
zarus in Luke 16. An alternative explanation fact, to impress on the listeners that this is 'a true
is that it may go back further to the ancient story’; 2 i.e. where serfs were treated very badly,
Egyptian legend of Osiris’ punishing a rich ‘in the pagan way’.
man by making him exchange roles with a
poor man. Textual evidence suggests that
the poem reached Finland from Western 79
Europe and was possibly transmitted by 0172 Q560 U90 V515.1.1
Dominican monks who had studied at the Structurally, the Ingrian variant has the same form
universities of Western Europe. The poem as Poem 77: prologue (11. 1-13), death of the serf
survived longest, however, in those areas (11. 14-25), afterlife with reward or retribution (11.
south of the Gulf of Finland, where the 26-143). All these variants reflect Russian Orthodox
doctrine about death and judgement, whereby, un­
oppressive Baltic-German system of land like Roman doctrine with its tradition of purgatory,
tenure existed and the contrast and antipathy the soul proceeds at death immediately to judgement
between rich and poor were most acute. It and thence to heaven or hell. A characteristic of

559
this variant is the particularly vivid way in which
the poet-singer has elaborated the legend with con­
THE WIDOW 82, 83
temporary fantasy (e.g. 11. 26-32).
The Widow illustrates one aspect of the ethics
4 p iik a 'maid, slave’: although the Finnish word
normally specifies a woman it is clear from the of the mendicant Dominicans and in terms
text that the serf is a man; 11 passim Concern­ of its cautionary function and antithetic
ing k a p p a 'gallon* see p. 559; 15 Concerning v a lta
structure is comparable to Serf and Master
see p. 559; 96 su u ta < Ru. cf. su yeta 'fuss, bustle’.
(Poems 77, 78, 79) and Magdalen (Poems 75,
76). Textual evidence indicates that it dates
from the late Middle Ages and was possibly
DEATH ON THE PROWL 80, 81 inspired by a monk’s disapproval of episcopal
pomp. Nevertheless, the underlying theme is
The harsh and lonely fate of daughters-in- one central to Christian teaching - the mortal
law is the subject of this lyrical elegy. The sin of pride. While the motif of personified
poem must have struck a familiar chord, for death was well known throughout Europe,
numerous variants of it were sung and re­ this particular interpretation of the hubris-
mained popular until recent times over an nemesis theme has been recorded only in the
area that extends from Estonia to northern Finnish area, where it appears to have spread
Archangel Karelia. It combines factual de­ from West Finland into Karelia and Ingria.
tails of daily life with the omnipresent sense Both poems have the same structure: boast­
and acceptance of the proximity of death, an ing, death, repentance. Despite the consider­
essential element in man’s understanding of able geographical distance between the var­
the world in the Middle Ages. Although the iants, the motifs are remarkably similar. The
personification of death is typical of medieval opening verses (82:1-2 and 83:4-5) may have
Roman Catholic thought (cf. Poems 82, 83) been inspired by a heraldic device, possibly
and the ‘climax-of-relatives’ structure is of the bishop whose pomp, according to some
known all over Europe, they are employed authorities, inspired the poem.
in a way which is unparalleled outside the
Baltic-Finnish area: by personifying death as 82
the selective agent in the ‘climax-of-relatives* C451-452 L412 Zl 11-112
pattern, the constant awareness of death is
used to express personal feelings and con­
sciously heightens the emotional effect of the 83
poem. C451-452 L412 Zl 11-112
This variant became the accompaniment to a dance;
‘red’ in 1. 8 possibly refers to the colour of the gar­
80 ment worn by the person acting the role of the
widow.
Z l 11-112 2 9 -3 0 i.e. she has to support herself by begging.
2 t a u t i ‘disease’ preserves in this context an earlier
use of the word in Finnish, i.e. ‘disease that causes
death’ (< OSc. cf. Sw. d ö d ‘death’; Eng. 'dea th ' THE DEATH OF ELINA 84
derives from the same Germanic root); ta lv itie ‘winter
road’: i.e. the route used in winter that went across F 1041.1.11.3 K2112 0,172 Q560 S62 T61.4
frozen swamps and lakes in contrast to the more V211.2.1.3
circuitous ‘summer roads’; 9 Concerning k a sk i ‘clear­ The five-scene dramatic poem, which may have
ing’ see pp. 524, 546. been intended to be acted, was written down about
the middle of the 16th century. It is uncertain to
what extent it spread beyond Vesilahti in West
81 Finland where it was composed; fragments collect­
ed in Ingria indicate that it entered oral tradition.
F492.1 Z l 11-112 The poem was inspired by a widespread tale about
2 Concerning ta u ti ‘disease’ see above; 24 Concerning a lord of a manor who burned his innocent wife and
k a s k i ‘clearing’ see pp. 524. 546. his best workman to death after a malicious chamber­

560
maid had lured them into a bedroom and locked MDial. lik k a ; 49 passim f r o u v a cf. MFi. rouva; 80
the door. The m urder is set in the manor of Laukko, passim k la p a ta cf. MDial. la p a ta ; 81 passim f iin i cf.
close to Vesilahti, which from 1450 until 1470 be­ MDial.; 109 p r y k ä tä cf. MDial.; 138 k la s i cf. MFi:
longed to Klaus Kurki, the provincial judge of Ia si 148 tren k i cf. MFi. renki; 173 sla h d a ta a n cf.
Ylä-Satakunta in South-West Finland and who was MDial. la h d a ta ; 209 passim s ta lli- cf. MFi. ta lli- .
well-known for his efforts to stamp out witchcraft 6 p iik a ‘girl’, but cf. 1. 32 ‘lass’ (i.e. servant, maid).
(cf. 1. 73). Although folk tales link his name with This Swedish loan had both meanings in Old Fin­
the crime, documentary sources show that it was nish; 9—10 i.e. a wealthy home; 18 tu le n o sta : a
committed at the end of the 14th century by Klaus corruption of tu len n osta or tu len n a sta from tu len ta
Djäkn, one-time provincial judge of the Province of ‘coming’; 43—44 Glass in the windows indicates
Häme (1383-1390) and later commandant of Turku wealth; it is also an important dating criterion, for
Castle (1409-1434); after burning his wife to death, window panes were not introduced into Finland
he married one Kristina Jönsdotter. until about 1500; 185 p a n n i ‘pan’: a medieval dry
T h e D e a th o f E lin a is the last major medieval poem capacity measure, 91.6 litres; p a h a t ja u h o t ‘bad flour
in the Kalevala epic tradition and was composed i.e. gunpowder; 216—219 The description of
shortly before the tradition began to die out in Elina appears to have been influenced by paintings
West Finland. As such the poem and the circum­ of the Virgin Mary.
stances surrounding its composition illuminate the
period of transition from oral literature to conscious
artistic creation. The poet’s identity is not known,
although it has been suggested that he may have THE FAITHFUL BRIDE 85, 86
been a clerk in the Kurki household. Textual evi­
dence shows him to have been a masterly exponent The Faithful Bride is one of the few examples
of Kalevala epic, familiar with its technique and (cf. The Death of the Bride, Poems 87, 88) of a
practice in both West and East Finland. He was
also a man of some education and was well versed chilvarous ballad in Finnish folk poetry. It is
in the poetry of Scandinavia { T h e D e a th o f E lin a largely a translation of the Swedish Lagmans-
displays, for example, the influence of the Danish visa, the most important of the numerous
ballad L a w e S tisön o g F ru E lin e ); he had some know­
ledge of the requirements of dramatic technique, he Swedish bride-stealing ballads. The poem
skilfully handled the psychological development of reached West Finland by not later than the
the narrative and revelled in the macabre melodrama
(cf. 11. 157-160, 173-175).
15th century, was transmitted to Ingria by
The Vesilahti variant, recorded at least 160 years the ancestors of the Äyrämöinen and da-
ago, is the only one known to cue each character. vakko Finns in the 16th century, and through
The original 300-line drama was divided into five
scenes. In this variant the division is: Scene 1 = 11. them reached the Izhors. In Finland the
1-46, Scene 2 = 11. 77-98, Scene 3 = 11. 99-137, poem survived only as part of the Sääksmäki
Scene 4 = 11. 138-195, Scene 5 = 11. 196-236. The Whitsuntide festival (cf. p. 58).
sequence of the lines in the opening scene has been
confused and should be 1-3, 17-19, 4-11, 20-21, While the main characters and themes of
12-14, 22-24, 15-16, 25-46. The episode in which the Swedish poem remain in the Finnish
Elina and Kirsti go to do their washing (11. 77-98) variants, the latter have acquired motifs from
should form the opening of the second scene and
precede 1. 47. In this variant Elina’s reply in 11. other, unrelated Scandinavian ballads (e.g.
69-73 omits any reference to her advanced state of letters bearing false news, 85:18-19). The
pregnancy and the dialogue in 11. 139-141 does not
include the plea of mercy for her new-born son, conclusion of the Swedish ballad, describing
whom Klaus maintains is not his but Olovi’s. Simi­ how the knight threw himself between his
larly, the description of how Kirsti entices Elina betrothed and his usurper when they were
and Olovi separately into the bedroom where, con­
trary to instructions, she has prepared a bed for two, already in the nuptial bed, has been omitted
no longer reflects the scale or content of the from the Finnish variants. The betrothal of
corresponding episode in the original poem. The Inkeri while still in her cradle, or only a
most complete section of this variant is the conclu­
sion, in which the influence of legend poetry is child, is another motif that does not occur
evident. in the Swedish poem. The Finnish variants
An interesting linguistic aspect of the text is the also differ in certain points of emphasis; the
frequency of Middle Swedish loanwords, some of contrast, for example, in the social status of
which preserve phonetic forms that no longer occur
in Modern Finnish, while others never rooted in the the hero and his rival appears to be a dis­
standard language. Examples are: 39 f lik k a cf. tinctively Finnish motif.
36 561
85 joki and Kokemäki, royal estates in the
♦K1851.2 T61.5.1 T65 T210.1
Middle Ages, also refer to his nobility. The
poem appears to have been composed in
Textual features show that by the time this variant Finland during the 14th century, although it
was recorded, it was little more than the vocal
accompaniment to a procession with little attention, •was clearly influenced by popular Swedish
if any, paid to content and meaning (cf. notes to ballads. The archetypal form of the ballad
11. 42 and 44). LI. 42-47 show, for example, that the cannot be reconstructed. It is evident, how­
singers had only the vaguest notion of the kind of ever, that the poet was well versed in the
vessel in which Lalmanti was sailing, a result of the
transmission of the poem to an inland area where European ballad tradition. The opening epi­
the singers were unfamiliar with seafaring imagery. sode suggests the influence of the Swedish
The poem is in three parts; 11. 1-16 describe the ballad of The Boy Returning Homefrom School,
betrothal and 11. 17-40 the attempts to persuade In­ while a Swedish version of the Scottish Bride
keri to marry someone else and her loyalty to Lal­
manti. The third part (11. 41-58) depicts Lalmanti’s who was not a Virgin seems to be the source of
return just in time to prevent Inkeri being forced the albeit obscure main theme: i.e. because
into marriage with another man. the bride was pregnant at the time of her
2 vaku < Sw. cf. v a g g a 'cradle*; 3 A reference to the marriage, either by her husband or someone
solemnisation of betrothal by clapping hands; 4 2
tu n tu m a s ta : a meaningless corruption of tu len n a sta
else, she had to be punished by death. In
(i.e. tu len ta ‘coming’), probably the result of regressive this respect the poem has a cautionary pur­
assimilation caused by tu nnen; 4 4 p u r tta (partitive of pose comparable to that of Poems 75-83.
p u r s i) 'boat*; a corruption of p u r je tta (partitive of An Ingrian poet-singer later replaced certain
p u rje ‘sail’).
themes and motifs with features from The
86 Mother (cf. Poem 101).
T 6 1.5.1 87
The original theme is obscure in the Ingrian variant. T211.9
The betrothal scene remains (11. 1-5), but the knight's
departure has been reduced to a single verse (1. 6). The South-West Finnish variant has an historio­
The motif of the rival suitor has been lost and the graphical interest in addition to containing the nu­
only indication of an attempt to marry the girl to cleus of the poem. The text, one of the earliest
another man is implicit in 11. 26-27 and 11. 29-31. surviving specimens of Finnish folk poetry, has sur­
The waiting for and the return of the knight are vived in Daniel Juslenius* study of Turku, A b o a
structurally similar to the corresponding passages in vetu s e t no va (1700); the poem was quoted in a pa­
the West Finnish variant, although different motifs triotic endeavour to prove the antiquity of schools,
are used to convey the idea. LI. 17 and 19-21, in and thus of civilisation, in Finland.
which the person who greets the knight switches
from the girl to the mother, or possibly her brother, 88
indicate that a passage has been lost and that at
one time the poem may have been cast as a frame­ T61.4 T211.9
work repetition poem. The two concluding lines are
a surrogate passage. The main theme and the cautionary function emerge
3 An adaptation by a poet-singer who did not clearly in the variant from Ingria, where the poem
understand the original verse (cf. 85:5); 5 i.e. at survived longest (fragments have also been found in
the moment of birth (the bath-house was the place Finnish Karelia). It retains the structure of the
where confinement traditionally took place, cf. p. archetypal poem, even though surrogate passages
547); 7 A stock endearment phrase in Finnish poetry, from at least six other poems and numerous stock
it refers to searching for lice (see Plate 16). phrases have been used to convey the motifs. One
motif appears to be missing between 11. 35 and 36;
the following two verses, however, suggest that a
surrogate passage from T h e M o th e r (cf. 101:21-28)
DEATH OF THE BRIDE 87, 88 was once included here, describing how a woman
falls ill and how her son seeks help from shamans
Death of the Bride is another example of a (cf. also p. 566). The poet-singer has introduced to
Finnish chivalrous ballad (cf. The Faithful this variant a touch of macabre melodrama in the
Bride, Poems 85, 86). The reference to shields two-part prophecy of doom: the warning by the
sexton (U. 52-55), and the relative preparing the
and the young man’s epithets identify him cofiin (II. 61-68). The husband’s suicide at the end
as a nobleman, and it is possible that Pyhä­ of the poem (1. 82) was determined not by the main

5 62
theme, but is part of another poem that the singer descriptions of the flow of blood usually follow 1. 30,
incorporated as the conclusion (11. 78-84) of this greater emphasis is placed on the girl’s virginity,
variant. while Antti’s reproaches are more elaborate,
76—77 i.e. she was in labour. referring to the fine the girl’s father will have
to pay and thus strengthening the protest of the
poem.
9—12 Hinges of stiffened canvas (1. 12) were common;
THE PRIEST-KILLER 89 moistening them with a liquid corresponds to
oiling a metal hinge; 44—45 A passage appears to
♦N770.1 Q.243.2.1 R345.1 T320.2 be missing here in which Antti asks Kaisa what she
The poem about a girl who kills a priest when he has done.
attempts to seduce her is similar in theme to T h e
I n tru d e r-K ille r (Poem 90). It also shares a similar
purpose in that it asserts a woman's right to defend
her virtue. The other main feature of the poem is
THE HUSBAND-KILLER 91
its emphasis on the sanctity of the priest’s oath of R310-317 T173
celibacy, and in this respect it can be compared to
the corresponding passage in M a g d a le n (76:55-64). T h e H u s b a n d -K ille r ballad probably originated in
The basic theme comes from an otherwise lost West North Estonia from where it spread into West In ­
Finnish ballad recast in the ‘going-weeping-home’ gria; fragments of the poem have also been recorded
nucleus repetition form as a result of medieval Esto­ in Central Ingria. Although the subject of the poem
nian influence. This is the only variant in which the has certain thematic similarities with the ballad of
postulated original idea survives, although certain L a d y Isa b e l a n d the F a lse K n ig h t , it is not possible to
features of it are embedded in T h e H a n g e d M a i d establish a common origin, or any thematic influence,
(Poems 104, 105). The concluding lines indicate that either with the L a d y Isa b e l ballad or with any other
the poem was performed as the accompaniment to source outside the Estonian-Ingrian area; certain
some kind of drinking ceremony. motifs, however, may have been borrowed from
7 - 9 A reference to the early days of Christianity in elsewhere (e.g. the motif of the knife in the bed is
Finland when priests often had to defend themselves reminiscent of Brunhild). The poem appears to have
from attacks by pagans; 87 Concerning u m m isk en k å been inspired by an actual, though long since for­
‘closed shoe’ (see p. 553). gotten, sensational m urder committed by a woman
married against her will.
Incremental or framework repetition poems deal­
ing with themes of love seen from a woman’s point
THE INTRUDER-KILLER 90 of view and characterized by frequent use of dialogue
were a development of the medieval ballad common
K1340 Q,243.2.1 T210.1 T320.2 in areas south of the Gulf of Finland. This variant
Certain thematic similarities with the ballad of L a d y of T h e H u s b a n d -K ille r appears to have been cast in
have led some scholars
Isa b e l a n d the F a lse K n ig h t the framework repetition pattern and reaches its
to postulate a common origin. It is more likely, climax with the murderer fleeing from place to place
however, that T h e I n tru d e r-K ille r originated inde­ in search of refuge. In its earliest form, the poem
pendently in Finland during the Middle Ages. From ended with the sea accepting the girl; some variants
there it spread to Finnish Karelia and Ingria where conclude with a description of how she was burned to
it survived until recent times, becoming associated death. Missing from this variant (between 11. 21-22)
with many other ballads warning young women is a dialogue in which Maie tells her mother-in-law
about the dangers of having anything to do with that the blood in her bed is that of a lamb and
men they do not know, especially foreigners. the latter accuses Maie of murder.
The opening episode of the archetypal poem, 6, 11 h elm erin ta ‘bead-breasted’: i.e. wearing some
which is missing from this variant, describes how a kind of bead necklace or ornamentation; 18—21 A
man, frequently H a n n u s S aaren S a k sa la in en ‘Hannus, popular Ingrian stock phrase for waking people.
the German of the Island’ (Poems 70, 71) or V iet-
r ik k å (possibly from ‘Friedrich’), tries to entice Kaisa
into his bed. This variant begins at the point where
the rejected stranger, having lulled everyone to sleep
THE FORSAKEN MAID 92-94
with his kantele, pretends to be Kaisa’s betrothed
and enters her bed. On discovering that he is not From the 12th century, which saw the ex­
her betrothed, Kaisa stabs him to death. The end pansion of Hanse trade into every part of
of the poem, describing how the man who discovers the Baltic, until the end of the 15th century,
the killing condemns Kaisa, asserts the same idea when winter sailing became more common,
as T h e P r ie s t- K ille r (Poem 89) - a woman’s right to
defend her virtue at any cost. This variant lacks merchants were often forced by weather con­
certain characteristic features of the poem; vivid ditions to spend the long winters in ports

563
away from home. Relations with the local service around an outdoor altar and were returning
population were complicated by the fact that to the village. The revenge-theme has not been
wholly lost and is suggested by 11. 5-7, a stock
the merchants were not permitted by the phrase borrowed from incantations. Annikkainen’s
rules of the Hanse League to marry foreigners. longing for worldly possessions is emphasized by the
The sexual associations point to the main •retardation repetition in 11. 15-22.
function of the poem, a warning to young 2 Concerning the social function of bridges see pp.
553-554; 10 k e s ti ‘Hun(nish)’: the translation is an
women to avoid foreigners, and may explain attempt to reproduce the pejorative overtones of the
why it was included among the poems per­ Finnish ( < Sw. cf. g ä s t 'guest; stranger’).
formed at the Sääksmäki Whitsuntide Fes­
tival (cf. p. 57). 93
The Forsaken Maid is set against the wealthy
A284 D2141
trading background of medieval Turku,
where the poem appears to have taken shape. The Ladoga Karelian variant retains the framework
and the underlying idea, but transfers it to an inland
It appears to have been a strictly local milieu, introduces a delicate sensitivity and conveys
response to the problem of relations between the theme in a series of surrogate phrases. The only
Finnish girls and foreign merchants, for com­ indication that the seducer is a merchant is in 11.
parable poems have not been recorded out­ 35-38, while the archetypal poem is evident in the
warning (11. 8-16), the description of how the girl
side the Finnish area. Some scholars have cares for the merchant (11. 17-22), the final curse
seen in the final episode a connection with (11. 41-51) and her malicious joy at his fate (11.
the reputation that Finns had in many parts 52-59).
of Europe of being able to raise terrible 17—21 The occurrence in Finnish of each word in
storms; this seems unlikely, however, for a the plural implies that she has bought a large quan­
tity and variety of each commodity (cf. 94:14—15);
similar motif occurs in the Swedish ballad 21 Concerning su o la t ‘salt’ see p. 533; 2 9 passim
Ungersvens svek. The boisterous, slightly satir­ m iero ‘wayward’ < Ru. cf. m ir 'world; peace; vil­
ical humour that characterizes The Forsaken lage. It is the last meaning that entered Finnish
Maid is in marked contrast to the more and Karelian. However, in Karelian Old Believer
communities (Ru. r a sk o ln ik i), where a very conserv­
common serious cautionary tone of medieval ative form of Russian Orthodoxy was practised,
Finnish poems, and has led some scholars to the term acquired the secondary meaning of ‘com­
the view that the author may have belonged munity that does not adhere to the old beliefs’,
to the same circle as the woman who com­ while in Olonets Karelia it came to mean 'com­
munity and homes of strangers’; in both cases the
posed The Maid and the Dragon (Poems 72, word can be used pejoratively and it is the pejor­
73, 74), or may even have been the same ative tone that is relevant here. English ‘wayward’
person. (the Karelian noun functions adjectivally) attempts
to combine the pejorative with what the word has
come to mean in MFi. i.e. ‘homeless, reduced to
92 begging’.
A661.1.0.4 A2681
The archetypal poem is obscure in the Sääksmäki 94
variant; 11. 1-4 set the scene for the telling of a D2141
cautionary tale: the young and innocent girls of the
town have gathered to listen to Annikkainen’s story. The Ingrian variant survives in a form close to the
The arrival of the merchant is depicted in 11. 8-10, archetypal poem, retaining the original place-name
while 11. 11-27 imply that he and the girl spent the and each of the four episodes in their original order
winter together (cf. in particular 11. 11-14) and tell (11. 1-17, 18-32, 33-51, 52-65). The variant is un­
of his departure as soon as weather conditions im­ usual for an Ingrian poem in that it contains only
prove. The final episode, the girl’s revenge by con­ one surrogate passage (11. 3-4) and only a small
juring up a terrible storm to destroy the merchant, number of stock phrases (11. 25-26, 38-39, 42-43).
was omitted by the clergy, under whose supervision 3—4 The surrogate passage comes from a lyric poem
the Whitsuntide celebrations took place, and was in which a girl longs for her lover and is used to
replaced by surrogate passages that were thought to indicate Annikke’s falling in love (cf. 93:1-7 where
be more appropriate for young girls: 11. 28-40 are a more complete version of the passage occurs);
the conclusion of E lk a n d S n ake (Poem 55; cf. p. 549) 6 Concerning k e s ti ‘H un’ see above; 42—43 A stock
and 11. 41-50, characterized by a seafaring metaphor, phrase referring to the rights of ownership of the
were sung after the girls had taken part in a religious finder of jetsam.

564
THE WIFE-KILLER 95, 96 from S t Catherine (Poems 64, 65).
65 netelä ‘seven days’ < Ru. cf. nedelya ‘week’.
The Wife-Killer is one of several Russian
poems that were partly translated and partly THE DAUGHTER-KILLER 97, 98
adapted in the Finnish area. Characterized
by detailed, gory descriptions of particularly The Daughter-Killer is another example of a
cruel murders, they professed to show that Finnish poem in the style of the Russian
murderers do not profit from their crimes. horror ballads which profess to illustrate the
The Russian poem, from which the Finnish futility of murder as a means to an end. It
variants were adapted, was itself a compila­ has not been possible to identify the original
tion from two poems. The main theme and Russian poem, which reached Estonia (prob­
the brutal motifs were drawn from the poem ably in the 17th century) and spread to
of Fyodor and Marfa, while the elevated moral Ingria. The Ingrian variants, which enjoyed
message that introduced and concluded the great popularity, differ in certain respects
poem came from The Sister-Poisoner, a poem from those recorded in Estonia. They contain
that originated in Poland and was popular lines from several other poems and new,
among the Russians and other peoples in­ though minor features of detail and emphasis
cluding the Lithuanians, Germans, Ruma­ (e.g. the ironical tone in which the young
nians and Albanians. The Russian poem bride is always mentioned).
entered the Finnish area through Ingria and A reason for the poem’s popularity in In­
from there spread into North and Ladoga gria, apart from morbid interest in murder,
Karelia. The main differences between the was the implicit comment on the position
Ingrian-Karelian and Russian versions lie in of daughters-in-law in the extended family.
the names, which have been adapted to local In this respect the poem is of particular in­
tradition. terest because it was more common in lyrical
Both the North Karelian and the Ingrian epic to portray the suffering and abuse of
variants have the same structure, and their the daughter-in-law (cf. Poems 80, 81). In
contents diverge only in emphasis and moral this poem the newcomer is seen through the
tone. The Ingrian poet-singer retains far eyes of her husband’s kin and the poet de­
more of the original, brutal detail in de­ plores how daughters-in-law are often spoilt
scribing the murder of the wife and its effect at the expense of the daughters of the house.
on the children. Although both variants The suggestion that the arrival of a daughter-
condemn murder, the North Karelian var­ in-law exposed other members of the family
iant displays some sympathy for the husband, to stress and conflict is a psychologically
blaming his crime on the temptations of evil convincing trait which, together with other
women (cf. Poem 7:47-51). Ingrian poems that comment on the life and
position of women in the extended family
95 (cf. Poems 80, 81, 90, 99), helps to recall
N770.1 T75.4.1 S62
the tenor of social life during the Middle
Ages, and long afterwards, in the Baltic-
4 passim p a ja r i ‘boyar’ < Ru. cf. b o ya rin ‘member of Finnish area.
old Russian nobility’.
Both variants use surrogate passages from
Kaukamoinen (Poems 37, 38), The Orphan
96 (Poems 41,42, 43), The Incest (Poems 44, 45)
N770.1 S139.7 T75.4.1 S62 and BoyIMaid and Cloud (Poems 129, 130,
A typically Ingrian feature of the variant is the 131). They have identical structures and the
instability of names. They frequently serve, as in narrative flows easily through six episodes.
this variant, as function symbols and change accord­ Although corresponding episodes receive dif­
ingly. H elenaJH elteen ä (11. 25, 30) is here associated
with the woman who finds the child in T h e F o u n d lin g ferent emphasis and motifs vary considerably,
(Poems 70, 71), while K a tte e riin a (11. 26, 31) comes the underlying idea remains clear.

565
97 areas the original theme was forgotten and the poem
became confused with several others. The most im­
•N770.1 P231 S 12.2.4 portant of these was a poem about a boy who tried
8 i.e. to pay his taxes, cf. 98:1-3 for a more complete to repay his mother for the pains she had suffered
version of this motif; 31, 34 Concerning h elm irin ta at his birth. By not later than the 17th century,
'bead-breasted’ see p. 563; 32, 35 k a a tterip erse , this confusion of themes had produced a new poem
‘ tassel-bottomed’: i.e. referring to a style of dress of which T h e S on is a typical variant.
in which tassels were attached to the back of the The structure and theme of T h e E lk are apparent
skirt ('bottom ’ here as ‘buttocks’); 3 1 -3 5 i.e. girls of in the opening episode (11. 1-30), although little
marriageable age who will not hurry to him and show remains of the original motifs, and in the other
their interest by curtseying; 63 n iis i 'heddle’: the part tasks the boy performs to please his mother. The
of the loom that facilitates the passage of the shuttle; theme of the son repaying his mother begins at 1. 31
6 7 —74 The singing of a lament by a non-living and in the remainder of the poem provides the
object is a characteristic feature of Finnish folk poetry structure for what little survives of T h e E lk . The
(cf. 23:12-22; 40:15-20); 73 i.e. to stop the cloth repetition framework of the poem is modelled on
unravelling; 94 liits a < Ru. cf. lits o ‘face; likeness*. that used to describe the tasks demanded of the
suitor in T h e C o u rtsh ip (Poems 16, 17, 18). Con­
cerning the surrogate passages and stock phrases
98 from which this variant was compiled see pp. 71-72.
♦N770.1 P231 1 A corruption of L a u r i p o ik a la p p a la in en ‘Lauri boy,
the Lapp’ (cf. 53:2); 4 k a p la s ‘sledge-shackle’: for
1—3 The reference to the real reason for his journey, joining the upright struts that link the runners with
to find a wife, has been omitted (cf. 97:1-11); 76 the upper part of the sledge’s chassis; 17 passim
i.e. steps to the otherworld. Ingr. p u n a ‘brown’.

THE DAUGHTER 99 THE MOTHER 101


S322.1.1
F1041.21 *N126.3 *N770.1 P232
T h e D a u g h te r, an example of lyrical epic known mainly
The poem was known in Estonia and was popular
among the Izhors and in parts of Estonia, appears
throughout Ingria and on the Karelian Isthmus. It
to be Ingrian in origin and has no genetic contacts
appears to have originated south of the Gulf of
with sources outside the Finnish area. The opening Finland, probably during the late Middle Ages.
episode (11. 1-22, cf. in particular 11. 19-22) reflects
The Ingrian variants typify the theme of tenderness
the pre-Christian practice that allowed a child to
towards the mother, a popular subject in Ingrian
be killed at any time before it had been formally
lyrical epic. The variant incorporates several surro­
named (cf. pp. 550, 557). To heighten the emotional
effect of the poem, the singer uses terms that recall gate passages; 11. 21-60 have either been drawn or
borrowed from T h e D e a th o f the B r id e (Poems 87, 88)
the days when for economic reasons sons were de­
and preserve a more complete version of the account
sired, but daughters were often an unwanted burden. of the illness and the husband’s search for a cure;
In the context of this poem, the discussion among the variant concludes (11. 61-73) with a surrogate
members of the family, cast in a popular question- passage that is close in style and content to lament
and-answer formula, is used as a device to express
poetry sung as the accompaniment to burial ritual.
the singer’s gratitude to her mother. The socially
27 i.e. to consult a worker of magic (cf. pp. 562-563);
realistic background of T h e D a u g h te r , its macabre
28 a lle lin n a n '[to] below the town’: i.e. outside the
humour, sense of poignancy, and its comment on
walls as they were not allowed inside the town;
the position of women in the family are thematically
a rb u i occurs as the name of non-Russian workers of
related to what is thought to be one of the earliest magic in a Russian ecclesiastical document of 1534
Finnish lyrical poems, T h e G ir l L a m e n tin g her B ir th , and in the S to g la v of 1551; 55—58 i.e. of the main
in which a girl asks her mother why she did not
living area where the deceased was traditionally
let her die at birth and thus spare her the suf­
placed before burial; 75—76 Presumably references
ferings of life.
to the grave marker and the clothing in which she
31 i.e. of the bath-house; 44 Concerning v ip u ‘beam’ is buried.
see p. 554.

THE SON 100 THE DYING MAID 102, 103


P231 The origin of this poem is possibly a short
T h e S on is thought to share a common origin with lyric, in which a girl says that young men
T h e E lk (Poems 53, 54; cf. pp. 548-549). In southern will mourn for her when she dies. In Estonia,

56 6
Ingria and Karelia the poem was adapted vived, it depicts principally the conflict that
to the epic style and became popular as a springs from the failure of close relatives to
refrain song; on the Karelian Isthmus it was understand each other. Both variants have
recast in the ‘climax-of-relatives’ repetition a similar structure: the approach of the
structure. Though both variants are very suitor, the girl’s distress, the mother’s delight,
similar, there is some variation in emphasis. and the girl’s suicide. The motifs used to
The main difference lies in the final choice convey these ideas, however, vary and the
of burial place. While in the Ladoga Kare­ Archangel Karelian version makes greater
lian variant (Poem 103), the girl wishes to use of surrogate passages, especially at the
be buried in consecrated ground, the church­ end of the poem (11. 87-118) where the
yard is rejected as a place of burial in the fantasy is in marked contrast to the ethno­
Ingrian variant (Poem 102). The choice of graphical realism of the main body of the
the churchyard as burial place is thought to poem; another variant of the poem can be
be a feature of the archetypal poem. seen as part of a typical Archangel Karelian
series (cf. Poem 124; p. 572).
102
7 - 8 Part of Russian Orthodox funeral ritual; 9, 13 104
i.e. to the place of burial; 44 k i w i 'stone': lit. 'the A911 F1041.21 »N770.1
(handtumed) mill-stones’.
2 2 -2 6 Adornments are often used in Finnish folk
poetry as chastity-symbols, hence the suggestion that
103 she has violated the sexual taboo; 2 5 -2 6 sim p su k a i-
se t 'beads’, k u lta rip su t 'gold tassels’: i.e. headband
65 lu u m äki 'bone-hill’: i.e. burial ground.
adornments worn by unmarried girls: 34 Concern­
ing s ilta ‘floor’ see p. 558; 4 2 -5 4 i.e. the mother is
the only person in whom Anni can confide: with
THE HANGED MAID 104, 105 the other members of the family she has to use
euphemisms.
The Hanged Maid has been recorded in Arch­
angel and Ladoga Karelia and in Ingria; 105
variants are known in Estonia and the ‘going- A911 F1041.21 *N770.1
weeping-home’ nucleus repetition structure
is of Estonian origin. All the redactions 9 Concerning m o lo tsa see p. 532; 19 Concerning e tsiä
'groom’ see p. 562.
evolved from the same basic idea; the girl
goes to make bath-whisks and a man makes
some kind of proposal. Various theories have THE LOSS 106-109
been advanced to explain the reason for the
girl’s suicide. It is possible that the archetypal All the motifs of The Loss were borrowed
poem was one of the rare Finnish examples from Estonia and preserve the main charac­
of a nature myth and described a tragic teristics of their sources. The structure is
union between a mortal and an immortal simple: the loss of an important item, the
(cf. pp. 550,573). A second, more likely ex­ loser returns home weeping, reports the loss,
planation is that the poem is related to The is consoled. The idea of loss springs from sub­
Priest-Killer (Poem 89) and that the girl conscious fear-fantasy and is often dream­
hangs herself out of shock at the enormity like, e.g. the loss of one’s clothes; it may also
of the priest’s attempted crime, the underlying have associations with the violation of the
idea being the sexual taboo, the violation of sexual taboo similar to those in the Archan­
which drives the victim to suicide. This sug­ gel Karelian The Hanged Maid (Poems 104,
gests, though it is not stated in the variants 105). The ‘coming-weeping-home’ nucleus
of The Hanged Maid, that the suitor’s advances repetition possibly indicates that the poem
stopped short of a proposal of marriage. was sung as the accompaniment to a game.
In the form in which the poem has sur­ The variants found in the Finnish area

5 67
usually contain fewer motifs than the corre­ outstanding example of how an entirely new poem
sponding Estonian poems. The Loss is a rare can be compiled largely from surrogate passages and
stock phrases. These have been arranged on the
example of a poem incorporating the ‘coming- model of ceremonial poems such as those used in
weeping-home' nucleus repetition structure wedding ritual to welcome the bridegroom (e.g. 11.
that is widely known further north than .13-18, 42-46). The opening lines personifying the
South Karelia. dance are one of the few passages that appear to
be original to this poem; 11. 5-8 are a stock distance
hyperbole, 11. 9-10 are suggestive of poems about
106 the impregnation of the Virgin Mary (cf. 59:1-2),
11. 11-18 are a stock metonym possibly describing
K1335 »N770.1 the sounds associated with travel (cf. 66:50-59, p.
556), while 11. 19-20 are a fragment from T h e S in g in g
107 M a tc h (cf. 11:13-14). The concluding episode (11.
58-73) is modelled on N e w s o f D e a th (Poems 137,
B871 *J868 *N770.1 138, 140, 141) and suggests that the poem served
This variant is set against the background of the as the oral accompaniment to a game or dance.
traditional return to the parental home of a newly
married woman (cf. Poem 121; pp. 59, 571), hence
the ring motif. In a complete version of the variant,
11. 3-9 would probably be repeated after 1. 15.
THE SUITORS FROM THE SEA
108 111, 112
*J868 *N770.1 The Suitors from the Sea is widely known
In the opening lines (3-10) the poet-singer has used throughout the Baltic-Finnish area. It reveals
a dream series technique, associating trees with the the influence of a pastoral ballad style that
object made from them, followed by a further asso­
ciation with what is eaten or drunk from the product was common throughout Europe; the Fin­
(suggestive of the ritual function of T h e G rea t O a k , nish variants, which were the accompani­
cf. pp. 546-547). It seems likely that in the arche­ ment to a ring or line game, have some
typal poem 11. 3-10 followed 1. 15. similarity with poems about a maid who
3 vesi ‘water*: a corruption of m esi ‘honey’, one of
the ingredients of mead; 4 The dream association meets her suitor(s) on the seashore (The
here is that jugs were made from tree roots (cf. 1. 6) Mermaid). The Baltic-Finnish poem appears
and that these were full of beer; 5 A dream asso­ to have taken shape in Finland in the late
ciation with the source of wooden plates and other Middle Ages, where it was adapted to the
vessels; 40-41 A stock horse hyperbole.
‘climax-of-suitors’ framework repetition struc­
ture, before it spread into Estonia. The poem
109 reflects the social mores of a tightly knit
*J868 «N770.1 peasant community in which strangers were
This version of T h e L o ss (usually known as K y n tä jä suspect. Using the symbols of men made of
j a pedot‘The Ploughman and the Beasts’) is a further precious metals emerging from the sea, it
example of a poem incorporating the ‘coming­
weeping-home’ nucleus repetition structure that has warns young women about the dangers of
been recorded further north than South Karelia. becoming involved with merchants and other
The animals are thought to symbolize the girl’s
suitors.
exotic strangers and urges them to choose a
husband from their own community, sym­
bolized by bread. The motif of the preference
THE DANCE 110 for bread over precious metals is not un­
*Z129
common in primitive communities and in the
Finnish area finds expression in several prov­
Only three variants have been recorded of T h e D a n ce,
all from Archangel Karelia. Whether it is genetically erbs (e.g. Ei kulta kultaa ole, leipäkulta kultaa,
related to an Estonian poem with which it shares a pun, lit. ‘Gold is not gold, bread-gold is
certain themes (e.g. personified Joy or Dance trav­ gold’, i.e. ‘Gold is not precious, only precious
elling in a sleigh or boat which is tempted by various
people to join them) is not known. T h e D a n ce is an bread is precious’).

56 8
111 fungus grows on the walk, and the walk and the
floor rot away, i.e. she is too dirty for the young
F521.3 L213.3 T131.0.2 man to marry.
Poem 114 retains certain of these features. Although
the bath-house episode is omitted, the conclusion -
112 that they do not marry because the girl is so dirty
F521.3 L213.3 T131.0.2 - remains. The poem contains several surrogate and
11 k ih la t 'gifts’: lit. ‘betrothal gifts*. stock passages from other wooing poems; the opening
lines (1-7) can ako be seen, for example, in T h e
W if e - K ille r (Poems 95, 96). The suitor’s reply to the
offer of refreshment (11. 19-22) is drawn from wedding
THE SUITORS FROM AFAR 113 poetry. Comparison of the last five lines (an East
Finnish-Estonian lyric sung by men) with the be­
A736 A753.1 L213.4 T131.0.2 ginning of the poem illuminate the allusory character
T h e S ta to rs f r o m A f a r was inspired by social factors
of the Ingrian patchwork technique, which does not
similar to those that underlie T h e S u ito rs f r o m the Sea require any correlation of the topographical refer­
(Poems 111, 112): it advises young women to beware ences.
of strange men and to choose their husbands from 35 su ola ‘salt’: one of the staple items of trade in
their own area and background. The poem originated Viipuri (concerning the significance of ‘salt’ see p.
in Estonia between 1300 and 1500 and spread 533).
through Ingria into Ladoga Karelia; it is also
known among the Vepsians. The Finnish variants
differ from the Estonian poem in that the rejected
suitors do not always represent the sun-moon-star
THE THIEF AS SUITOR 115
trio, but are sometimes linked to real though rela­ T131.0.2 X201
tively distant places. The wooing theme has often
led this poem to be associated in Ingria and Karelia T h e T h i e f a s S u ito r is a parody of didactic poems
with others of similar content, e.g. F in d in g a H u sb a n d about choosing a husband (cf. T h e S u ito rs f r o m the
(Poem 120). S ea , Poems 111, 112) that was popular throughout
The poem has a special cultural-historical interest, Estonia, Ingria and South Karelia; the comparison
for an Estonian redaction ( S a lm e la u t ‘Song of Salme’) of the suitors has been adapted to the ‘climax-of-
was adapted by Elias Lönnrot and published in suitors’ framework repetition structure with the girl
his K a n te le ta r (1840) under the title Su om ettaren k o sia t rejecting respectable and well-to-do suitors in favour
‘Wooers of Suometar’ (S u o m eta r 'Finland personified of a shiftless or poor man. The theme was known
as a female spirit’). Lönnrot’s free translation came in many parts of Europe and a Latin version dating
to symbolize the endeavours of the exponents of the from 1459 survives in Prague and describes how
Finnish national movement to develop a distinctly the girl rejects a knight, a monk and a farmer, and
Finnish culture that would preserve its own identity accepts a student; in Scandinavia the girl’s choice
in the face of powerful influences from both east falls on a minstrel.
and west. The Finnish poem is closest to those recorded in
29 An idiom meaning that it cannot be trusted; Poland and Estonia and is thought to have been
35—38 An allusion to the harsh system of serfdom influenced by Slavic poems. It was the accompani­
that Ingrians, themselves serfs, associated with Esto­ ment to a dance in which a girl stood in the middle
nia (cf. Poems 77, 78, 79); 4 1 -4 4 A popular Fin­ of a ring, chose another girl and asked her if she
nish proverb. would marry her brother. The two girls walked
together until the song reached the point where the
second girl rejected the man. The occupations of
THE FOUL MAID 114 rejected suitors varied and were chosen by the girls
to tease the boys watching the dance.
44 k y ttä < Sw. cf. sk ju ta ‘to shoot’.
W l 15.1
Variants of T h e F o u l M a i d have been recorded in
Savo, throughout Karelia and in Ingria. A parody
of wooing poems that praise the beauty of a girl,
THE USELESS BRIDEGROOM
it appears to have been adapted as one of the nu­ 116
merous poems sung as part of wedding ritual; its func­
tion was to tease the bridal couple. The Karelian This poem enjoyed great popularity both in Estonia
variants describe in detail the young m an’s pre­ and the Ingrian-Karelian area. Similar themes were
parations before he sets off to woo the girl and the also known among the Latvians and it was probably
tasks he has to perform before he is allowed to see these that provided the inspiration for the Estonian
her. Variants of the poem usually end in a hyperbole poem; it appears to have reached Ingria by the
advising the girl to stay in the bath-house until 17th century. The Ingrian variants have lost some

569
of the Estonian motifs and added others from local a fragment of the archetypal poem in 11. 10-15.
tradition. The happy conclusion of this particular The following lines (16-22), describing the intention
variant is unusual; in the Estonian variants the to cook the bird, are typical of the East Finnish
young man dies and his remains are carried to an variants in which the bird asks to be spared and
ant-hill, while in Ingria and Karelia he is usually in return promises to help with the housework.
taken first to a swamp and then to a stove where . 1—2 i.e. seen from West Karelia, a distant and exotic
his body is devoured by various small animals. creature.
The poem is an example of female anti-male
humour at its most boisterous. It epitomizes a love- 118
hate relationship and in the description of the wo­
m an’s greater physical strength expresses a sense of B463.3 X1259
superiority. While the poet-singer of Poem 116
optimistically believed that men could be taught to 3 - 4 A popular nonsense theme.
change their ways, most variants of this poem are
characterized by irreconcilable hatred.
6 - 7 i.e. a barrier-net with stone weights attached THE EARLY RISER 119
to the bottom; 24—25 i.e. the air in the bath-house
was poisonous; 29 sä ä tä jä in 'my own one’: the Fin­ A736
nish is obscure. Singers were themselves unsure of
its meaning and substituted various phonetically The didactic purpose of this naively jolly nucleus
similar but more familiar words. The translation is repetition poem was to encourage girls to rise early
based on a gloss provided by a singer of another and devote themselves enthusiastically to housework.
variant; 30 syvänkuuro ‘pang’: the Finnish is obscure. In its detail it provides an ethnographically factual
Interpretations of the sentiment in variants and in description of women’s household duties. The sun
the corresponding Estonian poem suggest a feeling of symbol occurs in many songs and legends and was
sorrow or pity; 34 Concerning s ilta 'bridge’ see p. common during the Middle Ages in the folk literature
558; 41 Concerning um m isk en k ä 'closed shoe’ see of southern Europe, Scandinavia and Russia (con­
p. 553. cerning its function in the Finnish area cf. Poems
5 9 ,6 0 ,6 1 ,1 1 1 ,1 1 2 ).
44-51 A time hyperbole stylistically typical of the
lyrical poetry sung by women in the southern parts
THE CRANE 117, 118 of the Baltic-Finnish area; 63 ta lo ila m m a s 'yearling
sheep’: lit. 'winter-sheep’, i.e. a sheep that has
The Crane is an animal fantasy, sung to lived through one winter; 65 i.e. she had already
children, and is one of the most widely dis­ spun the wool into a thread; 66 sa k k a < Ru. cf. sa k
tributed narrative poems in the Baltic-Fin- ‘coat’.
nish area. It is thought to have originated
at least two thousand years ago and the FINDING A HUSBAND 120
existence of a similar theme among the Vep-
sians, where it survived in a herdsman’s L l 12.4.1 T596 W115.1
nonsense poem, points to its antiquity. In is thematically related to T h e
F in d in g a H u sb a n d
the corresponding Estonian poem, which is F o u l M a i d (Poem 114) and like T h e E a r ly R is e r
thought to be close to the archetypal form, (Poem 119) was a popular didactic poem in West
and Central Ingria. Its function was to instil a sense
the narrator finds a crane ploughing in a of personal and domestic hygiene. In its present
forest, a magpie harrowing and a crow fur­ form the poem provides a factual illustration of
rowing. She takes the crane home, but a naming procedure (cf. pp. 550, 557) and humorously
serving maid refuses to milk it. The narrator demonstrates a common belief in the mystical power
of names (11. 10-24). The arrival of a suitor, or
herself starts to milk the bird and obtains suitors, with which the poem ends (11. 65-86), is
enough milk to fill a pail. In the description common to all variants. The motifs are expressed
of the crane, the South-West Finnish variant with stock passages and the wooing episode is gener­
(Poem 118) retains a form close to the Esto­ ally borrowed from T h e W if e - K ille r (Poems 95,
96), although T h e S u ito rs f r o m A f a r (Poem 113) was
nian poem. also a popular source with some singers.
15—22 The pejorative associated with each of the
117 rejected names is based on alliterative criteria;
23—2 4 i.e. the name was taken from a saints’ cal­
B463.3 X I 259 endar; 27 i.e. a necklace or pendant made from
A surrogate passage from T h e L o s s (cf. Poem 107) coins; 50 Concerning e ts iä 'to groom’ see p. 562;
introduces the Savo-Karelian variant. It preserves 66 A metaphor to convey the eagerness of the suitor;

570
and many parts of East Finland; 74 m u n a p ata 'potted
7 6 -4 6 Concerning the stock journey description see egg’: a delicacy made from eggs baked in a clay
p. 523. pot; 77 i.e. it was slow to heat; 80 voim uru ‘butter-
crumb’: pieces of bread soaked in milk or butter­
milk and fried in butter; 8 7 -8 9 A stock passage
THE UNWELCOME VISITOR from children’s poetry.
121
W 155.6
THE UNHAPPY BRIDE 122, 123
T h e U n w elcom e V isito r describes a custom that formed
part of Ingrian and Karelian wedding ritual. Shortly The Unhappy Bride, a poem known in Kare­
after the wedding, the bride returned to the parental
home where she stayed for several weeks (o lja m issa lia (including Tver Karelia) and Ingria, has
k ä y n ti) . The end of this visit formally marked the a theme and structure - the woman ill-
girl’s separation from her old home. Women tra­
ditionally looked back on this last visit with nostalgia treated by her husband - that were borrowed
and recalled it as the happiest time of their married from a Russian poem. The version in the
lives. T h e U n w elco m e V isito r challenges the validity Finnish area may have taken shape in the
of these memories and offers a cynical though
psychologically convincing description of how such 16th century in the vicinity of Lake Ladoga.
visits could be in reality. It retained the ‘climax-of-relatives’ frame­
This lyrical epic poem was sometimes included in work repetition structure of the Russian
the series of songs performed in connection with
wedding ritual and its function was to make the model, but substituted the girl’s own kin
bride weep. The poem, which appears to have for the ‘stranger’ who in the Russian version
originated among the Russian Orthodox Ingrians asked why the young wife was weeping.
on the Karelian Isthmus, or in Ingria proper, spread
to the local Lutheran population and into Ladoga It is thought that the Finnish poem was
Karelia. It uses numerous stock phrases and some once sung as the accompaniment to a
surrogate passages to convey the underlying idea.
The poet-singer appears to have been influenced by ring game. Nevertheless, this function was
the 'go-and-look’ dialogue structure in T h e C o u rtsh ip later forgotten and it was performed either
(Poems 16, 17, 18). The material has been skilfully for its own sake or as one of the songs used
put together, particularly in the deliberate use of
pathos, and at the same time provides a factual in connection with the part of wedding ritual
description of aspects of daily life on the Karelian where the bride had to be made to weep
Isthmus (cf. Poem 119). (cf. Poem 121). The poem found a ready
12—14 i.e. she walked; 16-19 Emotionally, the pivot
of the poem: the poet-singer uses a stock paradise and appreciative audience among the women­
metaphor to suggest the girl’s momentary joy at folk of the Karelian extended family, for it
leaving the misery of her husband’s home and at survived and flourished in some areas where
the same time to tell her that she is no longer wel­
come at her old home; 2 7 -3 0 , 90—96 This motif all other examples of Kalevala epic were
was borrowed from poems known in Ingria and forgotten.
Estonia depicting an evil mistress or stepmother.
In this context the underlying idea is that the
obligations of hospitality make it necessary to slaugh­ 122
ter valuable livestock. O f particular interest is the
way in which the poet-singer makes the visitor M411.20 Q413 Q414 S62
defend herself in 11. 90-96 by reinterpreting the
metaphor literally (the singer has confused the order
of the lines: 11. 90-96 should follow 1. 30); 27 passim 123
m urhe 'grief’: this is either a corruption or poetic
S62
adaptation of m urha 'death’; 29 passim la a h e ‘slaugh­
ter’: the Finnish is obscure and the translation is The role of the ‘stranger’, who performs the function
based on la a k k a 'destruction, killing’, which occurs of the young wife’s own kin in Poem 122, is probably
in some variants of the poem; 53 A reference to not a survival of the original Russian version, but
the Karelian practice whereby the master of the a secondary development in Karelia.
house served a portion of meat of appropriate size 8 b u a tjk o i < Ru. cf. b a t'k a ‘father’; 18 m u a tjk o i < Ru.
to each person at table; 54 k a a li- ‘cabbage-’: cabbage cf. m a tk a ‘mamma’; 49 U id a < Ru. cf. z h i d 'Jew’;
was an essential part of the staple diet in Russia 50-51 i.e. with which he beats her.

571
THE WATER-CARRIER 124, 125 sexual associations in the relatives’ reprimand (11.
16-20 passim): the poet-singer has used a surrogate
passage alluding to laziness that has been adapted
The Water-Carrier was borrowed from a Rus­ from a poem about three men who spend their time
sian adaptation of the Teaching a Lie theme, guaging the depth of the sea. It is likely that in
known in many parts of Europe. The latter the form in which this variant was sung, its function
describes how a girl is told by her lover to had ceased to be narrative and it had become the
oral accompaniment to a ring game.
lie if her relatives scold her for having been
with him. In the Russian tradition the theme
was adapted to the ‘climax-of-relatives’ THE MAID AND THE BOAT
framework repetition structure, but the 126-128
theme of teaching a lie changed to one of
accusation of lying. It was in this form that The Maid and the Boat is based on a theme
the poem reached the Karelian area in the that originated in the North Mediterranean
Middle Ages. It spread to Ingria in the 17th area. It described the abduction of girl by
century and later reached Estonia. The re­ a Moor and her ransom. Versions of the
daction in the Finnish area, represented more theme were transmitted from Sweden to Esto­
clearly by the Ingrian variant (Poem 125), nia and Finland; the version which reached
retains most of the features of the Russian the latter area, probably in the 16th century,
version. A series of relatives accuse the girl of was cast in the West European form of the
lying, although certain changes have occurred ‘climax-of-relatives’ framework and a ‘Rus­
in the roles ascribed to each of them (the per­ sian’ substituted for the Moor. In this form
son who takes the girl’s side can be her sister- the poem spread to every part of the Baltic-
in-law or grandmother) and the poem has Finnish area and as such provides an un­
acquired a new motif describing how the girl usually pristine example of the ‘climax-of-
offers water to each of her relatives in turn. relatives’ framework repetition structure. The
concluding curses (Poems 127, 128), which
124 have been compared to the corresponding
F1041.21 K2112 N770.1 part of the second lay of Helgi Hundingsbani,
The Archangel variant is a typical example of the
are remarkably similar in every part of the
tendency to link poems into a series. T h e W a te r- large area over which the poem was known.
C a rrie r ends at 1. 76 and the variant shifts to the In many Ingrian variants and in certain
theme of T h e H a n g e d M a i d (Poems 104, 105; cf. p. old variants from areas further north the
567). The shift was stimulated by the implicit theme of the sold maid was adapted as the
accusation (expressed by stock phrases) in T h e W a te r-
C a rrier of sexual impropriety.
poem’s introductory episode; an example of
9—10 An epithet that derives from the custom of this development is seen in Poem 127, which
throwing coins into a well as an offering to the describes how a girl is approached by suitors,
well’s resident spirit; 17 Concerning tu lin i la u tta in this variant merchants, who tell her that
‘scarlet whore’ see p. 552; 41 sm eik k a < ?Ru. cf.
sm e zh e t ’ ‘to close’; 100 Concerning m iero (n ) ‘wayward’
they have bought her from her relatives. In
see p. 564. more eastern areas, especially in Karelia, the
original theme was reversed: it is the girl
125 who stands on the shore and wishes to enter
K2112 N770.1 a boat rowed by each of her relatives in turn.
The reversal of roles is thought to have been
The structure of the Ingrian variant represents the
poem’s -archetypal form in the Baltic-Finnish area. caused by the influence of certain thematic­
There has been some change, however, in the motifs ally similar Russian poems.
(cf. 11. 5-6 with 124:9-10), although the connection
with the well remains. The sexual associations, which 126
are evident in some variants, are obscure; references
to silm ä v e si ‘eye-water’ (11. 9-11 passim) indicate the 4 passim rodnoi < Ru. cf. rodnoy 'own; dear’; 39
purity of the water and may be an allusion to the passim h o tj < Ru. cf. k h o t’ ‘though’ (used here to
girl’s virtue. Similarly, it is difficult to see any obvious express contrast); 40 a < R u . cf. a ‘and, but, whereas’.

572
127 regions of the Finnish area the child is a boy,
•M464.1 R12.4 R i l l T52
in Ingria a girl. The theme is known in
many parts of the world and describes how
Although this variant was recorded in Ingria, the humans fall victim to non-human powers, a
narrative nevertheless reveals the poem’s West Fin­
nish origin. This can be seen in the reference to typical example of which are tales about
the merchants, for example, as both 'Karelians’ mountains that swallow people. As such
(1. 1) and 'Russians’ (1. 22 passim); the singer was BoyjMaid and Cloud is a rare example of a
not confusing nationalities, but reflecting the West Finnish nature myth ballad. The fact that
Finnish Lutheran standpoint. Originally, 'Russian’
was not a national name in Finnish, but the design­ the poem has different introductory episodes
ation of a member of the Russian Orthodox Church according to area is the result of borrowing
(a function the word still occasionally retains). from The Water-Carrier (Poems 124, 125) and
27 P u n a p a rta 'Redbeard’: a corruption of B o n a p a rte, The Lost Brother (Poem 135). There are in­
hence a pejorative; 32 v ä ltti- < Sw. cf. f ä l t ‘field’;
46 i.e. the Gulf of Finland; 47 i.e. the area of Fin­ dications in some variants that the poem was
land under Swedish rule. originally cast in the ‘climax-of-relatives*
framework repetition structure and function­
ed as the oral accompaniment to a game (cf.
128 the refrain structure in Poem 129).
•M464.1 R12.4 R i l l T52
The opening line reveals the West Finnish origin 129
of the variant: verik o rva 'bloody-ear’ is a corruption F967.5 H I385.8 N770.1 P233
of verikoira ‘bloody-dog’, one of the more common
pejoratives used by Finns for Orthodox Karelians
and Russians. 130
6 In some areas singers misunderstood the poem and •D763.3 »F967.5 H1385.2-3 »N770.1
thought the girl was in the water; this variant shows
how the misunderstanding has been confused with The variant from the Karelian Isthmus has the same
the older and more common account of her being structure as Poem 129. The abduction motif (11.
in a boat; 53 passim In the context of this poem 1-20), however, is conveyed by a surrogate passage
the reference to ‘crowns’ appears to be suggestive typical of a hunter’s environment. A fragment of
of wealth. Underlying it, however, may be an ob­ the archetypal poem survives in the concluding
scure reference to West Finnish ‘crown wedding’, verses (11. 21-27).
when a crown was worn by the bride. 25 Concerning p ä r e 'splint’ see p. 539.

131
BOY AND CLOUD, MAID AND D764 *F967.5 H I 385.2-3 N770.1 P232
CLOUD 129, 130, 131 The Ingrian variant is a patchwork which never­
theless preserves the narrative flow. The surrogate
passages are themselves composed of shorter surro­
These three poems, together with The Lost gate passages and numerous stock phrases. The ab­
Brother (Poems 135, 136), reflect the pro­ duction and search motif (11. 1—35) begins with a
found sense of insecurity that until recent secondary passage drawn from stock introductory
times dominated every aspect of daily life. material (cf. 58:1-7; p. 550), which heightens the sense
of loss by emphasizing the importance of the girl
Although each poem is a fantasy, the under­ (11. 1-15). The description of the abduction incorpor­
lying idea is the same: the fear and uncer­ ates motifs from T h e W a te r-C a rrie r (II. 11-19) and
tainty that were associated with the act of a popular Ingrian pun (1. 20). The account of the
separation, however temporary, when a per­ search (11. 24-35) uses the same structure and similar
motifs to Poems 129 and 130. The concluding episode
son went beyond the boundaries of the home (11. 50-55) suggests that the poem was sung in con­
area, e.g. set out on a journey or even went nection with a drinking ceremony.
to the nearby forest to pick berries or fungi. 12—15 Adornments indicating that she was the
A poem about a child that is abducted by daughter of a wealthy family; p a n k a ‘handle’: lit.
a cloud is known throughout Karelia and ‘detachable wooden handle’, used here only as a
parallel to ‘cowlstaff’ with which it is similar in
Ingria, and dates from the Middle Ages. On shape; 20 a pun on ‘Novgorod’ (see Name Index);
the Karelian Isthmus and in the northern 25 v e d < Ru. cf. ved ' ‘after all; but’.

573
THE LOST BRUSH 132 Lost Goose. The final episode was drawn from
F833 H1347 »N770.1 a Russian ‘cannibalistic entertainment’ song
T h e L o s t B ru sh is a remarkable example of symbolism
and is reminiscent of The Gift (Poems 19, 20).
and word association in folk poetry. The poem, Only the opening episode, i.e. the girl and
which is known throughout Ingria and as far north .her loss of the goose specifically associated
as Ladoga Karelia, took shape in Estonia during with a ‘ditch’ (or swamp) and ‘hummock*
the late Middle Ages, apparently independent of
outside influences. The archetypal poem was a (11. 7-9) followed by dialogue, is native to
melancholy song sung by serfs as they waited for the Baltic-Finnish area.
the sun to set and thus mark the end of the day’s 133
work. The underlying idea is expressed in nature
symbols: the rays of the setting sun are the brush, H I 386.3
and the sun - originally personified as the sun’s The Archangel Karelian poem illustrates clearly the
son - is using the brush. The setting of the sun over wish-fulfilment fantasy. The opening episode (11.
the sea symbolizes first the falling of the brush into 1-13) shows the girl talking to herself and conveys
the sea and then the diving of the brusher (i.e. the her sense of expectation. The recovery of the goose
sun) into the sea to recover it; variants of the poem is described with a surrogate passage (11. 53-56)
describe how the sun first sought unsuccessfully the from S t C a th erin e (Poems 64, 65) cast in the gay
help of Catholic saints to recover the brush and nonsense tone that characterizes the whole poem
then dived into the sea itself. Before the poem (cf. 11. 47-48) and was possibly inspired by a non­
reached the Finnish area a second theme, a dream sense motif in which animals perform human tasks
poem about the finding of a sword in the sea, be­ (thus indicating that K a t t i in 11. 53-54 refers to a
came associated with it and formed the concluding cat). The poem’s final episode is lacking in this
episode (11. 33-53). The poem’s original function variant.
was forgotten in East Estonia, where it became a 28 Concerning k o stin tso i ‘gift’ see p. 531; 34, 3 6 i.e.
song to accompany swinging. It was with this form on the spikes that form part of the grain husk;
and function that it was borrowed by Ingrian girls, 38 i.e. the smoke from the open fires lit in the
who retained the theme and motifs, but recast the threshing shed to dry the grain; 52 su m u < Ru. cf.
poem in the first person. shum ‘noise, m urmur’; 55 Concerning p ir ta ‘reed’
21 A stock phrase used for hair-brushing and refer­ see p. 555.
ring to a situation in which the brushing takes
place indoors, i.e. a board was placed across the 134
knees to catch the lice brushed out of the hair (cf. H I 386.3 »N770.1
e ts iä ‘to groom’, p. 562).
Apart from its retention of the concluding horror
episode (11. 55-59), the Ingrian variant has the same
THE LOST GOOSE 133, 134 structure as Poem 133, although the emphasis and
A favourite theme in Karelian (including motifs show some difference and the sense of gaiety
is lacking. The poem opens (11. 1-24) with a series
Tver Karelian), Ingrian and Estonian poetry of loosely linked surrogate and stock phrases before
was the loss of a goose which a brother brings the main theme begins (11. 25-59).
home as a present from the war. The girl 10-13 i.e. a suitor (cf. Poems 124, 125); 40 Con­
does her best to watch over it, but it escapes. cerning v irsta ‘verst’ see p. 538; 41 Concerning va a k sa
‘span’ see p. 532; 4 8 -4 9 A riddle, i.e. a well (cf.
She goes in search of it and asks the people p. 572;) 5 1 -5 2 A hyperbole describing the flight of
she meets whether they know where her an eagle.
goose is. Finally she is told go to to a house or
manor where she is made to sit in a goosebone THE LOST BROTHER 135, 136
chair on a goose-feather cushion and is given The profound sense of insecurity which gave
goose to eat and goose-blood to drink. rise to the loss fantasy in Boy/Maid and Cloud
The poem appears to have taken shape not (Poems 129, 130, 131) is seen at its clearest
later than the end of the 16th century some­ in The Lost Brother where it is expressed by
where south of the Gulf of Finland and is the imagined death of a close relative. The
an example of female fantasy poetry. Its casting of a brother in the role of the person
main themes were borrowed from Russian who dies is thought to be a euphemistic
sources. The most important of these was a device to denote the singer’s lover or hus­
song about a pigeon which flies in search of band, the naming of whom would have been
another; the song had two redactions in Rus­ improper. The use of a brother in place of
sia and elements of both are found in The the sexual partner is also common in many

574
other contexts, especially in Ingria and South panying song (Skön Engeld), cast in the West
Karelia. European ‘climax-of-relatives’ structure,
The Lost Brother embodies several themes which reached Finland in the late Middle
and motifs. The structure is modelled on Ages. The association of the departure idea
poems in which a woman sets out to look with the structure of the Swedish song pro­
for a lost relative and finally learns of the duced at least two distinct poems. One, rep­
latter’s death or murder, cf. the search by resented by Poems 137 and 138, describes
Lemminkäinen’s mother for her lost son. how a warrior, either about to depart or
already on his way to war, asks each of his
135 relatives in turn whether they will weep for
him if he dies. In most variants, known
E363.3 H I347 H I 385.8 *N770.1 throughout Karelia and Ingria, the reply is
The poem is known only in a small area of Ladoga that all but his wife will mourn; she will
Karelia and illustrates how a new poem can be put rejoice. In certain areas the somewhat awk­
together almost entirely from other poems. The main ward ‘climax-of-relatives’ structure was sim­
theme is the disappearance of one of three brothers
and is expressed with surrogate passages: 11. 1-15 plified until only two replies were given, e.g.
are from B o y / M a i d a n d C lo u d (Poems 129, 130, 131), in Poem 137 the mother will mourn, the
11. 16-25 from T h e L o s t B ru sh (Poem 132), and 11. father will not, while in Poem 138 it is the
26-32 from T h e L o s t B ro th er I I ) . Stock phrases from father who will mourn and the betrothed
several sources can also be identified.
who will rejoice.
The other version, represented by Poems
136 140 and 141, is likewise found throughout the
E363.3 H I385.8
same area, although it is also known in Esto­
nia. In this version the theme is reversed.
In the southern parts of the Finnish area the poem The ‘climax-of-relatives* structure is used to
was conditioned by the seafaring milieu and was
usually called L a iv a ssa su rm a ttu v eli (‘The brother describe how a warrior on his way to war,
murdered in a boat’). It appears to have taken shape or man or a woman in an inn, receives mess­
by not later than the 17th century and was known ages that each of his relatives has died; in
in Ingria and on the Karelian Isthmus. It was put the original version he shows no sign of grief
together with stock phrases and surrogate passages
from several sources including T h e C o u rtsh ip (cf. 11. until the last message arrives with the news
6-14 with 17:6-7, 49-56) and F ire (cf. 11. 31-32 of his wife’s death (e.g. Poem 140). Poem
with 9:76-79). 141 is a more common redaction of the poem,
4 -5 Concerning Moscow and Kaprio see p. 547; known over an area extending from Ladoga
51 -5 7 i.e. they must dress in mourning.
Karelia to Ingria, in which the recipient of
the news mourns all the dead relatives except
THE WARRIOR’S DEPARTURE, the betrothed or marriage partner.
NEWS OF DEATH 137-141 137
The underlying idea of this series of poems P231
possibly derives from an apparently simple 4 i.e. he is going to fight for the Swedes against the
account of a warrior’s preparations for de­ Russians.
parture - generally for war, although in some 138
areas there is a different reason for his leaving. M411.20 Q413 Q414
This theme is seen in its simplest form in 16 passim i.e. fighting at the foot of the town's
Poem 139. Whether this shares a common fortifications.
origin with the thematically similar poems in
the series is not known. The origin of the 139
other poems has been attributed to the asso­ A142 A1432.1 A1447 F343.3 F833 N855
ciation of the idea of a warrior’s departure The description of the preparations for war in the
with a Swedish ring game and its accom­ Ladoga Karelian variant is expressed by two surro­

575
gate passages. The first (11. 1-12) is from T h e O rig in an uprising in his support was brutally suppressed.
o f Iron incantation and is linked to an Ilm a rin en The popular attitude is implicit in this poem, prob­
passage (11. 13-23). ably composed early in the 17th century shortly
2 2 -2 3 This could either depict the design on the after the campaigns, and which describes from the
sword or be an image inspired by the figurative point of view of an eyewitness the landing near Turku
meaning of 'Kalevala’s sword’, i.e. the central part in 1597. A manuscript, which records the expedition
of the constellation Orion; 23 o ä s ti < Sw. cf. f ä s t e of 1599, mentions by name many of the Finnish
‘fortification’. leaders who were put to flight and continues with
an account of Charles’s voyage to Viipuri.
140 Although the poem is in the Kalevala epic style,
it contains little genuine folk poetry; the repetition
T211.9 of s i t ‘then’, for example, is a feature of prose narrative
(cf. 11. 13, 25, 29, 63, 118). Not only does the author
have an inadequate command of the poetic form,
THE WARRIOR 142 but textual evidence, in particular the abundance
of historical detail, suggests that he was probably
B130 B211.1.3 P551 not a folk singer but a junior officer who compiled
the poem for propaganda purposes (cf. 11. 55-62).
The theme of T h e W a rrio r is a sister’s advice to her The fact that the text has survived in only a small
brother not to be heroic in battle and his ignoring number of manuscripts suggests that it never found
her advice. Its origin is thought to be two songs that its way into oral tradition.
took shape during the 12th and 13th centuries in 1 -4 Contemporary stock phrases referring to Char­
Kievan Russia and referred to the wars against the les’s titles; 51 son n i < Sw. cf. son ‘son’; 53 to th o lla ri
Tartars; it was transmitted by Russians to Ingria < Sw. cf. stå th å lla re ‘governor’; 100 i.e. grape-shot;
and Estonia and other Baltic areas. The new Ingrian- 112 i.e. tinder-box; 114-115 i.e. as a fuse, probably
Estonian version is thought to have taken shape a reference to aiguillettes.
about the 15th century. The form known in the
Baltic-Finnish area differs in several respects from
the Slav and Baltic variants. Motifs that have been
added include the joke at the beginning that the JACOB PONTUS 144
girl should go to war (11. 6-19), the bath-house
ceremony (11. 32-37) and the sister’s advice on how In the 16th and 17th centuries many Finns served
to behave in battle (11. 38-49). The Finnish variants in the armies of the two Swedish generals, Pontus
have lost the motifs describing the warrior’s departure de la Gardie (1520-1585) and his son Jacob de la
and the mourning for his death, both of which play Gardie (1583-1652). In folklore, however, they have
an important role in the versions of the poem outside been assimilated into a single, legendary character
the Baltic-Finnish area. The Estonian poem gener­ attributed with great magical powers. The variant
ally ends happily with the soldier returning home from Finnish Karelia dimly reflects stories about
having followed his sister’s advice. the five-week siege and capture of Riga during the
The poem sees war from a woman’s point of view 1621 war against Poland, in which 4400 Finnish
and is in striking contrast to the more boisterous soldiers took part under Jacob de la Gardie. The
and glamorous male attitudes that generally char­ poem appears to have taken shape in the 17th
acterize war poetry. Both in its sentiment and in century and spread throughout Finnish Karelia and
the choice of motifs the poem has some affinity with Ingria. The concluding episode of this variant con­
laments sung by women when their menfolk went tains fragments of T h e G rea t P ig (11. 26-27) and
off to war or were recruited into the army (cf. Poem A S o ld ie r's P ra y e r (11. 36-40).
147). 11 v a ik k u n i < Sw. ( < It.) cf. f a lk o n ( e tt) ‘small canon
3 2 -3 7 i.e. an essential part of departure ritual; firing a ball not heavier than 1.3 kg’ (first used in
3 8 -3 9 Advice of this kind is found in several Slav the Baltic area in the 16th century); 15 P u olan herra
poems, although not in those versions of T h e W a rrio r ‘Poland’s lord’: i.e. King Sigismund II Vasa; 25
known among the Baltic peoples. It seems likely, R iia n v irta ‘Riga’s stream’: i.e. the Western Dvina;
therefore, that the motif was borrowed separately 30—35 These lines, possibly a reference to the des­
from a different Russian poem. perate defence of the city, should follow 1. 14; 3 6 -4 0
i.e. sent bad weather.
DUKE CHARLES 143
Duke Charles, later Charles IX of Sweden, under­ IVAN 145
took two campaigns against Finland (1597 and 1599) *R90
in order to assert his power after the nobles had
given their support to King Sigismund of Poland, a war poem known in Archangel, Olonets and
Iv a n ,
Charles’s rival for the throne of Sweden. The sym­ Ladoga Karelia, tells how either Ivan or Peter the
pathy of the people, however, was with Charles, and Great fought the Swedes and forced ‘Matti Laurin-

576
poika', governor of Viipuri or Volmar Castle, who THE CONSCRIPT 147
had first mockingly rejected demands to surrender,
to humble himself. References to wars fought in
several different centuries have been incorporated P551
in the poem with no consideration for historical fact: This 18th century poem, of which some 200 variants
Ivan I II besieged Viipuri Castle in 1495, and Ivan have been collected from Ingria and South Kare­
IV in 1555, 1556 and 1572; Mats Larsson Kruuse lia, was well known in some areas of Finland and
('M atti Laurinpoika') was appointed governor of Karelia that were under Russian rule during the
Viipuri Castle in 1583. A battle took place in the 18th century and where every twentieth serf was
vicinity of Volmar, or Riga Casde in 1621 (cf. liable to service in the Russian army. The poem
Poem 144). The enemy’s plea for peace (11. 49-57) is a factual, step-by-step account of the process of
may even be a reference to the bitter struggles conscription, delivery to the army and military
fought between Finns and Karelians in the North* training (cf. in particular 11. 56-80, 95-131, 142-
East Finno-Russian frontier area in the 16th cen­ 151). Military service in the 18th century, which
tury. was notoriously harsh and long, inspired epic and
The poem has been put together from numerous lyric poetry that was commonly sung at the departure
stock phrases and also employs a surrogate passage of the young men each autumn. The purpose of
from T h e S in g in g M a tc h (df. 11. 54-61). The poem the poem’s positive ending was probably to console
is hostile to Sweden because the events are seen both those departing and their relatives. Poems
through the eyes of Russian Orthodox Karelians about the horrors of conscription were common in
who regarded ‘Swedes’ (i.e. the Lutheran inhabi­ Estonia and are also known to have existed in
tants of Sweden and Finland) as their enemies; this Russia, although relatively few of the Russian ver­
emerges clearly in the epithets in 11. 22-23. Stylisti­ sions survived for the censor did not permit the
cally, the variant contains certain features that point publication of such ‘revolutionary’ material in the
to a poet-singer of considerable individuality. The 19th century.
metaphor for battle in 11. 12-13 is unique to this The variants in the Finnish area appear to have
poem and the response of the women to the death been a strictly local response to the annual conscrip­
of their menfolk (11. 14—17) reveals a boisterous, tion and were put together mainly from stock pas­
though somewhat macabre sense of humour. sages. The motif of sending messages by birds (11. 132-
2 k u lla n so lk i ‘golden buckle': a popular splendour 151, 155-169) was borrowed from Russian folklore.
metonym; 3 - 8 The ‘duck and ducklings' is a stock The description of the emperor pondering whether to
metaphor in Finnish folk poetry to describe the recruit a rich man (11. 40-49) is unrealistic, because
launching of ships; 48 Houses were commonly roofed different regulations regarding public service applied
with strips of birch-bark; 4 9 -5 0 ‘Russian’ and ‘Kare­ to the gentry; the passage is probably a surrogate
lian' were often synonymous in Finnish, the former passage used to express a sense of social injustice.
denoting the religion of the Karelians. The sympathetic terms in which the emperor is
described reflects the love and respect in which he
was traditionally held by Russian serfs.
2 va n k i ‘captive’: a corruption of van h in ‘eldest’;
CHARLES XII 146 11 sta a ra sta < Ru. cf. sta ro sta ‘headman’; 33—35
Conscription was frequently used to rid the village
King Charles X II of Sweden, who won his first vic­ of its unwanted members; 63 k u p ern a a tteri < Ru. cf.
tory over Tsar Peter I of Russia in Ingria in 1700, g u b e m a to r ‘provincial governor’; 65 isva ssik k a < Ru.
but suffered a decisive defeat at the Battle of Poltava cf. isv o zc h ik ‘carrier, carter’; 93 viessa < Ru. cf. ves'
in 1709, is seen in this Archangel Karelian poem ‘scales’; 94 p u n te ri < Ru. cf. f u n d ‘pound (weight)’;
through the eyes of a Russian Orthodox Karelian: 97 a rssin a < Ru. cf. arsh in ‘71 cm’; 98 verska < Ru.
cf. vershok ‘4 cm’; 109 m unteri < Ru. cf. m u n dir
as a bloody invader and a wretched refugee. Neither ‘uniform’; 122—123 A military proverb known in
the structure nor the motifs are original, the latter many parts of the world; 146 p ra a sn ik k a < Ru. cf.
being for the most part stock passages. Nevertheless, p r a z d n ik ‘(religious) festival’; 165 su h a ri < Ru. cf.
the poet has achieved a lively rhythm and pace with su k h a r ’ ‘piece of dried bread; rusk’; 166 This line
which to convey his deeply-felt hatred of the Swedes. was usually sung in association with 11. 142-151.
2 - 4 An echo of contemporary propaganda; 13-14
i.e. cannonballs and bullets; 19 sin iso rk k a ‘blue-
hoofed’: possibly a reference to the colour of the EPILOGUE 148
trousers of Swedish uniforms; 28 Concerning P u n a -
p a r ta 'Redbeard’ see p. 573; 29 tiiru ‘steering oar’
Concerning the choice and function of Epilogue
< Sw. cf. sty ra ‘to steer’; 33 i.e. the crews were not materials see p. 522. 21 runo ‘poet’: the use of runo
able to set the sails and manoeuvre their vessel; (cf. MFi. ‘poem’) in this sense was common in OFi.
42 vet < Ru. cf. o ed' ‘after all; but’; 49 i.e. officers; and dialect; 23 p a in a n ta ‘pressing’: i.e. of cloth; 3 5 -3 6
50 i.e. soldiers. Common metaphors for ‘skull’, hence ‘memory’.

37 577
NAME INDEX

Names are identified by reference to poem and in A nn St/Santta Anna


some cases to line. Where a person or place plays a in Finnish folk poetry she occurs frequently in
central role in a poem, only the number of the poem hunting and birth incantations: in a storm 27:59 f f
is given. Where the name does not occur at the begin­ (here a corruption of St Andrew -*■ Antero)
ning of a poem, but plays an important role after
entry, the reference is given to the line where it first A n n a -»• Ann St
appears followed by f f . Names that occur only spor­
adically are referred to by both poem and line. Ety­ A nni (-kkainen, -ikke, -ikki)
mologies are given where they have a connotative 1 Ilmarinen’s sister: brings news 15:6,49; 16
relevance to the occurrence of a name; in the case 2 daughter of otherworld ruler (-»-Tuoni): wooed
of first names, an etymology is provided when the 18
surface form of the name is unfamiliar. The term 3 Joukahainen’s sister: given as ransom 29:149, 157
‘parallel’ denotes an alternative name in successive 4 Ahti’s sister: divulges secrets 39:10
lines, while ‘epithet’ is an elaboration or extension of 5 villager: disturbed 90:32 f f
of the same name. 6 rejected lover: takes revenge 92; 93 (parallel:
The entries are arranged in Finnish alphabetical Kirtti); 94 (epithet: Turuinen’s girl)
order, i.e. ä and ö are treated as separate letters 7 wooed girl: commits suicide 104
that follow y . 8 wooed girl: chooses husband 112
9 girl falsely accused: commits suicide 124

A n n ik k ain en -»- Anni


A boa Turku
A nnikke -»- Anni
A h ti
1 water deity (parallels: Hirska, Vellamo) 9:40; A n tero , Andreas, Andrew, Anterus, Antti
26:56; 56:40 1 sailor: understands weather 26:55
2 rich land-owner: seeks help to bring fertility 46 2 young nobleman (epithet: Ylinen’s son): wid­
3 warrior: invited to feast 34:49, 51, 54; (epithet: ower 87; kills wife and commits suicide 88
the Islander/Saarelainen) prefers adventures at sea 3 villager: disturbed 90:33f f
to life at home 39; 40 (-> Kauko 2, Veitikki) 4 young soldier: sets off to war 138
4 (shaman-)chieftain (epithet: the Islander/Saare­
lainen): fights Lemminkäinen 34:153 A n te ru s -> Antero 2, 4
A lerm o A ntervo -»• Vipunen
(epithet: Ylermä’s swain/Ylermän yrkkä) suitor 105
A n tti -»■ Antero 3
A lim o Alue
A tim o
Alje Pcorruption of S a ta m a sa a ri
place-name, possibly the Estonian village of Hal- island-harbour, possibly Kronstadt 146:21
jala 36:11
B lue G irl/S in etär
A lue tutelary spirit of dyeing 148:23
? < a la v a ‘low-lying’
mythical primeval lake (parallel: Alimo) 9:16,48 B o th n ia -* Eastern Bothnia
A m m as C a b b a g e la n d /K a a lim aa
place-name (more commonly Aumas), Laukko a reference to the common belief in medieval
(-*), West Finland 84:58 f f Scandinavia that the staple diet of the English
was cabbage: St Henry’s birthplace 67:2
A n d eru s -> Vipunen
C ath erin e St/K aia, Kaio, Katie, Katro, Kitty,
A n d reas -> Antero 2 Pyhä Katri (i) na
her martyrdom (307 AD) was a popular theme
A n drew -* Antero 2 in medieval church art: burned on a pyre 64; 65

578
C h arles/ Kaarle, Kaarlo In the North-East Baltic region such areas were
1 Duke of Södermanland until 1599, then Charles clearly defined. The Hanse merchants had made
IX of Sweden-Finland (1550-1611): suppresses German the common language in the ports, and
rebellion in Finland (1597) 143 often in centres of trade in the hinterland. North
2 Charles X II of Sweden-Finland (1682-1718): of the Gulf of Finland the derivative s a k s a la i n e n
campaigns against Russia 146 denoted variously ‘foreigner’, ‘travelling merchant’,
‘shopkeeper’, and ‘townsman’, while s a k s a - , as the
C h ris t -»-Jesus first component of a compound, usually denoted
excellence or greatness of size. Hence a clearly
C re a to r -» God, Jesus defined area of usage in folk poetry concerns
wealth and splendour, i.e. imported goods, or goods
C uckoo Hill/Käenmäki made by a professional craftsman in contrast to
fictitious place-name 72:8 cruder, home-produced wares. South of the Gulf
of Finland, in West Ingria and Estonia, S a k s a had
C u m å -» Kokemäki the same use but was also associated both admiringly
and deprecatingly with the local gentry, who spoke
E a ste rn Bothnia/Bothnia orientalis German as their first language (just as those of
area corresponding approximately to present-day comparable social position in Finland spoke Swed­
Ostrobothnia (Pohjanmaa) (-»m ap) 87 ish). A further factor that has to be considered,
especially in the Russian Orthodox areas of Ingria,
E e rik (k i) -» Eric is the use by Russians of ‘German’ to mean ‘for­
eign (er)’, a usage that dates from the influx of
Eeva skilled and professional men at the time of Peter
young girl (epithet: maid of R iga): falsely accused the Great
125 1 place-name 25:12; 103:26
2 wealth, size, or splendour symbol (i.e. made to
E lin a, Helinä order by a craftsman or imported) 12:189; 52:8;
derivations of Helena ( -») 99:5; 107:17,18; 117:2; 134:11,16; 140:88,90;
1 woman: finds abandoned child 70:17; (parallel: 141:6,20
Katro) 71:1,40 3 urban 76:9; 93:21
2 Klavus Kurki’s wife (-»): falsely accused and 4 foreign (probably Hanse) 66:85-86; 71:22,60
murdered 84
God, Creator/Jumala(inen), Jumma(a)la, Jumalut,
Eric/Eerik(ki) Luoja, Luojo(-i), Luojut
1 Eric IX Jedvardsson of Sweden (murdered 1160, cognate forms of Fi. j u m a l a ‘god’ in dialects and
later canonised): crusades in Finland 66; 67 related languages meaning ‘worker of magic’,
2 knight: attempts to obtain wife by subterfuge ‘lightning’, ‘heavens’, ‘supreme deity’ suggest that
85:17 j u m a l a was originally a general term of reference
for supernatural powers or persons. The word was
Estonia[n]/Viro adopted as the name of the Christian deity by the
1 place-name 22:2; 24:2,27; 36:10; 98:1,2,4,5; early missionaries in the Finnish area, when it also
103; 132:11,15,17; 141:15,29 acquired the parallels L o r d , C r e a to r , J e s u s (-»). In
2 distance symbol 45:53; 88:74; 113:22/; 117:1 the minds of the early Christian converts the
3 home of workers of magic 88:36; 101:27 difference between the pagan and the Christian god
4 poverty symbol 25:1,13;, 78:1 was not always distinct and confusion of the two
is common in folk poetry, particularly in incan­
F in la n d [Finnish]/Suomi tations from the Middle Ages.
in folk poetry usually the province of Varsinais- 1 Christian deity 7; 14:145,146; 27; 32:6,84; 34:108;
Suomi (South-West Finland, -» map); in Ingrian 49:19; 50:45; 59:253/; 61:80/; 62:82/; 91:24,32;
poetry it generally refers to the southern coast 99:8/; 100:20; 112:68; 147:105; raises wind 3:17;
of Finland help sought 26:82/; 66:194,195; 94:36/; performs
1 place-name 43:8, 10; 67:85; 75:33, 34; 112:2; miracle(s) 33; 66:150/ 79:26/; 94:27/; 144:36;
143 praised 42:65; birth of son (-»Jesus) 63:27; reveals
2 wealth symbol 23:35; 134:12,15 sins 76:49,50; merciful in heaven 79:41/; ends
3 distance symbol 38:126/; 49:36; (parallel: war 86:23
Sweden/Ruotsi) 127:46,66,88; 136:3 2 Jesus (-») 59:227; 60; 61:105/; 62:47,111/;
77:33
German[y]/Saksa 3 pagan deity (parallel: Väinämöinen) 49:1
for a singer of folk poetry in the Finnish area
S a k sa (-la in e n ) ‘Germany’, ‘German ’referred to lang­ Hanhenpajusto (lit. ‘Goose Willow Patch’)
uage-usage, i.e. an area, or an object pertaining unidentified place-name, near Turku, South-West
to that area where German dialects were spoken. Finland 143:85

579
H an n u s, Hannas, Hanno H oly River/Pyhäjoki
1 young man (epithet: German of the Isle): se­ parish in West Finland on the coast of the Gulf
ducer: denies fatherhood 70; 71 of Bothnia 87
2 married man (epithet: Pannus): murders wife in
order to remarry 95 H onkela
, (parallels: Tapio Salakaarto -►) mythical place-
H ein (i)rik k i, Heinärikki -*■ Henry St name derived from the personification of h o n k a
‘fir’ + locality formative - l a , i.e. ‘Fir forest realm’
H ek k o (-i) 6:2 (cf. Metsola, Tapi(v)ola)
1 young girl: ungrateful 22:24,26
2 maid: learns to attract suitors 120 H oora
< H o u r a < Ru. cf. A u r o r a
H el(le)ena name rejected for daughter 120:22
wife (parallel: Katteeriina): murdered by husband
H uotola
possibly a corruption of Luotola, South-West Fin­
H elin ä -> Elina 1 nish archipelago
place-name 46:20
H en ry St/Henrik Pyhä, Hein(i)rikki, Hentrikki,
Heinärikki H äm e
Englishman (d. 1156), Finland’s patron saint, first province (-»-map) 51:3; 66:15; 67
bishop of Finland, later canonised: murdered while
travelling in South-West Finland 66; 67 Iiv a n a
1 husband (epithet: Ko(i)jo(i)ne(n)’sson; parallels:
H e n trik k i -»{Henry St Ilmorini, Kojo): murders wife and bakes pie from
her parts 19; 20; murders wife in order to remarry
Herod/Ruotus, Ruatus 96 (cf. Hannus 2)
1 Herod the Great (c. 73-4 BC), client king of 2 -* Ivan
Judea under the Romans at the time of Jesus’
birth, associated with Gospel legends of the Magi Ik i T u rs o -» Iku Turso
and the Massacre of the Innocents: ill-treats the
Virgin Mary 59:57# loses stableman, St Stephen Ik u T ie ra , Niera’s son
(->) 63; bums St Catherine (-») 64; 65 (parallel: mythical hero: accompanies Väinämöinen to steal
Väinämöinen) s a m p o 12:223#
2 chieftain: killed in a due J37:99#
Ik u T u rs o , Äiö’s son
Herodias/Kiiva, Tiiha cf. MFi. tu r s a s ‘sea-monster;, creature living in water'
wife of Herod Antipas (son of Herod the Great), < OSc. cf. Old Norse P u r s ‘giant, monster’
the ruler who ordered the execution of John the Leviathan: tries to capsize boat in which Jesus is
Baptist and received Jesus from the Romans after sleeping 27:91#
his arrest. In Finnish folk poetry Herodias is treated
as the wife of Herod the Great (-► 1): ill-treats I lm a r i (-nen), Ilmolline, Ilmollini, Ilmori(-nen),
the Virgin Mary 59:63# loses stableman, St Ilmorini, Ismaro
Stephen (-») 63 possibly a derivative of i l m a ‘air’
as a deity variously associated with the air and the
H iisi, Hiito(-i, -la), Hiizi, Hittoi, Iitto(va) wind his role is more commonly that of the smith-
the word originally denoted a place associated with culture hero. In the oldest poems it is not always
the deceased, from which it came to denote var­ possible to separate these two roles, while later the
iously a sacred place, the otherworld, a distant, name was frequently applied to any kind of smith
often hostile mythological place, a supernatural 1 smith-god/smith-culture hero: shapes the sky 8
being (e.g. forest tutelary spirit), all of which were (cf. 7); strikes primeval spark 9:1 (cf. 15:134);
associated with destructive powers and the de­ shapes s a m p o and helps to steal it 12:109# 14; 15;
ceased. The name was later applied to Christian makes bride from gold 21; 22; tempers sword
concepts of the devil and hell. 139:8,13 (-»> Ingrian smith)
1 distant, often hostile mythological place, or its 2 smith-culture hero: suitor 16; 17
ruler 14:14,102; 19,98# 31:29; concealed sun and 3 name given to a child found abandoned in a
moon 32; guardian of treasure 46:24,38; possesses marsh 57:5, 58:20
elk 53; 54; 55:1 (cf. 17; 23:55; 24:11,55; 139:31) 4 -►Iivana 1
2 hell 60:69,72; 62:221# cf. 66:187
3 Devil 141:49 Im a n d ra Island/Imandran saari
mythical place-name, sometimes associated with
H irs k a Ahti 1 Manala (-») and Tuonela (-* ■ ) 4:27,33

580
In a ri J u m a la (-inen), Jumma(a)la, Jumalut -> God
small market town and administrative area in
Lapland: distance symbol 145:22 Jy rk i
young man: murdered by wife 91
In g ria n smith/seppä Inkeroine
corruption of Ilmarinen
Russian Orthodox Ingrian of Karelian descent: K aalim aa -»■Cabbageland
marries 121:71
K a a ra s (t)a
In k e ri place-name, possibly Oranienbaum, near St Peters­
maid: faithful to her betrothed 85 (cf. 86) burg 41:10, 13; 102:28
Island/Saari K aarle, Kaarlo -> Charles
unspecified place, sometimes mythical
1 place-name 22:1; 39:3; 94; 102:2 K aia, Kaio -»- Catherine St
2 refuge place 37:206/; 38:143/
3 distance symbol 49:36; 71:22, 60; 136:3 (cf. also K aija, Kaisa, Kaisu, Katoi(-nen), Katri, Katro,
16) Katteeriina, Katti
Is m a ro -> Ilmari 1 girl: kills seducer 90
2 girl: one of three sisters 61:3
3 girl: tries to milk crane 118:16
Isp o n en 's Hill/Ispostenmäki 4 girl: prefers local suitor 113
Ispoistenmäki, hill near Turku, South-West Fin­ 5 woman: finds abandoned child 71:2 (parallel:
land 143:44 Helinä)
6 woman: weaves 133:53, 54
Ivan/Iivana 7 grandmother: has three grand-daughters 61:1
1 Tsar Ivan III (1440-1505) or Ivan IV (1530- 8 -»• Helena
1584): at war with Sweden 145
2 -> Iivana
K aisa, Kaisu -> Kaija 1
Jacob/Jaakko P o n tu s
a legendary figure based on two historical char­ K ale (r)v a(-in en ), Kalehva, Kalervo(-i), Kaler-
acters: the Swedish generals Pontus de la Gardie vikko
(1520-1585) and his son Jacob de la Gardie (1583- one of the oldest Baltic-Finnish names, possibly
1652): attacks Riga and Narva 144 cognate with the Balt god-smith K a l e o i a s , cf. Balt
k a l w i s ‘smith’
J e s u s , Christ/Jeesus, Jessus, Jiessus, Kiesus, Kris­ 1 (shaman-)chieftain: kills sister and brother-in-
tus law 36
son of God (parallels: God, Creator) 33:9,39, 2 chieftain: attacked by brother Untamo (-»•) 41; 43
58; 72:3; 77:33; 92:41,47; 94:21,29; in a boat, 3 warrior: killed at feast 38
overcomes sea monster 27; birth and youth 59:227/; 4 intruder (parallel: Osmonen): drives girl to
resurrection 60; conception, life and works 61; 62; suicide by his attentions 104:10,50
works miracles 62:158,159; 71:68,69; 94:29, birth 5 epithet and parallel name ‘K.’s handsome priest’,
revealed 63:27/; follower acquired 63:30; conceals Riiko’s son/Riion poika ( -»•) 89:7,29
identity and confronts people with their- sins 75; 6 name of unidentified person 46:79
76:48/; 84:203; at gates of heaven with St Peter
78:9,31 K aie(r)va, Kanerva, son of/Kale (r) van, Kanervan
poika
J o m p a in e n -»-Joukahainen in West Finnish and Estonian tradition a giant,
destructive hero (principal character in the Estonian
J o u k a(h a)in e (-n ), Jompainen, Jougamoine, epic K a l e v i p o e g )
Joukamoi(-ne), Joukavainen 1 orphan: survives massacre 41:43; avenges 42; 43
?■ —jo u h e a ‘tali’; a second theory links the name 2 epithet: Väinämöinen (->) 5:8; 49:3; Lemmin­
to j o u t s e n ‘swan’ (cf. Ostrobothnian dialect j o u k h a i - käinen (-►) 35:189/; Kullervo (->) 137; 139; 140
n e n ) , in which case the animal might be a personi­
fication of a shaman’s familiar K alla, Kalo Cape/Kalla-, Kalonniemi
1 young shaman: competes against Väinämöinen unidentified place-name: home of wooed girl 88:
10; 11; 15:159/; 29:41/
2 young warrior: helps to steal s a m p o 13; 14 17; 96:5,67 (parallel: Kontu Cape-*-)
3 possible husband 19:3, 4
K anerva, son of/Kanervan poika -»• Kaleva, son of
Jordan/Jortanainen
river that never freezes 62:55 K a n k a h a ta r -»- Loom Girl

581
K ap rio K in erv a -> Kullervo
district in Central Ingria (-»-map): distance sym­
bol 49:40; 136:5 K irja m o
village in Narvusi district of Ingria (-► map) 49:
K arelia/K arjala 67, 70
area comprising regions of several provinces situated
partly in Finland, partly in the USSR (-» map). K irsti(-n e n ), Kiitti
In folk poetry Karelia is a region loosely associated ~ C h r is tin e
with those parts of historical Karelia that lay 1 serving maid: falsely accuses mistress 84
within the sphere of influence of the Russian Ortho­ 2 virtuous girl: kills priest who tries to seduce
dox Church 42:9; 43:9, 12; 137:4 her 89
3 girl: wooed 111
K a rju k k a in -►Mai(j)a 10 4 -►Anni 6
K atie -►Catherine St K itty -v Catherine St
K ato i(-n en ) -*■ Maija 6 K iulo
dialect form of Köyliö, lake near Turku, South-
K a triin a -►Catherine St West Finland 67:16
K a tri -*■ Kaija K lavus -►Kurki, Klavus
K a tro -> Kaija; Catherine St; Elina 1 K o(i)jo(i)ne(-n) (< Ru. G o d in o v ic h ) -> Iivana 1
K a tte e rlin a -►Kaija; Helleena K oijola
unidentified place-name, home of Kojonen (-►Ii­
K a tti -> Kaija vana 1) 61:7
K augo -> Kaukamoinen K oivisto
district on Karelian Isthmus (-►map) 18:2
K a u k am ieli -> Kaukamoinen
Kojo-> Iivana 1
K au k am o in en , Kaugo, Kaukamieli, Kauko (-i)
possibly a personification of a word meaning ‘far- Kokemäki/Cum ä
sighted’ or ‘proud’ district in South-West Finland (-►map) 87
1 smith-culture hero (parallel: Estonian Smith/
Viron seppä): makes k a n t e le 24:1,26 K olkanpää
2 adventurer: invited to feast 34:49#’ (-►Ahti 3); village in Soikkola district of Ingria (-►map) 147:
kills host, flees, sexual prowess 37; 38 66, 73
K au k o (-i) -> Kaukamoinen K öm m i
father: sets impossible tasks for suitor 19:12jf
K au p p i
male name, possibly derived from Sw. J a k o b K o ntu(-i)
Lapp hunter (parallel: Vuojolainen): catches Hiisi’s (parallels: Narentka, Kalla Cape/Kallaniemi) un­
elk 53 identified, place-name component (‘homestead’)
common throughout Ingria and Karelia: home of
K avala wooed girl 20; 88:16; 96; 114:1,2
(parallel: Korkka) unidentified place-name 88:15
K o rk k a
K em i (parallel: Kavala) unidentified place-name: home
North Ostrobothnian port (-> map): distance sym­ of wooed girl 88:14
bol 34:192
K oroinen
K e rttu unidentified place-name, possibly near Turku
Lalli's (-►) wife: lies 67:37 146:22
K iesu s -> Jesus K oski
unidentified, place-name component (‘rapids’) com­
K iiv a -> Herodias mon throughout Finnish area: home of wooed girl
95 (-► Virta)
K iljan ta
(parallel: Paastue) unidentified place-name 102:24 K ris tu s -►Jesus

582
K ullervo, Kinerva, Kulerva L aukko
? < k u lta 'gold* manor in West Finland owned by the Kurki (->)
warrior (epithets: Kale(r)va’s son, Kanerva’s son): family 84
asks relatives whether they will mourn his death
137; killed in battle 139; hears of relatives’ death L eh en lem m y k k äin e
while at war 140 (cf. Kalervainen) Ingr. corruption of lie to 'wanton* + L em m in käin en
spiteful hostess: killed by brother 36 -*■ Lemmin­
K u p itsa käinen 1
Kupittaa, near Turku, South-West Finland 143:84
L e m m a ste rv a
K u rk i, Klavus Ingr. corruption of L e m m in k ä in e n ) + terva ‘tar’
legendary murderer. The name is compounded (an allusion to 'tarry objects’, one of the magic
from two historical characters: K la u s K u r k i, judge devices used by a shaman)
of Ylä-Satakunta (West Finland), fifteenth century spiteful host: killed by brother-in-law 36
-*■ Lemminkäinen 1
owner of the Laukko estate, and K la u s D jä k n , an
officer of the Swedish crown in Finland: marries, L em m enlahti-> Lempi Bay
believes false rumours about wife, burns her alive 84
L e m m in k ä in (-e n ), Lemmingäin(-e), Lemmin-
K u u ro -> Teuri göine
1 shaman-chieftain: skill at magic 1:45; uninvited
K yllikki guest, kills host 34 (cf. 36); killed by host, goes
? '■«*' k y llä ’sufficient’ to otherworld 35
Ahti’s (-»-Ahti 5) wife: breaks promise, left by 2 hunter: catches Hiisi’s elk 54 (cf. Kauppi)
husband 39; 40 3 Tuiretuinen (-►) 44:2,34
-> Lehenlemmykkäine, Lemmasterva
K äen m äk i Cuckoo Hill
L em pi Bay/Lemmenlahti
K öyrötyinen, Köyrötty unidentified place-name, possibly Lemlax in Parai­
smith: sets Kullervo (-»■) to work 42:10/ nen, South-West Finland 17:130
L a ari L ittle M eadows/Pienet, Pikku niittuset
< Sw. L a rs < < Lat. L au ren tiu s unidentified place-name, Laukko (-»■), West Fin­
son: tries to please mother 100 land 84:59/
L a b ala -*■ Manala L oom Girl/Kankahatar
tutelary spirit of weaving 148:24
L a isa
unidentified place-name 16:5 Luoja, Luojo(-i), Luojut -*■ God, Jesus
Lalli, Lalloi L u u tits a
pagan peasant: murders St Henry (-»■) 66:65/; unidentified place-name, possibly L u u sh itsa in the
67:32# Kattila district of Ingria 120:13
LaUoila M a a n ita h a n
Lalli’s home 66:65 Ingr. corruption of the West Fi. line of poetry
L a lm a n ti iso ritari (cf. 85:1)
L a lm a n ti warrior: saves his betrothed from marriage to an­
Finnish adaptation of Sw. la g m a n ‘sheriff’ other man 86
warrior: saves his betrothed from marriage to an­
other man 85 (-> Maanitahan) M aariain , Maarja, -> Virgin Mary

Lapland/Lappi M aaro i -> Maija 6


in Finnish folk poetry a geographically undefined
area generally referring to the lands beyond the M agdalen/Mataleena, Mateliina
more northern Finnish settlements at any given sinful woman: confesses and repents 75; 76
time
1 place-name 31:22 (parallel: Pohjola); 53; 54:30 M ai(j)a, Maaroi, Mai(j)e, Mai(j)oi, Mari, Mar-
(parallel: Pohjo) jukkain
2 poverty symbol 1:15 — M a ry
1 mother: daughter dissatisfied 22:25, 27
L ap p i -> Lapland 2 girl: brother builds bath-house 49:69

583
3 Marjatta’s (->) sister 61:3 N a a s ta
4 mother: daughter raped 69:4 < Ru. cf. A n a sta sia
5 young wife: kills husband 91 rejected as name for daughter 120:21
6 girl (parallel: Katoi): tries to save dying mother
101 N a re n tk a
7 mother: dies after eating berries 101:18 , (parallel: Kontu -*) unidentified place-name: home
8 girl: tries to milk crane 118:14 of wooed girl 20:9
9 girl: abducted by cloud 131
10 mother (parallel: Karjukkain): looks for lost N ie ra -»■ Iku Tiera
daughter 131
N o rth Land/Pohjanm oa
M an a(la), Labala, Manula area, probably comprising the whole of the Arctic
? < m a n a ‘loss, destruction’ + locality formative - l a : North, beyond the more northern Finnish settle­
otherworld (commonly with parallels: Tuonela, ments at any given time (cf. Lapland/Lappi, Poh­
Tuoni -*) 9:6,13; 15:139; 16:29; 17:207/; 34:212; jola): size symbol 48:12
35:93,191,243/; 79:94; source of spells 29; 30;
61:126 N o u siain en
district in South-West Finland where St Henry
M an tu (->) is thought to have been buried 66:128
tutelary personification of mantu ‘hard, barren earth’,
the earlier usage of which is reflected in incantations N o v g o ro d /U u si linna
addressed to local earth spirits mannun isäntä ja singers of Finnish folk poetry frequently punned
eukko ‘earth master and dame’ the components of the name (a caique: 'new town/
son of Mantu killed by woman he tries to seduce 90 castle’). Where the pun is more important than
the place-name, the components of the name have
M a rg a re t (St)/M arketta been translated
her mother milks snake 55:15 1 distance symbol 110:5
2 pun and distance symbol 131:20; 147:127
Mari-»- M ai(j)a
N u rm i-T u o m a s -►T urf Thomas
M a ria tta
girl: bears child 58 (cf. 57) O ap su
? < A b sa lo m
M arjukkain-*- Mai(j)a 6, 9 father: sets impossible tasks for suitor 20

M a rk e tta O ld M an of th e A ir/Ilm an Ukko


~ M a rg a ret corruption of Ilmari(neri) (-> 1) + Ukko (->)
girl: denies parenthood of illegitimate child 70; 71 smith-god: strikes primeval spark 15:134
-> Margaret (St)
O levi, Olovi
M a r t t i -> Tanum artti hired man: falsely accused 84

M ataleen a, Mateliina -*■ Magdalen O ljona(-inen)


< Ru. cf. O lyena
M etso la daughter of Kömmi (->), wife of Iivana 1 (-*•)
(parallel: Rahansaari -»•) mythical place-name de­ (parallel: Palaka(-inen): murdered by husband,
rived from the personification of m e t s ä ‘forest* + baked in pie and given to father 19:182
locality formative - la , i.e. ‘Forest realm’ 58:40
(cf. Honkela, Salakaarto, Tapi(v)ola) O sm ero i
unidentified place in Estonia 141
M oscow /M oskova
distance symbol 49:39; 136:4 O sm onen
male name, probably mythological
N a a ri ->N a(a)rva 2 intruder (parallel: Kalevainen): drives girl to
suicide 104:9, 49
N a(a)rv a, Naari, Narvoi
fortified North-East Estonian town, important O sm o ta r
trading centre in the Middle Ages female name of uncertain origin, possibly personi­
1 distance symbol 45:3 fication of materials used in the fermentation pro­
2 urban symbol 3:32; 76:12,21
3 threatened and attacked 144:18,32 brewer 34:5, 32

584
O stro b o th n ia -* Eastern Bothnia/Pohjanmaa P ie ta ri, Piiteri -* Peter; Petersburg
P a a r its a P iltti
village in the Kolppana district of Ingria 69:13 < Sw. cf. piit 'small boy*
its occurrence as a proper name is exceptional
P a a s tu e serving maid: looks for place for the Virgin Mary’s
< Ru. cf. p o g o st ‘parish* (-*) confinement 59
(parallel: Kiljanta) unidentified place-name 102:23
P o h ja -* Pohjola
P a a tits a
place-name, possibly a variant of Paaritsa (-*•) P o h jan m o a -> North Land
120:12
P o h ja, Pohjanmaa, Pohjo(-inen, -la)
P ala g a, Palaka(inen) 1 land in the North, destination of dangerous
< Ru. cf. P e la g iy a journeys (an analogue of the Nordheim, Nordbotn of
1 name rejected for daughter 120:15,16 the Fornaldarsögur) 4:11; 5:65; 12; 13; 14; 15; 16
2 daughter of Kömmi (-*) wife of Iivana 1 (-*) 2 otherworld 17:183, 195; 31:20/; 50:36/
(parallel: Oljona(-inen)): murdered by husband, 3 strange land: as refuge 46:7; 62:23/
baked in pie and given to father 19:183 4 South Ostrobothnia 84:57/
5 parallel of Lapland 54:30/
P alv o n en , Pavannainen
< Fi. p a lv o a ‘to worship’, i.e. ‘one who is wor­ Poland/Puola
shipped’ attacked by Jacob Pontus (-»-) 144:15j
deity often associated with Ukko (->) and Viro-
kannas (->). It is uncertain whether Palvonen is P o n tu s -»-Jacob Pontus
an epithet of Ukko or a separate deity: parallel
of Ukko (-*) 12:46; baptizes illegitimate child P u o la -> Poland
58:26
P y h ä A nna -* Ann St
P a p in lu o to (lit. ‘priest’s rock’)
place-name, near Turku, South-West Finland P y h äjo k i -* Holy River
143:30
P y h ä H e n rik -* Henry St
P a ra s k a
< Ru. cf. P a ra sk eviya P y h ä K a triin a -* Catherine St
name rejected for daughter 120:18, 19
P y h ä P ie ta ri -* Peter St
P av an n a in en -* Palvonen
P y h ä T a p a n i ->- Stephen St
P e d ro -* Peterkin
P äivölä
P ellerv i, Pellervoinen, Pellervöinen -* Sampsa mythical place-name derived from personification
of p ä iv ä ‘sun’ + locality formative -lä . In Finnish
P e n tti incantations P ä iv ö lä functions as the antithesis of
castle lord: inhospitable to travellers 26:110,111 P o h jo la (-> Pohja 1), which was associated with
darkness and evil; in epic poetry, however, the
P e te r St/S antta Pietari antithesis does not occur and the name generally
helmsman 27; at gates of heaven 78 refers to the place where heroes meet to feast
34:74/; 37 (parallel: Sariola ->)
Peterkin/Pieni Pedro
i.e. St Peter’s day, 29th June, a major feast in the R a h a n sa a ri
Russian Orthodox calendar, traditionally the date (parallel: Metsola ->) mythical island-name de­
on which burn-beat clearing was started (see Plate rived from the primary meaning of raha ‘fur pelt’
13): date of departure to search for wood 26:3 ( < Sc.), hence ‘island on which there were (many)
fur-bearing animals’ 58:41
Petersburg/Pietari, Piiteri R aisu
1 distance symbol 110:6 understood by the Ingrian singer as an Estonian
2 attacked 146:4 place-name (but more likely a misunderstanding
of the Estonian expletive ra u d a , ra ib e ‘rotten’) 49:
P ien e t n iittu se t-* Little Meadows 68,71
P ien i P ed ro -*■ Peterkin R ak k av u o ri, Rakkavuuri -> Rakvere

585
R akvere/R akkavuori, Rakkavuuri S a n tta A nna Ann St
town in North Estonia (German: Wesenberg):
size symbol 49:68,71 S a n tta P ie ta ri -> Peter St
Riga/Riika S a ra ja
Baltic port (now capital of Latvian SSR) , < s a r a j a s ‘sea’, later sometimes associated with
1 epithet 125 Jerusalem
2 threatened and attacked 144 mythical place-name: no place in S. village for
the Virgin Mary to deliver her child 59:48jf
R iik a -> Riga
S ario la
R Jiko's son/Riion poika mythical place-name, variant of Saraja (-*■): (par­
? < F r e d r ik allel of Päivölä -►) place where heroes meet to feast
priest (epithet and parallel: Kaleva’s (->) hand­ 37
some priest): killed by girl he tries to seduce 89:
6,28 Savo
province (-> map) 4:12; 145:61 (parallel: Sweden
R iion p o ik a -> Riiko’s son - 1)
R u o tsi -> Sweden S iim e t Isle/Siimetsaari
place-name, identified by some scholars as Sima-
R uatU S, Ruotus -> Herod salo, an island in the Sipoo Archipelago, Gulf of
Finland 17:133 (cf. Lempi Bay/Lemmenlahti)
R u sk iak a llio (lit. ‘brown rock’)
Ruskeakallio in the district of Raisio near Turku, S in e tä r Blue Girlj
South-West Finland 143:31
S in iv e rm o
Russia/Venäjä ?< s in iv e rk a ‘blue cloth’ -> Väinölä
its army attacked by Charles X II 146:6
S tep h en St/Pyhä Tapani, Tahvana
S a a ri -»- Island Herod’s stableman: sees star in stream 62:53, 59;
reveals the birth of Jesus 63
S t A nn ->• Ann St
S tockholm /T ukhulmi
port, capital of Sweden 103:27
S t C a th e rin e -*■ Catherine St
S uokas, son of/Suokkaan poika
S t H en ry Henry St young man: rapes a girl 69:1
S t P e te r -> Peter St S uom ela
birthplace of Elina (-»•), estate near Laukko (-»•),
S t S tep h e n -> Stephen St 84:150

S a k s a -> German [y] S u o m i -> Finland


S a la k a a rto S w eden [Swedish]/Ruatsi, Ruotsi, Ruotti, Svecia
(parallels: Tapio Honkela -*) possibly a tutelary the area understood by ‘Sweden’ varied from singer
personification of s a lo n k a a r t o ‘winding forest way’, to singer and depended largely on where the singer
the earlier usage of which is reflected in incantations had grown up and on the political circumstances
addressed to s a l o n k a a r r o n k a u n i s v a im o ‘the beautiful that prevailed both when the original poem was
female spirit of the winding forest way’. An alter­ composed and when each redaction and variant
native theory explains S. as a corruption of S a n t a evolved. Seen from Finland, particularly from the
K a a r e n ‘St Catherine’ 6:3 (cf. Honkela, Metsola, western regions, the name referred either to Sweden,
Tapi(v)ola) approximately within its present-day frontiers, or
to Sweden-Finland, a territory that diminished in
S a m p s a th e P ellerv o boy / Säm(p)sä size during the 18th and 19th centuries. For a
Pellervo(-inen), Pellervö(-inen) Russian Orthodox Karelian or Ingrian, ‘Sweden*
S am psa ? ~ S t S a m s o n or S a m p s a ( h e in ä ) ‘forest- probably denoted an area where the Lutheran
rush’) + P e l le r v o ( < p e l t o ‘field’) Church of Sweden-Finland predominated; hence to
deity associated with fertility: builds a boat for an Ingrian it could sometimes refer to certain
God 27:1, 58; his help is sought to start growth close, even neighbouring districts (pastors in the
in spring 46; 47 Lutheran parishes of Ingria were often trained in

5 86
Turku and spoke Swedish amongst themselves), T ie ra Iku Tiera
while to a Karelian it was more likely to mean an
area corresponding approximately to present-day T iih a -> Herodias
Finland. For the few Karelians and Ingrians with
a wider knowledge of geography, ‘Sweden’ corre­ T o ra River/Torajoki
sponded approximately to Sweden-Finland of the mythical place-name 52:30,31
17th and 18th centuries and may have continued
to have the same meaning even after the union T o ra jo k i -> Tora River
of the Grand Duchy of Finland in 1808-1809.
1 Sweden (without Finland) 25:11 (parallels: Es- T o rm io
tonia[n]/Viro -*■, German[y]/Saksa -►); 66:4/; dialect form of Est. T o r m a , district in the Tartu
67:3; 74:40; 75:45; 87; 142:2 (parallel: Finland/ (Dorpat) administrative area 91:2
Suomi ->), 74/; 145:23,60 (parallel: Savo); 146:
3, 48; wealth symbol 3:31; splendour symbol 82:7,
12; 83; 143:2; distance symbol (parallel: Finland/ T orni(v)o
Suomi ->) 127:47/ port in North Ostrobotnia (-»> map): size sym­
bol 34:191,51:4
2 Sweden-Finland 74:40; 127:47,67,89; 143; 145:
23,60; 146:3,48
T u k h u lm i -> Stockholm
T a b le -*■ Tapio
T u o m a s -> T urf Thomas
T a h v an a -> Stephen St T uonela
mythical place-name < T u o n i ( -»•) + locality forma­
T a l li m ä k i (lit. ‘stable-hill’) tive - l a . Originally T u o n e l a meant 'place of death’,
hill near Turku, South-West Finland 143:87 i.e. ‘grave’ from which evolved the secondary
meaning of ‘place, home of all the dead’, i.e. ‘other-
T a n ik k a, M artti of, Tanum artti/Tanikan M artti, world*
Tanumartti 1 otherworld 34:211 (parallel: Manala); 61:123/;
folk personifications of forms of the name D e n m a r k source of spells (parallel: Manala) 30
(< * D a n a m a r k ) that entered 15th century Fi. dia­ 2 heaven 77:36,54; 79:87,95 (parallel: Manala)
lects in several forms (e.g. T a n a m a r k k i , T a n u m a r t t i ) :
enemy 73:33; 74:41 Tuoni
origin unknown, possibly cognate with a Lapp word
T apio, Tabie meaning ‘smell of a starved reindeer’
possibly a personification of ‘trap, snare’ > 'area 1 ruler of the otherworld, personified as death
where trapping took place* 9:43,44; 15:26/; 16:28; 17:181/; 23:58,59; 30;
1 male supreme forest deity 6:1 (parallel: Hon­ 98:75,76; 101:72; sets impossible tasks for daugh­
kela Salakaarto ->); 53:44 ter’s suitor 18; will not allow girl to visit relatives
2 -> Väinämöinen 29:57 124:181
2 otherworld 29:8/; 35:92,233/(parallel: Manala);
T ap i(v )o la 6 1 :1 2 5 /(parallel: Labala)
mythical place-name < T a p i o (->) + locality
formative - l a , i.e. ‘Tapio’s realm’, often personified T u rf Thom as/N urm i-T uom as
as ‘forest’ i.e. Thomas who is buried beneath the grass, death
otherworld (parallel: Pohjola -> 2) 15 personification: takes girl 3:34

T a p o H lll/Tapom äki T u rja


mythical place-name derived from Tapiomäki (-*• cape on the White Sea Peninsula, often confused
Tapio), i.e. ‘hill in a forest’ in folk poems with Ruija (the southern region of
place where outcast women deliver their children Lapland in Norway and Sweden)
59:75/ 1 White Sea coast 5:89, 108
2 Lapland 50:9
T a p o m ä k i -> Tapo Hill
Turku/Aboa
T e u ri city, former capital of Finland, South-West Finland
? < Sc. cf. Sw. d j u r ‘animal’ or cognate with male (-> map)
name T i e r a (-> Iku Tiera) 1 place-name 87; 92:2,4; 94
newly married warrior: prefers adventures at sea 2 distance symbol 49:37
to life at home (-> Ahti 3) 40 3 attacked 143

T h o m a s -*• Turf Thomas T u rs o -* Iku Turso

587
T uruinen -»■ A n n ik k i 6 Viena(n vedet) -► W h ite S e a

T u u lik k i V iipuri
? < tu u li ‘wind* city, port and market on Karelian Isthmus 45:2;
Tapio’s (->) daughter: wooed 6 144:2,31; market 93:20; 108:35; 114:34; size sym­
bol 44:39
T u u ri
< Sc. cf. T h o r V ipunen, Antervo, Virone, Anderus’
unidentified place-name, probably mythical 45:1 possibly a derivative of v ip u ‘lift-trap’
ancient shaman: Väinämöinen visits his grave in
T u u rik k a in e , Tuireturnen, Tuurit(t)uinen search of spells 28; 29:18,19
< Sc. cf. T u re
1 wealthy young man: unwittingly seduces his sister V irgin M ary/M a(a)ria(-in), Maarja, M arjatta
44 (parallel: Lemminkäinen); 45 as mother of Jesus: 26:4; 64:28; 68:16,22; 71:69;
2 father: his son as seducer 58:15 72:4; 92:42, 48; 94:22/; bears child 59; 61; 62;
searches for lost child 59:238/; 62:75/
U kko V iro -»■ Estonia
possibly a back-formation and personification of
ukkonen ‘thunder’
god of thunder, supreme Finnish pagan deity: V iro k an n as
deity associated with fertility: baptizes illegitimate
determines weather 2:26; 12:45 / (parallel: Pavan- child 58:25
nainen); 93:42; fails to slaughter great pig 52
-> Ilman ukko V irone -*■ Vipunen, Antervo
U m an to , Umento V irta
< uvanto 'area of slow-flowing water’ unidentified, place-name component (‘river; cur­
mythical place-name, home of Väinämöinen; epi­ rent’) common throughout the Finnish area: home
thets ‘man from U .’, ‘bridegroom from U .’: Väi­ of wooed girl 95 -»■ Koski
nämöinen (-»■) 12:7; 16:25
Volmar/Volmari
U n ta m o (-inen), Unto (-i), Untomaa, Uttamo fortified town near Riga, present-day Valmiera
male name, originally possibly associated with Latvian SSR: attacked 145: 27,34
stranger, often hostile
1 vaguely sketched character, sometimes attributed
with supernatural powers 33:46/; master of ferocious V uojolainen, Vuoljalainen -> Kauppi
animals 37:74,91; guest at feast 38:30
2 ship’s captain (epithet: Ylermö’s son) 26:63/ V äin äm ö i(-n en ), Väinämöini, Väinö
3 chieftain: attacks and believes he has destroyed < v ä in ä ‘broad, deep, slow-flowing river’
brother and brother’s family (-> Kale(r)va 2) 41; the most commonly mentioned character in ancient
43; 105:26,28 Finnish epic poetry, Väinämöinen also appears in
4 -»• Väinämöinen 12:76,84 incantations and has often replaced characters in
poems in the early versions of which he did not
feature. Whether his original role was that of a
V eitik k i, Veitikkä deity or a culture hero is uncertain. In the earliest
? < V etrik k a , cf. Est. V id rik , Fi. veitik k a ‘rascal, scamp, stratum of poems he is probably a water-spirit. In
rogue’ or F riedrich later poems he is variously attributed with the role
adventurer: guest at a feast 34:50/; 38:34 (-> Ahti of a creator, a deity, and a culture hero; usually his
3) role becomes that of a shaman or sea-hero in a
coastal fishing milieu
V ellam o 1 god/culture hero: takes part in creation of world
? < velloa ‘to undulate (of water)* 4; 5; 15:145/; strikes primeval spark 9:2; 15:135;
parallel of Ahti (-> 1) 56:41 rejected by mankind, departs for otherworld 57; 58
2 shaman-singer: sings Joukahainen into swamp 10;
V enaa 11; 15:159/; 29:130/; sings Lemminkäinen into
place-name, probably the village of Vena in the otherworld river 35:149/; enters mouth of ancient
Narvusi district of Ingria (->) 79:2 shaman 28; visits otherworld in search of spells
29; 30; releases sun from rock 31; makes and plays
V ento ka n tele 23:53/; plays ka n tele 24:23/; 29:107/
vaguely sketched male character, possibly possessing 3 wizard-chieftain: wounds knee 5; 6:31/; suitor 6;
supernatural powers 33:46/; guest at feast 38:30 15; 16; 65:10 (parallel: Herod -»-); steals sam po 12
(parallel: Untamoinen); 13; 14; 15; holds feast
V enäjä Russia (parallel: God) 49:2; catches water spirit 56; burns

588
St Catherine (parallel: Herod) 65; makes maid W hite Sea/Viena(n vedet)
from gold 65:43jf -*■ map, distance symbol 110:7
Väinölä Y lerm ä -»■Alermo
mythical place-name, Väinämöinen’s home 35
(parallel: Sinivermo) Y lerm ö -*■ Untamo 2
Väärnoja Y linen Antero 2
Vääräoja, village in the Soikkola district of Ingria
(-► map) 147:74 Äiö -»■ Iku Turso

589
MOTIF INDEX

The arrangement of the motif types occurring in Al 115 Why the sea is salt - 13
the Anthology and their codes are based on the A1251 Creation of man from tree stump - 11:16
system published by Stith Thompson in his M o t i f - 41:7
I n d e x o f F o l k - L i t e r a t u r e . An asterisk preceding a code A1414 Origin of fire - 9 15:134
number indicates that the motif is not included in •A1415.2.2 Fire carried in sea by fishes - 9:21
Thompson’s Index. In most cases reference is given A1425 Origin of seed - 46
only to the number of the poem. Line numbers are A1432.1 Origin of iron - 139
given where it would be otherwise difficult to identify A1447 Origin of metal-working - 7-8 31 139
the part of the poem where the motif is introduced. A1457.3 Origin of the net for fishing - 9:36
A1461.2 Origin of lyre - 23-25
A1836 Creation of bear - 48
A. Mythological Motifs A2602 Planting the earth - 46:80
A2681 Origin of trees - 46:80 55 92
A 13.2 Bird as creator - 2-5 A2681.2 Origin of oak - 49-50
A142 Smith of the gods - 2 7-9 12:106 14-19
21-22 24-25 31 139
A284 God of thunder - 12:45 15:134 52:16 93:41
A430 God of vegetation - 46-47 B. Animals
A527.1 Culture hero precocious - 8 31
A605.1 Primeval darkness - 32-33 B11.8 Dragon as power of good - 73-74
A625.2 Raising of the sky - 10:32 B16.1.5.1 Monster ox killed - 26:123 51
A641 Cosmic egg - 2-5 B31 Giant bird - 12-15
A652 World-tree - 49-50 B81.13.11.1 Mermaid caught by fisherman - 56
A661.0.1.2 Saint Peter as porter of heaven - 78 ♦B91.8 Flying serpent - 31
A661.1.0.4 Deer and the fountain - 92:28 B102 Animals of precious metal (gold) - 21-22 65
A671.2 Horrible sights in hell - 34-37 B130 Truth-telling animals - 62-63 142
A672 Stygian river - 30-31 B 155.1 Building site determined by halting of ani­
A677.1 Smith of hell - 60-62 mal - 66-67
A713.1 Sun and moon from belly of a fish - 5 B184.1.4 Magic horse travels on sea or land - 11-12
A714.2 Sun and moon placed in top of tree - 32-33 18 20 62:143
•A733.6 Sun melting the grave of Christ - 60 62 B 184.4 Magic deer - 53-55
A734 Sun hides - 31-33 B211.1.3 Speaking horse - 142
A736 Sun as human being - 33:105 113 119 B264.2 Fight between eagle and fish - 5:88 17:218
A737 Causes of eclipses - 31 B401 Helpful horse - 59:215
♦A739.8.1 Sun placed evenly over rich and poor - B437.3 Helpful squirrel - 34
32-33 B463.3 Helpful crane - 117-118
A753.1 Moon as wooer - 113 B531.2 Unusual milking animal (viper) - 55
A811 Earth brought up from bottom of primeval B575.1 Wild animals kept as dogs - 35-37
water - 5:79 15:146 B576 Animal as guard - 15-17
A814.9 Earth from egg breaking on primeval water - B845 Wild animals herded - 42
3-5 B871 Giant beasts - 26 51 52 107
A911 Bodies of water from tears - 104:87 B872.1 Giant eagle - 12:344 14:113
A1012.3 Flood from blood - 5-6 B875.1 Giant serpent 34:115 35:30
A1071.1 Underground monster fettered by trick - B877.1.2 Giant sea monster overpowered by saint -
60-62 27

590
C. Taboo D2141 Storm produced by magic - 93-94
D2142.1 Wind produced by magic - 12:47 31:35
•C l 02 Extreme abhorrence of sexual intercourse — D2143.3 Fog produced and dispelled by magic -
58:8 61:69 14:155
C451-452 Boasting of wealth/children - 82-83 D2153.1 Rock in sea created by magic - 12 14
C623 Forbidden well - 62-63
C949.2 Baldness from breaking taboo-66:157 67:91
G998 Trees wither because of broken taboo - 69 E. The Dead
E32 Resuscitated eaten animal - 63
D. Magic E168.1 Roasted cock comes to life and crows - 63
E l86 Failure at resuscitation - 35
D152.2 Transformation: man to eagle - 12 14-15 E363.3 Ghost warns the living - 35:275 135-136
17:218 E366 Return from dead to give counsel - 30:94
D154.4 Transformation: bride to gull - 17:246 •E420.1 Appearance of deceased expressing manner
D191 Transformation: man to snake - 30 of death - 30
D412.2.1 Transformation: herd of cattle to wolves - E481.2.1 Bridge to land of dead - 50:35
43 E481.2.2 Boat to land of dead - 30 61:123
D523 Transformation through song - 10-11 E741.1.1.2 Star as sign of birth of hero - 62-63
D615.1 Transformation contest between magicians - E761.1.7 Life token: comb drips blood - 35
34
D672 Obstacle flight - 12:323 14:91 32:38
•D705.2 Forest disenchanted by priests - 69 F. Marvels
•D763.3 Disenchantment by scorching cloud - 130
•D764.9 Disenchantment by giving beer to cloud 131 F81.1.2 Journey to land of dead to visit deceased -
•D791.2.3 Disenchantment by enchanter - 10-11 15 28-29
29 F87 Journey to otherworld to secure bride - 17-18
D853 Magic object forged by smith to order - 2 F93.1 River entrance to lower world- 29-30 61:123
12 15 18-19 25 F95.5 Tree as roadway to underworld - 50:35
D945 Magic hedge - 34 36 42 FI 12 Journey to island of women - 37-38
D950.2 Magic oak tree - 27 49-50 68 F141.I River as barrier to otherworld - 29-31 33
D1121 Magic boats - 5-6 14 26-29 FI42 River of fire as barrier to otherworld - 34-35
D1175 Magic match - 12:322 14:91 15:131 37
D1208 Magic whip - 14:171 FI52.1.6.1 Bridge to otherworld covered with knives
D1222 Magic horn - 42-43 - 28:31, cf. 19:65
D1273 Magic formula (charm) - 5-6 48 FI67.11.1 Serpents in otherworld - 30 35-36
D1275 Magic song - 10-11 14-15 28-29 34-35 37 F343.3 Fairy smith gives knight a magic sword - 139
58:44 •F492.1 Death on skis - 81
D1311.4.0.1 Oracular twig - 63 F521.3 Men of metal - 111-112
D1311.6 Moon and sun answer questions - 59 61-62 F531.2.6 Giant lies underground with trees growing
D1364 Object causes magic sleep - 12:233 32:24 all over his body - 28-29
D1419.3 Magic object prevents ship from moving - F535.1 Thumbling - 50:23
12 14 23 27 29 F610.2 Dwarf-hero of superhuman strength - 50:23
D1441.1.3.2 Magic harp calls animals together - 51:12
23-25 29 F614 Strong man's labours - 42
D1503.1 Magic song heals wound - 6 62 F663 Skilful smith - 7-8 21-22
D1562 Magic object removes obstacles - 33 F735 Island rises up in sea - 3-4 15:146
D1610.9.1 Speaking sword - 36 F771.5.1 Castle guarded by beasts - 34-37
D1810.13 Magic knowledge from the dead - 28-30 F833 Extraordinary sword - 36 132 139
D1812.5.1.2 Bad dream as evil omen - 39:20 •F838.3 Knife handle with golden leaves - 63

591
F841 Extraordinary boat - 6 26-29 *K1851.2 False message of death - 85
*F849 Extraordinary skis - 53-54 K2112 Woman slandered as adulteress - 84 124-
•F859 Extraordinary rake - 2 35:248 125
F871 S a m p o - 1:44 12-15 ♦K2127.3 Bishop falsely accused of usurpation -
F911.5 Giant swallows man - 28 66-67
F960.1 Extraordinary nature phenomena at birth of
holy person - 61-63
•F967.5 Child caught by cloud - 129-131 L. Reversal of Fortune
F979.23 Trees wither when tragic things happen - 69
F989.15 Hunt for extraordinary animal - 17 53-54 LI 11.4.4 Mistreated orphan hero - 41-43 70-71
F1021.1 Flight on artificial wings - 12:344 *L112.4.1 Dirty girl advised and wooed - 120
F1041.1.11.3 Suicide from fright of evil prophecy - LI 13.6 Smith as hero - 7 15-18 21-22
84:230 •L213.3 Man of bread preferred to suitors of prec­
F1041.21 Reactions to excessive grief - 101 104 124 ious metal - 111-112
•L213.4 Neighbour’s son preferred to celestial suit­
ors - 113
G. Ogres L412 Rich woman made poor to punish pride -
82-83
G61 Relation’s flesh eaten unwittingly 19-20
G500 Ogre defeated - 27
M. Ordaining the Future
H. Tests
Ml 14 Oath taken on sacred object - 39
H252 Act of truth - 63 M205 Breaking of bargains or promises - 39-40
H335 Tasks assigned suitors - 6-7 15 17-20 M411.20 Curse by spouse - 122 138
H335.0.1 Bride helps suitor perform his tasks -17:168 ♦M464.1 Curse of a woman against her former
H373 Bride test: performance of tasks - 20:68 family - 127-128
H1021-1022 Task: construction from impossible kind/
amount of material - 6 20
HI 131.1 Task: building bridge over land and sea -
N. Chance and Fate
18:74 ♦N126.3 Lots cast to determine life or death - 101
HI 154 Task: capturing anim ab - 17 19 N365.3 Unwitting brother-sister incest - 44-46
HI 188 Task: ploughing field of vipers - 17:155 *N381.2 Ant urinating on leg of crane causes chain
H I347 Quest for lost comb - 132 135 of accidents - 12:269 14:64
H I 382.1 Quest for unknown magic words - 28-29 N542.1 With one-night-old colt on one-night-old
H I385.2 Quest for vanished daughter or son - 59 ice - 11:29 18:89
61-62 130-131 ♦N770.1 Leaving the home as occasion for the begin­
H I 385.8 Quest for lost brother - 129 135-136 ning of adventures - 89 95-98 101 104
H I 386.3 Quest for lost bird (goose) - 133-134 106-109 124-125 129-132 134-135
H1510 Vain attempts to kill hero - 41 43, cf. 70-71 N774.2 Adventures from seeking domestic beast
(horse) - 23
J. The Wise and the Foolish N818.1 Sun as helper - 60 62
•N819.5 Summer boy helper - 47
*J868 Consolation by dreams of future compen­ N825.2 Old man helper - 5-6
sation - 107-109 N855 Helpful smith - 2 19 25 139

K. Deceptions P. Society
K1335 Clothes of bathing girl stolen - 106 P ll Choice of king - 58:38
K1340 Entrance into girl’s room by deceit - 90 PI9.4.1 King as judge - 72-74

592
P I73.2 Killed enemy’s son as slave - 41-43 T 6 1.5.1 Betrothal in cradle - 85-86
P231 Mother and son - 35 97-98 100 137 T65 Betrothal restrictions - 85
P232 Mother and daughter - 101 131 •T75.4.1 Lady humiliates lover who killed wife for
P233 Father and son - 130 her - 7 95-96
P551 Army - 142 147 T81 Death from love - 88
P677 Customs connected with duelling - 34 37-38 T117.il Marriage to a statue - 21-22 65
♦T131.0.2 Maiden has restricted choice of husband -
111-113 115
Q. . Rewards and Punishments T173 Murderous bride - 91
T210.1 Faithful wife -,8 5 90
0,87 Reward for preservation of chastity - 89:80 T211.9 Excessive grief at wife’s death - 87-88 140
0172 Reward: admission to heaven - 66:183 77-79 T311 Woman averse to marriage - 58:8 61:66
84:215 T320.2 Girl kills man who threatens her virtue -
0243.2.1 Attempted seduction punished - 89-90 89-90
0*13 Punishment: hanging - 72-74 122 138 T326.3 Martyrdom to preserve virginity - 64-65
0414 Punishment: burning alive - 64-65 84 122 138 T415 Brother-sister incest - 35 44-46
0451.9 Punishment: woman’s breasts cut off - 19-20 T475.2.1 Intercourse with sleeping girl - 71
0560 Punishments in hell - 35 66:184 77-79 84:222 T511.1.1—2 Conception from eating apple or b erry-
59 61-62 76
T581.4 Child born in stable - 59 62
R. Captives and Fugitives T585.2 Newborn child speaks - 57-58 70-71
R12.4 Girl enticed into boat and abducted —127— T596 Naming of children - 57-58 120
128
*R90 Ransom refused - 10-11 145 U. The Nature of Life
Ri l l Rescue of captive maiden - 127-128
R 153.4 Mother rescues son - 35 *U62 God places the sun evenly over rich and poor-
R225 Elopement - 15:113 33
R310-317 Refuges: forest, meadow, well, sea, island *U90 Wealth and poverty: exchange of roles in
- 3 8 91 otherworld - 77-79
R345 Cities of refuge - 89

V. Religion
S. Unnatural Cruelty
V10.1 God prevents suicide - 61:87
*S 12.2.4 Mother drowns childen - 97 VI 11.3 Place where a church must be built miracu­
S62 Cruel husband - 7:38 84 95-96 122-123 lously indicated - 66:121 67:86
5139.2.2.1 Heads of slain enemies impaled upon *V 138 Bridge preferred by Christ to church - 62:187
stakes - 37:22 ♦V211.2.1.3 Christ disguised as poor man - 60:66
S139.7 Murder by slicing person into small pieces - 96 75:27 84:203
•S177 Mutilation: breasts cut off - 20:81 V211.7 Christ’s descent to hell - 60-62
5322.1.1 Father who wanted son will expose daugh­ V211.8 Christ’s resurrection - 60 62
ter - 99 V223.3 Saint can reveal hidden sins - 75-76
5341.1 Exposure given up on account of newborn V229.1 Saint commands return from dead with
son’s protest - 57-58 70-71 supernatural information - 35:275
V515.1.1 Chairs in heaven - 77-79

r. Sex
W. Traits of Character
T52 Bride purchased - 12:124 15:64 16:71 127-
128 W115.1 The slovenly fiancée - 114 120
T61.4 Betrothal ceremony - 84 88 •W155.6 Hospitality refused - 59 121

38 593
X. Humour Z- Miscellaneous Groups of Motifs
•X201 Thief preferred as suitor to farmer, smith Z111-112 Death/Sickness personified - 80-83
and hunter - 115 *Z129 Dance personified - 110
X1201 Lie: the great animal - 26 51-52 Z216 Supernatural origin of hero: magic concep­
♦X1259 Lies about crane - 117-118 tion - 59 61
Z252 Hero at first nameless - 57-58
Z356 Unique survivor - 41 43

594
KALEVALA AND KANTELETAR
CONCORDANCE

The poems in the present work are closely related 41: 23-25. 42: 12-15, 27. 43: 12-15. 44: 23-25.
to many of those used by Elias Lönnrot to compile 46: 48. 47: 9. 48: 9. 49: 31. 50: 1, 57-59, 61-62,
the K a le v a la and its companion volume the K a n te le ­ 75-76, 148.
ta r. The concordance shows the relationship between
the genuine oral tradition and Lönnrot’s compila­ K a n te le ta r (1840-1841), Book III
tions. The bold numbers refer to the poems in the
1849 edition of the K a le v a la and the 1840-1841 and 1: 113. 2: 53-54. 3: 64-65. 4: 77-79. 5: 75-76.
1887 editions of the K a n te le ta r and are followed by 6: 59-63. 7: 66-67. 8: 84. 9: 85-86. 10: 145. 11: 144.
a reference to the relevant poems in the present work 12: 146. 13: 92-94. 14: 90. 15: 104-105. 16: 95-96.
17: 70-71. 18-19: 44-45. 20: 49-50. 21: 127.
23: 124-126, 128. 24-25: 7, 18-20. 26-27: 128.
28: 126. 29: 113. 30: 137-138. 31: 133-134. 32:
K a le v a la (1849) 92-94. 33: 116. 34-37: 106-109. 38: 111-112.
1: 1-5. 2: 46-47, 49-50. 3: 10-11. 4: 104, 135-136. 39-40: 122-123. 41: 102-103. 42-43: 135-136.
5: 56. 6: 4-5, 12. 7: 7-8, 12. 8: 5-7. 9: 139. 10: 12. 45-46: 120. 47: 72-74. 48: 124-125. 49: 116.
11: 39-40. 12: 34-35, 37, 39-40. 13: 53-54. 14: 17, 50: 115. 53-54: 129-131. 55: 102-103. 56: 114.
35. 15: 35, 59. 16: 26-28, 30, 35, 61. 17: 28-29.
57: 109, 114. 60 : 80-81.
18: 15-17. 19: 5, 17, 19. 20: 26, 34-35, 37, 51-52.
23: 121. 24: 12. 25: 1, 30. 26: 34-37. 27: 34-38. K a n te le ta r (1887), Book III
28: 37-38, 91. 29: 37-38. 30: 40. 31: 41-43. 32: 2 : 32-33. 23: 68. 25 : 82-83. 36 : 87-88. 51: 100.
42-43. 33 : 42-43. 34: 137. 35 : 44-45. 36: 137-141. 52: 143. 59: 147. 105: 101. 120: 142. 127: 132.
37: 21-22, 65. 38: 19. 39: 12-14, 23, 139. 40: 23-25. 130: 119. 137: 69.

595
SOURCE INDEX

The numbers in the left-hand col­ 28 I , 399 65 V I , 41


umns refer to the poems in the 29 I I 161 66 V I I I 990A
present work, those in the right-
30 I , 370 67 V I I I 993A
hand columns to the volume (in
roman) of Suom en K a n sa n V a n h a t 31 X I I , 99 68 IV , 651
R u n o t and the number of the 32 I I I , 1150 69 X I I I , 1075
poem in that volume. 33 IV 2 1838 70 IV , 329
34 I 2 716 71 X I I I , 786
35 V I I , 835 72 X , 46
1:1-14 I 3 1280 36 III* 2247 73 X I I I , 654
1:15-22 X I I , 332 37 I 2 759 74 IV 3 4048
1:23-47 I a 1278 38 IV , 1319 75 I X , 102
1:48-52 V I I 2 1687: 7-11 39 I I 232 76 IV 2 2052
2 IV 2 1821 40 I 2 907 77 V I I 2 1420
3 V , 541 41 III* 1284 78 I X 2 13
4 V I I , 18 42 X I I , 122 79 IV 8 4041
5 I , 305 43 I I 237 80 I 2 1032
6 X I I , 62 44 V II, 892 81 V I I 2 948
7 V I I , 478 45 IV 2 2011: 1-58 82 I X 2 10
8 I , 136 46 V I I 3 273 83 V , 453
9 I 4 250: 1-88 47 I I I , 1139 84 X, 4
10 I , 185 48 V I I 5 3932 85 . I X , 90
11 IV 2 1855 49 I I I , 4041 86 IV , 316
12 I , 54 50 I 4 870: 1-71 87 V I I I 1011
13 V I I , 10 51 X I I , 110 88 I V , 1155
14 V I I , 679 52 X I I I , 254 89 V I I , 209
15 1,441 53 V II, 859 90 III* 1340
16 1,492 54 I 2 858 91 I I I , 3669
17 V I I , 435 55 IV 2 1807 92 I X , 91
18 I I I , 1218 56 I , 262 93 V I I 2 934
19 1,562 57 1 ,6 9 7 a 94 IV 2 2084
20 V , 256 58 1 , 689 95 V I I , 489
21 1,529 59 I 2 1103 96 IV 2 1934
22 I I I S 4033 60 I 2 1105a 97 111,812
23 X I I , 75 61 I I 323a 98 V , 985
24 V I I , 547a 62 IV a 4022, 4023, 99 I I I , 4244: 1-53
25 V , 158 4024, 4025 100 IV , 551
26 I I I 3 4250 63 V I I I 1255 101 III* 1372
27 I , 339 64 X I I , 136 102 IV 2 2074

596
103 V I I 2 1367 120 I I I 3 2703 137 V I, 30
104 I , 233 121 X I I I , 928 138 X I I I , 11
105 I I I 3 2725 122 X I I I, 969 139 V II, 654
106 IV 3 2931 123 V I I 2 1256 140 V I I , 904
107 IV a 1504 124 I 2 1206 141 I I I 2 1442
108 IV 2 1867 125 V , 1035 142 I I I , 979
109 IV 3 3927 126 I I 1420 143 V I I I 1006
110 I a 1188 127 V , 697 144 V I I 2 1361
111 IX , 10 128 X , 58 145 I 2 1054
112 II 351 129 I 2 1170 146 I 2 1064
113 I I I , 687 130 X I I I , 978 147 I I I , 987
114 V I, 179 131 I I I 2 1358 148:1- 7 X I I I , 1792
115 V , 1027 132 I I I , 71 148:8- 17 X I I I , 1902
116 X I I I , 367 133 I a 1212 148:18-20 V I, 552
117 V I, 244 134 I I I 3 3529 148:21 -2 8 I 3 1327
118 V III 3745 135 V I I 2 1237 148:29-42 X I I , 341: 11
119 IV , 979 136 IV , 567

597
COLLECTION LOCALITY INDEX

The customarily used name of the place of collection K iu ru v e si Savo, Finland


is given in italics. It is followed by alternative names 65
(in brackets) and a location reference K o rp ise lk ä Ladoga Karelia, Finland (later Russia)
7 77
A k o n la h ti Kontokki, Archangel Karelia, Russia K oski Häme, Finland
9 133 146 63
C e n tra l F in la n d Kuhm o Kainuu, Finland
78 (cf. also Hankasalmi) 64
E r ä jä r v i Häme, Finland K u p a n itsa (G u b a n its ) Ingria, Russia
72 106
H a n k a sa lm i Central Finland Vuokkiniemi, Archangel Karelia, Russia
L a tv a jä r v i
82 1:1-14, 23-47 8 12 21 28 37 59 60 148:21-28
H e in o la Häme, Finland L em i Savo, Finland
111 117
H e v a a ( K o v a s h i ) Kaprio (Kaporye), Ingria, Russia L iis s ilä ( L isin o ) Ingria, Russia
2 11 33 45 55 62 74 76 79 88 94 70 109
H ie ta m ä k i Ingria, Russia L ip e r i North Karelia, Finland
70 144
North Karelia, Finland
Ilo m a n tsi M e ts ä p ir tti Karelian Isthmus, Finland (later Russia)
1:48-52 14 17 35 103 139 130 138
JuvaSavo, Finland M iik k u la in e n (N ik o la s ) Ingria, Russia
114 137 98
J y s k y jä r v i Archangel Karelia, Russia M o lo sk o v itsa (M o lo sk o v its ) Ingria, Russia
54 110 38 119
K aavi North Karelia, Finland N a rvu si (K e ik in o ) Ingria, Russia
46 36 91 97 105 113 120 132 134 142 147
Ingria, Russia
K a p r io ( K a p o ry e ) N y e b e lits a Novgorod District, Russia
102 (cf. also Hevaa) 126
Finland (later Russia)
K a r e lia n Isth m u s O stro b o th n ia Finland
73 148:1-17 (cf. also Metsäpirtti, Sakkola) 23 51 (cf. also Kemi, Vaasa)
K e m i North Ostrobothnia, Finland P a lta m o Kainuu, Finland
6 42 148:29-42 31
K iih te ly s v a a r a North Karelia, Finland P yhäm aa South-West Finland
81 118
K iim a is jä r v i Archangel Karelia, Russia Olonets Karelia, Russia
R e p o la
15 34 29 39 43 61 112
K ite e North Karelia, Finland S a k k o la Karelian Isthmus, Finland (later Russia)
48 52 69 71 116 121 122

5 98
S avoFinland T u u p o v a a ra North Karelia, Finland
148:18-20 (cf. also Juva, Kiuruvesi, Lemi) 95
S erepetta (Z h ereh ya t) Ingria, Russia T y rä ( T i r i s ) Ingria, Russia
96 38 86 100 108 119 136
S k u o ritsa (S k v o rits) Ingria, Russia
(Jhtua Archangel Karelia, Russia
107
40 50 104 129 145
(Soykin o ) Ingria, Russia
S oik k o la
18 22 26 32 41 47 49 90 99 101 131 141 V aasa South Ostrobothnia, Finland
66
S o rta v a la Ladoga Karelia, Finland (later Russia)
24 V a lk ea sa a ri ( V a lk i) Ingria, Russia
Sou th - W e st F in la n d 3
87 (cf. also Koski, Pyhämaa, Turku;
Venjoki Ingria, Russia
S u ista m o Ladoga Karelia, Finland (later Russia) 68
4 44 53 89 93 123 135 140
V esila h ti Häme, Finland
S u om u ssalm i Kainuu, Finland 84
1:15-22
V u okkin iem i Archangel Karelia, Russia
Sävsen Dalecarlia, Sweden
5 19 57 80 124 (cf. also Latvajärvi, Vuonninen)
13
Vuole ( V o ly ) Ingria, Russia
S ä ä k sm ä k i Häme, Finland
75 85 92 20 25 83 115 127

T o k so va ( T o ksovo ) Ingria, Russia Vuonninen Vuokkiniemi, Archangel Karelia, Russia

125 10 16 30 56 58
T u rku South-West Finland T lö jä r v i Häme, Finland
143 128

599
COLLECTOR INDEX

Ahlqvist, A. E. Hainan, 0. A.
1826-1889, Finno-Ugrist, poet, publicist, university 1856-1910, writer on the history of Eastern Finland
teacher and Ingria, teacher
52 122 4
Alava, V. Heikkilä, A.
1870-1935, journalist, teacher fl. 1720-1740
36 62 74 79 98 127 66
Arwidsson, A. I. Härkönen, /.
1791-1858, historian, publicist, university teacher, 1882-1941, writer, teacher, activist in the Karelian
director, Royal Library, Stockholm movement
65 148:10-20 123
Berner, A. Juslenius, D.
1843-1892, school inspector 1676-1752, linguist, cleric, publicist, Bishop of Skara,
124 Sweden
87
Borenius{-Lähteenkorva), A. A.
1846-1931, folklorist, school inspector Järvinen, N.
1:1-14 3 5 8 15 16 21 29 30 34 40 43 50 54 55 75 1831-1901, cleric
138 148:21-28
72
Cajan {later Kajaani), J. F. Karjalainen, K.
1815-1887, writer on Finnish history, assistant to
E. Lönnrot, cleric, publicist 1871-1919, Finno-Ugrist, university teacher
27 60 19 145

Castren, M. A. Karttunen, U.
1813-1852, linguist, ethnographer, a pioneer of the 1874-1959, historian, secondary school teacher
comparative study of the Uralic languages, univer­ 61 112
sity teacher, translator of the O ld K a le v a la into
Swedish Killinen, K.
9 57 64 1849-1922, teacher, poet
24
Crohns, E. A.
1785-1865, cadet school teacher, cleric Kohvakka {later Kohvakka-Järvi), T.
148:18-20 1910-, teacher, librarian
117
Europaeus, D. E. D.
1820-1884, folklorist, linguist, archeologist, assistant Koskivaara, A.
to E. Lönnrot, publicist 1892-1918, forestry student
1:48-52 7 14 17 35 39 44 70 86 100 132 136 139
130
Ganander, K.
Liipola, J. S.
1741-1790, folklorist, linguist, archeologist, cleric
23 42 51 1868-?, primary school teacher
63
Gottlund, C. A.
1796-1875, linguist, folklorist, archeologist, publicist, Lorvi, J .
university teacher 1910s- student
13 46 137 109

600
Lukkarinen, J. Rothman, A.
1884-1963, ethnographer, editor of Suom en K a n sa n 1821- 1890, postmaster
V anhat R u n ot 78
134
Rudbeck (later Salmelainen), E.
Länkelä, J.
1830-1867, folklorist, teacher
1833-1916, pedagogue 78
22 26 49 91 99

Lönnbohm, 0. A. F. Ruotsalainen, J . F.
1856-1927, pedagogue, journalist, museum curator 1877-1951, journalist
106 120

Lönnrot, E. Rytkönen, A.
1802-1884, folklorist, physician, linguist compiler of 1870-1930, journalist, author
the K a le v a la and K a n te le ta r, university teacher 81
1:23-47 12 28 37 56 58 59 73 85 92 95 103 104 110
129 144 146 148:1-17 Saxa, K.
Marttinen, I. 1796-1849, cleric
1:15-22
1870-1934, shopkeeper, insurance agent
80
Saxbäck, F. A.
Niemi, A. R. 1836-1863, theology student
1869-1931, folklorist, university teacher, editor of 25
Suom en K a n sa n V anhat R u n o t
133 Seppänen (later Itkonen), I.
1904-, technical school teacher
Oksanen, J. 118
1866-?, teacher
82 Sirelius, S.
Pajula, F. 1822- 1848, theology student
53 89
1857-1918, teacher
20, 83, 115
Sjögren, A. J.
Paldani, B. A. 1794-1855, linguist, ethnographer, historian, ex­
1823-1860, cleric plorer, academician (St Petersburg)
128 10

Petrelius, V. Slöör, K.
1869-1963, bank manager 1833-1905, journalist, author, school inspector (Fin­
126 nish schools in St Petersburg)
69 121 125
Polin, R.
1823-1884, journalist, editor, teacher Stråhlman, K.
77, 93, 135, 140 1821-1898, cleric, secondary school teacher
107
Porkka, V.
1854-1889, linguist, authority on the Ingrian dialects Tallqvist, T.
2 11 18 32 33 41 45 47 76 90 94 96 97 101 102 108 1839-1912, railway construction engineer
113 131 141 142 147 38 88 119

Reinholm, H. A. Tarkiainen, V.
1819-1883, archeologist, ethnographer, cleric 1879-1951, literary scholar, university teacher
68, 71, 116 114

601
Topelius, Z' Tömeroos, A.
1781-1831, folklorist, physician 1835-1896, poet, journalist, primary school teacher
6 148:29-42 38 88 119

Toppola, J . Unknown
1869-1928, secondary school teacher 23 31 42 67 84
111

602
SELECT BIBLIOGRAPHY

The wealth of material written about Kalevala epic decide for himself which particular aspects of Finn­
and closely related subjects made the compilation of ish folk poetry he wishes to pursue. The final Sec­
a bibliography especially difficult, all the more so tion comprises monographs and articles, mainly in
as the editors had to consider the very different English, French, German and Russian, all of which
interests of the general reader and the specialist, and provide additional references to works in languages
of readers both with and without a knowledge of other than Finnish.
Finnish. With these various requirements in mind,
the editors based their choice on two main criteria: Abbreviations:
they restricted their selection to works that provide
a starting-point for further reading and are likely to FFC Folklore Fellows Communications, Helsin­
be readily available in major libraries. ki, 1910-.
The Bibliography is divided into four sections. The FUF Finnisch-Ugrische Forschungen, Helsinki,
first (Collections of folk poetry) was compiled pri­ 1901—.
marily with the Finnish reader in mind, while Sec­
tion II (Translations of the K a le v a la ) is intended for JSF Arv. Journal of Scandinavian Folklore,
Stockholm, 1945-.
both Finnish and other readers. Section III (Intro­
ductory works) assumes a knowledge of Finnish. In JSFO u Journal de la Société Finno-Ougrienne,
view of the huge amount of material, both general Helsinki, 1886-.
and specialist, in Finnish, the editors thought it
wisest to limit their choice to four basic works which MSFOu Mémoires de la Société Finno-Ougrienne,
Helsinki, 1890-.
include important bibliographies and to other major
bibliographical sources, thus allowing the reader to SF Studia Fennica, Helsinki, 1933-.

I. COLLECTIONS OF FOLK POETRY Secondary:


Primary: (‘The bright­
K irjo k a n si. Suom en k ansan kerto m a ru n o u tta
ly-worked cover. Narrative poetry of the Finnish
(‘Ancient Poems of the
Suom en K a n sa n V anhat R u n o t
people’), selected and ed. M artti Haavio, Hel­
Finnish People’), 33 vois, Helsinki, 1908-1948 (cf. sinki, 1952 (includes the most important poems,
above pp. 11, 13, 38, 596). a detailed commentary and numerous bibliograph­
(‘Karelian epic poetry’), ed.
K a re l'sk ie epicheskie p e sn i ical references. The language of the poems has
V. Ya. Yevseyev, Moskva-Leningrad, 1950 (con­ been standardized according to the norms of
tains 188 Karelian epic poems with Russian trans­ Modern Literary Finnish and the materials have
lations, introduction and commentary). been arranged to illustrate the editor’s view of
the archetypal structure of the poems).
(‘The poems of the Karelian
K a rja la n K a n sa n R u n o t
people’), ed. V. Jevsejev, Tallinn, 1976 (contains (‘Ancient poems of
Suom en m u in a isru n o ja , k erto va isia
160 Karelian epic poems arranged to illustrate the Finland — narrative’), selected and ed. Kaarle
themes of the K a le v a la ; introduction in Finnish, Krohn, Helsinki, 1930 (contains 82 narrative
Russian and German). poems and incantations. The editor provides
notes and attempts to reconstruct the possible
(‘The poetry of the In-
N a ro d n ie p e sn i In g erm a n la n d ii
archetypal form of the poems).
grian people’), ed. Eino Kiuru, Terttu Koski,
Elina Kylmäsuu, Leningrad, 1974 (includes 29 II. TRANSLATIONS OF THE KALEVALA
Ingrian epic poems with Russian translations and
introduction). 34 verse translations of the complete 1849 edition
of the K a le v a la have appeared in 22 languages. The
Suomen kansan kannel. Vanhaa k a n sa n ru n o u tta j u lk a istu n a
selection below is limited to readily available editions
alk u peräisten kirja a n p a n o jen m ukaan (‘The k a n tele of
in English, French, German, Russian, Spanish (the
the Finnish people. Old folk poetry published first translations appearing in 1888, 1931, 1852, 1888,
according to the original sources’), selected and 1953 respectively) and, where applicable, in the
ed. V. Tarkiainen, Hertta Harmas ( = Suomen Nordic languages.
K a n sa llisk irja llisu u s, Vol. III), Helsinki, 1943 (in­
cludes 57 epic poems selected from Suom en K a n ­ T h e L a n d o f the H eroes, 2 vois, tr. W. F.
K a le v a la .
san V anhat R u n o t , with introduction and notes). Kirby, London and New York, 1907.

6 03
tr. Francis
T h e K a le v a la or P oem s o f the K a le v a D is tr ic t, Helsinki, 1841-. Indexes in Vois IV: 20 (1927)
Peabody Magoun, Jr., Cambridge, Massachusetts, and V: 20 (1938).
1963 (prose).
(Periodical of the Mother Tongue Society),
V ir ittä jä
L e K a le v a la . É popée p o p u la ire fin n o ise , tr. Jean-Louis Helsinki, 1883-. Indexes compiled by Erkki Itkonen
Perret, Paris, 1931. & Pertti V irtaranta (1952), Reino Peltola (1961),
K a le v a la , d a s fin n isch e E p o s d es E lia s L ö n n ro t, tr. Lore ’ Ilja Leena Suhonen (1973), and Eeva Mäkelä-
and Hans Fromm, München, 1967. Henriksson (ethnological, 1963).
K a le v a la , tr. Albert Lange Fliflet, Oslo, 1967. IV. BACKGROUND W ORKS
K a le v a la . F in sk a y a n a rodn aya epopeya, tr. L. P. Bel’skii, A n tti A arn e , D a s estn iseh -in germ an län disch e M a ie -
S.-Peterburg, 1888. L ie d . E in e vergleichende U ntersuchung ( = FFC 47),
K a le v a la , tr. Maria Dolores Arroyo, Barcelona, 1953. 1922.
- D a s L ie d vom A n g eln d er J u n g f r a u V ellam os. E in e
K a le v a la , tr. Björn Collinder, Stockholm, 1948. vergleichende U ntersuchung ( = FFC 48), 1923.

III. INTR O D U CTO RY WORKS J ohn A bercromby , T h e P re - a n d P ro to -h isto ric F in n s


bo th E a ste rn a n d W estern w ith th e M a g ic S on gs o f the
M artti H aavio , S u om alain en m y to lo g ia (‘Finnish W e s t F in n s, 2 vois, London, 1898.
mythology’), Helsinki, 1967.
W a lter A nderson , ‘Geographisch-historische Me­
la u la ja t (‘Singers of Karelia’), ed. Pertti
K a r ja la n thode’, H a n d w ö rterb u ch d es deutschen M ä rch en s, Vol.
Virtaranta, Väinö Kaukonen, M atti Kuusi, Leea 2, Berlin, 1934/1940.
Virtanen, Helsinki, 1968.
O tto A ndersson , T h e B o w e d -H a r p . A S tu d y in the
M atti K uusi et alii, K ir jo itta m a to n k irja llisu u s (‘Un­ H is to r y o f E a r ly M u s ic a l In stru m en ts, London, 1930.
written literature’ = Suom en k irja llisu u s, Voi. 1),
Helsinki, 1963. K. V. C histov , " K a le v a la ” - v e lik ii epos karelo-finskogo
n a ro d a , Petrozavodsk, 1949.
A imo T urunen , K a le v a la n sa n a k irja ('Kalevala dic­
tionary’), Helsinki, 1949. R eidar T h. C hristiansen , D ie finnischen u n d nordischen
V arianten d es zw e ite n M ersebu rgerspru ch es ( = FFC 18),
B ib lio g ra p h y 1914.
Biographical and subject: Bjö rn C o llinder , ‘The Kalevala and its Back­
ground’, JSF 20, 1964.
S ulo H altsonen , ‘Finnische linguistische und volks­
kundliche Bibliographie für die Jahre 1935-1970’, D omenico C omparettt, D e r K a le w a la o d er d ie tr a d i­
S F 3-7, 9, 10, 12-14, 16, 1938-1971. tio n elle P o esie d er F innen. H isto risc h -k ritisc h e S tu d ie
- ‘Verzeichnis der Veröffentlichungen Uno Holm- über den U rsp ru n g d e r grossen natio n a len E popäen ,
berg-Harva’s’, F F C 112, 1934. Halle, 1892.
L aila H änninen , L u ettelo ennen v. 1 9 2 7 p a in e tu sta K a ­ E lsa E näjärvi -H aavio , ‘On the Performance of the
leva la a k oskevasta k irja llisu u d e sta . B ib lio g ra p h ie d u K a ­ Finnish Folk Runes. Two-part Singing’, F o lk -liv ,
le v a la ju s q u ’en 1 9 2 6 , Helsinki, 1928. 1951, Stockholm.
H. L aidvee , 'K a le v ip o ja ' b ib lio g ra a fia 1 8 3 6 - 1 9 6 1 , Tal­ H ans F romm , K a le v a la . D a s f in n isc h e E p o s des E lia s
linn, 1964. L ö n n ro t. Vol 2. K o m m e n ta r, München, 1967.

R auni P uranen , ‘Kaarle Krohn. Bibliography’, S F M a rtti H aavio , ‘Das Seelengericht’, SF 9, 1961.
11, 1964. - ‘Der Charakter der finnischen Heldendichtung’,
- ‘M artti Haavio. Bibliographie’, S F 8,17, 1959,1974. N o rd isch e R u n dsch au , V III Jahrg. Leipzig & Berlin,
1935.
K a ija V irtanen , ‘Jouko Hautala. Bibliography’, - ‘Elias Lönnrot’, JS F 25-26, 1970.
3 SF 21, 1971. - E s s a is fo lk lo r iq u e s ( = SF 8), 1959.
- H e ilig e H a in e in In g erm a n la n d ( = FFC 189), 1963.
Periodicals: - Väinäm öinen. E te rn a l S a g e ( = FFC 144), 1952.
(‘Yearbook of the Kalevala
K aleva la seu ra n V u osik irja U no H arva [form erly H olmberg ], ‘Antero Vipu­
Society’), Helsinki, 1921 —. Ethnological Index in nen’, FUF 24, 1937.
Voi. 40 (I960), Author Index in Voi. 50 (1970). - ‘Der Bacchus der Altfinnen’, S itzu n g sb erich te der
F innischen A k a d e m ie d er W issen sch aften 1 9 4 4 , Hel­
(Periodical of the Society for Local Studies),
K o tise u tu
Helsinki, 1909-. Indexes compiled by Eeva Mäkelä- sinki, 1945.
Henriksson (1953), Kirsti Kuisma (1962), and - ‘Ilmarinen’, FUF 29, 1946.
Henni Ilomäki (1977). - ‘Sämpsä Pellervoinen’, S itzu n g sb e ric h te der F in n i­
schen A k a d em ie d er W issen sch aften 1946, Helsinki,
S u om i (Periodical of the Finnish Literature Society), 1947.

604
J ouko H autala , 'Die folkloristiselle Forschung in K ro h n u n d w eiterg efü h rt von nordischen F o rsch em , Oslo,
Finland’, JSFO u 60, 1958. 1926.
- ( = The History
F in n ish F olklore R esearch 1 8 2 8 - 1 9 1 8 - ‘Die Freierei der Himmelslichter’, FU F 3, 1903.
of Learning and Science in Finland 1828-1918, - ‘Die Fundorte der epischen Gesänge des Kalevala
Voi. 12), Helsinki, 1969. (mit einer Karte)’, FUF 4, 1904.
- 'Vicissitudes in Publishing the Ancient Poetry of - F o lk lo re M e th o d o lo g y , F o rm u la te d b y J ulius K rohn
the Finnish People’, SF 7, 1957. a n d E x p a n d e d b y N o r d ic R esearchers ( = Publications
- 'Ü ber Arbeitsweise und Möglichkeiten bei der Er* of the American Folklore Society, Bibliographical
forschung altfinnischer Runendichtung’, SF 5, and Special Series, Vol. 21), Austin & London,
1947. 1971.
- ‘Kaleva und seine Sippe’, JSFO u 30, 1918.
U no H olmberg [later H arva ], D e r B a u m d es L eb en s,
- K a lev a la stu d ie n I-V I ( = FFG 53, 67, 71, 72, 75,
Helsinki, 1922. 76), 1924-1928.
- ‘Finno-Ugric Mythology’, T h e M y th o lo g y o f A ll
- ‘Lemminkäinens Tod < Christi > Balders Tod’,
R aces , Vol. 4, Boston, 1927.
FUF 5, 1905.
L auri H onko , ‘Finnische Mythologie*, W örterbuch - 'Sampsa Pellervoinen > Njordr, Freyr?*, FUF 4,
d er M y th o lo g ie (herausg. von H. W. Haussig), Teil 1904.
II: D a s a lte E u ro p a , Stuttgart, 1965. - 'Ü ber Ortsnamen in den Gesängen des archangel-
- ‘Uno Harva’, JSF 25-26, 1970. schen Karelien I - I I I ’, FUF 16, 1923.
- Z UTfinnischen M y th o lo g ie , Voi. I ( = FFG 104), 1932.
O skar K allas, D ie W ied erh o lu n g slied er d er estnischen
V olkspoesie, Voi. 1 ( = MSFOu 16), 1901. K u ltu rh isto risk t L ex ik o n f ö r n o rd isk m e d e ltid f r å n vik in g a ­
t i d t i l l refo rm a tio n stid , Vois. 1-19, Helsingfors, 1956-
V äinö K aukonen , ‘Die Entstehung des Kalevala- 1975 (sub e.g. A h ti, A n n ik a in en , A n tero V ipunen,
Epos’, W issen sch a ftlich e Z e its c h r if t d er E r n s t M o r itz A n teru s f r å n P y h ä jo k i, B a lla d d ik tn in g , Ilm a rin en , K a ­
A r n d t U n iv e rsitä t G r e ifs w a ld , 8, Gesellschaft- und le v a , K a le v a la , K a n te le , K a u k o m ie li, K u lle rv o , L egen d-
sprachwissenschaftliche Reihe 3, 1958-1959. viso r, L em m in k ä in en , M a r ia d ig tn in g , M a r ia M a g d a ­
- 'Elias Lönnrot als Förderer der Kenntnis der nahe len a , M y tis k e d ik t, N a tu r m y tis k a viso r, O sm o , R e ise r,
verwandten Völker Finnlands’, A c ta E th n o g ra p h ica , S a m p o , S k jem teviser, S ä m p sä P ellervo in en , T ro lld o m ,
11, Budapest, 1963. U n ta m o , V äin äm öin en ).
- 'Elias Lönnrot, velikii uchenyy karelo-finskogo
naroda’, Izv e s tiy a A k . N a u k S S S R , o td . U t. i y a z y k a E rich K unze , ‘Goethes "Finnisches Lied” ’, SF 6,
11, Leningrad, 1952. 1952.
- 'Jacob Grimm und das Kalevala-Epos*, D eu tsch es
J a h rb u ch f ü r Volkskunde, 9, Berlin, 1963. A nna-L eena K uusi, ‘Finnish Mythology’, A n cien t
- 'Kalevala-Dichtung im heutigen Viena’, M i t t e i ­ C u ltu res o f th e U ra lia n P eo p les (ed. Péter Hajdü),
lungen des V ereins f ü r fin n isch e V olkskunde, 2: 1-2, Budapest, 1976.
Helsinki, 1944.
- ‘Sozdanie eposa "Kalevala” F in n o -u g o rsk a ya f ilo - M atti K uusi, ‘Beiträge zur Feuermythologie’, M i s ­
cellanea K . C . P eeters, Antwerpen, 1975.
lo g iy a , Leningrad, 1962.
- 'The Kalevala and the Kalevipoeg’, A n cien t C u l­ - ‘Le discours direct comme critére de datation de
tures o f the U ra lia n P eo p les (ed. Péter Hajdü), Buda­
la poésie épique ancienne’, M ila n g e s offerts å A u r i-
lien S a u va g eo t p o u r son so ix a n teq u in zx lm e a n n iversaire
pest, 1976.
( = Études Finno-Ougriennes 8), Paris, 1971.
I ivar K emppinen , T h e B a lla d o f L a d y Isa b e l a n d the - T yp o lo g in en a n a ly y si ( — MSFOu 96),
S am po-eepos.
F a lse K n ig h t, Helsinki, 1954. 1949 (Deutsches Referat).
- * ‘The Bridge and the Church’, an Anti-church
A. K hurmevaara , " K a le v a la ” v R o s s it. K is to r ii p e re - Legend’, SF 18, 1975.
voda, Petrozavodsk, 1972. - ‘Über Wiederholungstypen in der Volksepik unter
J ohn I. K olehmainen , E p ic o f the N o r th . T h e S to ry besonderer Berücksichtigung der Edda, der Byli-
o f F in la n d 's K a le v a la , New York Mills, 1973. nen und der finnisch-estnischen Volksdichtung’,
SF 6, 1952.
W olfgang K rause , ‘Zur Herkunft von finn. runo
'Lied” , FUF 37, 1969. A rmas L aunis, ‘Über Art, Entstehung und Verbrei­
tung der estnisch-finnischen Runenmelodien. Eine
J ulius K rohn , 'Das Lied vom Mädchen, welches Studie aus dem Gebiet der vergleichenden Volks­
erlöst werden soll’, JSFO u 10, 1892. melodienforschung’, MSFOu 31, 1913.
K aarle K rohn , ‘Das Lazarusthema in der finnisch­ O u n L eh tipuro , Trends in Finnish Folkloristics’,
estnischen Volksdichtung’, MSFOu 52, 1924. SF 18, 1975.
- ‘Der gefangene Unhold’, FUF 7, 1907.
- ‘Der Hansakaufmann in der finnischen Volks­ P entti L eino , S tru k tu ra a lin en a lk u so in tu su om essa, Hel­
dichtung’, FUF 16, 1923. sinki, 1970 (Summary: Structural alliteration in
- D ie fo lk lo r is tis e lle A rb eitsm eth o d e, begrü n det von J u liu s Finnish).

605
N ils L id , ‘Kring Kalevala-miljeet’, S yn o g S egn, W. E dson R ichmond, ‘The Study of Folklore in Fin­
Oslo, 1943. land’, J o u r n a l o f A m erica n F o lk lo re, Vol. 74, Phi­
- ‘The Mythical Realm of the Far North as it ap­ ladelphia, 1961.
pears in the National Finnish Epic Kalevala and M atti S adeniemi, D ie M e tr ik d es K a lev a la -V e rse s
the Scandinavian Fornalder-Saga Tradition’, L a o s, ( = FFC 139), 1951.
1, C o m p a ra tive S tu d ie s o f F o lk lo re a n d R e g io n a l E th ­
n o lo g y , Stockholm, 1951. V äinö S alminen , 'Die alten Lieder des finnischen
Volkes’, M itte ilu n g e n des Vereins f ü r finnische V olks­
O skar L oorits , G ru n d zü g e d es estnischen V o lk sg la u b en s,
kunde,I: 1-2, Helsinki, 1943.
3 vois, Lund, 1949-1957 (cf. Namen- und Stich­
wortregister, Vol. 3, sub e.g. B a lla d e , E ic h e , F in n en , A urelien S auvageot . L e s a n d e n s F in n o is, Paris, 1961.
fin n isch -u g risch , H e ld en ep ik , In g erm a n la n d , K a le v a la ,
I ngrid S chellbach , ‘Die Bahuvrihi-Komposita in
K a re lie n , L egen de, M a ie - L ie d , S ch m ied , W a sserju n g ­
der alten finnischen Volksdichtung’, JSFO u 65,
f r a u , W e lteim yth e, W ied erh o lu n g slied er).
1964.
V. J . M ansikka, 'Alesha Popovich i Ivan Godino-
vich v Finlyandii’, E tn ografich eskiye O b o zren iye, E. N. S etä lä , ‘Das Rätsel vom Sampo*, FUF 22,
Moskva, 1907. 1934.
- 'Der "blaue Stein” in der finnischen Volkstradi­ - ‘Die Übersetzungen und Übersetzer des Kaleva-
tion’, FUF 11, 1911. las. Kleine Nachträge zu der Bibliographie der
- ‘Kleinere Beiträge zur Balder-Lemminkäinen- Kalevala-Übersetzungen’, FUF 10, 11, 1910, 1911.
frage’, FUF 8, 1908. - ‘Kullervo-Hamlet. Ein sagenvergleichender Ver­
such’, FUF 3, 7, 10, 1907-1910.
E. M. M eletinskii, ‘K voprosu o genezise karelo- - ‘Zur Etymologie von Sampo’, FUF 2, 1902.
finskogo eposa’, S o vetsk a ya etn o g ra fiya , Moskva, 1960
(English summary). W olfgang S teinitz , D e r P a ra lle lism u s in der fin n isch ­
k arelischen V olksdich tu n g untersucht an den L iedern des
R udolf M ey er , K a le w a la . D e r fin n isch e M y th o s und karelischen S ä n g ers A rh ip p a P erttunen ( = FFC 115),
d a s G eisteserbe F in n la n d s, Stuttgart, 1964. 1934.
E rnest J . M oyne , H ia w a th a a n d K a le v a la . A S tu d y F en n ica , Voi. 11. Dédié å la mémoire de
S tu d ia
o f the R e la tio n sh ip betw een L o n g fe llo w 's “ In d ia n E d d a ” Kaarle Krohn å 1’occasion de son centenaire, par
a n d the F in n ish E p ic ( = FFC 192), 1963. la Société de la Littérature Finnoise, 1964 (Artides
E ino N ieminen , ‘Finnisch
k a n tele und die damit ver­ on Kaarle Krohn in English, German and French
bundenen Namen baltischer Musikinstrumente’, by M artti Haavio, Irja-Leena Evijärvi, Jouko
SF 10, 1963. Hautala, M atti Kuusi and Bertalan Korompay).
F elix J . O inas, 'Folk Epic’, F o lk lo re a n d F o lk life (ed. S t ith T hompson and J onas Balys, 'Finnish Folk­
Richard M. Dorson), Chicago, 1972. lore’, S ta n d a r d D ic tio n a ry o f F o lk lo re, M y th o lo g y an d
- S tu d ie s in F in n ic -S la v ic F o lk lo re R e la tio n s ( = FFC L eg en d , Voi. 1, New York,' 1949.
205), 1969.
Y. H. T oivonen , ‘Le gros chéne des chants popu­
I stvån P a pp , ‘Die Rhythmusprobleme des Kale­ late s finnois’, JSFO u 53, 1947.
vala’, JSFO u 58, 1956.
A sko V ilkuna , D a s V erhalten d er F innen in “ H e ilig e n ”
J uha P entikäinen , ‘Julius and Kaarle Krohn’, JSF S itu a tio n en ( = FFC 164), 1956.
25-26, 1970.
W illiam A. W ilson , F o lk lo re a n d N a tio n a lis m in M o d ­
E rich P oh l , D i e deutsche V o lk sb a lla d e von d er “ L o sg e ­ e m F in la n d , Bloomington and London, 1976.
kau ften *'. E in Versuch z u r E rfo rsch u n g d es U rsp ru n g s
u n d W erdegan ges ein er V o lk sb a lla d e von eu ropäischer L eea V irtanen , ‘Väinö Salminen’, JSF 25-26,
V erbreitung ( = FFC 105), 1934. 1970.
P irkko -L iisa R ausmaa, ‘Antti Aarne’, JS F 25-26, V. Ya . Y evseyev , Isto rieh esk ie osnoyy karelo-finskogo
1970. ep o sa , 2 vois, Moskva-Leningrad, 1957, 1960.

606
ACKNOWLEDGEMENTS

The editors wish to thank the following for permis­ 14, 17, 19, 20), the Finnish Literature Societv, Hel­
sion to reproduce the photographs used in this book: sinki (Plates 1-3, 5-11, 25, 27-31, 34, 35, 37, 38),
the National Museum of Finland, Helsinki (Plates and the Department of Ethnography in the Univer­
12, 15, 16, 21, 22, 23, 24, 26, 32, 33, 36, 39-46), sity of Tampere (Plates 4, 18).
the General Staff of the Finnish Army (Plates 13,

607
MATTI KUUSI, born in 1914, Professor
of Finnish and Comparative Folk
Poetry at the University of Helsinki
since 1959. His publications include a
major study of the sampo -theme
(Sampo-Eepos, 1949) and numerous
monographs and articles on folk poetry
and closely related subjects. From 1959
to 1970 he was editor-in-chief of
Suomen Kirjallisuus, the eight-volume
history of Finnish literature.

KEITH BOSLEY was born in 1937, and


graduated ct the University of Reading.
He has published several books of
poems and translations, including The
Song of Songs, the poems of Mallarmé
and The Song of Aino from the
Kalevala.

MICHAEL BRANCH was born in 1940.


Appointed in 1967 to a lectureship in
Hungarian and Finno-Ugrian Studies at
the School of Slavonic and East
European Studi. in into ' 'hiversity of
London, he move«, to the Finnish
Department there in 1972. His
publications include a biography of the
Finnish scholar A. J. Sjögren.

Cover: Rock painting of elks (ca 5th


century BC) recently discovered at
Enonkoski, Haukkalahdenvuori, S^vo
(cf. The Elk, Poems 53, 54). Ph j by
Pekka Sarvas.

Printed in Finland

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