Finnish Folk Poetry. Epic: An Anthology in Finnish and English 9517170874, 9789517170871 [PDF]

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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

TRANSLATOR’S PREFACE . . . .

17

INTRODUCTION.........................

21

PRONUNCIATION .....................

80

1 ALKUSANAT Prologue........................................ 2 LUOMINEN I The Creation I ............................ 3 LUOMINEN II The Creation I I ............................ 4 LUOMINEN III The Creation III ......................... 5 LUOMINEN IV The Creation IV ........................ 6 HAAVA The Wound ................................ 7 TEHTÄVÄT The Tasks.................................... 8 SEPPÄ The Smith.................................... 9 TULI Fire ...........................................

13 SAMPO II The Sampo II ............................ 14 SAMPO III The Sampo III ............................ 15 SAMPO IV The Sampo IV ............................ 16 KOSINTA I The Courtship I ............................ 17 KOSINTA II The Courtship II ......................... 18 KOSINTA III The Courtship I I I ........................ 19 LAHJA I The Gift I .................................... 20 LAHJA II The Gift II ................................ 21 KULTAMORSIAN I The Golden Bride I ..................... 22 KULTAMORSIAN II The Golden Bride I I ..................... 23 KANTELE I The Kantele I ............................

81 83 85 87 89 93 96 98

121 122 128 135 139 147 150 156 160 163 167

24 KANTELE II The Kantele II ............................ 170

99 25 KANTELE III 10 KILPALAULANTA I The Kantele I I I ............................ 172 The Singing Match I .................. 102 26 MERIMATKA I 11 KILPALAULANTA II The Voyage I ................................ 174 The Singing Match II ................. 106 27 MERIMATKA II 12 SAMPO I The Voyage II ............................ 179 The Sampo I .................................. 110 5

183

44 RUTSA I The Incest I ................................ 252

186

45 RUTSA II The Incest I I ................................ 254

191

46 KYLVÄJÄ I The Sower I ................................ 256

31 AURINKO JA KUU I Sun and Moon I ...............

195

47 KYLVÄJÄ II The Sower II ............................ 259

32 AURINKO JA KUU II Sun and Moon II ...............

197

48 KARHU The Bear .................................... 262

28 SANAT I The Spell I

.......................

29 SANAT II The Spell I I ....................... 30 TUONELANMATKA The Visit to Tuonela...........

205

49 TAMMI I T heO akI.................................... 263 50 TAMMI II TheO akll ................................ 266

212

51 ISO HÄRKÄ The Great Ox ............................ 268

221

52 ISO SIKA The Great Pig ............................ 269

224

53 HIRVI I The Elk I .................................... 271

232

54 HIRVI II The Elk II

238

55 HIRVI JA KÄÄRME Elk and Snake ............................ 276

240

56 ONGINTA The Fishing ................................ 277

...................

243

57 LÄHTÖ I Leavetaking I ................................ 279

42 ORPO II The Orphan II ...................

246

58 LÄHTÖ II Leavetaking II ............................ 281

43 ORPO III The Orphan I I I ...................

249

59 LUOJAN VIRSI I The Messiah I ............................ 283

33 AURINKO JA KUU III Sun and Moon I I I ............... 34 LEMMINKÄINEN I Lemminkäinen I ................... 35 LEMMINKÄINEN II Lemminkäinen II ............... 36 LEMMINKÄINEN III Lemminkäinen I I I ............... 37 KAUKAMOINEN I Kaukamoinen I ................... 38 KAUKAMOINEN II Kaukamoinen I I ................... 39 VALA I The Bond I ...................... 40 VALA II The Bond I I ...................... 41 ORPO I The Orphan I

200

6

................................ 273

60 LUOJAN VIRSI II The Messiah I I ............................ 292

76 MATALEENA II M agdalenll................................ 339

61 LUOJAN VIRSI III The Messiah III ......................... 296

77 ORJA JA ISÄNTÄ I Serf and Master I ......................... 341

62 LUOJAN VIRSI IV The Messiah IV ......................... 301

78 ORJA JA ISÄNTÄ II Serf and Master II ....................... 344

63 PYHÄ TAPANI St Stephen.................................... 309

79 ORJA JA ISÄNTÄ III Serf and Master III ..................... 346

64 PYHÄ KATRIINA I St Catherine I ............................ 312

80 HIIHTÄVÄ SURMA I Death on the Prowl I ..................... 351

65 PYHÄ KATRIINA II St Catherine II ............................ 313 66 PYHÄ HENRIK I St Henry I .................................... 315

81 HIIHTÄVÄ SURMA II Death on the Prowl II ................. 352 82 LESKI I The Widow I ............................ 354

67 PYHÄ HENRIK II St Henry II ................................ 321

83 LESKI II The Widow II ............................. 355

68 PUU The Tree .................................... 325

84 ELINAN SURMA The Death of Elina ..................... 357 85 USKOLLINEN MORSIAN I The Faithful Bride I ..................... 365

69 METSÄ The Forest.................................... 326 70 LÖYTÖLAPSI I The Foundling I ......................... 327 71 LÖYTÖLAPSI II The Foundling II ......................... 72 NEITOJA LOHIKÄÄRME I The Maid and the Dragon I .... 73 NEITOJA LOHIKÄÄRME II The Maid and the Dragon II . . . . 74 NEITOJA LOHIKÄÄRME III The Maid and the Dragon III . . . .

86 USKOLLINEN MORSIAN II The Faithful Bride II ................. 367

328

87 MORSIAMEN KUOLEMA I Death of the Bride I ..................... 369

331

88 MORSIAMEN KUOLEMA II Death of the Bride I I ..................... 370

332

89 PAPIN TAPPAJA The Priest-Killer ......................... 373 90 TUNKEILIJAN TAPPAJA The Intruder-Killer ..................... 376 91 MIEHENSÄ TAPPAJA The Husband-Killer ..................... 378

334

75 MATALEENA I Magdalen I ................................ 336 7

92 HYLÄTTY I The Forsaken Maid I ................. 380 93 HYLÄTTY II The Forsaken Maid I I ................. 382 94 HYLÄTTY III The Forsaken Maid III ............. 384

108 MENETYS III The Loss III ............................ 419 109 MENETYS IV The Loss IV ............................ 421 110 TANSSI

The Dance ................................ 422

95 VAIMONSA TAPPAJA I The Wife-Killer I ..................... 386

111 MEREN KOSIJAT I

96 VAIMONSA TAPPAJA II The Wife-Killer I I ..................... 388

112 MEREN KOSIJAT II

97 TYTÄRTENSÄ TAPPAJA I The Daughter-Killer I ................. 391 98 TYTÄRTENSÄ TAPPAJA II The Daughter-Killer II ............. 394 99 TYTÄR The Daughter ............................. 397 100 POIKA The Son .................................... 399 101 ÄITI The Mother................................ 402 102 KUOLEVA NEITO I The Dying Maid I ..................... 405 103 KUOLEVA NEITO II The Dying Maid I I ..................... 407 104 HIRTTÄYTYNYT NEITO I The Hanged Maid I ................. 105 HIRTTÄYTYNYT NEITO II The Hanged Maid II ................. 106 MENETYS I The Loss I ................................ 107 MENETYS II The Loss I I ................................

410 414

The Suitors from the Sea I .........

425

The Suitors from the Sea I I ......... 427 113 KAUKAISET KOSIJAT The Suitors from A far................430 114 LIKAINEN NEITO The Foul Maid ........................ 432 115 VARAS KOSIJANA The Thief as Suitor ................... 434 116 KELVOTON The Useless Bridegroom ............. 437 117 KURKI I The Crane 1................................ 439 118 KURKI II The Crane II ............................ 440 119 AAMUVIRKKU The Early Riser ...........................441 120 MIEHELLE MENIJÄ Finding a Husband ..................... 444 121 OLJAMISSA KÄYNTI The Unwelcome Visitor ............. 447 122 ONNETON NUORIKKO I

416 418

The Unhappy Bride I ............. 450 123 ONNETON NUORIKKO II The Unhappy Bride II ............. 453

124 VEDENKANTAJA I The Water-Carrier I ................. 125 VEDENKANTAJA II The Water-Carrier II ................. 126 NEITO JA VENE I The Maid and the Boat I ......... 127 NEITO JA VENE II The Maid and the Boat II ......... 128 NEITO JA VENE III The Maid and the Boat I I I ......... 129 POIKA JA PILVI I Boy and Cloud I ........................ 130 POIKA JA PILVI II Boy and Cloud I I ......................... 131 NEITO JA PILVI Maid and Cloud ........................ 132 KADONNUT SUKA The Lost Brush ........................ 133 KADONNUT HANHI I The Lost Goose I ........................ 134 KADONNUT HANHI II The Lost Goose II ..................... 135 KADONNUT VELI I The Lost Brother I ..................... 136 KADONNUT VELI II The Lost Brother I I ..................... 137 SOTAANLÄHTÖ I The Warrior's Departure I 138 SOTAANLÄHTÖ II The Warrior's Departure II . . . . 139 SOTAANLÄHTÖ III The Warrior's Departure III . . . .

140 KUOLINSANOMAT I News of Death I ........................ 494 141 KUOLINSANOMAT II News of Death II ..................... 497 142 SOTURI The Warrior ............................ 499 143 KAARLE-HERTTUA Duke Charles ............................ 502 144 JAAKKO PONTUS Jacob Pontus ............................ 506 145 IIVANA Ivan........................................... 508 146 KAARLO XII Charles X I I ................................ 510 147 REKRYYTTI The Conscript ............................ 512 148 LOPPUSANAT Epilogue .................................... 517 COMMENTARY ......................... 519 NAME INDEX ............................ 578 MOTIF IN D E X ............................ 590 KALEVALA AND KANTELETAR CONCORDANCE ................. 595 SOURCE INDEX ......................... 596 COLLECTION LOCALITY IN D E X .................................... 598 COLLECTOR IN D E X ................. 600 BIBLIOGRAPHY ......................... 603 ACKNOWLEDGEMENTS .......... 607

455 461 465 467 471 474 476 477 479 481 483 485 487 489 490 492

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 Kantélétar (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 ‘FinnishKarelian’ would be a more accurate geographical term, it would raise as many problems as it would solve: neither ‘Finnish’ nor ‘FinnishKarelian’ 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

language and poetry, which is language for its own sake, are Both 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

reference to a people who may have been related to the T heFinnsearliest 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-FinnoUgrian 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 FinnoPermians 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 SouthWest 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 ProtoFinno-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 GraecoRoman tradition took root. The geographical isolation of the BalticFinnish 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 18081809 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 longlost 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 burn34

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 impor36

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 Ingria 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 collec37

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 SouthEast 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 Karjalainens - 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 BalticFinnish 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 (myöhäiskalevalainen) 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 otherworld (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-inlaw 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 Leavetaking (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 knifehandle (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 Byelorussian-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 visa-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 WifeKiller 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 WaterCarrier /, 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 socalled 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, wordand 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 threesyllable 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. tulehen, 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 ProtoFinnic. 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 karettelevi ‘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; 29:2025). 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 Väinämöinen’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 BalticFinnish 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

orthography used in this book is phonetic. Each letter represents T hea single 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 J\_šoanenko šanelomahe hyvän on toisena kerällä kahen kašvinkumppalina? 6 Pankamaš käsi kätehe šormi Sormien välihe haka toisehen hakahe. Sana Siulta, toini miulta kieli kemppi kummalta, io Suutana Sovittelemma Säveltänä Seätelemmä niin kuin kahta kantelvoista veräjiä viittä kuutta kolmie kovan ovie.

n hall I start to sing O shall I begin to recite with a good man as partner two who grew up together? Come, let us put hand in hand and finger in finger-gap each grip in the other’s grip. One word from you, one from me splendid speech from both: we will shape our mouths we will pitch our tunes like two kanteles like five or six gates three doors of a hut. *

* is Laulavat Lapinni lapset vesimaljan juotuahan petäjäisessä pesässä honkasessa huonehessa. Miksi en minähi laula so suulta suurukselliselta oluelta ohraselta ruualta rukihiselta?

Even the Lapp children sing after draining water-mugs in their nests of pine in their rooms of fir: why don’t I sing too with my well-fed mouth full of barley beer of meal made from rye? *

*

26

Itse laulan, millon kuulen kuta kuulen, niin kujerran ennen saatuja sanoja opetuita luottehia. Omat on saamani sanani

I myself sing when I hear and what I hear I carol words I found before charms I have been taught: my own finding are my words

81

I i

30

36

A lk u sa n a t P rologu e

omat tieltä tempomani päistä heinän hieromani kanarvoista katkomani.

my own snatching from the road my grinding from the grass tops my snapping from the heather.

Olin piennä paimenessa lassa karjan katsonnassa, menin siilon mättähälle kiven kirjavan sivulle paaen paksun lappehille. Niin saoin sanoa saatu pantu aitan parven päähän kukkaroh kultaseh vaskiseh vakkaseh.

When small I was a herdsman as‘ a child minding cattle I went then to a hummock to the side of a bright rock the edge of a thick boulder: I found words by the hundred put them up in the shed loft in a purse of gold in a copper box.

«o Kuin aika tosin tulee aukoan sanasen arkun kirjokannen kiimahutan poikkipuolin polvilleni. Ei sampo sanoja puutu 46 luottehia Lemminkäinen: luottehillen lahoovi virsillen vanhanoo.

When the time is truly come I’ll open the chest of words the bright lid slam back right across my knees. There’s no lack of sampo-words Lemminkäinen-charms: he will rot upon the charms grow old upon the verses.

Ladun hiihan laulajille osaaville tien ojennan:

I’ll ski a trail for singers for the skilled set out a road: from here to here the road goes the road goes and the land crawls a new track leads off.

60 tästä tänne tie menevi tie menevi, maa matavi ura uusi urkenevi.

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 Suomussalmi, Kainuu K. Saxa, recorded before 1823

23-47 A r h ip p a P erttu n en Latvajärvi, Vuokkiniemi, Archangel Karelia 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

bird, a song-bird Asummer a sun-bird, a swallow-bird

Saant ei maalta missä maata lehtoa ei missä levätä murtoa ei missä munia.

fluttered on a summer day a dark autumn night searching for land to lie on a grove to rest in for some brushwood to lay eggs: it found no land to lie on no grove to rest in nor yet brushwood to lay eggs.

esoilintu kieloi lintu päivöilintu pääsköilintu lenteli kessoisen päivän sykysyisen yön pimmeeän a etsien maalta maatakseen lehtoa levätäkseen murtoa muniakseen.

10

Lensi rannoilen meroilen rannoilen liki vettooja liki vettä valkeaista. Niin löysi kolme mätästä ia niin muni kolme munnaista kolmeen mättähän nenään. Yksi mätäs oli sinniin toin mätäs oli punnain kolmaas kelloin karvalliin. 20 Mikä mätäs oli sinniin siihen sinniisen munnaisen, mikä mätäs oli punnain siihen punnaisen munnaisen, mikä oli kelloin karvalliin 2A siihen keltaisen munnaisen.

It flew to shores, flew to seas to shores by water beside white water: it found three hummocks and it laid three eggs on the three hummocks. One hummock was blue the second was red the third was yellow: which hummock was blue on it a blue egg which hummock was red on it a red egg which one was yellow there a yellow egg.

Tuli suuri Ukon tuutsa meroin vinkura vihhain meroin aitoi aivoin äksy, vieretti munat vettoin 30 laski pesän lainehen.

Ukko’s great cloud came the sea’s angry howl the sea’s right fierce wave rolled the eggs in the water dropped the nest into the waves.

83

2

L uom inen I T h e C reation I

Pääsköilintu päivöilintu lensi hän suotta seppoilaan lensi hän seppiin paijaan: “Seppyeen selvyeen 36 tarkka entiin takkooja, taoit ennen, taoit eglen niin taoi tänäi päin taoi rautain harraava piit valleele vaskisista 40 paa varsi vaahteriin!”

46

äo

aa

The swallow-bird, the sun-bird flew straight to the smith’s dwelling flew to the smithy: “O my smith, my clever man careful craftsman of old times you hammered once, yesterday, hammer too today hammer a rake of iron cast the prongs out of copper fashion the shaft from maple!”

Takoi rautaisen harraavan pani varren vaahterisen vaskisista piit valleeli.

He hammered an iron rake fashioned the shaft from maple out of copper cast the prongs.

Pääsköilintu päivöilintu haravoi meroin kokkoon kaikki ruokot meroista ja kaikki kaislat kaislikosta. Löysi puolet ruskeaista toisen puolen valkeaista kolmaas kelloin karvallista: mikä puolet oli ruskeaista se kuuksi kumoittamaan, mikä puoli valkeaista se päivöiksi paistamaan, mikä kelloin karvallista se pilviksi pakeneviksi.

The swallow-bird, the sun-bird raked up all the sea all the reeds out of the sea all the rushes from their bed. It found a part from the yolk another part from the white and a third from the yellow: which part was the yolk became the moon for gleaming which part was the white became the sun for shining which was the yellow 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

päivälintu Pääskyläine yölintu lepakkolintu

a sun-bird Aswallow-bird, a night bird, bat of a bird

lenteli kesosen päivän syksysempä yöm pimiän, 6 etsi maata maatuksensa lehtoa levätäksensä. Ei saant maata linnum maata lehtoo ei linnu levätä. Lensipä suurelle mäelle 10 korkialle kukkulalle: näkipä laivasem merellä punamastin purjehtivan, lensipä laivan kannem peälle laivan keulalle kemahti, ie valoi vaskisen pesäisen muni kultaisem munaisen.

fluttered on a summer day a dark autumn night searching for land to lie on a grove to rest in: found no land for bird to lie no grove for a bird to rest. Now, it flew to a great hill flew to a high peak: it saw a ship on the sea a red-mast sailing it flew on to the ship's deck on the ship’s prow alighted it cast a nest of copper laid an egg of gold.

Toi Jumala suuren tuulen lännen kolkalta lähätti: laiva kaatu kallellensa so sysäyty syrjällensä. Muna vierähti vetenä pesä pyörähti perästä merem mustaha mutana säkiä saven sekana.

God brought a great wind sent from the western comer: the ship went into a list heeled over on to its side. The egg rolled in the water the nest trundled after it down into the sea’s black mud down among the heavy clay.

Tuoho saari siunahuntu saaren päälle sorja nurmi nurmen päälle nuori neito. Tuota käivät kaik kosissa: käivät pipit, käivät papit 30 käivät hovi hoikat herrat käivät Ruotsista rovastit

There a blessed island sprang on the island lovely grass upon the grass a young maid. All went to woo her: masters went, pastors went, slim gentlemen-in-waiting went rural deans from Sweden went

26

85

3

Luom inen I I T h e Creation I I

sekä Naarin nappisaksat. Eipä neito nuoille männyt. Tuli viimein Nurmi-Tuomas, 35 pani neitosen rekenä löipä ohjalla oria helmiruoskalla hevoista: hepo juoksi, tie heläji reki rautane ramaji m kangas kultanen kumaji vemmel piukki pihlajaine.

' and Naan's haberdashers. The maid would not go to them. Finally Turf Thomas came put the maiden in his sledge struck the stallion with the reins the horse with the beaded whip: the horse ran, the road rang out the sledge of iron rumbled the golden heathland echoed 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

5

laiha poika Lappalainen piti viikkoista vihoa

the lean boy T hefor Laplander, ages harboured hatred

piäl on vanhan Väinämöisen kauvan aikaista katsetta. Vuolipa piiliä pinohon kolmesärvistä kokohon kokonaista vuotta kolme.

against old Väinämöinen for long bore ill-will. He cut a pile of arrows of three-edged arrows he cut a whole lot, for three whole years.

Ruojapa piiliä piteli ramma jousta jou’usteli io ampui veri sokian, ampui päivän Pohjolahan toisen suurehen Savohon ampui päinnä kolmantena ampui kohti koillisehen: is jopas ampui Väinämöisen oikeahan olkapiähän vasempahan kainalohon läpi luin, läpi lihojen läpi lämpimäin lihojen.

The cripple took an arrow the lame one flexed the bow taut and the blind man shot shot a day at Pohjola another at great Savo he shot upon the third day he shot towards the north-east. Now he shot Väinämöinen in the right shoulder under the left arm through the bones, through the flesh, through the warm flesh.

so Tuossa suistui suin lumehen suin lumehen, päin vitihin käänty kämmenin merehen. Täällä kupli vuotta kuusi sieryi seitsemän kesäistä 2 B merta kuutta kuohutteli seitsemättä selvitteli. Tuo kasvoi Imandran soari vanhan Väinön polven päähän.

Then on his face in the snow he fell, headlong in the flakes his palms turned towards the sea. Here he bubbled for six years he bobbed for seven summers he roused six seas to fury and he softened a seventh: that Imandra Island grew on the knee of old Väinö.

30

Sotka lintu on suora lintu lentelööpi liitelööpi

A scaup-duck, straight-flying bird flew, glided about

87

4

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

36

40

etsivi pesän tilaista: jo löyti pesän tilaisen tuohonpa Imandran saareen vanhan Väinön polven piähän. Valopa vaskisen pesäsen muni kultaisen munasen vanhan Väinön polven piähän.

it searched for a nesting-place: now it found a nesting-place there on Imandra Island on the knee of old Väinö. It cast a nest of copper and it laid an egg of gold on the knee of old Väinö.

Lekahutti lämpiähe järähytti jäsentä: järyipä vaski paloiksi muna kultainen muruiksi.

He shifted his knee he jolted his limb: the copper was smashed to bits the golden egg to pieces.

Mi munassa ylistä kuorta ylisiksi taivasiksi, mi munassa alista kuorta 46 alisiks on moa-emiksi, mi munass on valkiaista nepä on kuuksi taivosella, mi munass on ruskiaista ne on päiväks taivosella, 60 mi munass on kirjavaista nep on taivosen tähiksi, mi munass on mustukaista ne on pilviks taivosella.

What was the egg’s upper shell became the heavens above what was the egg’s lower shell became mother earth below what was the white of the egg became the moon in the sky what was the yolk of the egg became the sun in the sky what on the egg was mottled became the stars of heaven what on the egg was blackish 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

oli vanha Väinämöini V aka vesti vuorella venoista kallivolla kalkutteli: ei kirves kivehe koske s kasa ei kaita kallivoho. Viimein lipsahti lihaha polvehe pyhän urohon kyntehen Kalevan poijan.

10

Eik ollun sitä mätästä ku ei tullun tulvillahe eik on vuorta korkieta ku ei tullun tulvillahe varpahasta vanhan Väinön polvest on pyhän urohon.

Korja on kultani kulettu hopiaini pyörä pyöri ratas rautani ratatti. Tuop on vanha Väinämöini kohennakse korjahase 20 rekehes heän reutuvove ajoa karettelove. Ajo kymmenen kyleä kyl on puolen kymmenettä, kysy kynnyksen takova 26 alta ikkunan anove: “Onkos on talossa tässä uron tuskan tuntijova vaivojen valittajova suonikosken sulkijova so synnin puun puhelijova synnin rauvan tietäjeä?”

ib

old Väinämöini Sturdy built a boat on a mountain beat it upon a boulder: the axe did not touch the rock nor the blade strike the boulder. At last it slipped into flesh in the holy hero’s knee the nail of Kaleva’s son. There was no hummock that was not flooded and no high mountain that was not flooded from the toe of old Väinö from the holy hero’s knee. A golden sleigh was prepared a silver wheel whirled the track of iron clattered: now, that old Väinämöini raised himself into his sleigh flung himself into his sledge drove rumbling away. He drove through ten villages: half way through a tenth he asked across the threshold inquired under the window: “Is there any in this house who can know a hero’s pain who can partake of troubles who can close a vein’s rapids who can speak of a tree’s birth who knows the birth of iron?”

5

Luom inen I V T h e C reation I V

Akka varsin vastajeli: “ Ei ole talossa tässä uron tuskan tuntijova 35 vaivojen valittajova suonikosken sulkijova synnin puun puhelijova synnin rauvan tietäjeä.”

40

Tuop on vanha Väinämöini itse niin sanoiksi virkki: “ Tuop on kuitenkin tulove tuho vanhan Väinämöisen laulajan ijänikusen.”

An old crone indeed answered: “ There is no one in this house who can know a hero’s pain who can partake of troubles who can close a vein’s rapids who can speak of a tree’s birth who knows the birth of iron.” Well, that old Väinämöini himself put this into words: “ Be that as it may, now comes old Väinämöini’s downfall the everlasting singer.”

Kohennaksen korjahase 45 rekehes heän reutuvove ajo soita, ajo maita jo ajo meren selällä ammuin nähtyjä ahoja. Ajo kymmenen kyleä 50 kyl on puolen kymmenettä, kysy kynnyksen takova alta ikkunan anove: “ Onkos on talossa tässä uron tuskan tuntijova 55 suonikosken sulkijova vaivojen valittajova synnin puun puhelijova synnin rauvan tietäjeä?”

He raised him into his sleigh flung himself into his sledge drove through marshes, drove through lands drove on the clear stretch of sea through clearings seen long ago. He drove through ten villages: half-way through a tenth he asked across the threshold inquired under the window: “ Is there any in this house who can know a hero’s pain who can close a vein’s rapids who can partake o f troubles who can speak of a tree’s birth who knows the birth of iron?”

Ukkopa verkkuo rauvasta rakenti so teräksestä heän teköve. Tuonp on sanoikse virkki: “ On sulettu suuremmatki jovet suista, järvet päistä kapejista kannaksista.”

An old man built a net of iron of steel he made it. Now, he put this into words: “ Still bigger things have been closed rivers from mouths, lakes from ends and from narrow necks of land.”

65

Pohjon akka kyittösilmä piti viikoista vihoa kaiken aijaista karehta. Syöksi miestä syömen kautti

The slit-eyed crone of Pohjo for ages harboured hatred anger all the time. She struck the man by the heart

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Luom inen I V T h e Creation I V

läst on lämpöistä lihoa 70 vasemesta kainalosta oikiehe olkapeähä. Sormin sortih lainnehes kämmenin merehe keänty sormin sortih lainnehisse: “Kule sielä kuusi vuotta selupa seitsemen keseä ympäri yheksän vuotta kaikitenki kaksitoista.

through the warm flesh, from under the left arm to the right shoulder.

Kuhu vierret venymällä so siih on Sinervon apajan, kuhu nosset istumahe siihe luokoh luotopäitä karipäitä kasvattoaha.”

He sank, fingers to the waves he turned, palms seaward he sank, fingers to the waves: “Wander that way for six years drift there for seven summers and throughout nine years or even for twelve. Which way you roll to stretch out there a bluish hole shall be which way you rise to sit up the top of a shoal shall form the top of a reef shall grow.”

Tuop on vanha Väinämöini 85 sormin heän merehe sortu kämmenin merehe keänty sormin sortih lainnehisse.

Now, that old Väinämöini sank, fingers seaward he turned, palms seaward he sank, fingers to the waves.

75

Kokko rukka kurja lintu lintu kurja Tuijan moalla 90 liitelöve loatelova katsovi pesän sijova, keks on mustasen meressä sinervöisen lainnehella. Katsovi pesän sijova 95 kulosista kutkutteli, muni heän kolme munaista kolme kultaista munova. Hierelöve hautelove. Tuopa vanha Väinämöini loo kuuli polveh polttavakse: kuin on puosti polviehe munaset vetehe vieri.

A poor eagle, wretched bird wretched bird in Turja Land glided and hovered it looked for a nesting-place spied a black speck on the sea a bluish speck on the wave: it looked for a nesting-place scratched at the dry grass and it laid three eggs laid three golden eggs. It rubbed them, it sat on them. Now, the old Väinämöini felt his knee burning: as he shook his knee the eggs rolled in the water.

Tulipa hauki hankotellen vejen koira konkotellen, 105 nieli heän kolme munova

A pike came prowling a water-dog lumbering: it swallowed up the three eggs

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Luom inen I V T h e C reation I V

kolme kultaista munova. Kokko rukka kurja lintu lintu kurja Turjan moalla kuin on kerran kuopasihe no ilman lintu liitasihe vast on suomuja sukasi, kuin on toisen kuopasihe vastapa vatsoa revitti, kuin on kerran kolmannene ns halkasi mahan on hauvin.

gulped down the three golden eggs. The poor eagle, wretched bird wretched bird in Turja Land the first time it lunged the bird of the air glided it no more than brushed the scales the next time it lunged it only tore the belly when the third time came it split the pike’s guts.

Katselove keäntälöve: “Miks on muuttunut munani kuks on soatu soalehene! Mi munassa valkieta iso se päiväkse paistamalle, mi munassa ruskieta se kuukse kumottamalle se tähekse taivosella, mi munass ylistä puolta iss vaskisekse taivosekse, mi munass alaista puolta rautasekse moaemäkse.”

It looked, it turned it over: "What have my eggs changed into what has become of my catch! What was the white of the egg is now the sun for shining what was the yolk of the egg is now the moon for gleaming is now the stars of heaven what was the egg’s upper half is now the copper heavens what was the egg’s lower half is now iron mother earth.” Ohvo Hannonen

Vuokkiniemi, Archangel Karelia A. A. Borenius, 1871

92

6 HAAVA The Wound

Tapion neiti T uulikki hoikka Honkelan miniä

maid of Tapio T uulikki, Honkela’s slim daughter-in-law

Salakaarron kaunis vaimo istu ilman vempeleellä 6 taivon kaarella kajotti.

Salakaarto’s lovely wife sat on the air’s collar-bow glimmered upon the sky’s arch.

Sano vanha Väinämöinen: “Tuletkos minulle neiti?” Neiti taiten vastajaapi: “Sitte sun mieheksi sanosin 10 urohoksi arvelisin jossas jouhen halkaseisit veittellä kärettömällä ilman tutkamettomalla, munan solmuhun vetäsit is solmun tuntumattomaksi.”

The old Väinämöinen said: “Will you come to me, maiden?” The maid knowingly answered: “ I’d speak of you as a man think of you as a hero if you split a hair with a knife that had no edge with a blade that had no point pulled an egg into a knot so the knot could not be felt.”

Vaka vanha Väinämöinen halki jouhen halkaseepi veittellä kärettömällä ilman tutkamettomalla, so munan solmuhun vetäävi solmun tuntumattomaksi.

Sturdy old Väinämöinen split a hair in two with a knife that had no edge with a blade that had no point pulled an egg into a knot so the knot could not be felt.

Sano vanha Väinämöinen: “Tuletkos minullen neiti?” Neiti taiten vastojaapi: 25 “Emmon sulle ennen tullo ennen kuin venosen veistät kehrävarteni muruista kalpimeni kappaleista kirvon käymätä kivehen 30 kasan kalkahuttamata.”

The old Väinämöinen said: “Will you come to me, maiden?” The maid knowingly answered: “No, I will not come to you before you have carved a boat from bits of my spinning-shaft pieces of my carding-knife with your axe not on the rock your blade-tip making no noise.”

93

6

35

H aava T h e W ou n d

Vaka vanha Väinämöinen veisti vuorella venettä kalkutteli kalliolla: ei kirves kivehen koske eikä kalka kalliohon. Viimen liuskahti lihaan varpahaseen Väinämöisen polvehen pyhän urohon.

Sturdy old Väinämöinen carved a boat on the mountain pounded away on the crag: his axe did not touch the rock beat upon the crag. At* last it slipped into flesh into Väinämöinen’s toe in the holy hero’s knee.

Veri tulvana tuleepi «o hurme juokseepi jokena: ei ollu sitä mätästä eikä vuorta korkiata jok ei tullu tulvillehen varpahasta Väinämöisen 46 polvesta pyhän urohon.

60

55

60

Vaka vanha Väinämöinen rekehensä reutoaksen vierretäksen korjahansa, ajo tuonne toitualle tuonne kylmähän kylähän. Yli kynnyksen kysyyvi: “Lieneekö talossa taassa tämän tulvan tukkiata salpoa tämän satehen?” Lausu lapsi laattialta paarna pieni pankon päästä: “ Ei ole talossa taassa tämän tulvan tukkiata sortajata suonikosken. Mene toisehen talohon!”

Vaka vanha Väinämöinen ajo toisehen talohon. Yli kynnyksen kysyyvi: “Lieneekö talossa taassa 66 tämän tulvan tukkiata salpoa tämän satehen?” Lausu äiä pöyvän päästä

The blood came forth like a flood the gore ran like a river: there was no hummock and no high mountain that was not flooded all from Väinämöinen’s toe from the holy hero’s knee. Sturdy old Väinämöinen into his sledge dragged himself rolled himself into his sleigh drove off to another house away to a cold village. Across the threshold he asked: “Would there be within this house anyone to stem this flood someone to check this deluge?” A child spoke up from the floor a baby from the hearth-bench: “There is not within this house anyone to stem this flood to subdue a vein’s rapids: go off to another house!” Sturdy old Väinämöinen drove off to another house. Across the threshold he asked: “Would there be within this house anyone to stem this flood someone to check this deluge?” An old man from the table-head 94

6

H aava T h e W ou n d

spoke, a beard sang, a head wagged: “Still bigger things have been closed still greater things been achieved rivers from mouths, straits from ends open waters from capes, necks of land at their narrowest.”

paarta laulo, pää jätisi: “Sulettiin on suuremmatkin 70 jalommatkin jaksettunna joet suista, salmet päistä selät niemien nenistä kannakset kapeimmista.”

S in g e r unknow n

Kemi, North Ostrobothnia Z. Topelius, 1803 or 1804

95

7 TEHTÄVÄT The Tasks

5

10

uo seppä Jumalan luoma takoja iänikuinen takovi taputtelevi selvällä meren selällä. Paino paian palkeheksi housunsa hohottimiksi, pani oijat lietsomahan palkkalaiset painamahan itse päältä katsomahan. Lietso päivän, lietso toisen kohta kolmatta rupesi. Katso seppä: kaunis pirtti.

smith, God’s creature T hat the everlasting craftsman was hammering, was tapping upon the clear stretch of sea. He used his shirt for bellows his breeches for puffing air he set serfs to blow hirelings to work the bellows and himself looked on. They blew a day, another soon they started on a third: the smith looked - a handsome room.

Seppä tunkihen tupaha kahen kattilan välille is kolmen koukun kääntimille.

The smith squeezed into the house in the space between two pots where three hooks turned to and fro.

“Tules tyttinen minulle!” “En minä tule sinulle. Tao kansi taivahalle jott ei tunnu vasaran jälki eikä pihtien pitämät.”

“Come, O little girl, to me!” “No, I will not come to you. Fashion a vault for the sky on which is no hammer-mark nor trace of where tongs have held.”

Tako kannen taivahalle, ei tuntunt vasaran jälki eikä pihtien pitämät.

He forged a vault for the sky and there was no hammer-mark nor trace of where tongs had held.

20

“Tules tyttinen minulle!” 25 “ En minä tule sinulle. Ammus tähti taivahalta oikiattasi käettä vasemetta peikalotta!”

“Come, O little girl, to me!” “No, I will not come to you. Shoot a star down from the sky without using your right hand without using your left thumb!”

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T e h tä v ä t T he T asks

Se seppo Jumalan luoma

The smith, God’s creature shot a star down from the sky without using his right hand without using his left thumb.

30 ampu tähen taivahalta

oikiattasa käettä vasemetta peikalotta. “Tules tyttinen minulle.” “En tule minä sinulle. 36 Tapa nainen ennen naitu ennen juohettu emäntä tapa lapset ennen saahut!”

“Come, O little girl, to me!” “No, I will not come to you. Kill the wife you have wedded the mistress you have brought home kill the children you have had!”

Se seppo Jumalan luoma tappo naisen ennen naiun 40 ennen juohetun emännän tappo lapset ennen saahut.

The smith, God’s creature killed the wife he had wedded the mistress he had brought home killed the children he had had.

“Tules tyttinen minulle!” “En tule minä sinulle. Tapoit naisen ennen naiun 46 ennen juohetun emännän: tahoit tappoa minua.”

“Come, O little girl, to me!” “No, I will not come to you: you have killed your wedded wife the mistress you had brought home and you will want to kill me.”

60

Seppä kahta kämmentänsä: “Pahoin oon tehnyt mie poloinen lähin huoran houkutuksih pahan vaimon vaikutuksiin tapoin naisen ennen naiun!”

The smith wrung his hands: “Poor me I have done an evil thing I have fallen for a whore for an evil woman’s whim: I have killed my wedded wife!”

S in g er unknown

Korpiselka, Ladoga Karelia D. E. D. Europäern, 1846

97

8 SEPPÄ The Smith

5

10

Synty Ilmollini Yöllä päivällä mäni pajahe,

bom, Ilmollini Bybynight day went to the smithy

Soan on lukkuja takouve tuhannen avoamia. Ei ole Seppä Sen parempi eikä ni tarkempi takoja još Synty Sysimäjellä kašvoi hiilikankahalla. Se Seppä joka jumala joka on taivosen takonut ilman koaret kalkutellut: ei tunnu vasaran jälki eikä ni pihtien pitely hoararauvan hallitsenta.

forged a hundred locks and a thousand keys. No smith is better than he and no craftsman more careful though bom on a charcoal hill brought up on a coal-black heath. That smith is a god: he has forged the sky beaten out the air’s arches and there is no hammer-mark nor trace of where tongs have held where forked iron has guided. M iih k a li P erttu n en

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

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9 TULI

I

lmarinen struck fire, Väinämöinen flashed above eight heavens, in the ninth sky: a spark dropped down through the earth through Manala, and through the smoke-hole caked with soot the children’s cradle it broke maidens’ breasts and burned the mother’s bosom. The mother knew more of it: she shoved it into the sea lest the maid go to Mana lest the fire should burn her up lest the flame roast her.

Tuo ange Aluenjärvi kolmitse kesässä yönä kuohu kuusien tasalla noissa tuskissa tulosen valkiaisen voakahissa.

That gloomy Lake Alue three times on a summer night foamed as high as the spruces in the torment of the fire the flame’s overwhelmingness.

ski tulta Ilmarinen välähytti Väinämöinen päällä taivosen kaheksan ilmalla yheksännellä. 5 Kirposi tulikipuna läpi maan, läpi Manalan läpi reppänän retusen läpi lasten kätkyettä, rikko rinnat neitosilta 10 poltti parmahat emolta. Emo sen enämmän tiesi: sen on miesteli merehen. Ei neiti Manalle joua tulen tuiki polttamihin is panun nihki paistamihin.

20

Uipi on siliä siika nieleepi tulikipunan: tuli tuska nieliälle vaikia vajottajalle. 25 Uipi on halja hauki nieleepi siljan siian, uipi on kulja kuuja nieleepi haljan hauin, uipi on lohi punanen 30 nieleepi kuljan kuujan. Uiksenteli, käyksenteli

I

A smooth whitefish swam and swallowed the spark: torment to the swallower came, hardship to the gulper. A grey pike swam up swallowed the whitefish a light lake-trout swam swallowed the grey pike a red salmon swam and swallowed the light lake-trout: it swam, it darted about

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Tuli F in

lohiluotojen lomia noissa tuskissa tulosen.

in between the salmon-crags in the torment of the fire.

Sanovi sanalla tuolla 36 tuolla virkko viiltiellä: “Palo ennen maita paljon pahana palokesänä tulivuonna voimatonna. Jäi vähä palamatonta 40 Ahin aian kääntimillä Hirskan pengeren perällä.” Kuokittihin kaivettihin löyettihin Tuonen toukka, Tuonen toukka poltettih 45 venehessä vaskisessa ruuhessa rautapohjasessa. Sen kypenet kylvettihin rannalle Alimojärven: pellavas peritön kasvo 60 liina liitötön yleni yhtenä kesässä yönä. Rikeneh riivittihin jo viijään vetehen jo liina likuoloopi. 66 Sisarekset kehreävät veljet verkkoa kutovat, saivat nuotan valmihiksi.

It said in these words it uttered along these lines: “Fire once burned much land one evil summer of fire one year of flame without help. A small piece was left unbumed at the turn of Ahti’s fence at the rear of Hirska’s bank.” It was hoed and dug and Tuoni’s maggot was found and Tuoni’s maggot was burned in a copper boat in an iron-bottomed punt. Its ashes were sown upon the shore of Lake Alimo: flax without like grew peerless linen rose in a single summer night. It was quickly stripped now taken to the water now the linen put in soak. The sisters spun it the brothers wove cloth and fashioned a net.

Vaka vanha Väinämöinen nuoret nuotalle panoovi. «o Veetähän poikki vettä: ei tule sitä kaloa kut on vasten nuotta tehty. Veetähän on myötä vettä: ei tule sitä kaloa 66 jot on vasten nuotta tehty. Veetähän on vasten vettä: lohi loiskahti meressä.

Sturdy old Väinämöinen put the young ones on the net. They drew across the water: that fish did not come for which the net was fashioned. They drew along the water: that fish did not come for which the net was fashioned. They drew against the water: the salmon splashed in the sea. Sturdy old Väinämöinen could not bear to put his hand

Vaka vanha Väinämöinen ei kärsi käsin ruveta

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T u li F ire

70

ilman rautarukkasita: otti rautarukkasensa halkasi lohi punasen tuloovi kulja kuuja vatsasta lohi punasen, 76 halkasoovi kuljan kuujan tuloovi halja hauki, halkasoovi haljan hauin tuloovi silja siika, halkasoovi siljan siian so tuloovi tulikipuna.

without mittens of iron: took his mittens of iron split open the red salmon the light lake-trout came from the red salmon’s belly split open the light lake-trout the grey pike came out he split open the grey pike the smooth whitefish came split open the smooth whitefish — and the spark came out.

Siin on tulta tuuviteltu valkiaista vaaputeltu nenässä utusen niemen, siin on tulta tuuviteltu 85 hihnoissa hopiaisissa: kätyt kultanen kulisi vaippa vaskinen vapisi tulta tuuvitessa.

There the fire was lulled and the flame was rocked at a misty headland’s tip there the fire was lulled in a silver sling: the golden cradle jingled the copper mantle trembled as the fire was lulled. S in g er unknown

Akonlahti, Kontokki, Archangel Karelia M. A. Castrén, 1839

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10 KILPALAULANTA I The Singing Match I

on nuori Joukavainen Ykstoinen vanha Väinämöinen ajoi tiellä vastaksuten: rahis puuttu rahkehesen s vemmel vempelen nenäh. Siitä siinä seisottih. Vesa kasvo vempelestä haavat aisoista yleni pajupehko rahkehista. 10

Sanoi nuori Joukavainen: “Ken on tiiolta pahempi sen on tieltä siirtyminen.”

was young Joukavainen First then was old Väinämöinen driving together head on: traces were jammed with traces collar-bow with collar-bow. There and then they stopped. The collar-bow sprang a shoot and the shafts sprouted aspens the traces a willow-clump. The young Joukavainen said: “He whose knowledge is the worse must move aside from the road.”

Sano vanha Väinämöinen: “Sanos tarkkoja tosia is valehia muinosia.”

The old Väinämöinen said: “Say some things exacdy true tell some lies of long ago.”

Sano nuori Joukahainen: “Tiiän kuitengin vähäsen ennemmäiset ymmärtelen: tiiän linnukse tiasen so kiiskisen veen kalaksi pajun puita vanhimmaksi, tiiän kolkot kuokituksi vuoret luovuksi kokohon kalahauat kaivetuksi 26 siverret syvennetyksi.”

The young Joukahainen said: “And yet I know a little I understand more: I know the tit is a bird the ruff is a water-fish the willow the oldest tree I know the hollows were scooped the mountains heaped together I know the fish-holes were dug the troughs of the sea deepened.”

Sanoi siitä Väinämöinen: “Lapsen on mieli, vaimon tunti, ei oo partasuun urohon. Omat on kolkot kuokkimani

At that Väinämöinen said: “A child’s mind, a woman's lore is not a bearded hero’s. The hollows were my scooping

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30 vuoret luomani kokoh kalahauat kaivamani. Olin miekin miessä siellä urohona kolmantena seitsemäntenä urossa 36 kaarta taivon kantaissa pieltä ilmon pistäissä tahroista tähittäissä Otavaa ojentamassa.”

the mountains were my heaping the fish-holes were my digging: I was man among men there the third hero there the seventh among heroes bearing the arch of heaven pushing up the sky’s pillar spangling the heavens with stars straightening out the Great Bear.”

Siitä suuttu Väinämöinen päälle nuoren Joukahaisen. Laulo nuoren Joukaisen suohon suonivöistä niittyhyn nisulihoista kainalosta kangahasen, 46 laulo koiran Joukahaisen kynsin kylmäh kivehen hampahin vesihakoh, laulo jousen Joukahaisen kaariksi vesien päälle, 60 laulo nuolen Joukavaisen haukaksi kiitäväksi ylähäksi taivosella. Se siitä hyvin häpesi.

Väinämöinen grew angry towards young Joukahainen: he sang young Joukahainen in a marsh up to his belt in a meadow to his waist in a heath to his armpit he sang Joukahainen’s dog with its claws in a cold rock with its teeth in a wet log he sang Joukahainen’s bow to an arch on the water sang Joukavainen’s arrow to a hawk streaking high in the heavens. Having done so he felt shame.

Sanoi siitä Joukahainen: 66 “Myössytäs pyhät sanasi perävytä lauhiesi: annan kultia kyperän oman pääni päästimeksi itšeni lunastimeksi.”

At that Joukahainen said: “Make your holy words harmless turn your sentences backwards: I’ll fill a helmet with gold for the release of my head for the ransom of myself.”

so Sanoi vanha Väinämöinen: “En huoli hopeistasi! On kultia itSellänikin kahta kolmea paremmat.”

The old Väinämöinen said: “I don’t care for your silver: I have gold coins of my own twice, three times better.”

Sanoi siitä Joukahainen: 66 “Myössytäs pyhät sanasi perävytä lauhiesi:

At that Joukahainen said: “Make your holy words harmless turn your sentences backwards:

m

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Kilpalaulanta I The Singing Match I

annan ainuan orihin oman pääni päästimeksi itšeni lunastimeksi.” 70 “ En huoli heposistas

I’ll give my only stallion for the release of my head for the ransom of myself.”

ilkiä orihistas! On orih itselläniki kahta on kolmea parempi viittä kuutta virkeämpi 75 kuutta seitentä somempi.”

“I do not care for your horse mean man, your stallion: I’ve a stallion of my own twice, three times better five, six times brisker six, seven times more bonny.”

Sano nuori Joukahaine: “ Myössytäs pyhät sanasi perävytä lauhiesi: annan ainoan sisäreni «o oman pääni päästimeksi itšeni lunastimeksi.”

The young Joukahaine said: “Make your holy words harmless turn your sentences backwards: I’ll give my only sister for the release of my head for the ransom of myself.”

Siitä vanha Väinämöinen myössytti pyhät sanansa peräytti lauhiesa.

At that old Väinämöinen made his holy words harmless turned his sentences backwards.

85 Siitä pääsi Joukahaine. Mäni itkien kotih kallotellen kartanolle.

Then Joukahaine was free: he went weeping home wailing to the farm.

Isä pääty ikkunassa emo aittojen vajolle. 90 Emo ennätti kysyä: “Mitäs itet poikuoni? Ei ole syytä itkiäsi.”

Father was at the window mother towards the storehouse. Mother hastened to inquire: “Why do you weep, my offspring? You have nothing to weep for.”

Sano nuori Joukahainen: “Ompa syytä itkeäni 96 vaivoa valittavani: annon ainoan sisären oman pääni päästimeksi itšeni lunastimeksi.”

The young Joukahainen said: “I have something to weep for I have trouble to lament: I gave my only sister for the release of my head for the ransom of myself.”

Emo varsin vastaili: loo “Tuota toivon tuon ikäni

The mother indeed answered: “For this I hoped all my life -

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vävykseni Väinämöistä su’ukseni miestä suurta laulajata langokseni.”

Väinö for my son-in-law the great man for my kinsman the singer my relative.” O n tre i M a lin e n

Vuonninen, Vuokkiniemi, Archangel Karelia A. J . Sjögren, 1825

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

kiistan aijoit Kahen kahen kiistaan kilpaisiit, yks oli vanha Väinämöin toinen nuori Joukamoin, 5 yksiöisellä oroilla yksiöistä jäätä myöten. Eipä jälki jäästä tunnu jaloin ei isku iljennästä kaaroin teroin kankahalta. 10 Puuttui tiellä vassakkaisin, tarttui vemmel vempelehen aisa aisaan tappais: veri kiehui vempelestä rasva rahkehen nenästä 15 puna aisasta puttois.

20

Saoi vanha Väinämöin nuorelle Joukamoilen: “Hoi siä nuori Joukamoin! Muissatka sitä ajaista kun kanto meroihen kasvoi vesi virtahan virrois ommeenat vesiin vieriit joka oksilla ommeena joka puulen pähkenäin?”

25 Kahen kiistaan aijoit kahen kiistaan kilpasiit, yksi vanha Väinämöin toinen nuori Joukamoin, yksiöisellä oroilla 30 yksiöistä jäätä myöten. Eipä jälki jäästä tunnu

each other they drove Against against each other they raced: first old Väinämöin then young Joukamoin on a one-night-old stallion along the one-night-old ice and no trace was on the ice no hoof-blow on the hard lake no hoof-mark upon the heath. They collided on the road collar-bow caught collar-bow shaft against shaft did violence blood boiled from the collar-bow and fat from the traces-tip and redness fell from the shaft. Old Väinämöin said to young Joukamoin: “Hey, young Joukamoin! Do you remember the time when a stump grew in the sea water sprang up in the Hood apples rolled in the water apples were on every bough and nuts were on every tree?” Against each other they drove against each other they raced: first old Väinämöin then young Joukamoin on a one-night-old stallion along the one-night-old ice and no trace was on the ice

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jaloin ei isku iljennästä kaaroin teroin kankahalta. Puuttui tiellä vassakkaisin, 36 tarttui vemmel vempelehen aisa aisaan tappais: veri kiehui vempelestä puna aisasta puttois rasva rahkehen nenästä.

no hoof-blow on the hard lake no hoof-mark upon the heath. They collided on the road collar-bow caught collar-bow shaft against shaft did violence blood boiled from the collar-bow and redness fell from the shaft and fat from the traces-tip.

40 Saoi vanha Väinämöin nuorelle Joukamoilen: “Hoi siä nuori Joukamoin! Muissatka sitä ajaista kuin meroja kynnettiin 45 kynnettiin kylvettiin kivet lyötiin kokkoon rauniot rakennettiin ajettiin aitoi maalen? Meroi on miun kuokkimaan so kannoin juuret kaivamain kivet luomani kokkoon rauniot rakentamain.”

Old Väinämöin said to young Joukamoin: “Hey, young Joukamoin! Do you remember the time when the seas were ploughed were ploughed up, were sown when the rocks beat together when the cairns were first piled up when the waves gave way to land? The seas were of my scooping the stump-roots of my digging the rocks of my gathering and the cairns of my piling.”

Kahen kiistan kilpaisiit kahen kiistan aijoit, 55 yksi vanha Väinämöin toinen nuori Joukamoin, yksiöisellä oroilla yksiöistä jäätä myöten. Eipä jälki jäästä tunnu 60 jaloin ei isku iljennästä kaaroin teroin kankahalta. Puuttui tiellä vassakkaisin, tarttui vemmel vempelehen aisa aisaan tappais: 65 veri kiehui vempelestä rasva rahkehen nenästä puna aisasta puttois.

Against each other they raced against each other they drove: first old Väinämöin then young Joukamoin on a one-night-old stallion along the one-night-old ice and no trace was on the ice no hoof-blow on the hard lake no hoof-mark upon the heath. They collided on the road collar-bow caught collar-bow shaft against shaft did violence blood boiled from the collar-bow and fat from the traces-tip and redness fell from the shaft. Old Väinämöin said to young Joukamoin:

Saoi vanha Väinämöin nuorelle Joukamoille:

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70 “Läkkää kiissoin laulamaan ja kiissoin sanelommaa: kumpi muistaa enemmän sen seissä tien selällä, kumpi muistaa vähemmän 76 sen tieltä pois paetak.”

“Let us have a singing-match and a reciting-contest: let him who recalls the more remain on the open road let him who recalls the less from the road remove himself.”

Tuopa vanha Väinämöinen lauloi Joukamon sattulan sorsaksi soroin-meroihon, lauloi Joukamon orroisen so pilviin pakenoviin hattaroin juoksoviin, lauloi viitan Joukamoisen vitsikkoon viiltämään, lauloi Joukamon kyppeerän 86 hylkeheksi hyppimään, lauloi ruossan Joukamoisen ruovikkoon roiskimaan. Tuopa nuori Joukamoinen itse täytyi itkömään.

Now, that old Väinämöinen he sang Joukamo’s saddle to a duck in gravel-sea he sang Joukamc’s stallion into scudding clouds into running wisps of cloud he sang Joukamoinen’s cloak into a birch-whisk slashing he sang Joukamo’s helmet to a seal leaping he sang Joukamoinen’s whip into bulrushes whipping. Now, that young Joukamoinen himself could not help weeping.

90 Saoi vanha Väinämöinen: “Joka niinkuin jo sanneelin.” Tuopa nuori Joukamoinen sanoin laati suin läkkäis vanhalle Väinämöille: 96 “Järeitä pahat sanasi ilman ilkeä tekkois. Annan ainovan sissoin heitän herkun syöteltyisen, pyhät syötin pyyn lihoilla loo aret ahvenen kaloilla: kons ei voint syöä voita silloin söi sian lihhaa aret tedron ammukkia.”

The old Väinämöinen said: “So: I have done reciting.” Now, that young Joukamoinen formed in words, declared by mouth to old Väinämöi: “Withdraw now your wicked words your utterly evil deeds. I’ll give my only sister I’ll leave the well-fed dainty every Sunday fed on grouse and every weekday on perch: when she could not eat butter, she’d eat pork on weekdays plates of black grouse.”

Tuopa vanha Väinämöinen m peröitti pahat Sannaan ilman ilkeän tekkoon: kutsui Joukamon orroisen

Now, that old Väinämöinen turned his wicked words backwards his utterly evil deeds: called Joukamo’s stallion

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pilvistä pakenovista hattaroista juoksovista, uo kutsui viitan Joukamoisen vitsikosta viiltämästä, kutsui Joukamoin sattuulan sorsanta sorroin-meroista, kutsui Joukamoin kyppeerän n# hylkentä hyppimästä, kutsui ruosan Joukamoisen ruovikosta ruoskimasta.

back from scudding clouds back from running wisps of cloud called Joukamoi’s cloak back from a birch-whisk slashing called Joukamoinen’s saddle from a duck in gravel-sea called Joukamoinen’s helmet from a seal leaping he called Joukamoinen’s whip back from bulrushes whipping.

Tuopa nuori Joukamoinen tuli itkien kottiin iso kaljutellen kartanolen. Emoi aittoin männöö. “Hoi miun ehtoisa emmoin hoi miun kallis kantajain vanha akka vaalijain: 125 jo tein mitä ei pittänt, annoin ainovan sissoin heitin herkun syöteltyisen vanhalle Väinämöille.”

Now, that young Joukamoinen went weeping homeward wailing to the farm. Mother was going towards the shed. “O my generous mother 0 dear one who carried me old woman who cared for me: 1 have done what I should not I gave my only sister I left the well-fed dainty for old Väinämöi.”

Emoi vassen vastaeli

The mother answering said answering declared: “For this I hoped all my life longed throughout my days Väinö for my son-in-law the great man for my kinsman.”

130 vassen vastaan läkkäis:

“Tuota toivoin tän ijään poikki polven hallaisin vävykseen Väinämöistä su’ukseen suurta miestä.”

Olgoi

Hevaa, Kaprio, Ingria V. Porkka, 1883

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12 SA M P O I The Sampo I

kyyttösilmä Lappalainen piti viikosta vihoa

the slit-eyed T hefor Laplander, ages harboured hatred

kaukausta ylenkatsetta päälle vanhan Väinämöisen: 6 vuotti illoin, vuotti aamuin tulovakse Väinämöistä soavakse Umentolaista. Siilon vanha Väinämöinen rekehensä reutosihen xo korjahan korentelihen, orihilla olkisella hernevarrella hevolla ajoa karetteloopi selvällä meren selällä 15 ulapalla aukialla.

for long bore ill-will against old Väinämöinen: he waited evenings, mornings for Väinämöinen to come for the man from Urnen to. Then the old Väinämöinen into his sledge flung himself in his sleigh hoisted himself with the straw-coloured stallion with the pea-stalk-coloured horse drove rumbling away upon the clear stretch of sea the open water.

Lappalainen kyyttösilmä niin päivänä muutamena huomenna monikahana keksi mustasen merellä 20 sinervöisen lainehilla. Niin koppo tulisen jousen korvalta kovan tulisen, jännitti tulisen jousen nuolen juonelle asetti 25 valitsi parahan varren. Niin siitä sanoiksi virkko: “ Kun käsi alentanoovi niin nuoli ylentyöhö, kun käsi ylentänöövi äo niin nuoli alentuoho!” Ampu olkisen orihin alta vanhan Väinämöisen

The Laplander, the slit-eyed on a day among others one morning among many spied a black speck on the sea a bluish speck on the wave: he took up his fiery bow from the fiery hut he flexed the bow taut laid an arrow on the stock and chose the best shaft. So then he uttered a word: “If my hand comes down let the arrow rise: if my hand comes up let the arrow fall.” He shot the straw-hued stallion from under Väinämöinen

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hernevartisen heposen läpi länkiluun lihasta 36 oikiesta olkapäästä kautti kainalon vasemman.

and the pea-stalk-coloured horse through the collar-bone through the right shoulder under the left arm.

Siilon vanha Väinämöinen sortu sormin lainehille kämmenin vesille käänty. 40 Siellä kulki kuusi vuotta seiso seitsemän keseä kulki kuusissa hakona petäjäissä pölkyn päänä. Itkiä tihusteloopi 45 Ukkoa rukuiloopi Pavannaista palveloopi: “ Nosta Ukko suuri tuuli sään mänöö määritöntä nosta mustia muria 60 päälle selvien vesien!”

Then the old Väinämöinen sank with fingers to the waves turned with palms to the water: there he wandered for six years stopped there for seven summers wandered as a spruce as a log from a pine-tree in tears he drizzled he prayed to Ukko and worshipped Pavannainen: “Raise up, Ukko, a great wind let the weather know no bounds raise lumps of black slime to fall on the clear waters!”

Nosti Ukko suuren tuulen sään mänösen määrittömän nosti mustia muria päälle selvien vesien. 66 Kanto vanhan Väinämöisen pimiähän Pohjolahan kiven kiijavan sivulle paaen paksun lappehille. Itkiä tihusteloopi.

Ukko raised up a great wind let the weather know no bounds raised lumps of black slime to fall on the clear waters. He bore old Väinämöinen to dark Pohjola to the side of a bright rock the edge of a thick boulder. In tears he drizzled.

Pohjon akka harvahammas nousi aivon aikasehen aivon aika huomenessa, pian pirtin lämmitteli pyhki pitkin pirttiähän 66 lattiatahan lakaisi, viepi ulos rikkasa pellolle perimmäiselle. Rikoillahan seisotakse. Tuosta kuuli kuusienen 70 tajusi kaheksialle: *

The gap-toothed crone of Pohjo rose when it was quite early quite early in the morning: quickly warmed her room cleaned all through the rooms taking a broom to the floor then she took the dust outside to the farthest field and stopped at the rubbish-tip. There she listened from six sides attended from eight:

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kuuli miehen itkeväkse uroon urisevakse. Ei ou itku naisen itku eikä itku lapsen itku, tämä on itku Väinämöisen urajanta Untamoisen.

she could hear a man weeping could hear a hero wailing. The sobs were no woman’s sobs nor were the sobs a child’s sobs: these were Väinämöinen’s sobs the wails of Untamoinen.

Siitä siilon Pohjon akka viitisekse vaatisekse pääsomille suoreille so pätöville pääsomille. Meni luoksi Väinämöisen sanan virkko noin nimesi: “ Mitä itet Väinämöinen kuta Untamo uriset?”

There, then the crone of Pohjo dressed herself and decked herself adorned her head prettily splendidly adorned her head. She went to Väinämöinen she uttered a word, spoke thus: “Why are you weeping, Väinö why, Untamo, do you wail?”

85 Sano vanha Väinämöinen:

The old Väinämöinen said: “For this I weep all my life grieve throughout my days: I’ve swum to strange lands to quite unknown doors.”

“Tuota iten tuon ikäni puhki polveni murehin: jo uin maille vierahille äkkiouoille oville.” 90 Niin sanoopi Pohjon akka:

“Niin mitä minulle annat kun saatan omille maille oman kukon kuuluville näiltä mailta vierahilta 95 äkkiouoilta ovilta?”

So the crone of Pohjo said: “So what will you give me, if I take you to your own lands there to hear your own cockcrow far from these strange lands these quite unknown doors?”

Sano vanha Väinämöinen: “ Mitäpä kysyt minulta?”

The old Väinämöinen said: “Well, what do you ask of me?”

Niin sanoopi Pohjon akka: “Kun sie laait uuen sammon loo kiijokannen kirjoalet yhen joukosen sulasta yhen värkkinän murusta yhen villan kylkyvöstä maiosta mahovan lehmän i o s yhen otrasen jyvästä.”

So the crone of Pohjo said: “If you shaped a new sampo worked a brightly-worked cover from one feather of a swan from one piece of a distaff one snippet of wool the milk of a barren cow from one barley-grain.”

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Sano vanha Väinämöinen: “En minä takoa taia enkä kantta kirjoalla. Työnnän sepon Ilmorisen: no se on taitavin takoja se on kannet kirjoapi.”

The old Väinämöinen said: “I myself cannot hammer nor can I work a cover. I’ll get smith Ilmorinen: he is the most skilled craftsman he knows how to work covers.”

Siit on Pohjon akka otti miehen kuolomasta otti vanhan Väinämöisen, ns Vei sitä kotihin sitte, syötti miehen, juotti miehen kostutteli kuolomasta, pani oron juoksomahan liinaharjan liikkumahan iso pimiästä Pohjolasta summasta sarajahasta miehen syövästä kylästä urohon upottajasta.

At that the crone of Pohjo delivered the man from death took up old Väinämöinen brought him to her home: gave the man food, gave him drink nursed him back from death she set a stallion running a flaxen-maned one moving from dark Pohjola from the gloomy arctic sea from the man-eating village the village that drowns heroes.

Kotihinsa tultuoho iss meni luoksi sepon siellä. Sanan virkko noin nimesi: “Sinä seppo Ilmorinen lankoni, emoni lapsi! Lähe neittä noutamahan 130 päätä kassa katsomahan pimiästä Pohjolasta. Nyt on neiti kosjottuna päätä kassa kaupattuna.”

When he got back home he went to the smith. He uttered a word, spoke thus: “Smith Ilmorinen my kinsman, my mother’s child! Set out to bring back a maid to look for a plaited head from dark Pohjola: now a maiden has been wooed a plaited head bargained for.”

Siilon seppo Ilmorinen 136 peseksen puhasteleksen sykysyisistä sysistä tavonnoista talvisista, veran äärillä veäksen lustuilla solkieksen, h o rekeensä reutuoksen koijahan kohenteleksen. Laski virkkua vitsalla helähytti helmivyöllä:

Then the smith Ilmorinen washed, cleaned himself up from the autumn-hued charcoal from the winter-hued forge-grime he drew broadcloth about him buckled on his armoured belt into his sledge flung himself into his sleigh stirred himself brought the lash down on his horse clouted with the beaded whip:

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oro juoksi, matka joutu i« pimiähän Pohjolahan summahan sarajahan miesten syöjähän kylähän urohon upottajahan.

the stallion ran, the road sped to dark Pohjola to the gloomy arctic sea to the man-eating village the village that drowns heroes.

Pohjolahan mentyöön iso Pohjon akka harvahammas pani sammon laaintaan kirjokannen kirjantaan yhen joukosen sulasta yhen otrasen jyvästä 155 yhen villan kylkyöstä maiosta mahovan lehmän yhen värttinän murusta.

When he got to Pohjola the gap-toothed crone of Pohjo set him to shape the sampo to work the bright-worked cover from one feather of a swan from one barley-grain one snippet of wool the milk of a barren cow from one piece of a distaff.

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Siilon seppo Ilmorinen päivät sampuo rakenti yöt neittä lepyttelööpi. Siilon seppo Ilmorinen saapi sammon valmihiksi kirjokannen kirjatuksi, ei neittä lepytetyksi.

Then the smith Ilmorinen by day he built the sampo and by night courted the maid: then the smith Ilmorinen fashioned the sampo brightly worked the bright-covered but the maid was not courted.

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Siit on jauho uusi sampo kirjokansi kiikutteli: jauho purnon puhtehessa jauho purnon syötäviä jauho purnon myötäviä 170 kolmannen pieltäviä.

The new sampo was grinding the bright-covered was rocking: it ground a binful at dusk' ground a binful for eating ground a binful for selling a third for storing away.

Niin ihastu Pohjon akka, anto oman tyttärehe sepolle Ilmoriselle ikusekse puolisokse 175 kainaloisekse kanakse paniakse päänalaisen jalkoin jaksajakse.

The crone of Pohjo was charmed and she gave her own daughter to the smith Ilmorinen to be his wife for ever be a hen under his arm to place his pillow to be always on her feet.

Siilon seppo Ilmorinen kotihinsa tullessansa

Then the smith Ilmorinen as he came towards his home

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käkyöt kukahteloopi korjan kirjavan kokilla, oravaiset juoksenteli aisoilla vaahterisilla, tetryöt kukerteloopi iss päällä luokin kynnäppäisen. Sepolla Ilmorisella käsi on kirjokintahissa toinen neitosen nisissä, jalka on Saksan saappoassa iso toinen reisien välissä Pohjolasta tullessansa.

cuckoos were calling on the prow of the bright sleigh squirrels ran about on the maple shafts black grouse were cooing on the collar-bow of elm. The smith Ilmorinen’s hand was in a bright-worked mitten the other on the maid’s breasts his foot in a German boot the other between her thighs as he came from Pohjola.

Kotihinsa tultuohon meni vanha Väinämöinen luokse sepon Ilmorisen, m kysytteli lausutteli: “Velli seppo Ilmarinen lankoni, emoni lapsi! Joko laait uuen sammon kirjokannen kirjoalit?”

When he arrived home the old Väinämöinen went to the smith Ilmorinen and asked him, spoke up: “Brother, smith Ilmorinen my kinsman, my mother’s child! Have you made the new sampo brightly worked the bright-covered?”

Sano seppo Ilmorinen: “Jo mie laain uuen sammon maiosta mahovan lehmän yhen villan kylkyöstä yhen värttinän murusta 205 yhen otrasen jyvästä.” Sano vanha Väinämöinen: “Joko jauho uusi sampo kirjokansi kiikutteli?”

The smith Ilmorinen said: “ I have shaped the new sampo from milk of a barren cow one snippet of wool from one piece of a distaff from one barley-grain.” The old Väinämöinen said: “Has it ground, the new sampo the bright-covered been rocking?”

Sano seppo Ilmorinen: “Jopa jauho uusi sampo kirjokansi kiikutteli: jauho purnon puhtehessa jauho purnon syötäviä jauho purnon myötäviä 215 kolmannen pieltäviä.”

The smith Ilmorinen said: “It has ground, the new sampo the bright-covered been rocking: it ground a binful at dusk ground a binful for eating ground a binful for selling a third for storing away.”

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Then the old Väinämöinen

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kun tunsi toet sanomat rakenteli laivoansa laski laivansa merehen, sanan virkko noin nimesi: “ K u on tuolla toissa miessä vanhalla Väinämöisellä? Iku Tiera, Nieran poika ylimmäinen ystäväni.”

when he understood this news set about building his ship launched his ship out on the sea uttered a word, speaking thus: “Who is there among these men with the old Väinämöinen? Iku Tiera, Niera’s son foremost of my friends.”

225

Nosti päälle purjepuunsa kun on männikön mäellä, laskoopi sinistä merta melan koukkupään nojassa. Laski päivän, laski toisen: 230 portit Pohjolan näkyypi paistaapi pahat saranat pahan ukset ulvottaapi.

He hoisted his masts like a pine-clump on a hill he sailed out on the blue sea leaning on his curved paddle he sailed a day, another: Pohjola’s gates were in sight the evil hinges shining the evil doorways squealing.

Tapasi on taskuhunsa siilon vanha Väinämöinen 235 löihen kukkaroisehensa. Niin otti uniset nieklat nukutteli nuuan joukon paineli pakanan kansan. Laskoopi sinistä merta 240 pimiähän Pohjolahan.

He fumbled in his pocket then Väinämöinen groped about in his purse took out sleeping-darts sent the wicked folk to sleep oppressed the pagan people. He sailed out on the blue sea to dark Pohjola.

Sanan virkko noin nimesi: “ Iku Tiera, Nieran poika ylimmäinen ystäväni, mene sie sampo ottamahan 245 kirjokansi kantamahan!”

He uttered a word, spoke thus: “Iku Tiera, Niera’s son foremost of my friends go and seize the sampo, you, carry off the bright-covered!”

Iku Tiera, Nieran poika hyvä kielas käskieki kepiä kehuttoaki meni sammon ottamahan 250 kirjokannen kantamahan. Eipä sampo liikukkana kirjokansi kihnakkana: juuret maahan juurutettu.

Iku Tiera, Niera’s son quick to take orders easy to persuade went off to seize the sampo carry off the bright-covered but the sampo would not move the bright-covered would not shift: its roots were rooted in earth.

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Itse vanha Väinämöinen tu läksi sammon ottamahan kiijokannen kantamahan. Eipä sampo liikukkana: juuret maahan juurutettu. Siilon vanha Väinämöinen aeo siilon kynti sammon juuret satasarvella härällä tuhatpäällä tursahalla, vei sammon venosehensa talu talkapohjahansa. 86» Nosti päälle purjepuita, laskoopi sinistä merta laski päivän, laski toisen niin päivänä kolmantena muurahainen mulkupoika 270 se kusi kuren jalalle pimiässä Pohjolassa. Kurki laski suuren kulkun parkasi pahan sävelen: kaikki Pohjola heräsi 27» paha valta valveutu.

The old Väinämöinen went himself to seize the sampo carry off the bright-covered but the sampo would not move: its roots were rooted in earth. Then the old Väinämöinen ploughed the roots of the sampo with a hundred-homed ox a thousand-headed sea-worm bore the sampo to his boat and placed it in his vessel. He hoisted his mast he sailed out on the blue sea he sailed a day, another so on the third day an ant, a ballocking boy pissed on the leg of a crane in dark Pohjola. The crane let out a great squawk screeched out in an evil tone: the whole of Pohjola woke the evil realm was awake.

Pohjon akka harvahammas tapasihe sampoansa: “Jo on sampo muunne viety kirjokansi kannettuna!” 280 Niin rakenti Pohjon purren: sata miestä sauomihin sata airooh urosta sata miestä miekallista sata miestä ampujata. 28 » Laskoopi sinistä merta.

The gap-toothed crone of Pohjo groped about for her sampo: “The sampo has been removed the bright-covered carried off!” She built the craft of Pohjo a hundred men to punt it a hundred fellows to oars a hundred men armed with swords a hundred men for shooting: she sailed out on the blue sea.

Iku Tiera, Nieran poika sanan virkko noin nimesi: “Sie vanha Väinämöinen laula sie hyväsukuni hyvän sammon saatuosi tien hyvän käveltyösi!”

Iku Tiera, Niera’s son uttered a word, speaking thus: “O you old Väinämöinen sing, you well-born man now you’ve got the good sampo now you’ve trodden the good road!”

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Sano vanha Väinämöinen: “Aikanen ois ilon teoksi varahainen laulannaksi: 296 portit Pohjolan näkyypi paistaapi pahat saranat pahan ukset ulvottaapi. Kun omat ovet näkyisi omat ukset ulvottaisi 300 äsen laulanta sopisi ilon teentä kelpoaisi.”

The old Väinämöinen said: “ It is too early to cheer still too soon to sing: Pohjola’s gates are in sight the evil hinges glitter and the evil portals squeal. If our own doors were in sight our own portals were squealing then it would be right to sing and fitting to make merry.”

Niin sano sanalla tuolla itse vanha Väinämöinen: “Ylimmäinen ystäväni 306 nouse purjepuun nenääh kasisliekaah kavaa, katso iät, katso lännet katso pitkin Pohjon ranta!”

He said in these words did the old Väinämöinen: “Foremost of my friends climb up now to the mast-tip clamber up the mast look eastward, look to the west look along Pohjo’s coastline!”

Iku Tiera, Nieran poika 310 hyvä kielas käskieki kepiä kehuttoaki nousi purjepuun nenääh kasisliekaah kavahti, katso iän, katso lännen 315 katso pitkin Pohjon rannan, niin sano sanalla tuolla:

“Jo tuloovi Pohjon pursi satahanka hakkoapi sata miestä sauomissa 320 sata airossa urosta sata miestä miekallista sata toinen ampujoa.”

Iku Tiera, Niera’s son quick to take orders easy to persuade climbed up then to the mast-tip clambered up the mast looked eastward, looked to the west looked along Pohjo’s coastline and said in these words: “Now Pohjo’s craft is coming a hundred rowlocks chopping a hundred men punting it a hundred fellows at oars a hundred men armed with swords a hundred more for shooting.”

Siilon vanha Väinämöinen jo näki tuhon tulevan 326 hätäpäivän päälle saavan. Tapasi on taskuuhunsa löihen kukkaroisehensa, löysi piitä pikkaraisen takloa taki vähäsen,

Then the old Väinämöinen saw his doom coming his day of distress dawning: he fumbled in his pocket he groped about in his purse found a tiny piece of flint a little scrap of tinder

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330 neki mestasi merehen saattaapi sarajahansa yli oikien olansa kautti kainalon vasemman. Itse noin sanoiksi virkko: 336 “ Luotihin merehen luoto salasaari siunattihin itähän ikäti pitkä luotehelle loppumaton Pohjolahan polveksehen 340 johon purret puuttuoho venehet takeltuoho!” Niin on puuttunt Pohjon pursi vene hankava halennut.

pitched them right into the sea cast them in the arctic sea straight over his right shoulder under his left arm. He himself uttered these words: “A crag was formed in the sea a hidden isle spirited stretching eastward for ever westward without end on and on to Pohjola upon which craft would be jammed and boats would be caught!” And so Pohjo’s craft was jammed the strong-rowlocked boat was split.

Pohjon akka harvahammas 346 nousi leivon lentimille sirkun siiville kohosi, vassat siiviksi sivalti kokon kynkkäluun nenille. Lenteä lepettelööpi 360 selvällä meren selällä ulapalla aukiella. Liiteleksen laateleksen päähän pielen Väinämöisen, tahtoo pursi päin puota 366 laiva lassuin lohkiella. Niin sanoopi Väinämöinen: “ Iku Tiera, Nieran poika ylimmäinen ystäväni, ota nyt miekkasi omasi 360 käelläsi oikiella vasemmelta reieltäsi, kokon koprille sivalla vaakalinnun varpahille!”

The gap-toothed crone of Pohjo rose on skylark’s pinions on a bunting’s wings went up she beat bath-whisks into wings upon an eagle’s wing-bones: she flew, she fluttered upon the clear stretch of sea the open water. She glided, hovered to Väinämöinen’s mast-head: the craft’s bow began to sink the ship to smash to pieces. So old Väinämöinen said: “Iku Tiera, Niera’s son foremost of my friends take up your own sword now in your right hand from its scabbard on your left: smite the eagle on the claws the wyvem upon the toes!”

Iku Tiera, Nieran poika 366 otti miekkansa omansa käellähän oikiella vasemmelta reieltänsä, kokon koprille sivalti

Iku Tiera, Niera’s son took up his own sword took in his right hand from its scabbard on his left smote the eagle on the claws

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the wyvem upon the toes but he did not cut the hide nor take off the outer skin. He struck once, he struck again soon a third time he laid waste: he’left no mark on the hide he took off no outer skin.

vaakalinnun varpahille vaan ei vuole vermentännä ota ei orvaskettuona. Iski kerran, iski toisen kohta kolmitsi rapuopi: tuo ei viere vermentänä ottat orvaskettuona.

Old Väinämöinen himself raised a paddle from the sea his oar from the waves smote the eagle on the claws the wyvem upon the toes. One nameless finger was left to seize the sampo carry off the bright-covered. Then the old Väinämöinen took up his own sword took in his right hand from its scabbard on his left. Then he shattered the sampo the bright-covered brightly flashed upon the clear stretch of sea the open water. And the wind lulled them and the soft breeze shifted them about the blue sea: washed all the other pieces up on the seashore up on the sea-slush. The gap-toothed crone of Pohjo carried the cover home, the handle to the cold village bore with her nameless finger bore with her left toe.

Itse vanha Väinämöinen melan on merestä nosti lapiensa lainehesta, kokon koprille sivalti 380 vaakalinnun varpahille. Jäi yksi nimetön sormi sampuo pitelemähän kirjokantta kantamahan. Siilon vanha Väinämöinen 385 otti miekkansa omansa käellä on oikiella vasemmelta reieltään. Siilon sampuo murotti kirjokantta kirjoali 390 selvällä meren selällä ulapalla aukiella. Noita tuuli tuuvitteli ilman lieto liikutteli ympäri meren sinisen: 396 muut kaikki muruset viepi rannalle meryttä vasten vasten merta hyyvänettä. Pohjon akka harvahammas kannen kanto Pohjolahan «oo rivan kylmähän kylähän sormella nimettömällä vasemella varpahalla.

Arhippa Perttunen

Latvajärvi, Vuokkiniemi, Archangel Karelia E. Lönnrot, 1834

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Väinämöinen ja nuori Jompainen ld Väinämöinen andyoung Jompainen went off to V anha lähättiin Pohjan muaale sammasta hake­ O the land of Pohja tofetch the sammas. And they maan. Sieltä suaatiin sammas kiin. Lähättiin merelle. Sano nuori Jompainen vanha Väinä­ möiselle: l,Alutto jo virsis.”

got the sammas too. They sailed away. Toung Jompai­ nen said to old Väinämöinen: “Now beginyour song.” “It is still too soon to sing: Pohjola’s gates are in sight and the house-stoves dimly glow.”

“Viel on virsinen varrastain kuin Pohjan maan portit näkö tuin uunit kuumotta.”

Lensipä sammas pilvee. Löi nuori Jompainen Now, the sammas flew into a cloud. Toung Jompainen with his sword struck two toes off the sammas: one miekalla kaks varvasta sammalta poiki: yksi lensi meree, toinen suaatiin muaale. Joka lensi flew into the sea, the other was brought to the land. The one that flew into the sea, from it salt came to mereen siite tuli suolat meree, joka suaatin 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

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ksi vanha Väinämöinen toinen seppo Ilmarinen kolmas nuori Joukamoinen läksi selvälle merelle lakialle lainehiille pitkän Pohjolan povehen miehen syöjien kylähän urohon upottajien.

Y 5

irst the old Väinämöinen then the smith Ilmarinen third the young Joukamoinen went on the clear stretch of sea on the boundless waves right into far Pohjola to the man-eating village the village that drowns heroes.

F

Ikivanha Väinämöinen meni riistariihen luokse, oluella ukset voiti kaljalla saranat kasto jott ei ulvo Pohjan ukset nau’u Hiitolan saranat, is Latjaeli laivan täyen saatto suuren sammon täyen, laitto laivansa merelle saatto sammon lainehiille. Läksi mielellä hyvällä 2o iloten omille maille.

The ancient Väinämöinen went into the threshing house for spoils, oiled the doors with beer with ale moistened the hinges that Pohja’s doors might not squeal nor Hiitola’s hinges whine. He loaded the ship up full he got the great sampo full launched his ship upon the sea got the sampo on the waves: he went off in good spirits rejoicing to his own lands.

Tuo oli vanha Väinämöinen laskevi meren vesiä lakehilla lainehilla. Laski päivän ensimäisen. 25 Virkki nuori Joukamoinen: “ Laula vanha Väinämöinen hyreksi hyväsukunen Pohjolassa käytyäsi hyvän sammen saatuasi!”

That old Väinämöinen sailed on the water of the sea on the boundless waves sailed for the first day. Young Joukamoinen uttered: “ Sing now, old Väinämöinen hum now, man of good family now you’ve been to Pohjola now you’ve got the good sturgeon!”

30 Virkki vanha Väinämöinen:

Old Väinämöinen uttered:

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“Aikanen ilon pioksi varahainen laulannaksi: portit Pohjolan näkyvi paistavi pahat veräjät kannet kirjo kiimottavat miehen syöjästä kylästä urohon upottajasta.”

“It is too early to cheer still too soon to sing: Pohjola’s gates are in sight the evil gateways glitter the bright covers are glowing of the man-eating village the village that drowns heroes.”

Jopa siitä päänä toissa virkki nuori Joukamoinen: “Laula vanha Väinämöinen hyreksi hyväsukunen Pohjolassa käytyäsi hyvän sammen saatuasi!”

Well, then on the second day young Joukamoinen uttered: “Sing now, old Väinämöinen hum now, man of good family now you’ve been to Pohjola now you’ve got the good sturgeon!1

Virkki vanha Väinämöinen: “Aikanen ilon pioksi varahainen laulannaksi: portit Pohjolan näkyvi paistavi pahat veräjät kannet kirjo kiimottavat so miehen syöjästä kylästä urohon upottajasta.”

Old Väinämöinen uttered: “ It is too early to cheer it is still too soon to sing: Pohjola’s gates are in sight the evil gateways glitter the bright covers are glowing of the man-eating village the village that drowns heroes.”

Virkki seppo Ilmarinen: “Oisinko itse perässä laulasinpa, taitasinpa.”

Smith Ilmarinen uttered: “ If it was me at the stern well, I’d sing, I’d know how to.”

Äsken laulo Väinämöinen. Jyriä urolla ääni lainehilla laulaessa vesillä viheltäessä: vuoret loukki, vaarat paukko kaikki kalliot järisi vaan ei leuat lonkaellut Väinämöisen laulellessa ilotessa Ilmarisen.

Just then Väinämöinen sang and the hero’s voice thundered over the waves as it sang on the water as it shrilled: it jarred mountains, jolted hills it set all the cliffs trembling. But jaws did not move at Väinämöinen’s singing Ilmarinen’s rejoicing.

Kusiainen kurja poika tuo kusi kuren jaloille: kurki laski suuren kulkun

A pismire, wretched fellow pissed on the legs of a crane: the crane let out a great squawk

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väkilintu väljän äänen parkasi pahan sävelen.

the strong bird made a large sound screeched out in an evil tone.

Tuosta Pohjola havatsi 7o Pohjan eukko ylös nousi, itse Pohjolan emäntä juoksi riistariihen luokse kartanoa katsomahan: riista kaikki pois kadonna. 76 Katso kaljansa katovan alenevan arviohon, pani joukon jousihinsa laitto miehet miekkohinsa sata miestä soutamahan so tuhat ilman istumahan, läksi Väinämön jälestä.

At that Pohjola woke up the dame of Pohja rose up Pohjola’s mistress ran out to the threshing-house for spoils ran to look over her farm: all the spoils had disappeared. She saw her cattle failing saw her riches declining: she got a band with their bows got men ready with their swords a hundred men for rowing a thousand sitting idle went after Väinämöinen.

Jo päivänä kolmantena virkki seppo Ilmarinen: “Hoiot vanha Väinämöinen! 86 Selkiä on etinen ilma taakia takanen puoli.”

Now on the third day smith Ilmarinen uttered: “Take care, old Väinämöinen: there’s clear sky in front but behind it’s dim.”

Jo tulevi Pohjan pursi satahanka halkoavi, sata miestä soutamassa so tuhat ilman istumassa. Sanoi seppo Ilmarinen: “Oiot vanha Väinämöinen! Ota piitä pikkuruisen tauloa taki vähäisen. 96 Luomma luo’oksi merelle salasaari siunoamme luoto pitkä pohjosehen suvehen sitä pitempi itähän iäti pitkä too loppumaton luotehesen johon puuttuu Pohjan pursi veno Hiitolan takeltuu.” Tuo oli vanha Väinämöinen

Now Pohja’s craft was coming the hundred-rowlocked cleaving a hundred men rowing it a thousand sitting idle. The smith Ilmarinen said: “Look out, old Väinämöinen! Take a tiny piece of flint quite a small bit of tinder: we’ll form a crag in the sea a hidden isle we’ll spirit a crag stretching to the north even further to the south stretching eastward for ever without end westward on which Pohja’s craft will jam Hii tola’s boat will be caught.” It was old Väinämöinen

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otti piitä pikkuruisen tauloa taki vähäisen: siihen puuttu Pohjan pursi satahanka salpasihen.

took a tiny piece of flint quite a small bit of tinder: on it Pohja’s craft was jammed the hundred-rowlocked stuck fast.

Tuo on itse Pohjan eukko jaloin tammasi vetehen, no läksi purtta nostamahan laivoa kohottamahan: eipä pursi liikukana. Siitä m uuttu mustaseksi käänty kokkolintuseksi, us sata pani miestä siiven päälle tuhat siiven tutkamille kymmenen kynän nenille, läksi Väinämön jälestä.

That dame of Pohja herself stepped feet first in the water set about raising the craft lifting up the ship but the craft was not moving. Then she changed to a black bird she turned into an eagle put a hundred men upon her wing a thousand on her wing-tips ten upon her feather-ends went after Väinämöinen.

Virkko seppä Ilmarinen iso päivän kolmannen perästä: “ Hoiot vanha Väinämöinen! Selkiä etinen ilma taakia takanen taivas. Jo tulevi Pohjan eukko, 125 sata on miestä siiven päällä tuhat siiven tutkamilla kymmenen kynän nenillä.”

Smith Ilmarinen uttered at the end of the third day: “Take care, old Väinämöinen: there’s clear sky in front but behind it’s dim. Now Pohja’s dame is coming a hundred men on her wing a thousand on her wing-tips ten upon her feather-ends.”

Liitelevi laatelevi päähän purren Väinämöisen, 130 kohta kokkahan kohosi. Virkko seppo Ilmarinen: “ Oiot vanha Väinämöinen! Nostapas mela merestä lapiasi lainehista, 136 lyö’ös kynsiä kavetta.”

She glided, hovered over Väinämöinen’s craft: soon she settled on the prow. Smith Ilmarinen uttered: “Hey there, old Väinämöinen: raise a paddle from the sea your spade from the waves hit the woman on the nails.”

Sitte vanha Väinämöinen jo nosti melan merestä lapiansa lainehista, iski kynsiä kavetta. 140 M uut kynnet meni muruiksi:

Then the old Väinämöinen raised a paddle from the sea his spade from the waves struck the woman on the nails. Other nails went to pieces:

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jäi yksi sakarikynsi jolla purtta nostamahan venoa ylentämähän.

the one on the small finger was left for raising the craft for lifting the boat.

Virkki vanha Väinämöinen: 145 “Jos lienet pursi Luojan luoma veno veistämä Jumalan, syrin syöksete merehen laioin lainehin ajate!”

Old Väinämöinen uttered: “Were you, craft, the Creator’s, boat, of God’s shaping you’d plunge sideways in the sea run broadside into the waves!”

Jo meni meren sisähän iso lankeis laiva lainehisen. Itse vanha Väinämöinen syrjin syöksihen vetehen lankeis laivoin lainehisen menevi meren sisähän.

Now it went into the sea the ship fell into the waves. Old Väinämöinen himself plunged sideways in the water fell, ship and all, in the waves went into the sea’s inside.

155 Itse Pohjolan emäntä nosti talman taivahalle sumun ilmalle ylenti.

Pohjola’s mistress herself raised a mist into the sky lifted fog into the air.

160

Laulo vanha Väinämöinen selvässä meren sisässä lakehissa lainehissa: “Ei oo mies vähän pahempi u’ulla upottaminen terhenellä voittaminen.”

And old Väinämöinen sang in the open sea's inside in the boundless waves: “Not even a worse man is drowned by haze overcome by spray.”

Itse Pohjolan emäntä 165 läksi itkien kotihin kallotellen kaupuntihin.

Pohjola’s mistress herself went weeping homeward wailing to the town.

Ylös nousi Väinämöinen yön kolmen levättyänsä selvässä meren sisässä 170 lakehissa lainehissa, otti ruoskan ruohonkarvan iski vettä piiskallahan merta siimalla sivalti: sima siuku siiman tiestä 175 utu ruoskan nauskehesta,

Väinämöinen rose again having rested for three nights in the open sea’s inside in the boundless waves took a grass-hued whip struck the water with the lash smote the sea with the whiplash: honey swished from the whip’s path haze from where the lash whistled

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nousi talma taivahalle utu ilmoille yleni, selvisi utu mereltä.

the mist rose into the sky the haze lifted in the air the haze cleared up from the sea. Simana Sissonen and Simana Huohvanainen

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

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vanha Väinämöine Läksi läksi neittä kozjomah taimenta tavottamaha pimiestä Pohjolasta 6 tarkasta TapiVolasta.

10

Anni tytti ainuo neiti pezi pikku poukkuistaha valkaizi valantehutta pitäm portahan nenässä. Näki kalaizen karjan.

went off Oldhe Väinämöine went off to woo the maid to angle for the sea-trout in dark Pohjola in careful Tapivola. The girl Anni, matchless maid was washing her little things bleaching what she’d rinsed at the end of the long quay when she saw a shoal of fish.

“Jos lienet kalaine karja niin sie uimaha uleuvu! Jos lienet lintuine karja niin sie lendoho leviete! 15 Jos lienet vezikivoine niin sie vezin vierekkänä! Jos lienet vanha Väinämöine pakinoilla painustoate sanomilla soahustoate!”

“If you are a shoal of fish then away with you, swim off! If you are a flock of birds then begone with you, fly off! If you are a water-rock then roll off in the water! If you’re old Väinämöine bring yourself here for a talk come here for a word!”

so Tuli vanha Väinämöine pakinoilla painustihi sanomilla soahustihi.

The old Väinämöine came took himself there for a talk went there for a word.

Heän tuon sanoiksi virkki: “Kunne läksit Väinämöine?”

And she put this into words: “Where are you off to, Väinö?”

25 “ Läksin jouttšenien ajoho Tuonem mussasta jovesta.”

“I am off on a swan-hunt down at Tuoni’s black river.”

“Jo tunnen valehtelijan

“Now I know a liar

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keksin kielahin sanojan! Toizin ennem miun izoni 30 toizin valdovanhembani läksi jouttšenien ajoho Tuonem mussasta jovesta: suur oli koira kahlehessa suuri jouzi jänteissä. 36 Kunne läksit Väinämöine?” “Läksin lohta pyytämällä Tuonem mussasta jovesta.” “Jo tunzin valehtelijan keksin kielahin sanojan! 40 Toizin ennem miun izoni toizin valdovanhembani läksi lohem pyyvändäh: verkkuo venehen täyzi laivan täyzi laskomista. 46 Kunne läksit vanha Väinämöine?”

60

“I am off salmon-fishing down at Tuoni’s black river.” Now I’ve known a liar see a speaker of false words! Otherwise was my father my noble parent when he went salmon-fishing: he had a boatful of nets a shipful of fishing-gear. Where are you off to, Väinö?”

“Läksin neittä kozjomaha pimiestä Pohjolasta tarkasta Tapivolasta.”

“I am off to woo a maid in dark Pohjola in careful Tapivola.”

Anni tytti ainuo neiti kobrin kogozi sobaha käzin keäri voattevuoho, pistihe sepäm pajaha.

The girl Anni, matchless maid in her fists gathered her skirt in her hands bundled her dress squeezed into the smith’s workshop.

“Oi sie seppä Ilmolline takoja ijänikuine! 65 Tavo miula viijet vidjat kolmet korvirengahaizet, mie sanon hyvät sanomat pakizen hyvät pakinat.”

60

see a speaker of false words! Otherwise was my father my noble parent when he went on a swan-hunt down at Tuoni’s black river: he had a big dog in chains he had a big bow drawn taut. Where are you off to, Väinö?”

Se oli seppä Ilmolline tako päivän, tako toizen tako peänä kolmantena tako hänellä viijet vidjat

“O you smith Ilmolline you everlasting craftsman! Hammer me five chains three pairs of earrings I will tell good news I will speak good things.” The smith, that Ilmolline hammered a day, another hammered a third day hammered her five chains

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kolmet korvirengahaizet, heän sano hyvät sanomat: 65 “Viedih mielitiettävässi kolmin vuozin kozjottavas kaksin kaupoteldavassi.”

three pairs of earrings and she told good news: “Your loved one has been taken the one you wooed three years long you bargained for two years long.”

Istuzih hevon rekeh, iski virkkuo vitšalla 70 helähytti helmispeällä: virkku juoksi, matka joutu reki vieri, tie lyheni. Ajoa köröttelöyve pimiehe Pohjolaha 75 tarkkaha Tapivolaha.

He got into a horse-sledge hit the courser with a lash clouted with the beaded tip: courser ran, the way was quick the sledge flew, the road grew short. He drove steadily to dark Pohjola to careful Tapivola.

Sielä haukku hallikoira soaren lukki luskutteli.

There the watchdog was barking the island’s dog made a din.

Sielä Pohjolan emändä käski piikoa kattšomaha so mitä haukku hallikoira soaren lukki luskuttauve: ei halli valehta hauku soaren lukku luskuttele.

The mistress of Pohjola told the servant-girl to see why the watchdog was barking the island’s dog made a din: no watchdog barks for nothing no island’s dog makes a din.

Piika varzin vastovaili: 85 “Embä jouva kattšomaha! Kivi on suuri jauhottava kivi suuri, jauhot hienot.”

The servant answering said: “ I’ve no time to look! There’s a big stone for grinding the stone big and the flour fine.” Still the watchdog was barking the island’s dog made a din.

Aina haukku hallikoira soaren lukki luskutteli. so Se oli Pohjolan emäntä käski kazakkoa kattšomaha: “ Mäne kazakka kattšomaha mitä haukku hallikoira soaren lukki luskutteli: 95 ei halli valehta hauku soaren lukki luskuttele.”

The mistress of Pohjola ordered the hired man to look: “Go, hired man, and see why the watchdog was barking the island’s dog made a din: no watchdog barks for nothing no island’s dog makes a din.”

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Kazak varzin vastovaili: “ Embä jouva kattšomaha! Pin on suuri ladjattava loo pino suuri, halot hienot.”

The hired man indeed answered: “I’ve no time to look! There’s a big pile to be made the pile big and the sticks fine.”

Se oli vanha Väinämöine peäzi pimiehe Pohjolaha tarkkaha Tapivolaha, sielä neittä kozjotaha 105 taimenda tavotetaha.

It was old Väinämöine arrived in dark Pohjola in careful Tapivola: there the maid was wooed the sea-trout was angled for.

Akka varzin vastovaili: “Siidä annan tyttäreni jos soat sampon valmeheksi.”

The old crone indeed answered: “For this I’ll give my daughter: if you fashion the sampo.

Se oli seppä Ilmolline no tako päivän, tako toizen tako peänä kolmantena, jo sai sampon valmeheksi.

It was smith Ilmolline hammered a day, another hammered a third day: now he fashioned the sampo.

Se oli vanha Väinämöine uinotti Pohjolan ukonne ns uinotti Pohjolan akanne kaiken Pohjoisen peränne. Siidä otin tyttärenne sain samponne mukahani panin sampon laivahani 120 läksin ajamah merehe.

It was old Väinämöine lulled to sleep Pohja’s old man to sleep Pohja’s old woman all the rest of Pohjoinen: and then I took your daughter took your sampo off with me put the sampo in my ship sailed away upon the sea.

Ajoim päivän, ajoin toizen ajoim peänä kolmantena. Havahtu Pohjolan emäntä: “Jopa viedih tyttäreni!” 125 Läksi ajamah perästä siibi-puoleh siihottomah. Lendi päivän, lendi toizen lendi peänä kolmantena jopa peäzi purzipuuhu iso liidih tuoho purzipuuhu.

I sailed a day, another I sailed a third day. Pohjola’s mistress woke up: “My daughter’s been carried off!” She sailed away in pursuit on wings she was borne along: she flew a day, another and she flew for a third day till she came to the boat’s mast glided on to that boat’s mast.

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Se oli vanha Väinämöine tabazihi taglohois turvazih tuluksihis.

It was old Väinämöine reached for his touchwood he turned to his tinder-box.

Iski tulda Ilman ukko 135 välähytti Väinämöine kolmella kokon sulalla viijellä vivuttšimella.

im

Läksi sieldä kyböine läpi moan, läpi Manulan läpi reppänän retuizen läpi lapsen kätkyöistä, parmoizet emolda poltti tissit pissyt piikaizilda.

Old Man of the Air struck fire Väinämöine made a flash made with three eagle-feathers with five tail feathers. From the place a spark shot out through the earth, through Manula through the smoke-hole caked with soot through a child’s little cradle burnt the breasts of the mother the firm nipples of the maids.

Tuoho palo hänen laiva. 145 Siidä heäm mäni merehe.

And there his ship was ablaze: then he went into the sea.

Siidä kulgi kolme vuotta: kuhu koski sormi siihi tuli soari, kuhu koski polvi iso siihi tuli korko.

Then he drifted for three years: where his finger touched there an island came and where his knee touched there a boulder came.

Loadi sorzane pezän tuoho tuossa polvem peähä sengo vanha Väinämöisen. Muni tuohki munaizenne. 155 Sai muna murenneheksi sillä tuli voijetuksi.

160

A little duck built a nest there upon the very knee of that old Väinämöine. Even there it laid an egg. The egg broke into pieces; he used it for salve.

Siidä heäm peäzi eloho siidä läksi matkahassi.

Then he came to life then went off on his journey.

Tuli Joukone vastahassi. Siidä heän sanoiksi virkki: “Kumbi lauloa ozannou sen ei tieldä lähtie.”

He met Joukone then he put this into words: “Whichever of us can sing need not leave the road.”

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“Laula Joukone ezinnä.” Joukone tuon sanoiksi virkki: ies lauloi tähet taivoizella.

“Sing, Joukone, first.” Joukone put this into words: he sang the stars in the sky.

Se oli vanha Väinämöine heän tuon sanoiksi virkki: “Omani on taivone tähittämäni.”

It was old Väinämöine put this into words: “Mine the spangling of the sky.”

Laulo suoho vyötä myöten

He sang him into a marsh belt-high, in the ground hip-deep.

170 moahako nizuslihoja.

Se oli vanha Väinämöine heän tuon sanoiksi virkki: “Annatk ainuon sizares niim mie peässän suosta siun.”

It was old Väinämöine put this into words: “If you give your one sister I’ll get you out of the marsh.”

176 Heän lupazi sizareh.

Mäni Joukone kotihis heittihi pahalla mielin alla suim, pahalla mielin kaiken kallella kypärin.

He pledged his sister. Joukone went home was plunged into bad spirits his mouth down, in bad spirits and his helmet all askew.

iso Se oli moamo kantajaine heän tuon sanoiksi virkki: “Mit olet poika pahalla mielin kaiken kallella kypärin?”

’Twas his mother who bore him put this into words: “Why, my son, are you in bad spirits and your helmet all askew?”

“Sit olem pahalla mielin iso kaiken kallella kypärin: annoin ainuon sizaren tuolla vanhalla varaksi iloksi ikilopulla tuosta suosta peässäkseni.”

“For this I’m in bad spirits and my helmet’s all askew: I’ve given my one sister to look after that old man to cheer the ancient to get me out of the marsh.”

iso Se oli moamo kantajaine heän tuon sanoiksi virkki: “Poikuoni ainuoni elä ole pahalla mielin. Tuota mie itin ikäni

’Twas his mother who bore him put this into words: “My only offspring! Do not be in bad spirits: for this I yearned all my life

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196 puhki polveni halazin vävykseni Väinämöistä!”

longed throughout my days Väinö for my son-in-law!” Miihkali Senkkanen

Kiimaisjärvi, Archangel Karelia A. A. Borenius, 1872

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5

soaren neitoni Annikki sisar seppo Ilmorisen

the island maid Annikki smith Ilmorini’s sister

lähti poukkujem pesuilla rannalla meren sinisen Laisan laiturin nenällä.

went off to do her washing on the shore of the blue sea at the end of Laisa Quay.

Keksi se mustosem mereltä sinervöisen lainnehelta. Itše noin sanoikse virkko: “Kuin ollet isoni pursi 10 sie keänny kohin kotihe perim muihe valkamoihe! Tahikka Veijoni venoni perim muihe valkamoihe! Eli pursi Väinämöisen is sie painu pakinoilla! Olit armas allikaija sinä lentohon levie! Elikkä vesikivoni vesi peälläsi vetähys!”

She spied a black speck on the sea something bluish on the waves herself put this into words: “If you are my father’s boat turn homeward, turn to your house away from other havens! Or else if my brother’s craft away from other havens! Or yet Väinämöini’s boat bring yourself here for a talk! If a darling flock of ducks spread out into flight! Or again a water-stone draw the water over you!”

so Se oli pursi Väinämöisen se om painu pakinoilla.

It was Väinämöini’s boat took itself there for a talk.

26

Annikki soaren neitoni puhutteli lausutteli: “Kunnepa läksit Väinämöini ulkenit Umannon sulho?”

Annikki the island maid talked away, prattled away: “Where are you off to, Väinö where, bridegroom of Umanto?”

Sano vanha Väinämöini: “Läksin lohta kuultamalla Tuonem mussasta jovesta Manalan alantehesta.”

The old Väinämöini said: “I’m off to catch a salmon down in Tuoni’s black river in the pit of Manala.”

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so Annikki soaren neitoni sepä noin sanoikse virkko: “Jo tunnen valehtelijan ymmärtelen kielastajan! Toisin ennem miun isoni 36 läksi lohta kuultamaha: verkkoja venoni täysi arinoja alla teljon. Ohoh vanha Väinämöini sanos tarkkoja tosija!”

Annikki the island maid put this into words: “Now I know a liar sense a speaker of false words! Otherwise was my father when he went to catch salmon: he had a boatful of nets fishing-spears under the thwarts. Hoho, old Väinämöini just tell the truth carefully!”

40 “Läksin hanhien hakuhu kuolasuijen kahteluhu.”

“I’m off after geese to look out for slobber-mouths.”

Annikki soaren neitoni sepä noin sanoikse virkki: “Jo tunnen valehtelijan 46 ymmärtelen kielastajan! Toisin ennem miun isoni läksi hanhien hakuhu kuolasuijen kahteluhu: suur oli jousi jäntejissä, 60 koiraset keränä vieri penit rantoja samusi.”

Annikki the island maid put this into words: “Now I know a liar sense a speaker of false words! Otherwise was my father when he went off after geese to look out for slobber-mouths: he had a big bow drawn taut dogs bowling like balls and pups straying on the shores.”

Aina Annikki kysyvi tinarinta tiijustavi: “Sano vanha Väinämöini 65 sano tarkkoja tosija: kunne läksit Väinämöini?”

Still Annikki asked and the tin-breasted inquired: “Tell me, old Väinämöini and tell the truth carefully: where are you off to, Väinö?”

60

Sano vanha Väinämöini: “Kuin on neiti Pohjosessa impi kylmässä kylässä: lihan läpi luut näkyvi luun läpi yvin näkyvi, kiitti puoli Pohjam moata. Läksin neittä kosjomaha pimiestä Pohjosesta.”

65 Annikki soaren neitoni

The old Väinämöini said: “There’s a maid in Pohjonen a girl in the cold village: through her flesh you see the bones through bone the marrow half Pohja’s land praises her. I am off to woo the maid in dark Pohjonen.” Annikki the island maid

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koprin se helmasa kokosi käsin keäri voattiesa, pijan juoksi matkat pitkät väliäten välit lyhyöt. 70 Mänöä sepom pajaha: “Oi on seppo veikkoseni otetahi ostettusi viijähä lunassettusi savoim markoim maksettusi!”

in her fists gathered her hem in her hands bundled her dress quickly ran on long journeys short distances fast. She went to the smith’s workshop: “O smith, my little brother she you bought is being taken she you redeemed carried off she who cost a hundred marks!”

76 Vaipuvi vasara keäistä pihet kirpusi pivosta. “Oi on Anni tšikkoseni lämmitäs saloa sauna pijam pirtti riuvuttele so hienosilla halkoloilla! Loaji piimäistä poruo ytelmöistä saipuota jolla se peipponi pesekse sykysyisistä sysistä as tavonnoista talvisista! Avoas peräni aitta rannimmaini reusahuta, ota hoahen haljakoita!”

The hammer dropped from his hand the tongs slipped out of his palm. “Anni, my little sister warm the bath-house secretly quickly stoke up the bathroom with some finely-cut firewood! Prepare some thick lye some bone-marrow soap with which the chaffinch may wash the autumn-hued charcoal off the winter-hued forge-grime off! Open the furthest storehouse fling wide the one next the shore: take some coats of foreign wool!”

Viititšekse voatitšekse. 90 “Oi on Anni tšikkoseni pane sie varsa valjahise ruskijen rejen etehe takaisesta tanhuvosta tammisesta pattšahasta!” 96 Siitä seppo Ilmorini ajoa karettelovi meren hietaharjuloita hevoisella hirvisellä kalahauvin karvasella loo lohem mussam muotosella pimiehe Pohjolaha. Tuo vanha Vainämöini

I

He dressed himself, decked himself. “Anni, my little sister put the colt into harness at the front of the brown sledge in the farmyard at the back at the oaken post!” Then the smith Ilmorini drove rumbling away by the sea’s sandy ridges with an elk-hued horse with pike-coloured hair a black salmon’s shape to dark Pohjola. And that old Väinämöini

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purjehti punaista merta punaisilla puijehilla. Niitä haukku Pohjon halli linnan lukku luksutteli.

Sano Pohjolan isäntä: “Mänes akka kattšomaha mitä haukku Pohjon halli no linnan lukku luksutteli!”

sailed on the red sea in a red-sailed boat. Pohjo’s watchdog barked at them the castle’s dog howled. And Pohjola’s master said: “Go, crone, and see why Pohjo’s watchdog barked the castle’s dog howled!”

Sano Pohjolan emäntä: “Enkä lähe enkä huoli, mänes itše kattšomaha.”

And Pohjola’s mistress said: “I won’t go out, I don’t care. Go yourself and look.”

Sitte Pohjolan isäntä ns mäni itše kattšomaha: tuo on seppo Ilmorini ajoa karettelovi hevosella hirvisellä kalahauvin karvasella iso lohem mussam muotosella, toini on vanha Väinämöini purjehti punaista merta punasilla purjehilla.

And so Pohjola’s master went himself and looked: and that smith Ilmorini was driving rumbling along with an elk-hued horse with pike-coloured hair a black salmon’s shape and old Väinämöini too was sailing on the red sea in a red-sailed boat.

Sano Pohjolan isäntä: 125 “Tuonne neiti annetaha ku tuopi kannoilla rahoa aluksilla oartehia.”

And Pohjola’s master said: “He shall have the maid who on his decks brings money who in his ships brings treasure.”

Sano Pohjolan emäntä: “Sinne neiti annetaha 130 työnnetäh luvattu lahja kunne on neiti toivotettu, sepolla Ilmorisella.”

And Pohjola’s mistress said: “He shall have the maid the pledged gift will be given to whom the maid is promised smith Ilmorini.”

Siitä vanha Väinämöini kovin suuttu ta vihastu, 135 tunki kultije tulehe hopeita huopin täyven.

Then the old Väinämöini grew very angry and wild thrust gold pieces in the fire 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

5

Tön tytti, hämärän neiti JL pesi pestyjä sopia valattuja valkaeli pitkän portahan nenässä kirjopaalikka käessä.

r r i h e girl of night, maid of dusk i . was rinsing clothes she had washed what she had bleached was bleaching at the end of the long quay a bright-carved bat in her hand.

Laskevi punanen pursi, puoli purtta on punasta.

A red boat went by: one side of the boat was red.

Yön tytti, hämärän neiti puhutteli purtta tuota io puhelevi purrestahan: “Kunnes menet, ruoan ruotsi?”

The girl of night, maid of dusk spoke out to that boat and talked from her boat: “Where are you bound, Swede to feed?”

Ruotsi varsin vastoavi puhelevi purrestahan: “ Mie menen kalan kutuhun ruotahännän roiskehesen.”

And the Swede indeed answered and talked from his boat: “I am bound for the fish-spawn the splashing of the spine-tail.”

Yön tytti, hämärän neiti jopa varsin vastoavi: “Elä milmani valehi! Sanos totta toinen kerta, so Tunnen ma kalan ku’utkin: mies nenässä, mies perässä verkot on keskellä venettä sauomet pität nenässä perässä sitä pitemmät.”

The girl of night, maid of dusk now indeed answered: “Don’t tell lies to me! Just tell me the truth this time. I know about fish-spawn too: one man for’ard, one astern the nets amidships the long rods for’ard longer ones astern.”

25 Yön tytti, hämärän neiti puhutteli purtta tuota: “Kunnes menet, ruoan ruotsi?”

The girl of night, maid of dusk, spoke out to that boat: “Where are you bound, Swede to feed?”

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Ruotsi varsin vastoavi puhelevi purrestahan: 30 “ Menen käymähän sotia.”

35

Yön tytti, hämärän neiti jopa varsin vastoavi: “Elä milmani valehi! Sanos totta kolmas kerta. Tunnen mie soanki käyjät: sata miest on soutamassa tuhat ilman istumassa nenin pyssytki nenissä terin miekat tehtosammat.”

40 Yön tytti, hämärän neiti puhutteli purtta tuota jopa varsin vastoavi: “Kunnes menet, ruoan ruotsi?” Ruotsi varsin vastoavi 45 puhelevi purrestahan:

“Minä menen sulhaseksi ukon hiien tyttärelle valkiahan valvattihin.”

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The girl of night, maid of dusk ’ now indeed answered: “Don’t tell lies to me! Just tell me the truth this time. I know about warriors too: a hundred men at the oars a thousand sitting idle the guns upright at the prows swordblades ready for action.” The girl of night, maid of dusk spoke out to that boat now indeed answered: “Where are you bound, Swede to feed?” And the Swede indeed answered and talked from his boat: “ I’m off to be a suitor to the old demon’s daughter to the white one men yearn for.”

käännältihen käärmeheksi, lenti kullaissa käkenä hopiaissa kyyhkyläissä lenti kyynä kynnykselle otussa pajan ovelle: “ Hoiot seppo Ilmarinen taos risti rinnoilleni päällä pankani paranna koske korvirenkahani! Nyt sanon hyvät sanomat.”

The girl of night, maid of dusk now changed into a black speck turned herself into a snake flew as a golden cuckoo in a silver pigeon’s form flew, viper, to the threshold as beast to the smithy door: “Hullo, smith Ilmarinen hammer a cross for my breasts then touch up my metal brooch forge earrings for me! Then I will tell you good news.”

Virkko seppo Ilmarinen: “Kuin sanot hyvät sanomat taon ristit rinnoillesi

Smith Ilmarinen uttered: “If you tell me good news, I’ll hammer crosses for your breasts

Yön tytti, hämärän neiti 50 jopa muuttu mustaseksi

55

And the Swede indeed answered and talked from his boat: “I am going off to war.”

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päällä pankasi parannan 65 kosken korvirenkahasi. Kuin sanot pahat sanomat niin tungen tulehen pääsi itsesi ikitilahan alle ahjon Ilmarisen.”

then touch up your metal brooch forge earrings for you: but if you tell me bad news I’ll thrust your head in the fire yourself in the endless space under Ilmarinen’s forge.”

70 Yön tytti, hämärän neiti jopa noin sanoiksi virkki: “Jopa tuli ruoan ruotsi jopa tuli sulhaseksi ukon hiien tyttärehen 76 valkiahan vaivattihin.”

The girl of night, maid of dusk put this into words: “A Swede to feed has just come just come to be a suitor to the old demon’s daughter to the white one men yearn for.”

Kuuli seppo Ilmarinen: jo kirpoi pihet käestä. Laulo seppo Ilmarinen: “ Konsa pihin piettänehe so vasaroin valittanehe?”

The smith Ilmarinen heard: the tongs slipped out of his hand. The smith Ilmarinen sang: “When next will the tongs be held the hammer wielded?”

Virkkoi seppo Ilmarinen: “ Hoiot maammo kantajani säästä säkkihin evästä pane jauhot palttimahan! 85 Jopa lähen sulhasiksi ukon hiien tyttärehen valkiahan valvattihin.”

Smith Ilmarinen uttered: “Hullo, mother who bore me lay provisions in a bag put flour in a linen sack! I’m going as a suitor to the old demon’s daughter to the white one men yearn for.”

Kovin haukku suuri koira peni julma julkutteli so hiien linnassa jalossa kauhiassa kaupungissa.

Loud the big dog barked the cruel pup leapt about in the demon’s great castle in the dreadful town.

Harvoin virkki linnan hiisi harvoin harvio nureksi: “ Menepäs orja katsomahan 96 mitä haukku suuri koira peni julma julkutteli!”

Slowly the castle’s demon uttered, in slow words grunted: “Just go, serf, and see why the big dog barks the cruel pup leaps about!”

Orja taiten vastoavi: “Enpä joua katsomahan:

The serf knowingly answered: I’ve no time to look:

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pino on pitkä latjattava loo pino pitkä, halko hieno lastu pieni poimittava.”

there’s a large pile to be made the pile large and the stick fine the small chip must be gathered.”

Harvoin virkki linnan hiisi harvoin harvio nureksi: “ Menepäs piika katsomahan io s mitä haukku suuri koira peni julma julkutteli perin peltohon syvähän hännän käänsi käppyrähän! Ei koira vioitta hauku no peni ei syyttä sylkyttele.”

Slowly the castle’s demon uttered, in slow words grunted: “Just go, servant-girl, and see why the big dog barked the cruel pup leapt about yonder by the fertile field twirling its tail round and round: no dog barks without reason no pup slavers without cause.”

Piika varsin vastoavi: “Empä joua katsomahan: kivi on suuri jauhettava kivi suuri, paasi paksu.”

The servant indeed answered: I’ve no time to look: there’s a big stone for grinding the stone big and the slab thick.”

ns Harvoin virkki linnan hiisi harvoin harvio nureksi: “ Määpäs neiti katsomahan mitä haukku suuri koira peni julma julkutteli 120 perin peltohon syvähän hännän käänsi käppyrähän! Ei koira vioitta hauku peni ei syyttä sylkyttele.”

Slowly the castle’s demon uttered, in slow words grunted: “Just go, maid, and see why the big dog barked the savage pup leapt about yonder by the fertile field twirling its tail round and round: no dog barks without reason no pup slavers without cause.”

Neito oli nöyrä käskyläinen 125 meni neiti katsomahan. Tuli neiti katsomasta sano tuota tultuahan: ‘‘Tulevi veno punanen punapursi pursuavi 130 tämän puolen Lemmenlahta, ajavi oro punanen kokottavi kirjokorja toisen puolen Siimetsaarta.”

The maid, a meek underling the maid went to look. The maid came back from looking said as soon as she arrived: “A red boat’s coming a red craft’s lapping on this side of Lempi Bay: a red stallion is trotting a bright sleigh is drawing close on that side of Siimet Isle.”

Harvoin virkki linnan hiisi

Slowly the castle’s demon

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136 harvoin harvio nureksi: “Purrella rahoja tuopi aluksella aartehia kirjokorja luottehia.”

uttered, in slow words grunted: “In the boat he brings money in the ship he brings treasure the bright sleigh brings spells.”

Harvoin virkki linnan hiisi 140 harvoin harvio nureksi: “Pankaa pihjala tulehen! Kuin on verta vuotanevi niin silloin sota tulevi vaan kuin vettä vuotanevi 145 silloin sulhaset tulevat.”

Slowly the castle’s demon uttered, in slow words grunted: “Put the rowan in the fire! If blood oozes out then war is coming but if water drips suitors are coming.”

Jopa joutu ruoan ruotsi hiien linnahan jalohon kauhiahan kaupunkihin. Tuli seppo Ilmarinen, iso kysy tuolta tultuansa lausu kohta lattialta: “Tokkos akka annetahan ukon hiien tyttärestä valkiasta valvatista?”

Now the Swede to feed arrived at the demon’s great castle in the dreadful town. The smith Ilmarinen came he asked as soon as he came spoke up at once from the floor: “Is a wife to be given she, the old demon’s daughter she, the white one men yearn for?”

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Harvoin virkki linnan hiisi harvoin harvio nureksi: “Oiot seppo Ilmarinen, äsken akka annetahan kuin sa kynnät kyisen pellon käärmehisen käännät telet.”

Slowly the castle’s demon uttered, in slow words grunted: “ Hey there, smith Ilmarinen: a wife is to be given if you plough the viper-field turn the field of snakes over.”

Virkko seppo Ilmarinen: “Yön tytti, hämärän neiti muistatko muinosen valasi kuin vannoit ikivalasi eessä vaskisen jumalan kultakaavehen kohassa tullaksesi toivottelit?”

Smith Ilmarinen uttered: “O girl of night, maid of dusk do you recall your old vow the eternal vow you took before the god of copper facing the virgin of gold when you promised you would come?”

Anto morsian apua. Tuopa seppo Ilmarinen jopa kynti kyisen pellon

The bride gave her help. Now, that smith Ilmarinen ploughed the viper-field

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käärmehisen käännätteli. Kysy kohta tultuansa lausu kohta lattialta: “Tokkos akka annetahan 175 ukon hiien tyttärestä valkiasta valvatista?”

turned the held of snakes over. He asked at once when he came spoke up at once from the floor: “Is a wife to be given she, the old demon’s daughter she, the white one men yearn for?”

Harvoin virkki linnan hiisi harvoin harvio nureksi: “Oiot seppo Ilmarinen, iso äsken akka annetahan kuin sa tuonet Tuonen karhun sinisen salon sisästä portin Pohjolan ovilta.”

Slowly the castle’s demon uttered, in slow words grunted: “Hullo, smith Ilmarinen: a wife is to be given if you bring back Tuoni’s bear from within the blue backwoods from the gates of Pohjola.”

Virkko seppo Ilmarinen: 185 “Yön tytti, hämärän neiti muistatko muinosen valasi kuin vannoit ikivalasi eessä vaskisen jumalan kultakaavehen kohassa 190 tullaksesi toivottelit?”

Smith Ilmarinen uttered: “O girl of night, maid of dusk do you recall your old vow the eternal vow you took before the god of copper facing the virgin of gold when you promised you would come?”

Anto morsian apua. Jop on seppo Ilmarinen jop on tuonut Tuonen karhun sinisen salon sisästä 195 portin Pohjolan ovilta. Kysy tuolta tultuansa lausu kohta lattialta: “Tokkos akka annetahan ukon hiien tyttärestä 200 valkiasta valvatista?”

The bride gave her help. Now, the smith Ilmarinen brought back Tuoni’s bear from within the blue backwoods from the gates of Pohjola. He asked as soon as he came spoke up at once from the floor: “Is a wife to be given she, the old demon’s daughter she, the white one men yearn for?”

Harvoin virkki linnan hiisi harvoin harvio nureksi: “Oiot seppo Ilmarinen, äsken akka annetahan 205 kuin sa tuonet Tuonen hauin Tuonen mustasta joesta Manalan alantehesta.”

Slowly the castle’s demon uttered, in slow words grunted: “Hullo, smith Ilmarinen: a wife is to be given if you bring back Tuoni’s pike out of Tuoni’s black river from the pit of Manala.”

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Virkki seppo Ilmarinen: “Yön tytti, hämärän neiti sio muistatko muinosen valasi kuin vannoit ikivalasi eessä vaskisen jumalan kultakaavehen kohassa tullaksesi toivottelit?”

Smith Ilmarinen uttered: “O girl of night, maid of dusk do you recall your old vow the eternal vow you took before the god of copper facing the virgin of gold when you promised you would come?”

sis Anto morsian apua. Meni seppo Ilmarinen jopa tuopi Tuonen hauin. Morsian kokoksi käänty jopa joutu vahtimahan. 220 Sitte seppo Ilmarinen jo haropi Tuonen hauin Tuonen mustasta joesta Manalan alantehesta. Tuonpa seppo Ilmarisen 225 vetehinen kiini koppi, kokko niskahan kahahti vetehistä päähän väänti. Ei vesi veelle tuntunt hauin suuren suomuksista, 830 ilma ilmalle tajunnut kokon suuren untuvista.

The bride gave her help. The smith Ilmarinen went brought back Tuoni’s pike: the bride turned to an eagle put herself on guard. Then the smith Ilmarinen raked up the pike of Tuoni out of Tuoni’s black river from the pit of Manala. Now, that smith Ilmarinen was seized by a water-sprite: the eagle pounced on its neck twisted the water-sprite’s head. Water was not like water for the great pike’s scales air did not feel like air for the great eagle’s down.

Sitte seppo Ilmarinen jopa tuopi Tuonen hauin Tuonen mustasta joesta 835 Manalan alantehesta. Kysy tuolta tultuansa lausu kohta lattialta: “Tokko akka annetahan ukon hiien tyttärestä 240 valkiasta valvatista?”

Then the smith Ilmarinen brought back Tuoni’s pike out of Tuoni’s black river from the pit of Manala. He asked as soon as he came spoke up at once from the floor: “Is a wife to be given she, the old demon’s daughter she, the white one men yearn for?”

Harvoin virkki linnan hiisi harvoin harvio nureksi: “Jopa akka annetahan ukon hiien tyttärestä 246 valkiasta valvatista.”

Slowly the castle’s demon uttered, in slow words grunted: “A wife is to be given she, the old demon’s daughter she, the white one men yearn for.”

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Harvoin virkki linnan hiisi harvoin harvio nureksi: “Annas lokkina lojua kajavana kaljahua, 250 miesten verkkoja veteä kiveksiä kiinitellä!”

Slowly the castle's demon uttered, in slow words grunted: “Let her sprawl as a seagull let her call as a seamew let her drag the nets of men let’ her fasten stones to them!” S im a n a Sissonen

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

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

mattaala seppä Manteren korkia Koivisson senihka kengitti jalat keppiiät käpiästä kääri paglat 6 sääret silkillä sitteeli veran reunalla vetteeli nahkaisilla nappaeli. Mäni Tuonelta tytärtä maan alalta morsianta. 10

Tuoni istui tien selällä maan älläin maan rajalla: “Anna Tuoni tyttöjääs maan älläin marjuttaas!”

smith of the mainland T hetallsquat bridegroom of Koivisto shod his lively feet handsomely tied on ribbons bound his legs in silk drew on bordered cloth jerked up leather boots and went for Tuoni’s daughter the bride from the underworld. Tuoni sat on the road-ridge underworldling at world’s edge: “Give, Tuoni, your girl, underworldling, your berry!”

Tuoni väite vastaeli: is “Äsen Anni annetaa pää kallis kaotetaa pää kähheerä kääntää, ku käynet kässymme meijen assut askelemme, so ku taoit rahhaisen ratsun raharissin ratsun päälle.”

And Tuoni indeed answered: “Anni will be given up the precious head yielded up the curly head bundled up if you perform our command if you walk in our footsteps hammer a steed of money a money-cross on the steed.”

Manteren mattaala seppä otti tuonki tehhäksee kuite ilma ollaksee 26 naiseta elelläksee. Nii takoi rahaisen ratsun raharissin ratsun päälle. Mäni Tuonelta tytärtä maan alalta morsianta. 30 Tuoni istui tien selällä

The squat smith of the mainland undertook even that task rather than be on his own than live without a woman: hammered a steed of money a money-cross on the steed. He went for Tuoni’s daughter the bride from tne underworld. Tuoni sat on the road-ridge

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maan älläin maan rajalla: “Anna Tuoni tyttöjääs maan älläin marjuttaas!”

underworldling at world’s edge: “Give, Tuoni, your girl, underworldling, your berry!”

Tuoni väite vastaeli: 36 “Äsen Anni annetaa pää kallis kaotetaa pää kähheerä kääntää, ku käynet käskymme meijen assut askelemme, 40 ku taot kivisen kirkon kivirissin kirkon päälle.”

And Tuoni indeed answered: “Anni will be given up the precious head yielded up the curly head bundled up if you perform our command if you walk in our footsteps and hammer a church of stone a stone cross upon the church.”

Manteren mattaala seppä otti tuonki tehhäksee kuite ilma ollakseen. 46 Nii takoi kivisen kirkon kivirissin kirkon päälle. Mäni Tuonelta tytärtä maan alalta morsianta. Tuoni istui tien selällä 60 maan älläin maan rajalla: “Anna Tuoni tyttöjääs maan älläin marjuttaas!”

The squat smith of the mainland undertook even that task rather than be on his own: he hammered a church of stone a stone cross upon the church. He went for Tuoni’s daughter the bride from the underworld. Tuoni sat on the road-ridge underworldling at world’s edge: “Give, Tuoni, your girl, underworldling, your berry!”

Nuopa väite vastaeliit: “Ku käynet käskymme 66 meijen assut askelemme, ku taot helmisen heppoisen reen helmisen perrää miehen helmisen rekkee ruosan helmisen kättee.”

They indeed answered: “ If you perform our command if you walk in our footsteps and hammer a horse of beads a sledge of beads behind it a man of beads on the sledge a whip of beads in his hand.”

Manteren mattaala seppä otti tuonki tehhäksee kuite ilma ollaksee naiseta elelläksee. Takoi helmisen heppoisen 66 reen helmisen perrää miehen helmisen rekkee ruosan helmisen kättee.

The squat smith of the mainland undertook even that task rather than be on his own than live without a woman: he hammered a horse of beads a sledge of beads behind it a man of beads on the sledge a whip of beads in his hand.

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Mäni Tuonelta tytärtä maan alta morsianta. 70 Tuoni istui tien selällä maan älläin maan rajalla: “Anna Tuoni tyttöjääs maan älläin marjuttaas!”

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Nuopa väite vastaeliit: “Äsen Anni annetaa pää kallis kaotetaa pää kähheerä kääntää, ku käynet käskymme meijen assut askelemme: teit sillan meren selälle yhen vuosista vesoista kahen vuuven kantoloista kolmen vuuven koivuloista.”

He went for Tuoni’s daughter the bride from the underworld. Tuoni sat on the road-ridge underworldling at world’s edge: “Give, Tuoni, your girl, underworldling, your berry!” They indeed answered: “Anni will be given up the precious head yielded up the curly head bundled up if you perform our command if you walk in our footsteps build a bridge on open sea out of saplings one year old treestumps two years old birches three years old.”

Manteren mattaala seppä 86 teki sillan meren selälle yhen vuosista vesoista kahen vuuven kantoloista kolmen vuuven koivuloista, otti oroin yhen öisen »o ajoi senen sillan päälle yhen öisellä oroilla. Mäni Tuonelta tytärtä maan alalta morsianta.

The squat smith of the mainland built a bridge on open sea out of saplings one year old treestumps two years old birches three years old took a stallion one night old rode over the bridge on the one-night-old stallion. He went for Tuoni’s daughter the bride from the underworld.

Siis vast Anni annettii 96 pää kähheerä käärittii pää kallis kaotettii.

Only then was Anni given the curly head bundled up the precious head yielded up. K a ti

Soikkola, Ingria V. Porkka, 1883

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19 LA H JA I The G ift I

5

10

(C~\ outen synnyin, jouten kasvoin jouten ilmoilla ylenin. Kun ois männä Joukosella jouten Joukoni pitäisi työttä, vyöttä, voattietta jalalla sukattomalla keällä kintahattomalla, jokiveillä juottelise roattehilla syöttelise.”

f f T rseless born, useless I grew V_> useless I rose in the world. If I went to Joukoni Jouko would keep me useless without work, belt, clothes on my foot no sock on my hand no glove: he’d give me river-water to drink, and buck-beans to eat.”

Peäty Kojo kuulomassa alla seinän seisomassa. Kosjo Kommilta tytärtä: “Anna Kömmi ainuosi tahi pieni viikunasi!”

Kojo happened to hear this to be standing by the wall. He asked for Kommi’s daughter: “Give, Kömmi, your only one give your lively little one!”

is “ Empä anna ainuttani enkä pientä vilkunoani. Soanet tähen taivoselta pilkan pilvien lomasta: siitä annan ainuoni 20 tahi pienen viikunani.”

“I’ll not give my only one nor my lively little one. Fetch a star down from the sky a blaze from between the clouds: then I’ll give my only one give my lively little one.”

Painu seppolan pajahe. “Oi on seppo veijoseni takoja ijänikuni! Tavo miula viijet vitjat 25 kuusi rautarenkahaista jotta soan tähen taivoselta pilkan pilvien lomasta!”

He went to the smith’s workshop: “Smith, my dear brother you everlasting craftsman! Hammer me five chains six rings of iron to fetch a star from the sky a blaze from between the clouds!”

Tuopa seppo Ilmorini takoja ijänikuni

Now, that smith Ilmorini the everlasting craftsman

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ao tako heän viijet vitjat kuusi rautarenkahaista, jo sai tähet taivoselta pilkat pilvien lomista. Toi ne Kommilla kätehe.

he hammered five chains six rings of iron: fetched stars from the sky blazes from between the clouds. He brought them to Kommi’s hand.

as Kosjo Kommilta tytärtä: “Anna Kömmi ainuosi tahi pieni viikunasi!”

He asked for Kommi’s daughter: “Give, Kömmi, your only one give your lively little one!”

“Empä anna ainuttani enkä pientä vilkunoani. 40 Kumpa on uinet umpilammin soanet sieltä suuren hauvin kultasuomun, kultajuomun, tuonet Kommilla käteh: siitä annan ainuoni 46 tahi pienen viikunani.”

“ I’ll not give my only one nor my lively little one. Now, if you swim the sealed pool and catch the great pike in it the golden-scaled, golden-streaked bring it into Kommi’s hand: then I’ll give my only one give my lively little one.”

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Painu seppolan pajahe. “Oi on seppo Ilmorini takoja ijänikuni! Tavos miula rautavoattiet joilla uin mie umpilammin saisin sieltä suuren hauvin kultasuomun, kultajuomun!”

He went to the smith’s workshop: “O smith, O Ilmorini you everlasting craftsman! Hammer for me iron clothes in which I’ll swim the sealed pool and catch the great pike in it the golden-scaled, golden-streaked!”

Tuopa seppo Ilmorini takoja ijänikuni jopa tako rautavoattiet: jo heän ui umpilammin sai sieltä suuren hauvin kultasuomun, kultajuomun. Toipa Kommilla käteh.

Now, that smith Ilmorini the everlasting craftsman hammered iron clothes: he swam the sealed pool and caught the great pike in it the golden-scaled, golden-streaked brought it into Kommi’s hand.

Kosjo Kommilta tytärtä: “Anna Kömmi ainuosi tahi pieni viikunasi!”

He asked for Kommi’s daughter: “Give, Kömmi your only one give your lively little one!”

“Empä anna ainuttani enkä pientä vilkunoani.

“I’ll not give my only one nor my lively little one.

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65 Astunet päivän nieklojen nenie: siitä annan ainuoni tahi pienen viikunani.”

Tread for a whole day on needle-points: then I’ll give my only one give my lively little one.”

Painu seppolan pajahe. “Oi on seppo Ilmorini 70 tavos miula rautakengät!”

He went to the smith’s workshop: “O smith, O Ilmorini hammer for me iron shoes!”

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Tuopa seppo Ilmorini takoja ijänikuni jop on tako rautakengät: astu päivän nieklojen nenie. Kosjo Kommilta tytärtä: “Anna Kömmi ainuosi tahi pieni viikunasi!”

Now, that smith Ilmorini the everlasting craftsman hammered iron shoes: he trod a whole day on needle-points. He asked for Kömmi’s daughter: “Give, Kömmi, your only one give your lively little one!”

Siitä anto ainuoh. Siinä kosjo, siinä kihlo, so koppai neijen koijahase sai neijen satulahase, löi heän virkkuo vitsalla helähytti helmispeällä.

Then he gave his only one: there he wooed, there was betrothed snatched the maid into his sleigh got the maid in his saddle he struck the horse with the lash clouted with the beaded tip.

“Virkku juokse, jouvu matka 85 reki viere, tie lyhene.” Reki koivuni kolasi paukko patviset jalakset vitsaset saverkkat vinku. “Peäsemmä Kojon kotihe 90 Kojon meällä korkiella!”

“ Courser, run, be quick, journey, sledge, glide onward, road, grow short.” The birchwood sledge bumped along the curly-birch runners slammed the twig thongs whistled. “We shall go to Kojo’s house on the high hill of Kojo!”

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Neiti korjasta sanou alta vaipan virkkelöy: “Mip on männyn tiestä poikki?” “Hukk on männyn tiestä poikki.1 “Paremp ois minun poloisen hukan juoksovan jälillä aina käyjän askelilla.”

The maiden said from the sleigh under the rug found her voice: “What just went across the road?” “A wolf went across the road.” “Better it were for poor me in the running wolf’s footsteps the tracks of the wanderer.”

“Elä huoli Hütten huora! Mänemmä Kojon kotihe

“Never mind, whore of Hiisi! We’re going to Kojo’s house

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loo Kojon meällä korkiella Kojon kosen korvasella, vuollah veitsettä lihoa koatah verta kauhasetta.”

on the high hill of Kojo hard upon Kojo’s rapids to carve meat without a knife to pour blood with no ladle.”

Löi heän virkkuo vitsalla helähytti helmispeällä. “Virkku juokse, jouvu matka reki viere, tie lyhene.” Reki koivuni kolasi paukko patviset jalakset no vitsaset saverkkat vinku. “Peäsemmä Kojon kotihe Kojon meällä korkiella!”

He struck the horse with the lash clouted with the beaded tip. “ Courser, run, be quick, journey, sledge, glide onward, road, grow short.” The birchwood sledge bumped along the curly-birch runners slammed the twig thongs whistled. “We’ll reach Kojo’s house on the high hill of Kojo!”

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Neiti korjasta sanou alta vaipan virkkelöy: “Mip on männyn tiestä poikki?” “Rep on männyn tiestä poikki.” “Paremp ois minun poloisen revon reyretyn jälillä aina käyjän askelilla.”

The maiden said from the sleigh under the rug found her voice: “What just went across the road?” “A fox went across the road.” “Better it were for poor me in the wretched fox’s steps the tracks of the wanderer.”

iso “Elä huoli Hütten huora! Mänemmä Kojon kotihe Kojon meällä korkiella Kojon kosen korvasella, vuollah veitsettä lihoa 126 koatah verta kauhasetta.”

“Never mind, whore of Hiisi! We’re going to Kojo’s house on the high hill of Kojo hard upon Kojo’s rapids to carve meat without a knife to pour blood with no ladle.”

Löi heän virkkuo vitsalla helähytti helmispeällä. “Virkku juokse, jouvu matka reki viere, tie lyhene.” iso Reki koivuni kolasi paukko patviset jalakset vitsaset saverkkat vinku. “Peäsemmä Kojon kotihe Kojon meällä korkiella!”

He struck the horse with the lash clouted with the beaded tip. “Courser, run, be quick, journey, sledge, glide onward, road, grow short.” The birchwood sledge bumped along the curly-birch runners slammed the twig thongs whistled. “We’ll reach Kojo’s house on the high hill of Kojo!”

136 Neiti korjasta sanou,

The maiden said from the sleigh

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alta vaipan virkkelöy: “Mip on männyn tiestä poikki?” “Jänö on männyn tiestä poikki.” “Paremp ois minun poloisen 140 jänön juoksovan jälillä koukkupolven polkuloilla.”

under the rug found her voice: “What just went across the road?” “A hare went across the road.” “Better it were for poor me in the running hare’s footsteps the paths of the crooked-kneed.”

“Elä huoli Hütten huora! Mänemmä Kojon kotihe Kojon meällä korkiella 145 Kojon kosen korvasella, vuollah veitsettä lihoa koatah verta kauhasetta.”

“Never mind, whore of Hiisi! We’re going to Kojo’s house on the high hill of Kojo hard upon Kojo’s rapids to carve meat without a knife to pour blood with no ladle.”

Jo mäntih Kojon kotihe Kojon kosen korvasella iso Kojon meällä korkiella: vuoltih veitsettä lihoa koattih verta kauhasetta. Jopa on laitto kukkosekse työnsi Kommilla kostintsoa 155 työnsi Kommilla kätehe.

Now they went to Kojo’s house hard upon Kojo’s rapids on the high hill of Kojo: meat was carved without a knife blood was poured with no ladle. Now he made a little pie pressed the gift upon Kömmi pressed it into Kommi’s hand.

Rupei inhu iltasella asetakse atrivolla. Sanou orja orren peästä paimen patsahan takoa: “Kumpa sie sen tietäsite etpä sie sitänä söisi.” “Sano sano paimen parka: annan päiväksi lepuuta!” “Empä vielä siihi sano.”

He started the vile supper set out places for a meal. A serf said from a beam-end a herdsman behind a post: “Now, if you knew what it is you would not eat it!” “ Tell me, tell me, poor herdsman: I will give you a day’s rest!” “I will not tell yet for that.”

165 Rupei inhu iltasella asetakse atrivolla. Sanou orja orren peästä paimen patsahan takoa: “Kumpa sie sen tietäsite no etpä sie sitänä söisi!” “Sano sano paimen parka: annan kuukse lepuuta!”

He started the vile supper set out places for a meal. A serf said from a beam-end a herdsman behind a post: “ Now, if you knew what it is you would not eat it!” “Tell me, tell me, poor herdsman: I will give you a month’s rest!”

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“Empä vielä siihi sano.”

“I will not tell yet for that.”

Rupei inhu iltasella 176 asetakse atrivolla. Sanou orja orren peästä paimen patsahan takoa: “Kumpa sie sen tietäsite etpä sie sitänä söisi!”

He started the vile supper set out places for a meal. A serf said from a beam-end a herdsman behind a post: “Now, if you knew what it is you would not eat it!”

iso ”Sano sano paimen parka: annan vuuveksi lepuuta!”

“Tell me, tell me, poor herdsman: I will give you a year’s rest!”

“Oljonaises olkapäitä Palakaises peäpaloja.”

“Shoulders of your Oljona bits of your Palaka’s head.” H o to Lesonen

Vuokkiniemi, Archangel Karelia K. Karjalainen, 1894

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ivana Kojosen poika naisen poika nantukkainen valjasti tulihevoisen tulisellen tantereelle: tuli suihki ruunan suusta veri tippu vempeleestä rasva rahkehen nenästä. Hän läks Konnult kossiin naimaan läks Narentkan peästä.

ivana, Kojonen’s son the titchy son of woman harnessed up a horse of fire in a fiery field: fire shot from the gelding’s mouth blood dripped from the collar-bow and fat from the traces-tip. He went wooing to Kontu into Narentka to wive.

Kysy Konnun neitoloilta: “Onkos teistä miehen naista molotsall on morsianta?”

He asked the maids of Kontu: “Well, is there a man’s woman among you, a young squire’s bride?”

Konnun neiot vastasiit: “Ei oo meist miehen naista molotsalle morsianta: ei oo tyhjäst tytöst aikamiehell akaks molotsalle morsianta.”

The maids of Kontu answered: “There is not a man’s woman among us, a young squire’s bride: among girls who have nothing one to be a grown man’s wife a young squire’s bride, there is not.”

Iivana Kojosen poika naisen poika nantukkainen hän läks Oapsust kossiin ajo Oapsun kartanolle. Oapsu aittaan oil menossa vaskivakkanen keäes vaskiavvain vakassa.

Iivana, Kojonen’s son the titchy son of woman he went wooing to Oapsu drove to Oapsu’s farm. Oapsu was going to his storehouse a copper box in his hand a copper key in the box.

Iivana Kojosen poika naisen poika nantukkainen alko Oapsult kyssyy: “Annat sie Oapsu tyttöjäis

Iivana, Kojonen’s son the titchy son of woman he began to ask Oapsu: “Give, Oapsu, your girl

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30 miulle miehelle hyvälle, mie mies on mie’est tehty sokurist oon synnytetty.”

to me who am a good man me, a man made of honey one begotten of sugar.”

Oapsu vasten vastajeeli: “Turull on hevosen kauppa 36 tamman kauppa tanhualla. Neito myyään tuvassa kaupataan katoksen alla.”

Oapsu answering replied: “At market is a horse-deal a mare-deal in a farmyard a maid is sold in a house a deal done under a roof.”

Iivana Kojosen poika, naisen poika nantukkainen 40 alko tunkeilla tuppaan ahistaia alle orren.

Iivana, Kojonen’s son the titchy son of woman began to squeeze in the house to push in under the beam.

Alko Oapsult kyssyy: “Annat sie Oapsu tyttärees?”

He began to ask Oapsu: “You’ll give, Oapsu, your daughter?”

Oapsu vasten vastaeel: 45 “Annan kyllä tyttärein kuin poat sie tuvan tulelle itse istut räystähälle.”

Oapsu answering replied: “Yes, I will give my daughter if you set the house on fire yourself sitting in the eaves.”

“Otan senkin tehhäkseni ennenk ilman ollaksein.”

“I’ll take on even that task rather than be on my own.”

Iivana Kojosen poika ain Oapsult kyssyy: “Annat sie Oapsu tyttärees?”

Iivana, Kojonen’s son kept asking Oapsu: “You’ll give, Oapsu, your daughter?”

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Oapsu vasten vastaeel: “Annan kyllä tyttärein: 66 puno nuora rummeniist akanoist peä aiota.”

Oapsu answering replied: “Yes, I will give my daughter: twine a rope of chaff begin it with husks.”

Iivana Kojosen poika naisen poika nantukkainen: “Otan senkin tehhäkseni oo ennenk ilman ollakseni, yö pitkä on akatta moata päivä pitkä lounahitta.”

Iivana, Kojonen’s son the titchy son of woman: “ I’ll take on even that task rather than be on my own: long the night lying wifeless long the day without dinner!”

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Iivana Kojosen poika naisen poika nantukkainen 65 sai neion rekosehheen, hän löi ohjolla orroo helmiruosal löi hevosta.

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Iivana, Kojonen’s son the titchy son of woman got the maid into his sledge struck the stallion with the reins the horse with the beaded whip.

Alko neittä loaitella: “ Teet sie miulle pitkän paian yhest liinakuitusesta?”

He began to ask the maid: “ Will you make me a long shirt from a single strand of flax?”

Neitonen ajattelloo: “ Mitä tyhjääst tulloo valeheest lankiaa?”

The maiden pondered: “ What will come out of nothing and what will a lie produce?”

Iivana Kojosen poika aina hän neittä loaittaa: “ Teet sie miulle pitkän viitan yhest villatöppösestä?”

Iivana, Kojonen’s son kept asking the maid: “ Will you make me a long cloak from a single tuft of wool?”

Neitonen ajattelloo: “ Mitä tyhjääst tulloo so yhest villatöppösest?”

The maiden pondered: “ What will come out o f nothing from a single tuft of wool?”

Iivana Kojosen poika vei neion mättähälle leikkais rinnat neioltaan pist piirakan sissään, 85 anopil laitto tuomisiks.

Iivana, Kojonen’s son took the maid to a hummock cut the breasts off his maiden put them in a pie, made them gifts to his mother-in-law.

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Anop syöp ja kiittelööpi: “Jo oon mie jottain syönyt, en oo viel mointa syönyt vävyn uuen tuomisii tyttären lähettämmii. Syönt oon lohta lähtehestä syönt oon siikaa mie merestä mutt en oo mointa syönyt kuin vävyn uuen tuomisii tyttären lähettämmii.”

Mother-in-law ate and praised: “ Now I have eaten something: I ’ve not eaten such till now brought by my new son-in-law sent by my daughter. I’ve had salmon from a spring I’ve had whitefish from the sea but I have not eaten such brought by my new son-in-law sent by my daughter.”

Orja istu orren peässä

A serf sat on the beam-end

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palkkalainen pankon peässä: “ Sä kuin tietäisit vähäisen ymmärtäisit pikkaraisen, loo sie et sois ja kiittelisi vävyn uuen tuomisil tyttären lähettämil.”

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“ Virka virka orja parka! Annan Kyytön kytkyeestä.” “ En virka emäntä parka.” “ Virka virka orja parka! Annan soimeelt sorian: virka virka orja parka!” “ En virka emäntä parka.”

no “ Annan ainuan poijain.” “ Nyt virkan emäntä parka: sie söit linnuis lihhaa kanaseis söit kaunoseis.”

a hireling upon the bench: “ I f you knew but a little understood a bit you’d not be eating, praising what your new son-in-law brought what your daughter sent.” “ Tell me, tell me what, poor serf! I ’ll give Whiteback from tether.” “ I will not tell, poor mistress.” “ Tell me what, poor serf! I’ll give a fine one from the manger: tell me, tell me what, poor serf!” “ I will not tell, poor mistress.” “ I will give my only son.” “ Now I will tell, poor mistress: you were eating your bird’s flesh eating your pretty fledgeling.” A n n i V a silo va

Vuole, Ingria F. Pajula, 1894

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

Ilmollini T uoallaonpäinseppäpahalla mielin

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kaiken kallella kypärin mäni seppojen pajahe, otti kultia vähäsen hopeita huopin täyven.

J r p w a s the smith Ilmollini X his head down, in bad spirits helmet all askew went to the forge o f the smiths took a little gold a felt hatful o f silver.

Pani nuoret liettšomahe palkkalaiset painamahe, ei orjat hyvästä lietso eikä paina palkkalaiset.

He set the young men blowing the hirelings pressing but the serfs did not blow well neither did the hirelings press.

Rupei itše liettšomahe: liettšo kerran leukahutti liettšo toisen leukahutti jo kerralla kolmannella 15 miekko tunkekse tulesta terä kulta kuumennosta. Ois miekka hyvännäkyini vain tuli pahatapani: joka päivä miehen tappo 20 kaksiki monikkahana.

He himself took to blowing: he blew once, flapped the bellows he blew twice, flapped the bellows now at the third time a sword squeezed out of the fire a gold-bladed from the heat. The sword might be good-looking but evil ways came of it: every day it killed a man even two on many days.

Vieläpä kultija lisäsi hopeita huopin täyven. Pani vanhat liettšomahe, ei vanhat hyvästä lietšo 25 eikä paina palkkalaiset.

He added more gold a felt hatful o f silver. He set the old men blowing but the old did not blow well neither did the hirelings press.

Rupei itSe liettšomahe: liettšo kerran leukahutti liettšo toisen leukahutti jo kerralla kolmannella

He himself took to blowing: he blew once, flapped the bellows he blew twice, flapped the bellows now at the third time

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30 orih tunkekse tulesta haija kulta kuumennosta. Ois orih hyvännäkyini vain tuli pahatapani: joka päivä tamman tappo 35 kaksiki monikkahana.

a stallion squeezed from the fire a golden-maned from the heat. The stallion might have good looks but evil ways came o f it: every day it killed a mare even two on many days.

Vieläpä kultija lisäsi hopeita huopin täyven, pani orjat liettšomahe palkkalaiset painamaha, 40 ei orjat hyvästä lietšo eikä paina palkkalaiset.

He added more gold a felt hatful of silver and he set the serfs blowing and set the hirelings pressing but the serfs did not blow well neither did the hirelings press.

Rupei itše liettšomahe: liettšo kerran leukahutti liettšo toisen leukahutti 46 jo kerralla kolmannella neiti tunkekse tulesta kassa kulta kuumennosta. Ois neiti hyvännäkyni vaini en tapoja tiijä.

He himself took to blowing: he blew once, flapped the bellows he blew twice, flapped the bellows now at the third time a maid squeezed out of the fire a golden-locks from the heat. The maid might be good-looking but I do not know her ways.

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Niin on yönä ensimmäissä vara’atu vaippahase turva’utu turkkihise: se oli kylki kyllä lämmin ku oli vassen villavaippua, 66 se oli kylki kylmämässä ku oli vassen neittä vassen meren jiäkse jeätymässä kivekse kovottumassa.

And so during the first night he kept himself in his cloak he held tight in his fur coat: that side certainly was warm which was next to the wool cloak that side was freezing which was next to the maid’s side icy as ice on the sea and as hard as rock.

Niin on yönä toissa yönä turvuakse turkkihise varuakse vaippahase: se on kylki kyllä lämmin ku on vassen villavaippua, se on kylki kylmämässä 6& ku on vassen neittä vassen.

So during the second night he held tight in his fur coat he kept himself in his cloak: that side certainly was warm which was next to the wool cloak that side was freezing which was next no the maid’s side.

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Niin on yönä kolmantena varuakse vaippahase turvuakse turkkihise: se oli kylki kyllä lämmin 70 ku oli vassen villavaippua, se oli kylki kylmämässä ku oli vassen neittä vassen.

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Elköhöt esieläjät elköhöt takasetkana neittä kullasta kuvato hopiesta huolitello: vilun huohtavi hopie kylmän kulta kuumottauve.

And so during the third night he kept himself in his cloak he held tight in his fur coat: that side certainly was warm which was next to the wool cloak ‘ that side was freezing which was next to the maid’s side. Let not those who come after and let not those before them make a maid’s likeness in gold finish her off in silver: the breath o f silver is chill and the glow of gold is cold. M iih k a li P erttunen

Latvajärvi, Vuokkiniemi, Archangel Karelia A. A. Borenius, 1871

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

aaren maat saroin jaettu Viron maat viipin vaapin, pellot on piusten mittaeltu ahot on vaaksoin arvaeltu. s Jäi sarka jakamatointa pelto piuston mittomata aho vaaksoin arvomata aian äärtä arvan lyömätöntä: tuohon seppo seisattaise 10 takojainen pani pajaa. Teki pienoisen pajaisen matalaisen maatupaisen yhen miehen mahtuvaisen käsivarren kääntyväisen i b vasaran yleneväisen. Pani paiaa pajaksi kaatia liityeksi.

he Island is staked in strips Estonia criss-crossed: the fields are measured with rods the clearings reckoned with spans. There was one strip left unstaked one field was not rod-measured one clearing not span-reckoned for one fence’s bounds lots were not cast: there the smith settled there the craftsman put his forge. He made a very small forge a low hut sunk in the ground with room for one man with swinging-room for one arm with headroom for one hammer: he used his shirt as a forge and his trousers for bellows.

Seppä takoi traksutteli orjat lietsoin liikuttiit: so takoi niitä, takoi näitä takoi vallan vaamahia seurakunnan serppilöjä maakunnan kuraksen päitä. Niin takoi Hekoille helmet 25 markat Maien tyttärelle. Hekkoi ei kiittänt helmiään Maien tyttö ei markkojaan valtakunta ei vaamahia seurakunta ei serppilöjä 30 maakunta ei kuraksen päitä: seppä suuttui ja vihastui pihet pisti räystähässe

The smith hammered and clattered the serfs were busy blowing: he hammered this, hammered that hammered pegs for the estate and sickles for the parish and knife-blades for the province he hammered beads for Hekkoi and coins for Maie’s daughter. Hekkoi did not praise her beads nor Maie’s daughter her coins nor did the estate its pegs nor the parish its sickles nor the province its knife-blades: the smith grew angry and wild he stuck his tongs in the eaves

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vasarat vajotti maahan sytytti pajan tulelle lietsot lemenen nojaan.

dropped his hammers on the ground set his forge on fire left his bellows in the blaze.

Niin noisi rekoisepäksi sai tuo saanin salvajaksi. Kuunkauen teki rekoi kaksi kuuta kaupitteli, 40 aastajan pani pajuja kissan luilla kiijutteli hauen hammasten kerällä.

So he rose as a sledge-smith set’up as a sleigh-builder: one month long he made a sledge for two months put it on sale for a year fitted wicker adorned it with a cat’s bones and with a pike’s teeth.

Sai tuo saani valmiheksi. Meni seppo vierahisse 45 ämmilleen ja äijilleen näpehille näälilleen.

The sleigh was finished and the smith went visiting his grannies and his grandads his nimble brothers-in-law.

Arvotteli veljilleen muistatti sisarilleen: “ Arvatkaa veljyeni so muistakaa sisarueni: mill on saani kirjoitettu perä on kolju korkisteltu?”

He set his brothers guessing his sisters calling to mind: “ Guess now, my brothers call to mind now, my sisters: what is the sleigh adorned with the sledge-back decorated?”

Veljet vasten vastaisiit: “ Kissan luill on kirjoiteltu 55 hauen hammasten kerällä.”

The brothers answering said: “ It’s adorned with a cat’s bones and with a pike’s teeth.”

Kiistoin seppo vastattiin kiistoin halli riisuttiin kiisoin vietiin tupaan kiisoin seppoo syötettiin 60 kiisoin seppoo juotettiin kiisoin seppoo soimattiin: “ Puut kuluut, maat kuluut puut kuluvat leikatessa maat kuluvat kyntäessä, 65 seppo naiseta kuluu emännätä vanhenoo.”

They vied, answering the smith vied, unharnessing the grey vied in taking him indoors vied in giving the smith food vied in giving the smith drink vied in giving the smith blame: “ Trees wear out and lands wear out trees wear out by being felled lands wear out by being ploughed: a smith will wear out wifeless grow old without a mistress.”

Seppo suuttuu ja vihastuu

The smith grew angry and wild

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the smith drove home like the wind the smith hammered and clattered the serfs were busy blowing the smith flung gold in the fire silver into the furnace as much as an autumn ewe as much as a winter lamb: a horse squeezed out of the fire a golden-hoof from the heat. All the other kin were charmed: Ismaro himself was scared.

seppo tuulena kotiin. Seppo takoi traksutteli oijuet liettä liekuttiit, seppo kultia tuleen hopehia lietyeen sykysyisen uukon verran talvisen karitsan verran: tunkiusi hepo tulesta kultakapia kuumehesta. Muu kaikki pere ihastui, itse Ismaro pelästyi.

Seppo kultia tuleen so hopehia lietyeen, seppoi takoi traksutteli orjoit lietsoit liekuttiit: tunkiusi lehmä tulesta kultasarvi kuumehesta. 85 Muu kaikki pere ihastui, itse Ismaro pelästyi.

The smith flung gold in the fire silver into the furnace the smith hammered and clattered the serfs were busy blowing: a cow squeezed out of the fire a golden-horn from the heat. All the other kin were charmed: Ismaro himself was scared.

Seppo kultia tuleen hopehia lietyeen sykysyisen uukon verran 90 talvisen karitsan verran. Seppoi takoi traksutteli oijoit lietsoit liekuttiit: tunkius sika tulesta kultaharjoi kuumehesta. 96 Muu kaikki pere ihastui, itse Ismaro pelästyi.

The smith flung gold in the fire silver into the furnace as much as an autumn ewe as much as a winter lamb the smith hammered and clattered the serfs were busy blowing: a pig squeezed out of the fire a gold-bristle from the heat. All the other kin were charmed: Ismaro himself was scared.

Seppo kultia tuleen hopehia lietyeen sykysyisen uukon verran loo talvisen karitsan verran. Seppoi takoi traksutteli orjoit lietsoit liekuttiit: tunkiusi tyttö tulesta kultakassa kuumehesta. 105 Muu kaikki pere pelästyi,

The smith flung gold in the fire silver into the furnace as much as an autumn ewe as much as a winter lamb the smith hammered and clattered the serfs were busy blowing: a girl squeezed out of the fire a golden-locks from the heat. All the other kin were scared:

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Ismaro himself was charmed.

itse Ismaro ihastui. Täst nyt lienee varma vastus viipyy vihan pitäjä! Vietiin tyttö makaamaan no luuttiistiin lepäämään: kumpa kylki oli kullan luona se oli kylki kylmä kylki, kumpa kylki ei ollut kullan luona se oli kylki suoja kylki.

Now there’s sure to be trouble: an enemy has moved in! The girl was led to lie down * taken for a rest: which side was next to the gold that side was the chilly side which was not next to the gold that side was the thawing side.

S in g e r unknow n

Soikkola, Ingria J. Länkelä, 1858

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23 KANTELE I The Kantele I

vanha Väinämöinen Ittcoli ettivä hevoista

ld Väinämöinen himself Owas out searching for his horse

päätä puitti katselova suvikunnan suitet vyöllä 6 varsan valjahat olalla, löysi purren itkemästä venehen valittamasta. “Mitäs itket puinen pursi venet hankava halajat? 10 Itketkös sinä puisuttasi hankavuttasi haluvat?”

looking for the bridled one at his belt the yearling’s reins shouldering the colt’s harness when he found a boat weeping a vessel wailing: “Why do you weep, wooden boat strong-rowlocked vessel, why yearn? Do you weep for your wood’s sake for your rowlocks do you yearn?”

“En minä itke puisuttani hankavuttani halaja: muut purret sotia käyvät 15 saavat täytensä rahoja peräpuunsa penninkiä, minä lahain lastuilleni venyn veistämäisilleni. Pahimmatkin maan matoiset 80 alla kaareni asuvat, ilkeimmät ilman linnut pesän pielesäni pitävät.”

“ I don’t weep for my wood’s sake for my rowlocks I don’t yearn: other boats go off to wars they are filled up with money their sterns are weighed down with coins while I rot on my shavings I stretch out upon my stocks and the earth’s most evil worms are living beneath my ribs and the air’s most loathsome birds are nesting upon my side.”

Lykkäisi venon vesille laski purren lainehiille: 86 lato toisen laitapuolen sukapäitä sulhaisia kannusjalkoja jaloja, lato toisen laitapuolen tinapäitä neitosia 30 tinapäitä, vaskivöitä vaskivöitä . . .

And he launched the craft pushed the boat into the waves: he stowed on one side brush-headed bridegrooms noble ones, spurs on their feet he stowed on the other side maidens with tin on their heads tin-headed, copper-belted copper-belted. . .

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Lykkäisi venon vesille laski purren lainehille: itse istuvi perähän 35 niin kuin Suomen suolasäkki. Laski päivän maan vesiä päivän toisen suon vesiä kolmannen meren vesiä, jo päivänä kolmantena 40 pursi puuttupi lujahan. Ite vanha Väinämöinen arvelevi aivosahan: kivelläkö vain haolla vainko hauvin hartioita 45 veen koiran koukkuluilla? Itse vanha Väinämöinen veti pään venehesensä purston pohjahan pudotti. Katselepi kääntelepi: 50 “ Minkä tästä seppä saisi mies mahti mahatteleisi?” Teki harpun hauvin luista kantelen kalan evästä, pani kielet kantelesen 55 hiuksista hiien immin jouhista uvet orihin, pani naulat kantelesen orahasta Tuonen otran Tuonen hauvin hampahista.

And he launched the craft pushed the boat into the waves: he himself sat in the stern like a sack of Finnish salt sailed a day through land-waters another through marsh-waters a third day through sea-waters. Now on the third day the boat was jammed hard. Old Väinämöinen himself pondered with his brain: on a rock? or on a log? or else on a pike’s shoulder on a water-dog’s hooked bones? Old Väinämöinen himself pulled the head into his craft dropped the tail on the planking. He looked, he turned it over: “What could a smith do with this what might a mighty man do?” He made a harp of pike-bones a kantele of fish-fins put strings on the kantele of hair from a demon’s maid of hairs from a stud-stallion put pegs in the kantele of shoots from Tuoni’s barley of the teeth of Tuoni’s pike.

Soitit nuoret, soitit vanhat soitit nainehet urohot soitit miehet naimattomat: ei ilo ilolle tunnu soitto soitolle tajua. 65 Ilo tuonne vietyöhön kantele kannettakohon miehen tehnehen käsille sormille sovittajansa. Soittelepi Väinämöinen 70 käsin pienin, hoikin sormin peukalo ylös keveni:

The young played and the old played and the married fellows played and the unmarried men played: joy had not the feel of joy music was unmusical. Let the joy be borne that way the kantele be carried to the hands of its maker its tuner’s fingers. Väinämöinen made music with small hands, slender fingers his thumb rose, lightly touching:

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itkit nuoret, itkit vanhat itkit nainehet urohot itkit miehet naimattomat, 75 itensäki Väinämöisen vedet vyöryit silmistähän pyliämmät pyyn munia häriämmät härjän päitä. Ei sitä metäsä liene so jalan neljän juoksevata kahden siiven siuhkavata joka ei tullut kuulemahan tehessä Isän iloa: itteki metän emäntä 85 rinnoin aidalle ajain. Ei sitä vedesä ollut evän kuuden kulkevata joka ei tullut kuulemahan: itseki veden emäntä 9o vetihin vesikivelle vaivousi vattalolle.

the young wept and the old wept and the married fellows wept and the unmarried men wept even old Väinämöinen had water roll from his eyes rounder than a grouse’s eggs larger than an oxeye’s flowers. There was none in the forest running on four feet whirring on two wings that did not come to listen to the Father making joy: even the forest’s mistress leaned her breasts upon the fence. There was none in the water moving with six fins that did not come to listen: even the water’s mistress drew herself up on a rock 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

5

10

kanteloista T ekiVironKauko seppä vinkeloista,

shaped a kantele Kauko Estonia’s smith a curved thing

eikä puusta eikä luusta: sapsosta sinisen hirven poropeuran polviluista.

neither of wood nor of bone but of a blue elk’s shoulder a reindeer’s knee-bones.

Mistäs kansi kanteleesen? Lohen purstosta punaisen. Mist on naklat kanteleesen? Hauin suuren hampahista. Mistäs, sanon, kielet kanteleesen? Hiuksista on hiien eukon harjasta u’en hevosen.

What the kantele’s sound-board? made from a red salmon’s tail. And what the kantele’s pegs? from the teeth of a great pike. And what, I say, the kantele’s strings? the hair of a demon’s dame from the mane of a stud-horse.

Saipa kannel valmihiksi. Soitti piiat, soitti poiat is soitti miehet naimattomat soitti nainehet urohot: ei ilo ilolle tunnu laulu lauluks ei tajua. Etsittihin soittajia 20 soittajia, laulajia ylhäisistä, alhaisista jumaloista, maaemistä.

The kantele was finished. The lasses played, the lads played and the unmarried men played and the married fellows played: joy had not the feel of joy nor had song the sense of song. There was a search for players for players and for singers among high-born and low-born among gods, through all the earth.

Oli vanha Väinämöinen teki tiellä terveyen 25 torakalla toprouuen: “Annas Kauko kanneltasi Viron seppä vingeltäsi sormille poian sokean käsille vähänäköisen.”

It was old Väinämöinen gave a greeting on the road said good morning in the lane: “Give, Kauko, your kantele Estonia’s smith, your curved thing into the blind boy’s fingers to the dim-sighted one’s hands.”

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30 Iski kerran, iski toisen iski kohta kolmannenkin: jo ilo ilolle tuntui laulu laululle tajusi. Alkoi sormet souatella 36 käsivarret vatvaella.

He struck it once, struck it twice soon struck it a third time too: now joy had the feel of joy and song had the sense of song. His fingers began to work his arms to move back and forth.

Ei ollut sitä metsässä jalan neljän juoksevaista ku ei tullut kuulemahan soitantoa Väinämöisen. 40 Ei ollut sitä ilmassa siiven kahen lentäväistä ku ei tullut kuulemahan Väinämöisen soitellessa kutku kullervoiellessa 46 lohenpurstoista iloa kalanluista kanteloista. Ei ollut sitä meressä evän kuuen kulkevaista purston puikerrehtavaista 60 ku ei tullut kuulemahan Väinämöisen soitellessa kutku kullervoiellessa kalanluista kanteloista lohen purstoista punaisen. 65 Kenki itse hiien eukko kultasuilla kukkaroilla veitsellä hopeapäällä jonka pää satoja maksoi terän ei ollut tietäjeä.

There was none in the forest running on four feet that did not come to listen to Väinämöinen’s playing. There was nothing in the air flying on two wings that did not come to listen as Väinämöinen played, as he plucked the loud strings as the salmon-tail rejoiced, to the fish-bone kantele. There was nothing in the sea moving with six fins darting with a tail that did not come to listenas Väinämöinen played, as he plucked the loud strings to the fish-bone kantele the red salmon-tail. The demon’s dame herself gave her purse with the golden mouth her knife with the silver haft the one whose haft cost hundreds no one knew how much the blade. O n tre i Vanninen

Sortavala, Ladoga Karelia K. Killinen, 1882

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25 KANTELE III The Kantele III

✓ ^vlin orja Virossa paimen pahassa maassa. Mitä tuolla tietettiin? Paimenes käytettiin. 5 Mitäpäs tuol syötettiin? Luut lihosta, päät kaloista keskpaikat keitoksista. Mitäs palkaks annettiin? Otrakappa kannettiin, io Otin otrat koprahani kylvin otrat Ruotsin maahan heitin Saksan saareksille viskasin Viron saroille.

was a serf in Estonia A a herdsman in the bad land. What was I made to do there? I was made to go herding. What was I made to eat there? bones from meat and heads from fish and the middle parts of soups. What was I given for pay? brought a gallon of barley. I took the grains in my palm sowed the grains in Swedish soil threw them on German tillage flung them on Estonia’s strips.

Mänin kohta katsomaan is kahen kolmen yön perästä: oil mun oino otrassain sinisarvi saaressain. Otin oinon, vein kottiin talutin mä tanhualle 2o otin oinon päästä sarvet vein sarvet sepän paijaan.

I went straight to look at the end of two, three nights: a ram was in my barley a blue-horn on my tillage. I took the ram, brought ft home led it into the farmyard took the horns off the ram’s head brought the horns to the smith’s forge.

“Seppueni selvueni taoit eklen, taoit ennen tao viel tänäki päinä! 25 Tao miulle kanteloinen mil mie soittelen sovassa alla linnan liirittelen.”

“O my smith, my splendid man you hammered yesterday, once hammer still today as well! Hammer me a kantele to play when I am at war below the castle to pluck.”

Uupu kantelo vähäistä uupu kannel kahta kieltä. 30 Läksin noita etsimään.

The kantele lacked something the kantele lacked two strings: I went off in search of them.

t

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Näin mie neion tiellä käyvän hieprukkaisen heistehellä. Aloin neiolta kysellä: “Annat sie neito tukkiasi 36 hieprukkainen hiuksiasi?” Neito miulle tukkiaasen hieprukkainen hiuksiaasen. Sain sit kielet kanteleesen. Vein sit miehil tuppaan. 40 Soittiit nuoret, soittiit vanhat:

ei ilolle millenkänä. Sokia sopesta huusi nurkasta vähännäköinen: “ Polville pojan sokean 46 pojan raukan ramputella!” Kuin soitti sokea poika poika raukka ramputteli tuo vast sitt ilolle paisto. Mitä lie ollut ukkoo tuvassa 60 ne oil näskämäisillänsä, kanteloista kuunteliit illoo ihhailit. Mitä lie olt ämmii tuvassa niil oil käsi poskipäässä, 65 kanteloista kuunteliit. Mitä lie olt tyttöö tuvas ne oil kaik vesissä silmin, kanteloista kuunteliit. Mitä lie olt poikii tuvassa 60

ne oilt maassa vatsallansa, kanteloista kuunteliit illoo ihhailit soittoo pojan sokean.

Sus juoks suuren korven 66 karhu kankaan lakia kanteloista kuulemaan susi särki suuren päänsä karhu kankeat nissaan.

I saw a maid on the road a lass on the sandy path. I began to ask the maid: “Will you give, maid, of your hair lass, some of your locks?” The maid gave me of her hair the lass of her locks: I got the kantele strings. I took it in to the men. The young played and the old played with no joy at all. A blind man called from a nook dim-sighted from a corner: “ Put it on a blind boy’s knees let a poor boy have a strum!” And when the blind boy played it when the poor boy had a strum only then it shone with joy. What old men were in the house were leaning forward listening to the kantele admiring the joy. What old crones were in the house had hands on cheekbones listening to the kantele. What girls there were in the house all had water in their eyes listening to the kantele. What boys there were in the house lay with bellies on the floor listening to the kantele admiring the joy the blind boy’s music. A wolf ran through the great woods a bear over the wide heath ran to hear the kantele and the wolf broke its great head 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

5

-m y|-enin minä metsään kesolla IVJLkeskkesäl, heinajalla pienen Pedron ympärillä suuren Maarian sulalla. Käin mie kankaisen käpöisen läpi korven kuusamisen, puuttu haapa vastahani.

Haapa vaiten vastaeli: “Mitä mies minusta etsit?” io Minä vasten vastaelin: “Etsin vellolle venoja ainuelle jalan aseita.” Haapa vasten vastaeli: “Ei saa venoja minusta is altahia ei saa ankaria.” Käin mie kankahan käpöisen läpi korven kuusamisen, puuttu koivu vastahani. Koivu vaiten vastaeli: “ Mitä mies minusta etsit?” Minä vasten vastaelin: “Etsin vellolle venoja ainuelle jalan aseita.” Koivu vasten vastaeli: 25 “Ei saa venoja minusta, rataspuita saap puhtahia telenpäitä tervasia palstoja vielä paremmin.” 20

Käin miä kankahan käpöisen

went to the forest in summer A at midsummer, at hay-time near the feast of Peterkin the warm time of great Mary. I walked on a cone-strewn heath through honeysuckle backwoods: I met an aspen. t

The aspen indeed answered: “What, man, do you seek of me?” I answering said: “I seek boats for my brother where my only one may step.” The aspen answering said: “No boats will be had from me not from me hard-wearing hulls.” I walked on the cone-strewn heath through honeysuckle backwoods: I met a birch-tree. The birch-tree indeed answered: “What, man, do you seek from me?” I answering said: “I seek boats for my brother where my only one may step.” The birch-tree answering said: “No boats will be had from me but clear wood for wheels or tarry rollers or laths better still.” I walked on the cone-strewn heath

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so läpi korven kuusamisen, puuttu tammi vastahani. Iskin kerran kervehellä toisen kerran tappuralla kolmannen koko terällä. 36 Iskin kerran, synty laita toisen kerran, toinen laita kolmannen, koko venoinen. Sai tuo veno valmihiksi.

through the honeysuckle backwoods: I met an oak-tree. I struck it once with an axe struck it twice with a hatchet a third time with a whole blade: I struck once, one side was bom I struck twice, the other side a third time and the whole boat. That boat was finished.

Mistä kaaret pantanoo? «o Kaaret karhun kylkiluista. Mistä naaglat tehtänee? Suen selvän selkäluista. Sai tuo veno vestetyksi satalaita salvetuksi, 45 vietiin veno veteen satalaita lainehelle tuhatlaita tuulen päälle. Paljo laivassa väkiä. Enemmän on emottomia: 60 ei oo tuulen tuntijaa ahavaisen arvajaa.

What would the ribs be formed of? the boat’s ribs of a bear’s ribs. What would the pegs be made of? a fine wolf’s back-bones. That boat was soon built the hundred-sided was hewn: the boat was borne to water the hundred-boarded to waves the thousand-boarded windward. Many folk were in the ship most were fully fledged they did not know about wind did not understand the gale.

Akka rannalla asuu veen pinnassa pysyy, ainoa on akalla poika 66 Anteroksi kutsutaan. Tuon anto Ahin aviksi anto airokämmeneksi anto tuulen tuntijaksi meren ilman mielijäksi: 60 tukasta hän tuulen tunsi pahan ilman paljastaan meren ilman mielestään.

An old crone lives on the shore stays on the water’s surface: the crone had an only son one who was called Antero. She gave him to help Ahti gave him to be an oar-hand gave him to know the wind’s ways put his mind to the sea air: in his hair he knew the wind evil weather in his shirt and the sea air in his mind.

Untamo Ylermön poika nosti purjehen punaisen 65 tuopa vanttujen varalle, toisen puijehen sinisen kolmannen aivan aivinaisen

Untamo, Ylermö’s son hoisted a sail, a red one up among the shrouds another sail, a blue one and a third all of linen

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tuuva kohti mastin luoksi: laivoi juoksi, matka joutui 70 hyyn ylitse, jään alaitse kailatse kalaisen saaren. Jumalainen armollinen väänsi tuulen vastaiseksi asettuisi ankkuriin: 76 tuuli sytty, sää sikisi aallot käyvät ankarasti.

bringing it against the mast: the ship ran, the voyage sped over frost and under ice hard by a fishing-island. God the merciful turned the wind round against him: he rode steady at anchor. The wind flared, the storm started and the waves moved heavily.

Untamo Ylermön poika pani vanhat soutamaan nuoret päälle katsomaan, so V anhat sousit, päät vapisit. Vanhat rukoiloot: “Jumalainen armollinen luo sie tuuli luotehesse anna airoille apia!” 85 Jumalainen armollinen luont ei tuulta luotehesse antant ei airoille apia.

Untamo, Ylermö’s son set the old rowing the young looking on: the old rowed, their heads trembled. The old were praying: “O merciful God turn the wind to the north-west give the oars some help!” God the merciful turned no wind to the north-west gave the oars no help.

Untamo Ylermön poika vaihto vanhat soutamasta, 90 pani nuoret soutamaan vanhat päältä katsomaan: nuoret sousit, airot notkuit hypit harmahat hypehet kiehut kellan karvalliset 95 merestä veen sisästä.

Untamo, Ylermö’s son took the old ones off rowing set the young rowing the old looking on: the young rowed and their oars swung the grey foam was foaming up the yellow spray was seething from within the sea’s water. So the young ones were praying: “O merciful God turn the wind to the north-west give the oars some help!”

Niin nuoret rukoileet: “Jumalainen armollinen luo sie tuuli luotehesse anna airoille apia!” too Jumalainen armollinen porottais pohjoiseen, antant airoille ei apia. Tuuli sytty, sää sikisi aallot käivät ankaraiset 105 merestä veen sisästä:

God the merciful swung the wind northward gave the oars no help. The wind flared, the storm started and the waves moved heavily from within the sea’s water:

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lasetti laivoi kiini lasetti kiveen kiini väki on vähin väsynyt lasetti kiveen kiini no pienen Pentin linnan alle, Pentti oli pieni linnan vanhin.

the ship was driven driven fast on to a rockthe folk were quite tired driven fast on to a rock by Little Pentti’s castle whose lord was Little Pentti.

Untamo Ylermön poikoi kysytteli kannoitteli: “Onko linnan leipoisia ns ilman leivän paistamata väelle väsynehelle?”

Untamo, Ylermö’s son asked, made inquiries: “Are there loaves in the castle without baking any bread for the weary folk?”

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Vanhoi poikoi vastaeli: “Ei oo linnan leipoisia väelle väsynehelle.”

The boy-lord answered: “No loaves are in the castle for the weary folk.”

Untamo Ylermön poikoi tuo vai vasten vastaeli: “Onko linnassa lihoa?”

Untamo, Ylermö’s son answering replied: “Is there meat in the castle?”

“Ei oo linnassa lihoa ilman hällön tappamata mulliken murentama ta.”

“No meat is in the castle without slaughtering the ox without slaying the bullock.”

Kuukauden orava juoksi hällön selkäpiitä myöten, kesoipäivän pääsky lensi hällön sarvien väliä. 130 Kempä hällön tappajaksi mulliken murentajaksi? Tunkesi turulta miekkoi luin on kirves tuli käessä luinen kirves vaskivarsi. 136 Kui hän luisella lutisti vaskivarrella vatisti: mölähytti silmiään, karahutti kabjojaan. Miekkoi kuuseen pakoon lio muut jumalat muihen puihen.

12

For a month a squirrel ran along the ox’s backbone a summer day a swallow flew between the ox’s horns. Now, who would slaughter the ox and who would slay the bullock? A man squeezed in from market: came, a bone axe in his hand a bone axe, copper-hafted. When he struck with the bone axe beat with the copper-hafted it bellowed, rolling its eyes and its hoofs clattered. The man fled up a pine-tree other gods up other trees.

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Mitä meist on laulajista kuta meistä kukkujista ku ei tuisa tiiltä suusta kekälett ei alta kielen 146 savuu ei sanan jälestä!

Of what use are we singers what good we cuckoo-callers if no fire spurts from our mouths no brand from beneath our tongues and no smoke after our words! S in g e r u n know n

Soikkola, Ingiia J . Länkelä, 1858

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

ampsa poika Pellervoinen Olaksi puuta etsimähän tammia tavottamahan Jumalalle purjepuuta 5 Luojalle venon emeä. £1

ampsa the Pellervo boy O went off in search of timber to try and find oak find a mast for God a keel for the Creator.

Yhty tammi vastohoisi. Kysytteli lausutteli: “Tuloviko siusta tammi Luojalle venon emeä?”

He met an oak-tree. He asked it, he spoke to it: “Will there come from you, oak-tree a keel for the Creator?”

io Tammi vastoaapi: “Eipä mi usta tullutkana: kolmitsi tänä kesänä mavot juureni mateli, kolmitsi tänä kesänä is piru kierti keskipuuta korpit kronkku latvoillani.”

The oak-tree answered: “One would never come from me: three times this summer the worms have crawled at my roots three times this summer the devil twisted my heart the ravens croaked in my crown.”

Aina eistyvi etemmä, yhty tammi vastohoisi. Kysytteli lausutteli: so “Tuloviko siusta tammi Jumalalle purjepuuta Luojalle venon emeä?”

He kept advancing onward: he met an oak-tree. He asked it, he spoke to it: “Will there come from you, oak-tree come a mast for God a keel for the Creator?”

Tammi taiten vastoaapi: “Eipä miusta tullutkana: 25 kolmitsi tänä kesänä maot on juureni makasi piru kierti keskipuuta korppi kronkku latvoillani.”

The oak knowingly answered: “One would never come from me: three times this summer the worms have lain at my roots the devil twisted my heart the ravens croaked in my crown.”

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Merimatka I I The Voyage I I

Niin on eistyvi etemmä. 30 Niin päivänä kolmantena yhty tammi vastohoisi. Kysytteli lausutteli: “Tuloviko siusta tammi Jumalalle purjepuuta 35 Luojalle venon emeä?”

And so he advanced onward: so on the third day he met an oak-tree. He asked it, he spoke to it: “Will there come from you, oak-tree come a mast for God a keel for the Creator?”

Tammi taiten vastoaapi: “Tulovipa miusta puuta Jumalalle purjepuuta Luojalle venon emeä: 40 kolmitsi tänä kesänä mesi tippu lehvistänä päivä kierti kestipuuta, kolmitsi tänä kesänä käki kukku latvoillani.”

The oak knowingly answered: “Yes, timber will come from me and a mast for God a keel for the Creator: three times this summer honey has dripped from my leaves the sun has gone round my heart three times this summer the cuckoo called in my crown.”

46 Siitä taisi tammen kaata puun sorian sorrutella, loati valmehen venehén yhen tammen taittumoista puun murskan murenomista.

Then he could fell the oak-tree overthrow the handsome tree and he built a boat ready from the fragments of the oak from bits of the broken tree.

so Sai venonen valmihiksi. Lykkäsi venon vesille kuorikeskoilta teloilta mäntysiltä järkälöiltä, itse noin sanoiksi virkko: 56 “Kupliksi veno vesillä lumpehiksi lainehilla.”

The boat was finished: and he launched the boat upon rollers stripped of bark upon thick pine-logs. He himself put this in words: “Boat, be bubbles on water water-lilies on the waves.”

Itse istuksen perähän Sampsa poika Pellervoinen Santta Anni airollissa. oo Santta Pietari sanovi Santta Anni arvelevi: “Tule sie purtehen Jumala alaseh on armollinen pätöville peäaloillen 65 alle viltin vieretäte.”

He sat himself in the stern Sampsa the Pellervo boy and Saint Ann was at the oars and Saint Peter said Saint Ann considered: “ Gome into the boat, O God come aboard, merciful one to the pillows fit for you curl up under the blankets.”

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Tuli purteh Jumala alaseh on armollinen pätöville peäaloille alle viltin vierettisi, to Santta Pietari perässä.

And God came into the boat the merciful one aboard to the pillows fit for him curled up under the blankets and Saint Peter after him.

Laski päivän, laski toisen niin päivänä kolmantena meri suureksi sukeutu moalima isoksi täyty 75 nousi kuohut korkieksi veen aallot ankaraksi. Santta Pietari sanovi Santta Anni arvelovi: “Sie kuulu Jumalan poika so vierittele vilttihese peältä kasvo kaunehielta: meri suureksi sukeutu moailma isoksi täyty nousi kuohut korkieksi 86 venon aallot ankaraksi.”

They sailed a day, another so on the third day the sea swelled till it was big the world filled till it was large the surge rose till it was high the waves till they were heavy. And Saint Peter said Saint Ann considered: “Famous Son of God uncurl your blankets away from your lovely face: the sea swelled till it was big the world filled till it was large the surge rose till it was high the waves till they were heavy.”

Niin kuulu Jumalan poika vilttihinsä vieretteli vieretteli vilttiänsä peältä kasvo kaunehielta so pätöviltä peäaloilta.

So the famous Son of God into his blankets curled up uncurled his blankets away from his lovely face from the pillows fit for him.

Iku Turso Äiön poika nosti peätänsä merestä lakkoansa lainehista vierestä veno punasen. $5 Niin kuulu Jumalan poika kohta korvista kohotti niin veti venosehensa. Kysytteli lausutteli: “Iku Turso Äiön poika loo niin miksi merestä nousit kuksi oalloista ylenit etehen imehnisille

Iku Turso, Äijö’s son raised his head out of the sea his poll from the waves beside the red boat. So the famous Son of God lifted him straight by the ears and pulled him into his boat. He asked him, he spoke to him: “ Iku Turso, Äijö’s son why did you rise from the sea wherefore come up from the waves in front of the sons of men

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soanikka on Jumalan poian?”

let alone the Son of God?”

Iki Turso Äiön poika eikä tuo hyvin ihastu eikä tuo kovin pelästy. Niin kuulu Jumalan poika tuota kovin tutkaeli kohta kolmitsi kysyvi: no “Niin miksi merestä nousit kuksi oalloista ylenit etehen imehnisille soanikka Jumalan poian?”

Iki Turso, Äijö’s son neither was he very charmed nor was he greatly frightened. So the famous Son of God questioned thoroughly asked him three times straight away: “Why did you rise from the sea wherefore come up from the waves in front of the sons of men let alone the Son of God?”

Niin kerralla kolmannella ns sattu Turso Äiön poika sanan virkko viimmeseksi niin kerralla kolmannella: “Oli mieli koatakseni laskieni lainehisen.”

And so the third time Turso, Äijö’s son uttered a word finally like this the third time: “ I thought of overturning dropping the boat in the waves.”

iso Niin kuulu Jumalan poika kohta korvista kohotti, heitti selvähän merehen ulappahan aukeaan, itse sanoiksi virkki: 126 “Iki Turso Äiön poika eilös sie merestä nousko ellös oallosta yletä etehen imehnisille soanikka Jumalan poian 130 kuni kuuta, aurinkoa päiveä hyvännäköstä!”

So the famous Son of God lifted him straight by the ears threw him into the clear sea the open water. He himself put into words: “Iki Turso, Äijö’s son do not rise out of the sea do not come up from the waves in front of the sons of men let alone the Son of God while the moon lasts, and the sun the lovely daylight!”

Sen on päivyen perästä ei Turso merestä nouse eikä oallosta ylene 136 etehen imehnisille.

Since that day Turso has not risen from the sea neither come up from the waves in front of the sons of men.

106

Siitä sinne tie mänövi rata uusi urkenevi.

From there to there the road goes 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

vanha Väinämöinen V aka teki tieolla venettä

turdy old Väinämöinen Smade a boat with his knowledge

lato purtta laulamalla: uupu kolmie sanoa päähän laian päästessänsä hankoja hakatessansa tehessään on teljopuita.

built a craft with his singing: three words were lacking as he reached the ship’s gunwales as he was hewing rowlocks as he was making thwart-planks.

Niin sano sanalla tuolla: “Ois tuolla sata sanoa 10 pääskyparven päälaella, ois tuolla sata sanoa hanhilauman hartehilla joutsenkarjan juonen päässä suussa valkian oravan is kesäpetran kielen alla.”

So he said these words: “There might be a hundred words on a flock of swallows’ heads there might be a hundred words on a skein of geese’ shoulders where a line of swans ended within a white squirrel’s mouth beneath a summer-deer’s tongue.”

Tappo parven pääskylöitä lauman hanhia hajotti tappo joukon joutsenia oravoita orren tappo so pellon petroja levitti. Ei saanut sanoakana eikä puoltana sanoa.

He killed a flock of swallows he scattered a skein of geese he killed off a line of swans he killed a roost of squirrels he laid low a field of deer: he got not a single word no, not half a word.

“Ois tuolla sata sanoa tuhat virren tutkelmosta 26 suussa Antervo Vipusen ku on viikon maassa maannut kauan levossa levännyt: leuall on leviä lehto pajupehko parran päällä so veneh haapa harteilla.

“There might be a hundred words a thousand songs in the mouth of Antervo Vipunen who has lain ages in earth who has rested long at rest: on his chin is a wide grove a willow-clump on his beard boat-aspen on his shoulders

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Vaan on matkoja pahoja miesten miekkojen teriä naisten nieklojen neniä.”

but then, travelling is bad upon men’s sword-blades women’s needle-points.”

Lähtie luku tuleepi toinen käyä kelpoaapi kun on muinen kasakan eli orjan palkollisen.

An hour came to leave ariother was ripe to go as of old for the hired man or for the serf, the hireling.

Astu päivän helkytteli miesten miekkojen teriä, «o astu päivän astu toisen naisten nieklojen neniä, niin päivänä kolmantena torkahti toinen jalkaah vaapahti vasemutensa 45 suuh Antervo Vipusen ku on viikon maassa maannut kauan mannussa levännyt.

He trod for a day clinking upon men’s sword-blades he trod a day, another upon women’s needle-points so on the third day one of his feet tripped his left slipped into the mouth of Antervo Vipunen who had lain ages in earth who had rested long in soil.

Siilon vanha Väinämöinen toivo polvensa palavan 50 jäsenensä lämpievän suussa Antervo Vipusen. Pani paitansa pajaksi turkkinsa tuhuttimeksi vasaraksi kyynäspäänsä 55 pienet sormensa pihiksi. Takuo taputteloopi tako rautasen korennon.

Then the old Väinämöinen felt his knee burning his limb warming in the mouth of Antervo Vipunen. From his shirt he made a forge from his fur coat made bellows a hammer from his elbow from his little fingers tongs: he hammered, he tapped hammered an iron cowlstaff.

60

Syösti rautasen korennon suuh Antervo Vipusen. Siilon Antervo Vipunen puri poikki mellon rauan, ei tiennyt terästä purra eikä syöä rauan syäntä.

Siilon Antervo Vipunen 65 sanan virkki noin nimesi: “Mene konna koukustani

He plunged it into the mouth of Antervo Vipunen. Then Antervo Vipunen bit in two the soft iron: he could not bite through the steel eat the iron’s heart. Then Antervo Vipunen uttered a word, speaking thus: “Go, villain, out of my lung

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maan valio maksoistani: syet suuhuni tuloopi rauan kuonat kulkkuhuni.”

earth’s elect, from my liver: charcoal comes into my mouth iron dross into my throat.”

70 Niin sanoopi Väinämöinen: “Lähen konna kulkustasi maan valio maksostasi kun sanot sata sanoo tuhat virren tutkalmuo.”

And so Väinämöinen said: “I, villain, will leave your throat earth’s elect, leave your liver if you say a hundred words the tips of a thousand songs.”

76 Siilon Antervo Vipunen ku on viikon maassa maannut kauan mannussa levännyt niin sano sata sanoo tuhat virren tutkalmuo. so Siilon vanha Väinämöinen sai venosen valmeheksi.

Then Antervo Vipunen who had lain ages in earth who had rested long in soil said a hundred words the tips of a thousand songs: then the old Väinämöinen finished off his boat. A rh ip p a P erttu n en

Latvajärvi, Vuokkiniemi, Archange J Karelia E. Lönnrot, 1834

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29 S A N A T II The Spell I I

5

T tše vanha Väinämöine Ategi tiijolla venehtä loadi purtta laulamalla: uubu kolmie sanova peräpeädä peättäeäissäh keskilaijan liitoksella.

✓ ~'vld Väinämöine himself V^/m ade a boat with his knowledge built a craft with his singing: three words were lacking as he reached the stem at the midship point.

Itse vanha Väinämöine läksi Tuonelda sanoja Manalalda laulujoja. io Tuonen tyttäret toruubi lapset vastoau Manalan: “Kembä Tuonella tulouppi Manalalla vastoauppi?”

Old Väinämöine himself went off for words from Tuoni songs from Manala. Tuoni’s daughters scolded him and Manala’s children said: “Now, who comes down to Tuoni who arrives in Manala?”

Itse vanha Väinämöine is kivenä merehe vieri sauna saukahti vedehe. Ei sieldä sanoja soanut.

Old Väinämöine himself rolled in the sea as a stone plopped in the water as smoke but found no words there.

Viikon on Virone kuollut kauvon Anderus kadonut: 20 lepät nossut leugaluista kulmista oravakuuzet izot hoavat hardeista jaloist on jalot pedäjät kadajat on kandapäistä 25 vahvat koivut varbahista.

Virone had long been dead Anderus was long perished: alders had sprung from his jaws from his brows squirrel-spruces tall aspens from his shoulders out of his feet splendid pines junipers out of his heels strong birches out of his toes.

Itše vanha Väinämöine kumo kuuzet juurildaha pedäjät peruksildaha: sai tuolda parin sanova

Old Väinämöine himself felled the spruces by their roots the pines by their foundations: there he found a pair of words -

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£ y

30 kovin äijä niin kuin kolme.

Joba venon valmistauppi vaskizihe valgamoihe teloilla teräksizillä.

even as many as three. So now he finished his boat on the copper stocks on the steel rollers.

m

Itše vanha Väinämöine virkki suulla julgijalla hambahalla valgijalla: “Ongo tässä nuorizossa kanzassa ylenövässä tämäm purren työndäjeä venoizen totuttajoa?”

Old Väinämöine himself uttered with outspoken mouth with a shining tooth: “Is there one of these young folk one of the rising people to push out this craft to point the boat the right way?”

45

Virkki nuori Jougamoine: “Kyll on tässä nuorizossa kanzassa ylenövässä!” Kuoitteli nuori Jougamoine: ei veno vezillä peäze.

Young Jougamoine uttered: “Yes, there’s one of these young fc one of the rising people!” The young Jougamoine tried: the boat did not reach water.

35

Itše vanha Väinämöine virkki suulla julgijalla hambahalla valgijalla: “Kaikk om mieheksi kyhätty so pandu parran kandajaksi!” Kuoitteli vanha Väinämöine: jo veno vezillä peäzi.

Old Väinämöine himself uttered with outspoken mouth with a shining tooth: “All sorts are made to be man appointed to wear a beard.” The old Väinämöine tried: now the boat reached the water.

Kerran souvin suoveziä toizen kerram moaveziä 55 kolmannem meren veziä: puuttu purzi Väinämöizen tageldu veno Tabien ei kivellä, ei havolla: hauvin suuren hardeilla.

Once I rowed in marsh-waters another time land-waters and a third time sea-waters: Väinämöine’s craft was jammed the boat of Tabie stuck fast not on a rock, not a log but on a great pike’s shoulders.

Virkki vanha Väinämöine virkki suulla julgijalla hambahalla valgijalla: “Tokk on tässä nuorizossa kanzassa ylenövässä 65 tämäm purrem peästäjöä

Old Väinämöine uttered uttered with outspoken mouth with a shining tooth: “Is there one of these young folk one of the rising people to release this craft

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venoizen totuttajoa?” Virkki nuori Jougamoine: “Kyll on tässä nuorizossa kanzassa ylenövässä!” 70 Iski miekalla merehe alla laijan laikahutti, ei haugi tuoda totellut: miekka kolmeksi palaksi.

75

Itše vanha Väinämöine virkki suulla julgijalla hambahalla valgijalla: “Kaikk om mieheksi kyhätty pandu parran kandajaksi!”

to point the boat the right way?” Young Jougamoine uttered: “Yes, there’s one of these young folk one of the rising people!” He struck the sea with his sword thrashed about below the side but the pike took no notice: the sword broke in three pieces. Old Väinämöine himself uttered with outspoken mouth with a shining tooth: “All sorts are made to be man appointed to wear a beard.”

Itše vanha Väinämöine äo otti miekan viereldähä vazemelda puoleldaha: iski miekalla merehe laijan alla laikavutti, haugi kolmeksi palaksi. 85 Händäpala häilähteli keskimuru keilahteli merem mustihi mudihi meren laskulambiloihe. Sai sieldä peä kädehe.

Old Väinämöine himself took the sword he was wearing drew from his left flank: he struck the sea with his sword thrashed about below the side and the pike in three pieces. The tail-piece floundered about the middle bit tumbled down in the black mud of the sea into the depths of the sea: there the head came to his hand.

»o “Kunne myö tämäm panemma? Panemma sepom pajaha: Ties on seppä soittu meilä!”

“Where shall we take this? We’ll take it to the smithy: O smith, make music for us!”

Itše vanha Väinämöine virkki suulla julgijalla 96 hambahalla valgijalla: “Ongo tässä nuorizossa kanzassa ylenövässä tämän soitun soittajoa tämän ilon iluojoa?”

Old Väinämöine himself uttered with outspoken mouth with a shining tooth: “ Is there one of these young folk one of these rising people to play this instrument someone to enjoy this joy?”

loo Virkki nuori Jougamoine:

Young Jougamoine uttered:

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“Kyll on tässä nuorizossa kanzassa ylenövässä!” Otti soitun sormillaha kaunon kaksilla käzillä: ei soittu soitulla tunnu ei ilo ilolla tunnu.

Itše vanha Väinämöine otti soitun sormillaha kaunon kaksilla käzillä, no rubei siidä soittamaha: jo soittu soitulla tundu jo ilo ilolla tundu. Mi lienöy metSän otusta neliin jaloin juoksijova, ns mi lienöy vein kaloja kuuzin evin kublajoa, kaikki tuldih kuulomaha: itše on vein emändä rinnoin ruohoho rivahtih iso veändih saramättähällä.

126

Itše vanha Väinämöine virkki suulla julgijalla hambahalla valgijalla: “Ongo tässä nuorizossa kanzassa ylenövässä

“Yes, there’s one of these young folk one of these rising people!” Took music in his fingers the fair thing in his two hands: music was unmusical joy had not the feel of joy. Old Väinämöine himself took music in his fingers the fair thing in his two hands started to play it: now music was musical now joy had the feel of joy. What forest-beasts there might be running on four feet what water-fishes there were bubbling with six fins all came to listen: the water’s mistress herself splashed with her breasts on the grass swirled upon a clump of sedge.

tuon on tuosta ambujoa?”

Old Väinämöine himself uttered with outspoken mouth with a shining tooth: “ Is there one of these young folk one of the rising people someone to shoot her?”

Ambu nuori Jougamoine: sebä murraldih mudaha sebä veändihi vedehe.

The young Jougamoine shot: she jerked down into the mud she swirled into the water.

iso Itše vanha Väinämöine tuost on suuttu, tuost on seändy murdi suuda, murdi peädä murdi mustoa havenda, laulo lambihi kalattomaha 136 aivan ahvenettomaha kynzin kylmähä kivehe hambahin vezihagoho.

Old Väinämöine himself grew angry, grew furious then twisted his mouth, tore his head tugged at his black hair sang him into a fishless pond, one quite empty of perch with his nails on a cold rock with his teeth on water-logs.

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Sanat I I The Spell I I

“Mingäs otat palvehiksi? Ois miula kaksi venoista, 140 yks on soudoa kebie toin äijän narodan kandau.”

“What will you take in return? I’ve two little boats: one is light to row one carries a lot of folk.”

“ Mull om paljoa paremboa viittä moista vingärembeä.”

‘T have something much better five times swifter than that one.”

“Ois miula kaksi hevoista, 146 yks on ravia rahkehelda toine on ajoa kevuta.”

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“ I have two horses: one is strongly built one is light to drive.”

“Mull om paljoa paremboa viittä moista vingärembeä. Kuin annat Annin, ainuon sizären peäzet lammista kalattomasta aivan ahvenettomasta kynzin kylmästä kivestä hambahin vezihavosta.”

“I have something much better five times swifter than that one. If you give Anni, your one sister you will be freed from the fishless pond the one quite empty of perch with your nails off the cold rock your teeth off the water-logs.”

Oi od nuori Jougamoine mäni juossulda kodihi: “Oi emoni kandajani! Annoin Annin, ainuon sizären.”

0 that young Jougamoine went running homeward: “O my mother who bore me 1 gave Anni, my only sister.”

Emä tuoda vastoau: “Tuoda vuotin tuon igäni tuoda puolen polviani vävykseni Väinämöistä suguhuni nuorda miestä laulajoa langokseni!”

His mother replied: “For this I longed all my life throughout half my days Väinö for my son-in-law the young man for my kinsman the singer my relative.” S im a n a H ö ttö n en

Repola, Olonets Karelia

A. A. Borenius, 1872

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30 TUONELANMATKA The Visit to Tuonela

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10

vanha Väinämöini T uopa läksi kirkkohon kivasta

Väinämöini N setow,outthatforoldchurch, resplendent

yli muista ylpeistä: jalas patvini pakahtu jalas koivuini kolahti kivisellä kirkkotiellä.

above the other proud folk: his springy sledge-runner split his curly sledge-runner bumped on the rocky road to church.

Sano vanha Väinämöini: “Onko vanhassa väjessä käyjä Tuonelta oroja Manalalta veäntietä?”

The old Väinämöini said: “ Is there one of the old folk to go for spikes from Tuoni a crowbar from Manala?”

Kansa kaikki vastoapi: “Ei ole vanhassa väjessä käyjeä Tuonelta oroja Manalalta veäntietä.”

And all the people answered: “There is none of the old folk to go for spikes from Tuoni a crowbar from Manala.”

15 Sano vanha Väinämöini: “Onko nuoressa väjessä kansassa ylenevässä käyjä Tuonelta orojen Manalalta veäntiemen?” 20

Kansa kaikki vastoapi: “Ei ole nuoressa väjessä käyjeä Tuonelta orojen Manalalta veäntiemen.”

Siitä vanha Väinämöini 25 läksi Tuonelta oroja Manalalta veäntietä. Mäni Tuonelan jokehe: siel on Tuonen tyttärete

The old Väinämöini said: “ Is there one of the young folk the rising generation to go for spikes from Tuoni the crowbar from Manala?” And all the people answered: “There is none of the young folk to go for spikes from Tuoni the crowbar from Manala.” Then the old Väinämöini went oflF for spikes from Tuoni a crowbar from Manala. Went to Tuonela’s river: there the daughters of Tuoni

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rautakynnet, rautasormet 30 rautarihman kesreäjät, ne om poukkujem pesuilla.

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45

iron-clawed, iron-fingered spinners of the iron thread were busy with their washing.

Siitä vanha Väinämöini jo huhuta huijahutti: “Tuo venehtä Tuonen tyttö lapsi kalman karpassuo!”

Then the old Väinämöini called out, shouted out: “Bring a boat, girl of Tuoni child of the grave, a vessel!”

Tuonen tyttäret sanoa lapset kalman kalkahuvi: “Kuin asia sanottanehe veneh siula tuotanehe.”

The daughters of Tuoni said the children of the grave clanked: “When your business is stated a boat will be brought to you.”

Sano vanha Väinämöini: “Rauta mium Manalla soatti rauta toi on Tuonelalla.”

The old Väinämöini said: “Iron brought me to Mana and iron to Tuonela.”

Tuonen tyttäret sanovi lapset kalman kalkahuvi: “Kuin rauta Manalla toisi rauta toisi Tuonelaha, verin voatties valuisi hurmehin hyreäilisi.”

The daughters of Tuoni said the children of the grave clanked: “ If iron brought you to Mana and iron to Tuonela your garments would drip with gore your clothes would be oozing blood.”

Siitä toas huhuta huijahutti: so “Tuo venehtä Tuonen tyttö lapsi kalman karpassuo!”

Then again he called out, shouted out: “Bring a boat, girl of Titoni child of the grave, a vessel!”

Tuonen tyttäret sanoa lapset kalman kalkahuvi: “Kuin asie sanottanehe 56 veneh siula tuotanehe.”

The daughters of Tuoni said the children of the grave clanked: “When your business is stated a boat will be brought to you.”

60

Sano vanha Väinämöini: “Tuli mium Manalla soatto tuli toi on Tuonelaha.”

The old Väinämöini said: “Fire has brought me to Mana fire to Tuonela.”

Tuonen tyttäret sanoa lapset kalman kalkahuvi: “Kuin tuli Manalla toisi

The daughters of Tuoni said the children of the grave clanked: “ If fire brought you to Mana

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tuli toisi Tuonelalta, tulin voatties palasi kypeninä kirpuoisi.”

fire to Tuonela your garments would be on fire your clothes would be spitting sparks.*

66 Siitä vanha Väinämöini jo huhuta huijahutti: “Tuo venehtä Tuonen tyttö lapsi kalman karpassuo!”

Then the old Väinämöini called out, shouted out: “Bring a boat, girl of Tuoni child of the grave, a vessel!”

Tuonen tyttäret sanovi, 70 lapset kalman kalkahuvi: “Kuin asia sanottanehe veneh siula tuotanehe.”

The daughters of Tuoni said the children of the grave clanked: “When your business is stated a boat will be brought to you.”

Sano vanha Väinämöini: “Läksin Tuonelta oroja 76 Manalalta veäntietä.”

The old Väinämöini said “I came for spikes from Tuoni a crowbar from Manala.”

Siitä Tuonen tyttärete rautakynnet, rautasormet rautarihman kesreäjät, jopa tuotihi venoini. eo Sieläpä miestä miessä piettih urosta uron tavalla: syötettihi, juotettihi noilla keärmehen kähyillä tšisiliuskoim päillä noilla. 86 Vieläpä miestä moate pantih sänkyllä säterisellä joka oli keärmehen kähyistä.

Then the daughters of Tuoni iron-clawed, iron-fingered spinners of the iron thread brought a little boat. They treated the man as man the hero like a hero: they gave him food, gave him drink some serpent-venom and some lizard-heads. They even laid him to rest on a bed of silk which was of serpent-venom.

Siitä vanha Väinämöini jo tunsi tuhon tulovan so hätäpäiväm peällä soavan. Muuttu ruskiekse mavoksi tšisiliuskoiksi tšilahti, ui poikki Tuonen jovesta.

Then the old Väinämöini felt his doom coming his day of distress dawning: changed himself to a brown worm slithered into a lizard swam across Tuoni’s river.

Mäni siitä väkesä luoksi 96 itše noin sanoiksi virkki: “Elkeäte nuoret miehet

Then he went to his people himself put this into words: “ Do not, young men, go

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Tuonelanmatka The Visit to Tuonela

männä surmatta Manalla kuolomatta Tuonelalta.” Siitä vanha Väinämöini too ajo kirkkoho kivasta yli muista ylpeistä.

to Mana unless you’re killed to Tuonela unless dead.” Then the old Väinämöini drove off to church, resplendent above the other proud folk. Jyrki Malinen

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

194

31 AURINKOJA KUU I Sun and Moon I

5

10

M

inne, sano, meiltä päivä peäty kunnas meiltä kuu katosi? Päivä peäty kalliohon.

tell me, has our sun gone W here, whither has our moon vanished?

Yöllä synty Väinämöinen yöllä synty, yöllä kasvo läksi päivällä pajaan, tako herran tarpehia. Kyy lenti kynnykselle takohissa Väinämöisen. Ite vanha Väinämöinen sanan virkko nuin nimesi: “Mitä kyy olet kynnyksellä?”

By night born, Väinämöinen by night born, by night brought up went by day to the smithy hammered some tools for the lord. A snake flew to the threshold as Väinämöinen hammered. Old Väinämöinen himself uttered a word, speaking thus: “Why are you on the threshold?”

The sun’s gone into a rock.

Kyy taiten vastoapi: “Tuota minä lienen kynnyksellä ie sanomata soattamassa: jopa nyt kuu kivestä nousi päivä peäsi kalliosta takohissa Väinämöisen.”

The snake knowingly answered: “For this I’m on the threshold I bring a message: the moon’s risen from the stone the sun’s come out of the rock as Väinämöinen hammered.”

Sanan tuo virkko nuin nimesi: ao “Jos ma nyt lähen Pohjolaan Pohjo poikain sekaan Lapin lasten tanterille koska kuun kivestä peästin päivän peästin kalliosta.”

He uttered this word, spoke thus: “ I’ll go now to Pohjola among the sons of Pohjo to the Lapp children’s paddocks since from the stone I have freed the moon, from the rock the sun.”

26

Astu päivän, astu toisen jopa päivänä kolmantena portit Pohjolan näky paistavat pahan veräjät Hiihten ukset ulvottavat.

He trod a day, another now on the third day Pohjola’s gates were in sight the bad place’s gateways shone and the doors of Hiisi creaked.

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so “Tule sormin soutamata kätten peällä käyttämät! peukalon pitelemätä huoparin hotasemata poikki Pohjolan joesta.”

“Come with fingers not rowing and without using your hands and not holding with your thumb without wielding your paddle across Pohjola’s river.”

36 Ite vanha Väinämöinen kuin huuti hujahutti vihellytti viuvahutti, tulipa tuuli tuon puhalsi poikki Pohjolan joesta. •to “Tules Pohjolan piholle!” Mäni Pohjolan piholle.

Old Väinämöinen himself when he called out, shouted out when he shrilled out, whistled out a wind came and wafted him across Pohjola’s river. “Come now to Pohjola’s yards!” 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

5

10

enne meillä Elettä oltii ojan perillä

was a time when we lived T here at the far end of the ditch

ojan puita poltettii syötii ojan kallooja ilman kuuta, päivyetä ilman Luojoin valkiata. Käsin maita etsittii käsin maita, sormin soita peukaloin jalan sijoja, tehtii kylvy kynttelillä touko tuohuksen nojalla.

burned wood from the ditch ate fish from the ditch without the moon, without sun without the Creator’s light. With our hands we searched the ground with our fingers the marshes with our thumbs for where to tread. We planted by candlelight sowed with the help of torches.

Sepoin tyttöi selvä tyttöi tuo tarkka takojan neitoi noisi päivän etsijäksi 16 ja kuun tähystäjäksi. Pani sieran seslähää otti harjan hartiallee otti kannun kailahaa nii otti unikerräisen. so Mäni verssan, mäni toisen mäni kolmatta vähhäisen: Iittovan kylä näkkyy Hiitoin koit i kuumattaat. Nii viskais unikerräisen, 25 nukutteli Hiioin miehet vaivutteli Hiioin naiset: ei kuulis koiran haukkuva eikä heppoisen hirnuva eikä lapsen itkövä.

The smith’s girl, the skilful girl careful maid of the craftsman got up to search for the sun and to look out for the moon put a whetstone on her breast took a brush on her shoulder took a jug under her arm and took a bundle of dreams. She went a verst, another went a little of a third: Iittova village loomed up Hiitoi’s houses gleamed. She tossed the bundle of dreams she lulled Hiitoi’s men to sleep she weighed Hiitoi’s women down: no bark of a dog was heard nor the neighing of a horse nor the weeping of a child.

30 Otti kuun kulmillee päivöin päälle päähyee, tuli verssan, tuli toisen

She took the moon on her brow put the sun upon her head: she came a verst, another 197

Aurinko j a kuu I I Sun and Moon I I

35

tuli kolmatta vähhäisen, nii katsoi jälellee: Iittovan miehet tulloot ollaa kiinni ottamassa ja kiinni tavoittamassa.

Viskais sieran seslästää i saoi visatessaa: 40 “Kasvakaaha paksu paasi jottei pääsis Iiton miehet ei yläitse eik alaitse eik pääsis kukkaalikkaa!”

45

Tuli verssan, tuli toisen tuli kolmatta vähhäisen, katsoi jälellehee: ollaa kiinni ottamassa ja kiinni tavottamassa.

Viskais harjan hartialta 50 nii saoi visatessaa: “Kasvakaaha paksu metsä syntykää kommiia korpi jottei pääsis Iiton miehet ei yläitse eik alaitse 56 eik pääsis kukkaalikkaa!”

60

Mäni verssan, mäni toisen mäni kolmatta vähhäisen, nii katsoi jälellehee: ollaa kiinni ottamassa ja kiinni tavottamassa.

Viskais kannun kailastaa saoi visatessaa: “Syntykää suuri jokkiin suuri jokkiin, suuri mäkkiin 65 jottei pääsis Iiton miehet ei yläitse eik alaitse eik tultais venehilläkää eik laivoilla ajettais.”

came a little of a third. She looked behind her: Iittova’s men were coming they were about to catch her about to lay hands on her. She Hung the whetstone from her back and said as she was Hinging: “Let a thick slab grow which Iitto’s men cannot pass neither over nor under cannot pass whichever way!” She came a verst, another came a little of a third. She looked behind her: they were about to catch her about to lay hands on her. She flung the brush from her shoulder and said as she flung: “ Let a thick wood grow let splendid backwoods be born which Iitto’s men cannot pass neither over nor under cannot pass whichever way!” She went a verst, another went a little of a third. She looked behind her: they were about to catch her about to lay hands on her. She flung the jug from her arm and said as she flung: “Let a great river be bom a great river, a great hill which Iitto’s men cannot pass neither over nor under nor can come in boats either nor can sail in ships!”

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Aurinko ja kuu I I Sun and Moon I I

Sepoin nain selvä nain 70 nii joutui omille maille. Oli isoin ikkunalla oli kasvant kultain koivu oli kasvant hoppiia honka: sinne tuo laati päivyeen 75 ja laati kuun kumattammaa.

Smith's woman, skilful woman thus reached her own lands. There at her father’s window a golden birch had sprung up a silver pine had sprung up: there she placed the sun placed the moon to gleam.

Noisi päivä paistamaa ja läksi kuu kumattammaa rikkahille, rakkahille— ei köyhille, ei kerrääjille. so Köyhät rukoelliit keräjäiset palvelliit: “Sepoin nain selvä nain laai siä päivä paistamaa kuu Jumalan koittamaa 86 rikkahille, rakkahille nii köyhille ja kerrääjille!”

The sun rose to shine and the moon came out to gleam on the rich, on the cherished not on the poor, the beggars. The poor people were praying the beggars were bowing down: “Smith's woman, skilful woman place the sun that it may shine that God’s moon may dawn on the rich, on the cherished and on the poor, the beggars!”

Ei voint kovvaana olla sepoin nain selvä nain: laati päivän paistamaa so rikkaan iloitsommaa köyhille, kerrääjille.

She could not be stem, smith’s woman, skilful woman: placed the sun that it might shine that its riches might bring joy 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

5

10

päivätäk eletty Ennen kupaeltu ilman kuutak

we lived without the sun Once groped about without the moon

vaan ei nyt nykkyin rahvas voik ei päivätäk elellä kupaellak ilman kuutak.

but folk nowadays cannot live without the sun grope about without the moon.

Kuka päivöin etsijäks kuun tarkoin tähystäjäks? Jumalaisen ainoi poikoi Kiesuksen käppiiä käsky tuo oli päivöin etsijäin kuun tarkan tähystäjäin. Pani kannuun ollooja toiseen kannuun mettooja kolmanteen vihhaisen viinan.

Who would search for the sun, would look carefully for the moon? The one Son of God the prompt servant of Jesus he would search for the sun, would look carefully for the moon: in a jug he put some beer in another jug some mead in a third angry liquor.

Mäni talliin mäelle: siell oli seitsen hengestiä ja kaheksan kankaroja. Sen otti oroisistaan ja valitsi varsoistaan so mill oli lammi lautaisilla ojain oloin sivulla kylmä kaivo alla kapioin lähek oli länkien väliss. Hyppäis hyvväisen selälle 26 karkais kaunoin lautaisille, löi siit ruosalla orrooja rapaeli raanikolla: oroi kyynä käänteliis matoina vipaelliis. 30 Oroi juoksi, matka joutui välleen väli lyhheeni. 16

To the stable on the hill he went: seven cobs and eight good pacers were there and he took from his stallions he chose from among his colts which had a pool on its loins a ditch on the stallion’s flank a cold well under its hoofs had a spring in its withers. He leapt on the good one’s back jumped on the handsome one’s loins struck the stallion with a whip whacked it with a rod: the stallion squirmed like a snake wriggled like a worm the stallion ran, the way shrank the distance grew swiftly short.

20 0

O O J J

Aurinko ja kuu I I I Sun and Moon I I I

Mani matkaa vähhäisen teki tietä pikkaraisen, hako vastaan tulloo: 36 ei pääse haon ylitsek ei ylitsek eik alaitsek ympärik ei pakenommaan.

He went on a little way went a short distance and he met a log: he could not get past the log neither over nor under nor round it to run away.

Jumalaisen ainoi poikoi Kiesuksen käppiiä käsky 40 tuohon viskais viinojaan olojaan läikähytti metojaan tyrsähytti: halkeis hako kaheks, tuli tie iänikkuin 46 rako rannoin polvehiin kävväk Unnon kävväk Vennon kävväk Luojoin lapsineen Jummaalan perehinneen heikon herran valtoineen 60 papin paastokunsineen.

The one Son of God the prompt servant of Jesus flung down some of his liquor some of his beer splashed on it some of his mead sprayed on it and the log was split in two: an everlasting road came a crack aged as the shore where Unto, where Vento, where the Creator with his kin God with his family a weak lord with his household a priest with his flock could walk.

Mäni matkaa vähhäisen teki tietä pikkaraisen, kivi vastaan tulloo: ei pääse kiven ylitsek 66 ei ylitsek eik alaitsek ympärik ei pakenommaan.

He went on a little way went a short distance and he met a rock: he could not get past the rock neither over nor under nor round it to run away.

Jumalaisen ainoi poikoi Kiesuksen käppiiä käsky tuohon viskais viinojaan «o olojaan läikähytti metojaan tyrsähytti: halkeis kivi kaheks, tuli tie iänikkuin rako rannoin polvehiin 66 kävväk Unnon kävväk Vennon kävväk Luojoin lapsineen Jummaalan perehinneen heikon herran valtoineen papin paastokunsineen

The one Son of God the prompt servant of Jesus flung down some of his liquor some of his beer splashed on it some of his mead sprayed on it and the rock was split in two: an everlasting road came a crack aged as the shore where Unto, where Vento, where the Creator with his kin God with his family a weak lord with his household a priest with his flock could walk

201

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Aurinko ja kuu I I I Sun and Moon I I I

70 kuninkahan linnoineen. Hyppäis hyvän selälle karkais kaunoin lautaisille, mäni matkaa vähhäisen teki tietä pikkaraisen, 75

oja vastaan tulloo: ei pääsek ojan ylitsek ei ylitsek eik alaitsek ympärik ei pakenommaan.

Jumalaisen ainoi poikoi so ommeenan ojaan luonut laukan tammeen luppais: halkeis oja kaheks, tuli tie iänikkuin, rako rannan polvehiin 85 kävväk Unnon kävväk Vennon kävväk Luojoin lapsineen Jummaalan perehinneen heikon herran valtoineen papin paastokunsineen 90 kuninkahan linnoineen.

95

‘ and a king with his castle. He leapt on the good one’s back jumped on the handsome one’s loins he went on a little way • went a short distance and he met a ditch: he could not get past the ditch neither over nor under nor round it to run away. The one Son of God threw an apple in the ditch lobbed a leek into the pool and the ditch was split in two: an everlasting road came a crack aged as the shore where Unto, where Vento, where the Creator with his kin God with his family a weak lord with his household a priest with his flock could walk and a king with his castle.

Jumalaisen ainoi poikoi mäni matkaa vähhäisen teki tietä pikkaraisen: kylä vastaan tulloo.

The one Son of God he went on a little way went a short distance: he met a village.

Muu kylä kaik makkais, yks oli akka ikkunassa. “Hoi akka emohuein! Kussa teili on kuu pietty kussa on päivä hallikoittu?”

All other villagers slept: a crone was at the window. “Hullo, crone, my old mother! Where are you keeping the moon where are you hoarding the sun?”

loo Akka vassen vastaeli: “Siell on meillä kuu pietty siellä päivä hallikoittu paksussa pajupehossa tihiässä tuomikossa.”

The crone answering replied: “There we are keeping the moon there we are hoarding the sun inside a thick willow-bush in a dense birdcherry wood.”

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Aurinko ja kuu I I I Sun and Moon I I I

105 Jumalaisen ainoi poikoi mäni, katsoi päivöjään: viel päivöi makaelloo kuutoma lepäellöö.

The one Son of God went, looked for the sun: the sun was still lying down the moon still resting.

Mäni aikaa vähhäisen no mäni tuosta tunti toin, mäni katsoi päivöjään: pää jo päivöiltä näkkyy jaloit viljoin vuotehesta käet kyllin kattehesta.

And a little time went by an hour went by, another. He went and looked for the sun: now the sun’s head could be seen plenty of feet in the bed hands enough under the quilt.

ns Jumalaisen ainoi poikoi otti päivöin olalleen käänsi käsivarrelleen, toi päivöin omille maille muilta mailta vierahilta.

The one Son of God took the sun on his shoulder folded it over his arm brought the sun to his own lands from other strange lands.

iso Jumalaisen ainoi poikoi laaitteli päivöjään oksille ylimmäisille. Ei päivä tassaisin paissak: päivä paistoi rikkahille 125 kuu kumoitti köyhäisille.

The one Son of God now set his sun in its place upon the highest branches. The sun did not shine justly: the sun shone upon the rich the moon gleamed upon the poor.

Köyhät rukoelloot maassa polvin pakkuroivat: “Miksi meijen Luojuenne ja meijen Jumaluenne 130 miksi tuota ei tassaisin tehnyt kun ei meilen päivä paissak?”

The poor people were praying with knees on the ground begging: “Wherefore has our Creator and why has our God not done this justly that no sun should shine on us?”

Jumalaisen ainoi poikoi rukohuksen sai kuulomaan: laaitteli päivöjään 135 oksille alempaisille. Ei päivöi tassaisin paissak: päivöi paistaa köyhäisille kuu kumoittaa rikkahille.

The one Son of God gave ear to the prayer: he set his sun in its place upon the lower branches. The sun did not shine justly: the sun shone upon the poor the moon gleamed upon the rich.

Rikkaat rukoelloot

The rich people were praying

203

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Aurinko ja kuu I I I Sun and Moon I I I

140 maassa polvin pakkuroivat: “Miksi meijen Luojuenne ja meijen Jumaluenne heitti päivöin paistamasta? Mitä myö pahhoin teimän us ku ei meilen päivöi paissak?”

with knees on the ground begging: “Wherefore has our Creator and why has our God cast the sun down from shining? What have we done that is wrong that no sun should shine on us?”

Jumalaisen ainoi poikoi rukouksen sai kuuloinaan: laaitteli päivöjään oksille keskimäisille, iso siit päivöi tassaisin paistoi rikkahille i rakkahille köyhille i kerrääjille.

The one Son of God gave ear to the prayer: he set his sun in its place upon the middle branches and then the sun shone justly on the rich, on the cherished 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

5

10

suarella palauve Savu tuli niemen tutkamissa:

flared on the island, fire Smoke at a point on the headland:

pieni ois sovan savuksi suuri paimoizem paloksi. Osmotar olutta keitti kabu kahjoa rakendi salapuida poltettihi salapuida suarimailda.

it would be small for war-smoke too big for a herdsman’s fire. Osmotar was brewing beer the woman was mixing ale a forest of trees was burnt a forest on the island.

Oli päivän, oli toizen, ei ottat olu hapata kahja kuldaine kuhissa.

A day there was, another: the beer did not start to turn the golden ale to ferment.

Emänd on hyvätabaine hiero kahta kämmendähä hykerdi molombiehe 15 hiero kärpän kämmenistäh oravan suustaha sugazi. Itše tuon sanoiksi virkki: “Kuule neuvon neijoistani oravaistani opassan. so Mäne tuonne kunne käzen: yheksäm meren ylittši meri-puolen kymmenittši. Siel on kolme korbikuusta: kaksi on vaipalla katettu 85 kolmas ilman kattamatta. Tuo sie kuuzesta käbyö pedäjästä helbehije.”

The mistress was well-behaved rubbed her two palms together she made friction with them both: she rubbed a stoat from her palms pushed a squirrel from her mouth. She put this in words: “Hear how I advise my maid instruct my squirrel. Go the way I command you: make your way over nine seas over half a tenth. There are three slender spruces: two are covered with a cloak the third has no covering. Bring cones from a spruce some shoots from a pine.”

Toi on kuuzesta käbyö pedäjästä helbehije, 30 suattavi kabun kädehe,

She brought some cones from a spruce some shoots from a pine put them in the woman’s hand

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i

Lemminkäinen I Lemminkäinen I

who put them into the ale Osmotar into the beer.

kabu suatto kahjahasse Osmotar oluohosse. Oli päivän, oli toizen joba piänä kolmandena 35 jo ottau olu hapata kahja kuldaine kuhissa. Sai olu hapanneheksi medo miesten juodavaksi.

A day there was, another now on the third day tlie beer was starting to turn the golden ale to ferment: now the beer had turned ready the mead to be drunk by men.

Emänd on hyvätabaine «o hiän tuon sanoiksi virkki: “Kuules neuvon neijoistani oravaistani opassan. Mänes tuonne kunne kässen, kutšu rujot, kutšu rammat 45 kutsu i verisogiet, rujot rejin reikuttele rammat rattšahin ajele verisogiet venehin souva. Kutsu Ahti, kutšu Kaugo 50 kutšu Vei tikki verövä.”

The mistress was well-behaved put this into words: “ Hear how I advise my maid instruct my squirrel. Go the way I command you: ask the crippled, ask the lame ask the blind from birth drag the crippled in sledges drive the lame here on horseback row the blind from birth in boats. Ask Ahti and ask Kaugo ask ruddy-cheeked Veitikki.”

55

“En tiijä Ahin kodije engä Kauvon kardanuvo Veitikin elo-sijoa.”

“I do not know Ahti’s house neither Kaugo’s farm nor Veitikki’s dwelling-place.”

“Ahti suarella asuuve Kaugo niemen kainalossa Veitikki nenässä niemen. Elä kutšu Lemmingäistä: Lemmingäine on liedo poiga se on kaikittši toraiza.”

“Ahti lives on the island Kaugo in the headland’s crook Veitikki upon its tip. Do not ask Lemmingäine: Lemmingäine’s a wanton he is always quarrelsome.”

Lemmingäin on liedo poiga pistihi ullos pihalla mäni ullos usta myöte pihalla pärettä myöte: kuuluvi kumu kyläldä 65 järy järvien tagoada jalan isku iljeneldä. 60

Lemmingäine the wanton hurtled out into the yard through the doorway to the yard past the place where the splint bums: thudding rang from the village thumping from beyond the lakes stamping from the frozen ground.

20 6

'J A J

t

70

76

Lemminkäinen I Lemminkäinen I

Pistih pikku perttihisse itše tuon sanoiksi virkki: “Oi on emo kandajaizen tuo tänne sodisobani kannas vainovoattieni piiruloissa piettäväni häissä häilyteldäväni: lähem Päivöläm pidoho suarijoukon juomingihi.”

Emo kieldi poijuttaha naine miestähä ebäzi: “Elä lähe Päivöläm pidoho suarijoukon juomingihi! so Kolme surmoa om matalla.” “Oi on emo kandajaizen sano surma enzimmäine.” “Poiguoni ainuoni mänet matkoa vähäizen 86 aivin teidä pikkaraizen, tulouve tuline jogi jovess on tuline koski kozess on tuline luodo luuvoss on tuline koivu so koivuss on tulizet oksat oksiss on tuline kokko: kokko kynzieh hivouve hambahieh hitškuttauve millä syyvä Lemmingäistä. 96 Jo on syönyt suam miestä tuhonnut tuhannen urosta, sada miestä on siiven alla tuhat hännän tutkamissa.” “Oi on emo kandajaizen too ei ole siinä miesten surma ei ole kuoloma urosten Lemmingäizen liijatengi! Tembazi lehosta tedren

He rushed into his small room put this into words: “O mother who carried me bring here my war-gear carry here my battledress for me to wear at the feast to display at the wedding: I’m off to Päivölä’s feast to the island folk’s revels.” The mother forbade her son the woman told her man no: “Don’t go to Päivölä’s feast to the island folk’s revels! There are three deaths on the way.” “O mother who carried me say what the foremost death is.” “ My only offspring you will go a little way quite a short distance you’ll meet a fiery river amid it fiery rapids amid them a fiery crag on the crag a fiery birch on the birch fiery branches in them a fiery eagle: the eagle is sharpening its claws, is grinding its teeth to eat Lemmingäine with. It’s eaten a hundred men destroyed a thousand heroes a hundred under its wing a thousand beneath its tail.” “O mother who carried me there is no death for men there there is no doom for heroes Lemmingäine above all! He’d snatch a grouse from a grove

2 07

'j / l Lemminkäinen / J 1 * Lemminkäinen I

tahi korvesta koppalan, se on syöksi syöjän suuhu pardaha palam purijan leugoihe lezottelijan.

Oi kokko Jumalan luoma silmäs sinttoho sivalla no korvas luppaha lupissa ana männä matkamiehen Lemmingäizen liijatengi. Oi on emo kandajaizen sano surma keskimmäinen*

or a black grouse from the woods a meal for the eater’s mouth a bit for the biter’s beard for the chewer’s jaws. Eagle, God’s creature clap your eyelids together let your ear-flaps flop over let a travelling man go Lemmingäine above all! O mother who carried me say what the middle death is.”

115 “Poiguoni ainuoni mänet matkoa vähäizen aivan teidä pikkaraizen, mado tiell om poikkipuolin pitembi om pertin hirttä iso paksumbi pertim patšasta: jo on syönyt suam miestä tuhonnut tuhannen urosta.”

“ My only offspring you will go a little way quite a short distance a worm lies across the road longer than the room’s timbers thicker than the room’s pillars: it’s eaten a hundred men destroyed a thousand heroes.”

“Oi on emo kandajaizen ei ole siinä miesten surma 125 eigä kuoloma urosten Lemmingäizen liijatengi! Mado musta muan alaine kulgija kulon alaine pissäte marjamättähähe! iso Ana männä matkamiehen Lemmingäizen liijatengi! Oi on emo kandajaizen sano surma jälgimmäine.”

“O mother who carried me there is no death for men there nor is there doom for heroes Lemmingäine above all! O black worm from underground crawler among withered grass get into a berry clump let a travelling man go Lemmingäine above all! O mother who carried me say what the hindmost death is.”

“Poiguoni ainuoni 135 mänet matkoja vähäizen aivan teidä pikkaraizen mänet Päivölän kujoho: aid on rauvasta rakettu tšitšiliuskoill on sivottu 140 kiärmehill on keännyteldy muasta suate taivahahe,

“ My only offspring you will go a little way quite a short distance you’ll enter Päivölä’s lane: an iron fence has been built with lizards bound together with snakes it is wound around from the earth up to the sky

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piäkezrät kehäjämässä ullos suin suhajamassa ullos kielin kiehumassa, susit suittširengahissa karhut raudakahlehissa. Ne om Päivölän kujossa.”

“Ei ole siinä miesten surma eigä kuoloma urosten iso Lemmingäizen liijatengi! Ne mie suullani suloan sanoillani salboailen.”

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Jo mäni Ahin kodihi suarijoukon juomingihi, seizattihi oven suuhu oven suuhu orren alla kahen kattilan välihi kolmen koukun kiändimillä.

“There is no death for men there nor doom for heroes Lemmingäine above all! I shall melt them with my mouth stop them with my words.” Now he went to Ahti’s house to the island folk’s revels and he stopped in the doorway by the door beneath the beam in the space between two pots where three hooks turned to and fro.

Seb oli Ahti suarilaine: iso “Midä tulit kutšuitta pidoho hairuhitta juomingihi?”

’Twas Ahti the islander: “ Why come unasked to the feast unannounced to the revels?”

“Korie on kutšuttu vieras: koriembi kuttšumatoin. Korie kuttšuvo vuottau: hyvä ilman lykkeleksi.”

“A stranger bidden is fine: one not bidden is finer. A fine one waits to be asked: a good one thrusts in without.”

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Seb oli Ahti suarilaine laulo valgien jänöizen tuoho piällä Lemmingäizen nogiloida sordamaha 170 karstija karistamalla. Lemmingäine on liedo poiga laulo ruskien reboizen: söi on valgien jänöizen tuosta piäldä Lemmingäizen. 176 Tuob oli Ahti suarilaine

14

with their bulbous heads hissing with their mouths sizzling with their tongues seething wolves with bridle-chains bears with fetters of iron. They are in Päivölä’s lane.”

’Twas Ahti the islander he sang a white hare upon Lemmingäine’s head to drop soot on him scatter grime on him. Lemmingäine the wanton he sang a brown fox: it ate the white hare upon Lemmingäine’s head. ’Twas Ahti the islander

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laulo ruskien oravan tuoho piällä Lemmingäizen nogiloida sordamaha karstija karistamalla. iso Lemmingäine on liedo poiga laulo niän kuldarinnan: söiba ruskien oravan tuosta piäldä Lemmingäizen nogiloida sordamasta ies karstija karistamasta. Seb oli Ahti suarilaine laulo lammin lattiella tuoho alla Lemmingäizen.

sang a brown squirrel upon Lemmingäine’s head to drop soot on him scatter grime on him. Lemmingäine the wanton sang a gold-breasted marten and it ate the brown squirrel upon Lemmingäine’s head: it did not drop soot did not scatter grime. ’Twas Ahti the islander sang a pond upon the floor there under Lemmingäine.

Lemmingäin on liedo poiga iso laulo härän kuldasarven: händä torkku Tomivossa piä keikku Kemin jovessa. Kuum, päivän orava juoksi härän händäluuda myöte, 196 ei on vielä piähä piässyt. Päivän lendi piätskylindu härän sarvien välittSi, ei on vielä piähä piässyt. Joi on lammin lattielda 900 tuosta alda Lemmingäizen.

Lemmingäine the wanton sang a gold-horned ox: its tail waved in Tornivo head swung in Kemi River. A month, a day, a squirrel ran down the ox’s tail-bone: still it did not reach the end. For a day a swallow flew between the horns of the ox: still it did not reach the end. It drank the pond off the floor from under Lemmingäine.

Se oli Ahti suarilaine toi on tuopilla olutta kando kaksivardizella: toukat pohjassa tomattih 205 mavot laijoilla valuttih. Otti veitšen viereldähä vägärauvan väskystähä, itše tuon sanoiksi virkki: “Toppa moaha luodanehe 210 ruoga suuhu syödänehe: tuopin tuoja Tuonelaha kannan kandaja Manalla!"

’Twas Ahti the islander brought some beer in a flagon bore in a two-handled one: maggots squirmed in the bottom worms were wriggling down the sides. He took the knife from his flank an iron hook from his bag and he put this into words: “Cast the serpent to the ground feed food to the mouth: to Tuoni with the flagon-bringer to Mana with him who bears the jug!”

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Joi oluon onneksehe meem mussam mieleksehe, pistihi ulos pihalla miestem miekkojen nenije tapparan tuliterije. Itše tuon sanoiksi virkki: “Oi on Ahti soarilaine tule sie ulos pihalla: pihall on veri parembi kagaroill on kaunehembi. Mitelgämä miekkojana katšelgama kalbojana, kumman om miekka mieluizambi kumman on kalba kaunehembi.”

He drank the beer for good cheer the black mead for good spirits hurtled out into the yard upon men’s sword-points on the hatchet’s fiery blade himself put this into words: “O Ahti, you islander come outside into the yard: in the yard blood is better on horse-dung fairer. Let us size up swords let us look at blades to see whose sword is to be preferred, whose blade is fairer.”

Mäni Ahti om pihalla, miteldihi miekkojaha katšeldihi kalbojaha.

Ahti went into the yard and they sized up swords and they looked at blades.

Vedi Ahti Lemmingäistä: Lemmingäine i miks ei käynä. Vedi Lemmingäin on Ahtie, vei hiän kuin nuatin nagrehelda.

Ahti slashed Lemmingäine: Lemmingäine did not mind. Lemmingäine slashed Ahti 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

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Väinölä pitoa PitiSinivermo juominkia:

Väinölä held a feast N ow, and Sinivermo revels:

kutsu pipit, kutsu papit kutsu rujot, kutsu rammat rujot venosin souti rammat ratsahin ajeli kutsu kaiken ristikansan vaan ei kutsunt Lemminkäistä. Lemminkäin on pillopoika piti ainoan sisonsa turmeli emonsa lapsen.

masters, pastors were bidden the crippled, the lame were asked the crippled were rowed in boats the lame driven on horseback all Christian people were asked but Lemminkäinen was not. Lemminkäin, he the blackguard enjoyed his only sister and ruined his mother’s child.

Virkko lieto Lemminkäinen isollensa ainoalle emollensa armahalle: “Lähen Väinölän pitohin.”

Wanton Lemminkäinen said said to his only father said to his darling mother: “ I’m off to Väinölä’s feast.”

Iso kielti, emo epäsi: “Ellos menne poikueni nuoihin Väinölän pitohin! Kolm on surmoa kovoa: lamp on tiellä poikin puolin täynnä kuumia kiviä palavoja paateroita.”

Father banned, mother said no: “Don’t go, my offspring to that feast at Väinölä! There are three harsh deaths: a pond lies across the road brimming over with hot rocks with boulders on fire.”

Virkko lieto Lemminkäinen: “ Ison tieto hyvä tieto om on tietoni parempi. Kyllä tuohon neuvon keksin: lähen kuin käkesin nuoihin Väinölän pitohin Sinivermon juominkihin.”

Wanton Lemminkäinen said: “A father’s knowledge is good: my own knowledge is better. Yes, I shall find a way out: I’m off as I intended to that feast at Väinölä to Sinivermo’s revels.”

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so Iso kielsi, emo epäsi: “Ellos menne poikueni! Mato on tiellä poikin puolin pitempi pisuja puita paksumpi kujan patsasta.”

Father banned, mother said no: “Don’t go, my offspring! A worm lies across the road longer than the standing trees thicker than the lane’s pillar.”

36 Virkko lieto Lemminkäinen: “Ison tieto hyvä tieto om on tietoni parempi. Kyllä tuohon neuvon keksin: laulan maon tien mukahan. m Jopa tuolla tuosta pääsen.”

Wanton Lemminkäinen said: “A father’s knowledge is good: my own knowledge is better. Yes, I shall find a way out: I shall sing the worm aside. That’s how I’ll deal with that one.

Virkko lieto Lemminkäinen: “Isoseni ainoseni jou’uta sotiorini! Lähen kuin käkesin 46 nuoihin Väinölän pitohin Sinivermon juominkihin.”

Wanton Lemminkäinen said: “Dear father, my only one quickly bring my war-stallion! I’m off as I intended to that feast at Väinölä to Sinivermo’s revels.”

Iso kielti, emo epäsi: “Ellos menne poikueni! On kolmas kovempi surma: 6o suen on pantu suitsisuuhun karhut rautakahlehisin poikin puolin portahia.”

Father banned, mother said no: “Don’t go, my offspring! There is a third, harsher death: a wolf is bridled ready and bears in iron fetters stand across the steps.”

Virkko lieto Lemminkäinen: “Ison tieto hyvä tieto 66 om on tietoni parempi. Kyllä tuohon neuvon keksin: laulan laukun lampahia kimpun kierävillasia suuhun rauasten susien 60 rautakarhun kahlehille. Jopa tuolla tuosta pääsen.”

Wanton Lemminkäinen said: “A father’s knowledge is good: my own knowledge is better. Yes, I shall find a way out: I shall sing a flock of sheep a cluster of curly-wools into the iron wolves’ mouths in the iron bear’s fetters. That’s how I’ll deal with that one.

Virkko lieto Lemminkäinen: “Isoseni ainoseni! emoseni armahani! 65 Lähen kuin käkesin

Wanton Lemminkäinen said: “Dear father, my only one dear mother, my darling one! I’m off as I intended

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cmoseni armahani: kanna vainovaatteheni!” Jou’utti sotisopansa.

dear mother, my darling one: bring my battledress!” She quickly brought his war-gear.

Virkko lieto Lemminkäinen: 70 “Jou’uta minun isoni se vanha sotiorini valmistele vainovarsan!”

Wanton Lemminkäinen said: “Quickly bring me, my father that old war-stallion of mine get my battle-colt ready!”

Isoohon ainoohon jou’utti sotiorihin 76 valmisteli vainovarsan pojallehen ainoalle lähteissä Väinölän pitohin.

His father, his only one quickly brought his war-stallion got his battle-colt ready for his son, his only one leaving for Väinölä’s feast.

Läksipä lieto Lemminkäinen nuoihin Väinölän pitohin. so Tuo oli lieto Lemminkäinen heitti seinälle sukansa. Virkko lieto Lemminkäinen: “Kuin suka verta vuotanee silloin on hukka Lemminkäistä 85 piilo poikoa pahoa nuoissa Väinölän pioissa Sinivermon juomingeissa.”

Wanton Lemminkäinen left for that feast at Väinölä: ’twas wanton Lemminkäinen flung his brush against the wall. Wanton Lemminkäinen said: “When the brush is oozing blood then Lemminkäinen is lost things look black for the bad boy at that feast at Väinölä at Sinivermo’s revels.”

Vieläpä emo epävi: “Ellos menne poikueni! 90 Tuollapa siima lauletahan lauletahan lausitahan Tuonen mustah jokeh Manalan ikipuroh kynsin kylmähän kivehen 95 hampahin vesihakohon iäksesi itkemähän ja kuuksi kujertamahan.”

And still his mother said no: “Don’t go, my offspring! Over there you will be sung you’ll be sung, you’ll be sentenced into Tuoni’s black river Manala’s eternal stream with your nails on a cold rock with your teeth in a wet log to weep everlastingly and wail for ever.”

Läksi lieto Lemminkäinen ajo matkoa vähäsen too piirrätteli pikkuruisen. Jop oli lampi tiellä poikin

Wanton Lemminkäinen left and he drove a little way he made tracks a short distance. A pond lay across the road

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täynnä kuumia kiviä palavoja paateroita: tuo oli lieto Lemminkäinen k» lammin jääksi jäähytteli veen hyyksi hyyhytteli. Jopa tuolla tuosta pääsi.

brimming over with hot rocks with boulders on fire: ’twas wanton Lemminkäinen cooled the pond to ice and froze the water to frost. That’s how he dealt with that one.

Ajo matkoa vähäsen. Jop oli mato tiellä poikin puolin uo pitempi pisuja puita paksumpi kujan patsasta: tuo oli lieto Lemminkäinen laulo maon tien mukahan jolla kulkku tulta kuohu, us Jopa tuolla tuosta pääsi.

And he drove a little way. A worm lay across the road longer than the standing trees thicker than the lane's pillar: ’twas wanton Lemminkäinen sang the worm aside whose throat was boiling with fire. That’s how he dealt with that one.

Tuo oli lieto Lemminkäinen ajoi Väinölän pihoille nuoille pistyille pihoille tasasille tanterille. 120 Tuoli oli suet suitsisuussa karhut rautakahlehissa poikin puolin portahilla, nuopa päälle yrkelekse: tuo oli lieto Lemminkäinen 125 laulo laukun lampahia kimpun kierävillasia suuhun rauasten susien rautakarhun kahlehille. Jopa nuoilla tuosta pääsi.

'Twas wanton Lemminkäinen drove into Väinölä’s yards to those sloping yards into the level paddocks. There were wolves bridled ready and bears in iron fetters stood across the steps and they went to attack him: 'twas wanton Lemminkäinen sang a flock of sheep a cluster of curly-wools into the iron wolves’ mouths in the iron bear’s fetters. That’s how he dealt with that one.

iso Heti virkko mentyähän tuohon suurehen tupahan Väinölähän saatuansa: “Terve tänne tultuani!”

He uttered the moment he came to that great house he arrived at Väinölä: “Greetings, for I have come here!”

Virkki vanha Väinämöinen: 136 “Terve tervehyttäjälle! Hoiot, lieto Lemminkäinen ei oo siima kutsuttuna.”

Old Väinämöinen uttered: “Greetings to who shouts greetings! Hail, wanton Lemminkäinen: you have not been invited.”

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Virkki lieto Lemminkäinen: “ Kurja kutsuhun tulevi: i« hyvä ilman hyppeleksen.”

Wanton Lemminkäinen said: “A wretch comes at a summons: a good man leaps up without.”

Virkki lieto Lemminkäinen: “Olisko tulo tsupulla tulevalle vierahalle saavalle käkeävälle? 146 Onkos naulat kirjokintahille tallia orihin seista otria orihin purra olutta urohon juoa?”

Wanton Lemminkäinen said: “ Is there room in a comer for the guest who is coming for the one on his way in? Are there nails for bright mittens a stall where a horse may stay barley for a horse to munch beer for a hero to drink?”

Virkki vanha Väinämöinen: iso “Ei ole tilasi tässä tulevalle vierahalle eikä naulat kirjokintahille ei tallia orihin seista eikä otria orihin purra iss eikä olutta urohon juoa: oven suuss on alla orren kahen kattilan sijalla kolmen koukun koskemilla jos olet siivolla tuvassa.”

Old Väinämöinen uttered: “There is no room for you here for the guest who is coming and there are no nails for bright mittens there is no stall where a horse may stay and no barley for a horse to munch and no beer for a hero to drink: by the door, beneath the beam in the space between two pots where three hooks turn to and fro if you will behave inside.”

Virkki lieto Lemminkäinen: “Ei ennen miun isoni ollut oven suussa alla orren eikä valtavanhempani kahen kattilan sijalla ies kolmen koukun koskemilla: olipa tila tsupulla naulat kiijokintahille seinät miekkoja mitellä tallia orihin seista 170 otria orihin purra olutta urohon juoa miksis ei minulla ole kuin ennen minun isolla?”

Wanton Lemminkäinen said: “ In the old days my father was not by the door, beneath the beam nor was my noble parent in the space between two pots where three hooks turn to and fro: there was room in a comer there were nails for bright mittens there were walls to size up swords a stall where a horse might stay barley for a horse to munch beer for a hero to drink so why is there not for me as there was for my father?”

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Old Väinämöinen uttered:

Virkki vanha Väinämöinen:

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“You’re wanton Lemminkäinen you are the worst of blackguards you ruined your mother’s child enjoyed your only sister: go, scoundrel, to hell bad boy, flee to your country away from all Christian folk!”

176 “Sie oot lieto Lemminkäinen piilo oot poikia pahin, turmelit emosi tuoman pi’it ainoan sisaren: mene, heijä, helvettihin iso paha, maahasi pakene luota kaiken ristikansan!” Virkki vanha Väinämöinen: “Jos et tuotana totelle . . Eipä kuullut Lemminkäinen.

Old Väinämöinen uttered: “ If you don’t do as you’re told . . Lemminkäinen paid no heed.

Tuo ikivanha Väinämöinen tietäjä iänikuinen poika ponnun päivällinen joka laulo Lemminkäisen kaotti Kalevan poian im Tuonen mustahan jokehen Manalan ikipurohon johon puut tyvin putovi heinät latvoin lankiavi: kynsin kylmähän kivehen 196 hampahin vesihakohon iäksensä itkemähän ja kuuksi kujertamahan. Jopa tuli hukka Lemminkäistä piilo poikoa pahoa.

The ancient Väinämöinen the everlasting wise man son of doughty days, it was he who sang Lemminkäinen damned the son of Kaleva into Tuoni’s black river Manala’s eternal stream where trees topple uprooted grasses fall headlong with his nails on a cold rock with his teeth in a wet log to weep everlastingly and wail for ever. Then Lemminkäinen was lost things looked black for the bad boy.

zoo Läksi suka verta vuotamah. Virkki emo Lemminkäisen: “Jop on hukka Lemminkäistä piilo poikoa pahoa kuin suka verta vuotanee.”

The brush started oozing blood. Lemminkäinen’s mother said: “Now Lemminkäinen is lost things look black for the bad boy when the brush is oozing blood.”

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Läksi emo Lemminkäisen poikoahan etsimähän nuoista Väinölän pioista Sinivermon juomingeista. Mik oli tiellä hakoja kaikki käänti tien mukahan, mik oli tiellä kiviä

Lemminkäinen’s mother went away in search of her son to that feast at Väinölä to Sinivermo’s revels: where logs were across the road she turned them aside where there were rocks on the road

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kaikki siirti tien sivuhun.

moved them all to the roadside.

Virkki emo Lemmikäisen kysytteli lausutteli: 215 “ Hoiot, vanha Väinämöinen minnes lauloit Lemminkäisen kaotit Kalevan poian?”

Lemminkäinen’s mother said asked questions, spoke up: “ Hail, old Väinämöinen: where hhve you sung Lemminkäinen damned the son of Kaleva?”

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Virkki vanha Väinämöinen: “En tieä, portto, poikoasi enkä, heijä, hetelmääsi.”

Old Väinämöinen uttered: “I don’t know your son, harlot nor, bitch, do I know your fruit.”

Virkki emo Lemminkäisen: “Hoiot, vanha Väinämöinen jos et neuvo Lemminkäistä kunnes lauloit, kunnes lausuit kaotit Kalevan poian jos et neuvo Lemminkäistä rikonpa ukset uuen riihen taitan taivosen saranat.”

Lemminkäinen’s mother said: “ Hullo, old Väinämöinen: if you don’t tell of my son where you’ve sung, where sentenced him damned the son of Kaleva if you don’t tell of my son the new threshing-house doors I’ll break down, smash the sky’s hinges.”

Tulipa pakko Väinämöisen 230 tuska partasuun urohon. Virkki vanha Väinämöinen: “Tuonne lauloin Lemminkäisen Tuonen mustahan jokehen kaotin Kalevan poian 235 johon puut tyvin putovi heinät latvoin lankiavi: kynsin kylmähän kivehen hampahin vesihakohon iäksensä itkemähän 240 ja kuuksi kujertamahan.”

Väinämöinen grew worried the bearded hero was pained. Old Väinämöinen uttered: “ I have sung Lemminkäinen into Tuoni’s black river damned the son of Kaleva where trees topple uprooted grasses fall headlong with his nails on a cold rock with his teeth in a wet log to weep everlastingly and wail for ever.”

Tuop oli emo Lemminkäisen lentipä Tuonelan joelle Manalan ikipurolle: liiteleksen laateleksen 245 etsi tuolta poikoahan Tuonen mustasta joesta, eipä löyä poikoahan.

’Twas Lemminkäinen’s mother flew to Tuonela’s river Manala’s eternal stream: gliding, hovering she searched for her son down in Tuoni’s black river but she did not find her son.

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Tuop oli emo Lemminkäisen teki rautasen haravan piitti piillä vaskisilla, haro tuolla poikoahan pitkin Tuonelan jokea: jopa puuttu Lemminkäinen piihin vaskisen haravan sormesta nimettömästä.

’Twas Lemminkäinen’s mother made a rake out of iron fitted it with copper teeth and raked with it for her son along Tuonela’s river: now Lemminkäinen was caught upon the copper rake’s teeth caught by his nameless finger.

Tuop oli emo Lemminkäisen kysytteli lausutteli: “Vieläkö siusta mies tulevi uro uusi toimiavi?”

’Twas Lemminkäinen’s mother asked questions, spoke up: “Will a man still come of you a new hero be active?”

“Ei oo miestä mennehessä urosta uponnehessa: tuoli on syömeni minun kiven sinisen sivulla maksankarvasen mahassa. 265 Jopa happani hartiani mätäni mätäslihani Tuonen mustassa joessa Manalan ikipurossa kuin olin kauan kaihossa tilassa 270 viikon vilussa veessä kynsin kylmässä kivessä hampahin vesihaossa: tuolla happani hartiani mätäni mätäslihani."

“There’s no man in the one gone no hero in the one drowned: down there is this heart of mine beside a blue rock, within the liver-coloured belly. Bitter now are my shoulders rotten is my mound of flesh down in Tuoni’s black river Manala’s eternal stream for I have been long in the grim place ages in the chill water with my nails on a cold rock with my teeth in a wet log: bitter there are my shoulders rotten is my mound of flesh.”

275 Virkki lieto Lemminkäinen: “Elköhön minun sukuni tehkö syytä syyttömälle vikoa viattomalle: pahoin palkka maksetahan 280 Tuonen mustassa joessa Manalan ikipurossa johon puut tyvin putovi heinät latvoin lankiavi.”

Wanton Lemminkäinen said: “Never may my kinsmen put the blame on who is blameless the guilt on who is guiltless: the wages are badly paid down in Tuoni’s black river Manala’s eternal stream where trees topple uprooted grasses fall headlong.”

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Virkki lieto Lemminkäinen:

Wanton Lemminkäinen said:

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285 “Elkohot ilmoiset imeiset elköhön minun sukuni heimokuntani heliä tehkö syytä syyttömälle vikoa viattomalle: 290 täällä on teille tila tietty Tuonen mustassa joessa Manalan ikipurossa. Tila on tietty, sänky säätty sänky kuumista kivistä 295 palavoista paateroista, peitto pantu sängyn päälle maan mustista maoista pistäjistä käärmehistä.”

“Never may earthly people nor ever may my kinsmen my excellent tribesmen put the blame on who is blameless the guilt on who is guiltless: hdre is surely room for you down in Tuoni’s black river Manala’s eternal stream. Room is sure, bed is ready a bed of hot rocks of boulders on fire a cover laid on the bed of the earth’s black worms and of stabbing snakes.”

Virkki vielä Lemminkäinen: 300 “Tila on tietty, paikka paha kovan kuoleman käsissä. Emoeni ainoeni ei minusta miestä tule ukon pojasta urosta: 306 ei oo miestä mennehessä eikä tuiki tullehessa.”

And still Lemminkäinen said: “Room is sure, the place is bad in the hands of death the harsh. My mother, my only one not of me will a man come of father’s son no hero: there’s no man in the one gone nor in one who is quite lost.” S im a n a Sissonen

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

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TT* alervikko poisikkaine J^ k o lk u tti kotoisen usta rämähytti räystäskokkaa: hyppäs sieltä pieni neito.

alervikko the young lad knocked upon the cottage door rattled where the eaves stuck out: there a little maid jumped up.

6 “Kuhun sie määti, pieni poika? Ota mintaa kaasakseks präskäksi kypärän päälle sormukseksi sormellesi!”

“Where do you go, little boy? Take me as your companion as a buckle on your cap as a ring on your finger!”

“Mihin mie sinua otan? io Viros vihmaa saattaa Aljes lunta annetaa.”

“Where shall I take you? In Estonia it rains in Alje snow is sent down.”

Mie puistan kypäryttäni puuta vasten, maata vasten ja kovvaa kivvee vasten: is tokku sormus sormestani präskä kypärän päältä.

And I shook my cap against a tree, on the ground and against a hard rock too: the ring fell from my finger and the buckle from my cap.

Läksin läyläälle sisolle Lemmastervalle vävylle.

I went to my stem sister to my brother-in-law Lemmasterva.

Siso oli Lehenlemmykkäine so tiesi velloose tuleva tietti tervatut veräjät aijatti matoiset äijät.

Lehenlemmykkäine the sister knew her brother was coming and she had tarry gates made and fences of snakes put up.

Kalervikko poisikkaine mäni yli tervatun veräjän ilma tervan tarttumatta, alatsi matoisen äijän ilman maon maistamatta.

Kalervikko the young lad went over the tarry gate without catching on the tar went under the fence of snakes without a snake tasting him.

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Siso oli Lehenlemmykkäine laski koirat kahleista ao hurtat umpirenkahista. Kalervikko poisikkaine tempas miekan tupesta, löi koirat kuollehiksi hurtat hengen-männeheks.

Lehenlemmykkäine the sister let the dogs out o f fetters the hounds out of their muzzles. Kalervikko the young lad snatched his sword out of its sheath struck the dogs down dead and the hounds lifeless.

36 Siso oli Lehenlemmykkäine issutteli velloaa issutteli kynnykset.

Lehenlemmykkäine the sister sat her brother down sat him down on the threshold.

Miekka tupesta läkäsi: “ Kalervikko velvyveni «o Kalervikko kantajani älä istu kynnykset: kylän on kielet kynnyksessä!”

The sword spoke out from its sheath: “ Kalervikko my brother Kalervikko my bearer do not sit on the threshold: in it are the village tongues!”

Siso oli Lehenlemmykkäine issutteli velloaa 46 issutteli hummaree.

Lehenlemmykkäine the sister sat her brother down sat him down in the mortar.

Miekka jällee tupesta läkäsi: “ Kalervikko velvyveni Kalervikko kantajani älä istu hummaree: 50 hovin on huolet hummarees!*’

The sword again spoke out from its sheath: “ Kalervikko my brother Kalervikko my bearer do not sit in the mortar: in it are the manor’s cares!”

Siso oli Lehenlemmykkäine issutteli velloaa issutteli iikivelle. Vello istus iikivelle. 65 Siso oli Lehenlemmykkäine toi tuopilla olutta kanto kaksikorvasella.

60

Miekka tupesta läkäsi: “ Katso tuohoo tuopin sissee katso kahen kannen alle!”

Lehenlemmykkäine the sister sat her brother down sat him down on the hearthstone: brother sat on the hearthstone. Lehenlemmykkäine the sister brought some beer in a flagon bore in a two-handed one. The sword spoke out from its sheath: “ Look there inside the flagon look underneath the two lids!”

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Kalervikko poisikkaine katso siihi tuopin sissee katso kahen kannen alle: siell oli konnien kutu-matala 66 siellä käärmein käräjä.

Kalervikko the young lad looked there into the flagon looked underneath the two lids: there was a toads’ spawning-ground there snakes’ assizes.

Kalervikko poisikkaine tempas miekan tupest kerran sivalsi sisoo toisen väyhkäisi väävvyy: 70 siso maahaa kuolleheks vävy hengen-männeheks.

Kalervikko the young lad snatched his sword out of its sheath struck a blow at his sister then slashed his brother-in-law: sister fell to the ground dead brother-in-law fell lifeless. V arpu L u u k k a

Narvusi, Ingria V. Alava, 1892

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äivölä set out a feast the canny folk held revels the crippled, the lame were asked the blind were rowed there in boats the crippled dragged in sledges. That handsome Kaukamieli was left unbidden.

Silloin kaunis Kaukamieli sanan virkki noin nimesi: “ O i emoni kantajani tuos tänne sotisomani kannas vainovaattieni: lähen Päivölän pitohin Sariolan juominkihin!”

Then handsome Kaukamieli uttered a word, speaking thus: “ O my mother who bore me bring here my war-gear carry here my battledress: I ’m off to Päivölä’s feast off to Sariola’s revels.”

is Iso käski, emo kielti epäsi kavetta kaksi kielti kolme luonnotarta: “ Elä lähe Kaukamieli: monet on kummat matkallasi 20 monet tielläsi imehet!”

Father ordered, mother banned a pair o f witches said no three nature-spirits forbade: “ Do not go, Kaukamieli: many freaks are on your way many marvels on your road!”

äivölä pitoja loati salajoukko juominkia, kutsu rujot, kutsu rammat sokiet venehin souti 6 rujot reen reutoeli. Tuo kaunis Kaukamieli sen on heitti kutsumatta.

10

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“ What is the first freak?”

“ Mipä on kumma ensimäinen?” “ Mäki on täynnä seipähiä ne on täynnä miehen päitä: yks on seiväs ilman jäänyt 25 pään varalla Kaukamielen.” Sano kaunis Kaukamieli: “ Kyllä sihen keinon keksin: otan kuljun kuollehelta

“ There’s a hill bristling with poles they are bristling with men’s heads: one pole has been left empty kept for Kaukamieli’s head.” Handsome Kaukamieli said: “ Yes, I shall find a way out: I shall take a dead man’s skull

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menneheltä pään mäkäsen 30 senki seipähän nenähän.”

I’ll strike the head off one gone and set it upon the pole.”

Itse noin sanoiksi virkki: “Oi emoni kantajani tuos mulle sotisomani kanna vainovaattieni: 36 lähen Päivölän pitohin Sariolan juominkihin!”

He himself put this in words: “ O my mother who bore me bring me my war-gear carry here my battledress: I ’m off to Päivölä’s feast off to Sariola’s revels.”

Iso käski, emo kielti epäsi kavetta kaksi kielti kolme luonnotarta: 40 “Ellos lähkö Kaukamieli: monet on kummat matkallasi monet tielläsi imehet!”

Father ordered, mother banned a pair o f witches said no three nature-spirits forbade: “ Don’t you go, Kaukamieli: many freaks are on your way many marvels on your road!”

45

“Mipä on siitä toinen kumma?”

“ Well, what is the second freak?”

“Matallas tulinen koski kosessa tulinen koivu latvassa tulinen kokko: yöt se hammasta hiopi päivät kynttä kitkuttaapi päälle kaglan Kaukamielen.”

“ On your way fiery rapids in them a fiery birch-tree on top a fiery eagle: by night it sharpens its teeth and by day it whets its claws kept for Kaukamieli’s neck.”

50 “Kyllä sihen keinon keksin keinon keksin, tien osoan: laulan leppäsen urohon koprihin kokon kynimen vaakalinnun varpahisin. 65 Sillä sen roven vaellan pääsen päiväyksen. Oi emoni kantajani tuo tänne sotisomani kanna vainovaattieni!” 60

Iso käski, emo kielti epäsi kavetta kaksi kielti kolme luonnotarta: “Elä lähe Kaukamieli:

“ Yes, I shall find a way out find a way out, know a road: I’ll sing a man of alder for the eagle’s grasping claws for the toes o f the wyvern. So I’ll get by that hardship I ’ll manage the day’s journey. O my mother who bore me bring here my war-gear carry here my battledress!” Father ordered, mother banned a pair o f witches said no three nature-spirits forbade: “ Do not go, Kaukamieli:

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monet on kummat matkoillasi 65 monet teilläsi imehet!”

many freaks are on your way many marvels on your road!”

“ Mikä on siitä kolmas kumma?”

“ What is the third freak?”

“ Suet on pantu suitsisuuhun karhut rautakahlehisin veräjillä vastallasi 70 pään varalla Kaukamielen.”

75

* “ The wolves are bridled ready the bears in iron fetters to meet you at the gateways kept for Kaukamieli’s head.”

“ Kyllä sihen keinon keksin: laulan lauman lampahia kinkon kierävillasia suuhun Untamon susien kitaan kirokavetten. Sillä sen roven vaellan. Tuos nyt on sotisomani kanna vainovaattieni!”

“ Yes, I shall find a way out: I shall sing a flock o f sheep a cluster o f curly-wools into Untamo’s wolves’ mouths to the jaws of the bewitched. So I’ll get by that hardship. Bring now my war-gear carry here my battledress!”

Niin tuopi sotisomansa so kanto vainovaattiensa.

She brought his war-gear carried there his battledress.

Siilon läksi Kaukamieli. Otti kallon kuollehelta menneheltä pään mäkäsi ku on seiväs ilman jäänyt 85 pään varalla Kaukamielen, laulo leppäsen urohon eellään samoamahan koprille kokon kynimen, laulo lauman lampahia 90 kinkon kierävillasia suuhun Untamon susien kitahan kirokavetten. Sillä sen roven vaelti sillä pääsi päiväyksen.

Then Kaukamieli went off and he took a dead man’s skull he struck the head off one gone where a pole was left empty kept for Kaukamieli’s head he sang a man of alder to wander in front o f him for the eagle’s grasping claws and he sang a flock of sheep a cluster of curly-wools into Untamo’s wolves’ mouths to the jaws of the bewitched. So he got by that hardship he managed the day's journey.

95

Jo on tungeksen tupahan alla kattojen ajaksen lakin päästä laskomille kintahan kirvottimille.

Now he squeezed into the house and he drove under the roofs to where caps were taken off to where mittens were slipped off.

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Ruma Ruotus paitulainen loo syöpi juopi pöyän päässä päässä pöyän palallaan aivin aivinaisillaan.

Ugly Herod in shirtsleeves ate, drank at the table-head at table in his shirtsleeves wearing only his linen.

Sano kaunis Kaukamieli: “ Kutsuit rujot, kutsuit rammat los sokiet venehin souit rammat ratsahin ajelit, muut ne kanto kauhasella muut on tiiskillä tiputti noihin Päivölän pitohin no Sariolan juominkihin niin miks et kutsunut minua? Minä en määrin mätkäellyt minä en purnon putkaellut noihin Päivölän pitohin na Sariolan juominkihin.”

Handsome Kaukamieli said: “ You asked the crippled, the lame you rowed the blind here in boats drove the lame here on horseback some carried gifts in ladles some meanly measured with bowls, to this feast at Päivölä to the Sariola revels so why did you not ask me? I did not bother to measure out mere binfuls for this feast at Päivölä for the Sariola revels.”

Ruma Ruotus paitulainen pian suuttu ja vihastu. Sanan virkki noin nimesi: “ Mitelkämme miekkojamme iso katseiltamme kalpojamme kummill on pitempi miekka kumman kalpa kaunehempi: senpä eellä iskemähän!”

Ugly Herod in shirtsleeves quickly grew angry and wild. He uttered a word, spoke thus: “ Let us size up swords let us look at blades to see which one has the longer sword whose blade is fairer: he shall be the first to strike!”

Sano kaunis Kaukamieli: iss “ Läkkämme ulos pihalle: pihall on veri parempi päässä heinän helpehempi kanarvoilla kaunehempi. Pessyt penkit hierelemme im tuvan uuen turmelemme.”

Handsome Kaukamieli said: “ Let’s go out into the yard: in the yard blood is better on grass readier on heather fairer. We would spoil the scrubbed benches we would ruin the new house.”

Mentih ulos pihalle mitellään miekkojansa katsellaan kalpojansa.

They went out into the yard and they sized up swords and they looked at blades.

Sano kaunis Kaukamieli:

Handsome Kaukamieli said:

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136 “ Sinun on pitempi miekka sinun kalpa kaunehempi, minun on luissa lohkiellut pääkasuissa katkiellut. Sie eellä iskömään.”

“ Your sword is longer and your blade fairer: my sword has been chipped by bones and broken by skulls. You shall be the first to strike.”

140 Ruma Ruotus paitulainen iski miestä miekallaan, eipä vuole vermentänä ottant orvaskettuana. Iski kerran, iski toisen 145 kohta kolmitsi rapuupi: ei ou tuosta tuon parempi.

U gly Herod in shirtsleeves struck at the man with his sword but he did not cut the hide nor take off the outer skin. He struck once, he struck again soon he hit him a third time: this was no better than that.

Sano kaunis Kaukamieli: “ Anna mieki miekallani jos on luissa lohkiellut pääkasuissa katkiellut!”

Handsome Kaukamieli said: “ Let me try with my sword too though it has been chipped by bones and broken by skulls!”

Laski pään päältä olkan niinkun naatin nakrihista evän kaikesta kalasta.

He took the head off the shoulder like the top off a turnip or a fin off a whole fish.

Silloin kaunis Kaukamieli 165 alla päin, pahoilla mielin kahta kallella kypärin kotihinsa tullessaan. Emo vastaah tuleepi: “ Poikuoni nuorempani 160 lapseni vakavuteni mit olet pahoilla mielin kahta kallella kypärin kotihisi tullessasi: onko tsarkoa vaarettuna 165 noissa Päivölän pioissa?”

Then handsome Kaukamieli his head down, in bad spirits and his helmet still askew made his way homeward. He met his mother: “ M y offspring, my younger one my child, my support why are you in bad spirits and your helmet still askew as you make your way homeward: has your cup been insulted at that feast at Päivölä?”

160

“ O i emoni kantajani, ken mun sarkoin vaarteleisi vaartaisin sata urosta tuhat muuta tunnustaisin.”

“ O my mother who bore me had my cup been insulted I ’d insult a hundred men take on a thousand others.”

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Niin emo sano: “ Oletko naisin nakrettuna?”

So his mother said: “ Have the women abused you?”

“ O i emoni kantajani ken mun naisin nakraneisi nakraisin sata naista 175 tuhat muuta tunnustaisin.”

“ O my mother who bore me had women abused me, I’d abuse a hundred women take on a thousand others.”

Niin emo sano: “ Oletko heijattu heposin noissa Päivölän pioissa? Sie osta ori parempi iso isän saamilla eloilla vanhemman varustamoilla.”

So his mother said: “Have you been shamed with horses at that feast at Päivölä? Then buy a better stallion with your father’s harvest, with what your parent has laid in.”

“ Oi emoni kantajani ken mun herjoais heposin heijaisin sata heposta iss tuhat muuta tunnustaisin. Oi emoni kantajani tuota iten tuon ikäni: tapon miehen kun urohon noissa Päivölän pioissa iso Sariolan juominkissa tapon miehen kun urohon, en tieä sitä sioa jossa piiltä pillomuksen ja paata pahatapasen.”

“O my mother who bore me had I been shamed with horses I’d shame a hundred horses take on a thousand others. 0 my mother who bore me for this I’ll weep all my life: 1 killed a man, a fellow at that feast at Päivölä at the Sariola revels I killed a man, a fellow and I don’t know any place where a blackguard may be hid and an evil one may flee.”

195 Emo taiten vastoali: “ Tuoli ennen isosi piili selässä meren sinisen suurina sotikesinä vainovuonna voimatoinna.”

Mother knowingly answered: “Out there once your father hid upon the blue stretch of sea in the great summers of war in the weary battle-year.”

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Silloin kaunis Kaukamieli silloin laivahan lasekse alasehen astelekse, nosti päälle purjepuita niinkun männikön mäellä, laskoo sinistä merta

Then handsome Kaukamieli then went down into a ship stepped into a craft: he hoisted the masts as pines on a hill launched out upon the blue sea

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Saarehen selällisehen manterehen puuttomahan.

to the Island out at sea the land without trees.

Niin sano sanalla tuolla: “ Onko Saarella sioa onko maata Saaren maalla piiltä miehen pillomuksen paata pahatapaisen?”

And so he said in these words: “ Has the Island any place is there land on the Island where a blackguard may be hid where an evil one may flee?”

Sekä nuorimat sano jotta vanhimat sano: “ Ompa Saarella sioa ompa maata Saaren maalla piiltä miehen pillomuksen paata pahatapaisen.”

Both the youngest said and the oldest said: “ Yes, the Island has a place there is land on the Island where a blackguard may be hid where an evil one may flee.”

Aina purtta auttelovat veteä venettä maalle purtta kuivilla kumata. Silloin kaunis Kaukamieli Saaressa selällisessä yhtenä kesäissä yönä 226 sata neitosta makasi tuhat tunsi morsienta. Silloin kaunis Kaukamieli jo päivänä muutamena huomenna monikahana 230 kävi kymmenin kyleä kylä puoli kymmenettä ei nähnyt sitä taloa kuss ei kolmia kotoa, ei ollut sitä kotoa 236 kuss ei kolmia urosta, ei ollut sitä urosta jok ei miekkoa hivonut päälle kaglan Kaukamielen. Silloin kaunis Kaukamieli 240 jo näki tuhon tulevan hätäpäivän päälle saavan.

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Niin päivänä muutamena

And they fussed over the craft hauling the boat up on land turning it over to dry. Then handsome Kaukamieli on the Island out at sea in a single summer night laid a hundred maids knew a thousand brides. Then handsome Kaukamieli on a day among others , one morning among many visited ten villages -

well, half of a tenth: and he saw no house where three men were not at home and there was no home where there were not three fellows there was no fellow who was not whetting his sword kept for Kaukamieli’s neck. Then handsome Kaukamieli saw his doom coming his day o f distress dawning. So one day among others

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nousi aivon aikaisin aivon aika huomenessa. Sanan virkko noin nimesi: “ Voi päivänen päivyt nousi armas auringo kohosi: en kuullut kukotta nossa kanan lapsetta kavata. Voi päivönen päivä nousi armas auringo kohosi: jää neiet syliemättä syletyt makoamatta.”

he rose quite early quite early in the morning. He uttered a word, spoke thus: “ Ah, the day’s sun has risen the darling sun has come up: I heard no cock, could not rise heard no hen’s chick, could not stir. Ah, the day’s sun has risen the darling sun has come up: the maids are left unembraced those embraced unlaid.”

Laski laivansa merehen 256 nosti päälle purjepuita laski sinistä merta melan koukkupään nojassa.

He launched his boat on the sea he hoisted the masts he launched out on the blue sea leaning on the hooked paddle.

Sini itki Saaren immet sini Saaren morsiamet seo kun ei puijepuu näkynyt rautahankki haimentaa. Itse noin sanoiksi virkko: “ En mie ite purjepuita rautahankkia halaja, 266 iten puijepuun alasta rautahankin hai tietä.”

Then the Island’s young girls wept the brides of the Island wept till the mast was out of sight and the iron rowlock dim. They put this in words: “ I do not weep for the masts yearn for the iron rowlocks but for him below the mast guarding the iron rowlock.”

Sini itki Kaukamieli kun ei Saaren maa näkyyvi kirkon haljut haimentaa. 270 Itse noin sanoiksi virkko: “ En mä ite Saaren maita kirkon harjuja halaja, iten Saaren impysiä nenän niemen neitosia.”

And then Kaukamieli wept till the Isle was out of sight and the church roof-ridges dim. He himself put this in words: “ I do not weep for the Isle yearn for the church roof-ridges but for the Island’s young girls the maids of the headland’s tip.”

Siitä sinne tie meneepi.

From there to there the road goes.

275

A rh ip p a P erttunen

Latvajärvi, Vuokkiniemi, Archangel Karelia E. Lönnrot, 1834

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iianen olutta keitti västärikko vettä kantoi punalintu puita rikkoi.

tomtit was brewing beer a wagtail carried water a bullfinch was chopping wood.

Ken oluven keittäjäksi? Keherpää pojut Kalervo se oluen keittäjäinen. Tynnyrin olutta saivat kaksi vatii valoivat: ei ala oluen käyä metoin miehen mellakoi kupaella ei miehen kumoi.

Who’d be the brewer o f beer? The curly lad Kalervo he was a brewer o f beer. They got a barrel of beer poured it into two basins: the beer did not start to work the man’s mead did not rumble nor did the man’s vatful move.

Mehiläinen mettä kantoi olutkeittäjän käsihin pehmertajan peukalolle: is ei ala oluen käyä metoin miehen mellakoi kupaella ei miehen kumoi.

A bee carried some honey put it in the brewer’s hands gave it to the boiler’s thumb: the beer did not start to work the man’s mead did not rumble nor did the man’s vatful move.

Keherpään pojut Kalervon kaksi ärnettä sikaa 20 alla vuoren vuotelese kalliolla kääntelese, kuola suusta kuohuaa vaahi kärsästä valluu. Keherpää pojut Kalervo 25 sen toi tukoseheen sen kuletti kurnahaan: siit alkoi oluen käyä mesi miehen mellakoi kupaella miehen kurna.

The curly lad Kalervo’s pair of pigs in heat tumbled below a mountain twisted about on a crag: they were foaming at the mouth were slobbering at the snout. The curly lad Kalervo carried it to the mixture brought it to the vat: then the beer started to work and the man’s mead to rumble and the man’s vatful to move.

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30 Joivat Unto, joivat Vento moni mies, moni molotsa moni uhkea uroinen tuohon ajaa siroitteloopi tuohon Veitikkä vettäis 36 tuohon kaatui Kaukamoinen miehen kuuluisan kottiin miehen kuulun kurnan luoksi.

Unto drank and Vento drank many a man, a young squire many a splendid fellow that way drove, smoothly gliding that way Veitikkä made tracks that way Kaukamoinen came down to the famous man’s home to the famed man’s vat.

Keheräpää pojut Kalervo Kapan joi, toisen joi 40 joi kolmannen kerällä. Kapan kaatoi, toisen kaatoi kaatoi kolmannen kerällä päälle kaavun Kaukamoisen.

The curly lad Kalervo drank a gallon, another drank a third to go with them: tipped a gallon, another tipped a third to go with them over Kaukamoinen’s cloak.

45

60

Kaukoi suuttui ja vihastui: “ Ei oo kaapu kastettava, ei viitta ryvetettävä: se viitta verellä saatu, kaapu kannon pyörännäl. Käyään pois ulos tarelle tanhuvalle tappeloon! Täss on ahas airakkoja miespelis mellakoja: käyään ulos tarelle siell on väljä vääntelessä.”

Kaukoi grew angry and wild: “A cloak is not for wetting a coat is not for soiling: this coat was obtained with blood this cloak by twisting a heel. Let us go out to the yard out to the stockyard to fight! This is narrow for swinging for the uproar of man-play: let’s go to the yard there is space to turn about.”

66 Kaukoi poikoi mies kavala veti veitsen reieltään tempais tupesta tuiman, luuli päähän lyövännä reunaan repäisevään, so koppais koko terällä koko raualla rappais.

Kaukoi boy, sly man drew the dagger from his thigh tugged the grim one from its sheath thought he’d strike him with the tip rip him with the edge but he slashed with the whole blade lashed out with all the iron.

Itse juossellen kottiin: “ Hoi emmoin, hoi issoin! Jo tein tuhuu työtä 66 jo tein mitä en pitänt: tapoin miehen, saatoin pään

As he was running homeward: “O my mother, my father! I have done a dreadful deed done what I should not have done killed a man, brought down a head

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saatoin sakkoon issoin vahinkoon vanhempain velloin raha vetoon.” 70 Emo kysyttelööpi: “Hoi miun Kaukoi poikuein! Tulik suuri rauan haava ja suur teräksen haava?”

75

“Harakka lävitsen lensi repo reijäst pakeni niin tuil suuri rauan haava ja suur teräksen haava.

brought a fine on my father injury on my parent on my brother a levy.” And his mother asked: “ O my Kaukoi, my offspring! Was it a great iron wound and a great steel wound?” “A magpie flew right through it a fox escaped from the hole so great was the iron wound so great the steel wound.

Hoi emmoin, hoi issoin! Pankaat säkkihin evästä so pankaat jauhot palttinaan pankai päälle päivän ruokan: mie pä’en pakoon pimittäin piiltämään!”

O my mother, my father! Put provisions in a bag put meal in a cloth and put a day’s food on top: I shall run away go into hiding!”

“Hoi miun Kaukoi poikoi! 85 Pitkä matka on päältäjäl pajukkoo pakenevalle.”

“O my Kaukoi boy! He who leaves has far to go he who flees into willows.”

Meni matkoa vähäisen teki tietä pikkaraisen: metsä vastahan tulloo. 9o “Hoi metsä ota miuista! Metsän ukko, metsän akka metsän entinen emäntä ottakai työ miuista!”

He went on a little way went a short distance: he met a forest. “O forest, take wretched me! Old man, woman of the woods ancient mistress of the woods take in wretched me!”

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Metsän ukko, metsän akka ne vasten vastasivat: “Mihinpä me siuista? Puut ees leikatahan siaseis löyetähän kuormin tuuaan kottiin.”

Old man, woman of the woods answering replied: “And where to put wretched you? Trees before you will be felled your hiding-place will be found with the load brought home.” Kaukoi boy, sly man

loo Kaukoi poikoi mies kavala

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meni matkoa vähäisen teki tietä pikkaraisen: niitty vastahan tulloo. “ Hoi niitty ota miuista! Niityn ukko, niityn akka ottakai työ miuista!”

“ Mihin me siuista? Heinät päält leikataan teräsrauon sie tempataan no kuormin tuuaan kottiin.”

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Meni matkoa vähäisen teki tietä pikkaraisen: meri vastahan tulloo. “ Hoi meri ota miuista! Meren ukko, meren akka meren entinen emäntä ottakai työ miuista!”

Hyö vasten vastasivat: “ Mihinpä me siuista? iso Sie nuotin nostellaan kalaverkoin kannetaan kontin tuuaan kottiin.”

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went a little way further went a short distance: he met a meadow. “ O meadow, take wretched me! Old man, woman of the fields take in wretched me!“ “ And where to put wretched you? The grass will be mowed by steel you will be torn up with the load brought home.” He went on a little way went a short distance: now he met the sea. “ Sea, take wretched me! Old man, woman o f the sea ancient mistress of the sea take in wretched me!” They answering said: “ And where to put wretched you? In seines you will be lifted in fish-nets carried in knapsacks brought home.”

Kaukoi poikoi mies kavala venoiseen kävi vuotavaan alkoi souella meroilla sousi Suomen rantuelle: Suomen neiot sotkemassa päät valkot valostamassa.

Kaukoi boy, sly man stepped into a boat that leaked started rowing out to sea rowed to Finland’s shore: the Finnish maids were washing the blond-headed were bleaching.

Kaukoi poikoi mies kavala sanoin laati suin saneli: “ Onko Suomessa siiaa missä piiltää pilloiniekan paeta pahoin tekiän?”

Kaukoi boy, sly man made to speak, his mouth spelt out: “ Is there some room in Finland where a blackguard may be hid an evildoer may flee?”

Suomen neiot vastasivat: 135 “ Ei oo Suomessa siiaa

The Finnish maids gave answer: “ There is no room in Finland

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missä piiltää pilloiniekan paeta pahoin tekiän.”

where a blackguard may be hid an evildoer may flee.”

Kaikki Kaukamo makkais yhessä kesoisess yössä. 140 Kaukoi poikoi mies kavala itse istui venoisehen alkoi souella meroille sous Saaren rantuelle. Sinis itkit Suomen neiot 146 kunis purjon puu näkkyi laivan kaari kuumotti: ei nuo itke purjon puuta kalju ei laivan kaarepuuta, itkeet purjon puun alaist iso kaljuut kaaren vierehist. Sinis kaljui Kaukamoinen kunis kuuli kartun ääntä.

Kaukamo lay with them all in a single summer night. Kaukoi boy, sly man himself sat down in the boat started rowing out to sea rowed out to the Island’s shore. The Finnish maids wept as long as the sail-mast was in sight long as the ship’s frame was glimpsed not weeping for the sail-mast not shrieking for the ship’s frame: wept for him below the mast shrieked for him beside the frame. Kaukamoinen shrieked as long as he heard the bats pounding.

Kaukoi poikoi mies kavala meni Saaren rantuelle: 155 Saaren neiot sotkemassa päät valkot valostamassa.

Kaukoi boy, sly man went on to the Island’s shore: the Island’s maids were washing the blond-headed were bleaching.

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Kysyi Saaren neitoloilt: “ Onko Saaressa siiaa missä piiltää pilloiniekan paeta pahoin tekiän?”

He asked the Island’s maidens: “ Is there room on the Island where a blackguard may be hid an evildoer may flee?”

Saaren neiot vastasivat: “ Ei oo Saaressa siiaa missä piiltä pilloiniekan paeta pahoin tekiän.”

The Island’s maids gave answer: “There’s no room on the Island where a blackguard may be hid an evildoer may flee.”

165 Kaukoi poikoi mies kavala kaikki Kaukamo makkais yhessä kesoisess yössä: ei lesen lukuakaan aivoinaisen arviokaan.

Kaukoi boy, sly man Kaukamo lay with them all in a single summer night: uncountable the widows innumerable the wives.

no Suin sanoi Saaren vanhin:

The Island’s eldest spoke out:

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“Ei oo Saaressa siiaa missä piiltää pilloiniekan paeta pahoin tekiän.”

“There’s no room on the Island where a blackguard may be hid an evildoer may flee.”

Kaukoi poikoi mies kavala 175 meni rannoille meroille itse istui venoisehen alkoi souella meroille. Sinis itkit Saaren neiot kunis puijon puu näkkyi iso laivan kaari kuumotti: ei nuo itke puijon puuta kalju ei laivan kaarepuuta, itkeet puijon puun alaist kaljuut kaaren vierehist. ies Sinis kaljui Kaukamoinen kunis kuuli kartun ääntä. Siit hän souteli meroisel: ei saa maata maatakseen lehtoa levätäkseen.

Kaukoi boy, sly man went to the shores of the sea himself sat down in the boat started rowing out to sea. The Island’s maids wept as long as the sail-mast was in sight long as the ship’s frame was glimpsed not weeping for the sail-mast not shrieking for the ship’s frame: wept for him below the mast shrieked for him beside the frame. Kaukamoinen shrieked as long as he heard the bats pounding. Then he rowed out on the sea: he found no land to lie on no grove to rest in. S in g er unknow n

Moloskovitsa - Tyrö, Ingria A. Törneroos, T. Tallqvist, 1859

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39 VALA I The Bond I

T

uop oli Ahti Saarelainen saat saappahat kulutti Saaren neittä saahessansa Kyllikkiä pyydessänsä. Laitah ikilujoa vannotah ikivaloa eessä vaskisen ikonan: ei Ahin sotia käyä eikä Kyllikin kyleä.

jr r - iw a s Ahti the Islander X wore out boots, a hundred pairs getting the Island’s maiden courting Kyllikki. An eternal bond was formed an eternal vow was taken before a copper icon: Ahti would not go to war Kyllikki would not go out.

Anni oi sisär Ahilla: “ Armas Ahti veikkoseni jo on Kyllikkis kylässä veräjillä vierahilla.”

Anni was Ahti’s sister: “ Darling Ahti my brother Kyllikki’s in the village now, at the gates of strangers.”

ib

Virkki Ahti Saarelainen: “ Tuos mulle sotisopani kanna vainovaatteheni!”

Ahti the Islander said: “ Bring me my war-gear carry here my battledress!”

20

K yllä Kyllikki sano: “ Armas Ahti Saarelainen elä lähe sie sotahan. Näin mie unta maatessani sikäin levätessäni: tuli ahjona palavi Ahin ikkunan alatse.”

Kyllikki for certain said: “ Dear Ahti the Islander don’t go off to war. I had a dream as I slept as I rested in slumber: fire like a forge was burning underneath Ahti’s window.”

26

“ En usko unia naisen enkä vaimojen valetta: toki lähen, en totelle.”

“ I don’t believe woman’s dreams nor the lie of wives either: I ’m off, I won’t heed.”

Kyllä Kyllikki sanovi kotivaimo vastoavi:

Kyllikki for certain said the housewife answered:

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Vala I The Bond I

“On meillä oloista koissa so leppäsessä nassakassa tapin tammisen takana.”

“We have some beer in the house in a barrel of alder behind an oak bung.”

“En huoli kotioloista: juon ennen merellä vettä melan tervasen terältä 36 makeampi juoakseni.”

“ I don’t care for home-brewed beer: I’d sooner drink seawater off a tarry paddle-blade that is sweeter for my drink.”

Kyllä Kyllikki sanovi. kotivaimo vastoavi: “Elä lähe sie sotahan: on meillä rahoa koissa! «o Kynti orja kyisen pellon käärmehisen keännätteli, nosti atra arkun kannen perä penningin ylenti on siellä monet satoja.”

Kyllikki for certain said the housewife answered: “Don’t go off to war: we have money in the house! The serf ploughed a viper-field turned one full of snakes over: the plough lifted a chest-lid the sole raised a coin there are many hundreds there.”

46 “En huoli kotieloista: jos markan soasta saanen parempana sen pitelen.”

“ I do not care for home-goods: if I get one mark in war I’ll deem it better.”

60

Lykkäsi lylyn lumelle sivakkohon sille tielle, läksi lyly lykkimähän kanta kalhun potkimahan. Itse virkki noin pakisi: “Missä saanen yön levätä?”

He slid his left ski in the snow his right ski on to the road: the left ski went sliding off the heel of the right kicking. He himself uttered, chattered: “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

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40 VALA II The Bond I I

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hti poika, auvo poika Aheän vanno valan ikuisen:

boy, the darling boy Ahtihe took an eternal vow:

ei Ahin sotia käyvä kuunna kymmennä kesänä hopiankan ei halulla kullankana ei tarpehella, käyv ei Kyllikin kylähe miehen toisen tarpehella. Jopa yönä ensimäissä puutu kyllin Kyllikillä puutu kyllin peätä kyynä kättä viljalta vihaista.

Ahti would not go to war for sixty summers whether for want of silver or yet for need of gold, nor Kyllikki go out for need of another man. Already on the first night Kyllikki had had enough had enough of the elbow her fill of the angry hand.

Itkövi Ahin venoini, satahanka haihattauve: 16 “Miepä venyn veššoillani lahon lastumuksillani, ilkiämmät ilman linnut punaparras paskantavat, matalimmat moam matoset so alla koareni asuvat.”

Now the boat of Ahti wept the hundred-rowlocked one yearned: “I stretch on my stocks and I rot on my shavings while the air’s most loathsome birds are shitting on my red side and the earth’s lowliest worms are living beneath my ribs.”

Itse tuon sanoiksi virkki: “Olis Teuri tiijossani Kuuro kuulomoisissani Ahilla sovan avuksi 25 liijoin voivalla lisäksi!”

He himself put this in words: “Teuri whom I know Kuuro who is near shall be war-mate to Ahti shall follow the mighty one!”

Ahti tuon sanoiksi virkki: “Teuri suorikkoh sotihe Ahilla sovan avuksi liijoin voivalla lisäksi!”

Ahti put this into words: “Let Teuri prepare for war to be war-mate to Ahti to follow the mighty one!”

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Vala I I The Bond I I

30 Isä peäty ikkunassa

35

Father was at the window was whittling an axe-handle: “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.”

Teuri peäty kiukovalla jalan kenki kiukovalla 40 toisen kenki lattialla, veräjillä vyöteleksi ulkona kävysteleksi.

Teuri was beside the stove shod one foot upon the stove shod the other on the floor at the gates girded himself outside he strutted about.

Ei ole keiho suuren suuri eik ole keiho pienem pieni: 45 keiho keskikertahini. Lykkelöypä keihuonsa muijen keihojen sekahe.

His was not a great big spear nor a little tiny spear: it was a middle-sized spear. He put in his spear with the other spears.

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kirvesvartta vuolomassa: “Ei Teuri sotihi jouva: vast on nainun naisen nuoren ottanut oman emännän. Viel on nänni näppymättä peräpahkat pieksämättä kupehet kutsuttamatta.”

Lähtövi Ahin venoni käsivarsin voalimatta päin olka avuttamatta teloilta teräksisiltä vanumilta vaskisilta. Vanhat souti, peät vapisi, nuoret souti, airot notku airom pyyrit pyinä vinku teljot tetrinä kukerti nenä joiku jouttšenena perä kroatšku koarnehena.

Ahti’s boat put out to sea uncared for by any arms unhelped by any shoulders off the rollers made of steel the copper lining. The old rowed, their heads trembled: the young rowed and their oars swung the shafts squeaked like hazel-grouse the thwarts cooed like grouse the prow chanted like a swan the stern croaked like a raven.

Silloin kylmi suuren kylmän väkipakkasem paleli kun Ahim merellä kylmi, kylmi jeätä kyynäränne sato lunta sauvan varren varren keihäs keijahutti yhtenä sykyissä yönä. Niin heän vuuven susta vuoli

Then it chilled with a great cold frost was freezing hard when it chilled Ahti at sea chilled with ice a cubit thick snow fell deep as a ski-stick deep as a spear-haft it swirled on a single autumn night. He made a ski for a year

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Vala I I The Bond I I

kevöän keitti kalhuansa, lykkäsi lylyn lumella niin kuin ruskien reposen 70 eli valkien jänösen. Lysmähti lyly lävystä sauva taittu suoveroista.

he steamed his ski for a spring slid his left ski in the snow just like a brown fox or else a white hare. Xhe left ski bent at the hole the stick snapped at the ferrule. Lari Bogdanov

Uhtua, Archangel Karelia A. A. Borenius, 1872

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41 ORPO I The Orphan I

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10

köyhä vähäväkkiin Miesvääntäjä vähärammoin

feeble man Aapoor, plodder, a weak workman

kynsi kymmenen vakkooa yhen kannon ympärille, kylvi kymmene jyvvää kymmenen vaon vällii. Halkeis kanto kaheksi syntyi kaksi poikalasta: yksi Unnoissa ylleeni toin kasvoi Kaarasassa. Mikä Unnoissa ylleeni se ylleeni Untamoiksi, mikä kasvoi Kaarasassa se kasvoi Kalervikoiksi.

scratched ten furrows round and round one tree-stump and he sowed ten seeds between ten furrows. The stump split in two and two boys were born: one of them rose in Untoi and one grew in Kaarasa. He who rose up in Untoi rose up to be Untamoi he who grew in Kaarasa grew to be Kalervikkoi.

15 Kalervikko kagran kylvi Untamoin oven ettee. Untamoilla musta uuhi söi kaikki Kalervoin kagran: Kalervoilla kartsu koira 20 mursi uuhen Untamoilta. Untoi suuttui ja vihastui nosti soan sormistaa väen varpahaisistaa kansan kantasuonistaa.

Kalervikko sowed his oats in front of Untamoi’s door. Untamoi had a black ewe it ate all Kalervoi’s oats: Kalervoi had a fierce dog and it slew Untamoi’s ewe. Untoi grew angry and wild raised a war from his fingers a host from his toes a nation from his heel-veins.

25 Katsoi Kalervoin nain oven suusta ikkunasta: “Siintää sinniin taivas puntaa punnain pilvi.”

Kalervoi’s woman looked out from the window by the door: “The sky has a glint of blue and the cloud is glowing red.”

Katsoi Kalervoi itse 3o sakarasta ikkunasta:

Kalervoi himself looked from the corner window: 243

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Orpo I The Orphan I

» 1

“Ei punota punnain pilvi eikä siinnä sinniin taivas: punottaa punnain paita siintää sinniin pöksy. 35 Untamoin sota tulloo Kalervoja leikkoimaa.”

“The cloud is not glowing red nor is the sky glinting blue: it is a shirt glowing red trousers glinting blue. Untamoi’s war is coming to cut Kalervoi to shreds.”

Leikkoi suuret, leikkoi pienet leikkoi lapset kätkyesse hullukkaist huntuloihe 40 vakahaist vaattehesse.

It cut the great, cut the small cut down children in cradles the unknowing in their shawls and the infants in their clothes.

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Saoi Untoi orjillee: “Ai miun orjaant ommaant käskylapseent käppiiät mänkää tuosta katsomaa onka se jäänyttä jälelle suuren soan sorrakista väen suuren väännäkistä vainion vaellakista: hypätkää suen hypällä käykää kärpän varpahilla!”

And Untoi said to his serfs: “ O my serfs, my own my nimble servant-children go from here and see whether anyone is left from the wreck of the great war in the train of the great host in the field where it passed by: leap with the leap of a wolf walk with the toes of a stoat!”

Männät orjat katsomaa. Onpa jäänyttä jälelle suuren soan sorrakista vainion vaellakista: poikoi liekkuu tutussa hiukset pääs on lieminäist paitoi pääl on aivinain, hihnat sulkkuist sumisiit kätyt pärnäin pärriisi vipu vinkui vaahteriin.

The serfs went to see. Yes, someone was left from the wreck of the great war in the field where it passed by: a boy rocked in a cradle the hair on his head was fluff the shirt on him was linen the strings of silk were humming the lime cradle was rattling the maple beam was creaking.

Orjoit näyttiit miekkojasse: poikoi vasse nagrahteli. Nii orjoit läkäelliit: “Tuosta lienöö varma vassus 65 ja viipyy vihan pittääjä.” Sannoit orjoit Untamoille:

The serfs showed their swords to him but the boy only chuckled so the serfs chattered: “Now there’s sure to be trouble: an enemy has moved in.” The serfs said to Untamoi:

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Orpo I The OrphanX

“Onpa jäänyttä jälelle soan suuren sorrakista väen suuren väännäkistä vainion vaellakista.”

“Yes, someone is left from the wreck of the great war in the train of the great host in the field where it passed by.”

Sanoi Untoi orjillee: “Tehkää tuli turulle alle vallin valkiain, koivua kovvaa puuta 75 kolmekymmentä rekkooja, sarnista sata rekkooja, viihteroja, vaahteroja viisikymmentä rekkooja: pankaa tullee poikoi so lykätkää lemmenee!”

And Untoi said to his serfs: “ Make a fire in the market a bonfire beneath the walls of hard-wearing birch thirty sledges full of ash a hundred of supple maple fifty sledges full: put the boy into the fire and push him into the flames!”

Pantii poikoi tullee lykättii lemmenee. Ei poikoi pala tulessa eikä lekoita lemmenessä: 85 poikoi istuu tulella kultakoukkuin käessä kekelehhiä kerttelöö hiiliä haroittelloo.

The boy was put in the fire pushed into the flames. He did not burn in the fire nor blaze in the flames: the boy sat upon the fire a golden hook in his hand poking the embers spreading the cinders.

to

OuU

Soikkola, Ingria V. Porkka, 1883

94.S

42 ORPO II The Orphan I I

poika SekuinkalkkiensinKalevan emästä synty

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viiellä vesikivellä heti kohta kolmiöissä katkasi kapalovyönsä. Nähtiin hyvä tulevan keksittihin kelpoavan: myytihinpä vierahalle Karjalahan kaupittihin sepolle Köyrötyiselle. Pantihin lasta katsomahan: katsoi lasta, kaivoi silmät syötti lasta, söi itekki lapsen tauilla tapatti kätkyen tulella poltti.

Kysyi työtä iltaisella isännältä iltaiseksi emännältä aamuiseksi. Työn orjan nimittäköhön 20 nimi työlle pantakohon: pantiin aian panentohon. Jopa aitoa paneepi: kohastahan kokkahongat aiaksi asetteloovi, 26 kokonansa korpikuuset seipähiksi pistelöövi sitten vyötti maan maoilla sikaliskoilla siteli. Sitte seppo Köyrötyinen »o käypi itse katsomassa aitoa Kalevan pojan sollukullan sortama ta: näkipä päitä liikkuvia

aleva’s unhappy son Kwhen first of his mother bom on five water-rocks soon as he was three nights old he broke up his swaddling-bands. He was seen to promise well found to be a fine fellow: he was sold to a stranger was traded to Karelia to the smith Köyrötyinen. He was put to mind a child: cared for it, dug out its eyes fed the child, himself ate too he killed the child with disease he burned the cradle with fire. He asked for work at evening the master for evening work the mistress for morning work. Let the serf be told his task the task be given a name: he was told to build a fence. Now he was building the fence: tall pines from their place he set for a fence whole spruces from the backwoods he drove in for stakes then he bound them with earthworms with lizards he fastened them. Then the smith Köyrötyinen came himself to look at the Kaleva boy’s fence at the gold-buckle’s felling: well, he saw some heads moving 246

4• 9^

0rpo 11 The Orphan I I

raivoja ratisevia aiassa Kalevan pojan sollukullan sortamassa.

heard some skulls rustling in the Kaleva boy’s fence in the gold-buckle’s felling.

Työtä illalla kysyyvi isännältä iltaiseksi emännältä aamuiseksi: 40 pantiin karjan paimeneksi. Seppo Köyrötyn emäntä kiven leipoi leipähäänsä paaen painoi kakkuhunsa alle kaurasen asetti 45 päälle vehnäisen venytti, pani paimenen povehen: “Ällös tätä ennen syökö karjan tullessa kotihin.”

At evening he asked for work the master for evening work the mistress for morning work: he was put to herd cattle. The smith Köyrötty’s mistress baked a stone inside his loaf pressed a rock into his cake under it laid oats over it spread wheat put it in the herdsman’s breast: “ Don’t eat this before the cattle come home.”

Veti veitensä kivehen karahutti kalliohon. “ Millä maksan piian pilkan piian pilkan, naisen naurun pahan vaimon palkan maksan? Kule päivä kuusikolle 55 viere vehnaviivikölle katkia kataikolle.”

He thrust his knife in the stone struck it hard against the rock: “How shall I pay the maid’s jeers the maid’s jeers, the wife’s laughter the evil woman’s wages? Go, sun, towards the spruces roll towards the grove of wheat break up at the junipers.”

Syötti karjan kontioille. Ajoi kontiot kotia karjan kirjoikartanolle, 60 teki luikun lehmän luista härän sarvista helinän, tuolla soittain tuleevi kulleroiten kankahilla. Sano Köyrötyn emäntä: es “Ole kiitetty Jumala! Torvi soipi, karja saapi: mistä orja torven saanut rautio tasaisen pillin? Puhki korvani puhuuvi 70 läpi pääni läylentäävi.”

He fed the cattle to bears drove the bears homeward and the herd to the bright farm made a horn out of cow-bones out of ox-horns a rattle and he came along playing came tooting over the heaths. And Köyrötty’s mistress said: “The Lord God be praised! The horn blows, the cattle come: where did the serf get his horn the blacksmith his smooth whistle? It is blowing through my ears shrilling through my head.”

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Ajoi kontiot kotihin karhut kirjoikartanolle käski muorin kytkemähän: “Mene lehmät kytkemähän raavahat rakentamahan.” “Paimen ennen lehmät kytki, paimen raavahat rakensi.”

And he drove the bears homeward and the herd to the bright farm told the dame to tie them up: “Go and tie the cows up, go and tether the fully-grown.” etHerdsmen used to tie up cows herdsmen tether the full-grown.”

Pani karhut kahlehisin suet rautoihin rakensi: so neuvoleevi karhujahan susillehen suin puheli: “Repäse emännän reisi.”

He put the bears in fetters tethered the wolves in irons: he instructed his bears, talked by word of mouth to his wolves: “Tear the thigh of the mistress.”

Tarttui karhu kantapäähän repäisi emännän reien. 85 Sillä kosti piian pilkan naisen naurun paransi pahan vaimon palkan makso.

A bear seized hold of her heel tore the thigh of the mistress. So he avenged the maid's jeers settled the wife’s laughter, paid 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

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43 ORPO III The Orphan I I I

minun mammain Kasvatti kasvatti kanoja paljon

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joukun suuren jouttšemia: kaikki kasvajan nägöypi vain ei kasvatelduvaine. Kanat aijallen asetti jouttšemet jogivesille: yhen Suomehen sohotti toizen kando Karjalalta. Migä Suomessa sigisi siindä Uttamo sigisi, migä kasvo Karjalassa siindä vasta Kalerva kasvo.

mother brought up Mybrought up many chicks a great crowd of swans: saw them all growing but not when they were grown up. She put the chicks on a fence the swans in river-water: one she shooed into Finland one she bore to Karelia. From the one formed in Finland Uttamo was formed: from that grown in Karelia Kalerva grew up.

Uttamoll oi uljas uutti, is Kalervaisen kärssy koira söi heän uutin Uttamolda. Utta suuttu ja vihastu tegi sovan sormistanse kämmenpäistäsen käräjän. so Uttamo sodahe läksi: pienet lebät hobjavyölle kannot kassara olalle.

Uttamo had a fine ewe. Now, Kalervainen’s fierce dog ate the ewe of Uttamo. Utta grew angry and wild made a war from his fingers strife from the tips of his palms. Uttamo went to war, put small alders in silver belts adzes on tree-stumps’ shoulders.

Kalervaisen nuori minja kattšo ulos ikkunasta: 25 migä on ume umakka segä on savu sagija? Ei ole ume umakka eigä o savu sagija: Uttamon soda tuloupi.

Kalerva’s young daughter-in-law looked through the window: now, what was the foggy fog and what the thick smoke? It was not a foggy fog nor was it thick smoke: Uttamo’s war was coming.

so Tappo suuret, tappo pienet.

It killed the great, killed the small.

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O rpo I I I T h e O rp h a n I I I

Jäi yksi Kalervam poiga viijen, kymmenen vuuven vanha tuuduhen tudajamaha kätkyvehen liekkumahan. 3& Kätkyt jänksi jeäräväine tuba kuusinen kumaji silda liekku lehmuksine pienem pojan liekkujessa.

Kalerva’s one son was left five or ten years old swinging in the crib and rocking in the cradle. The sturdy cradle thudded tlie house of sprucewood rumbled and the floor of limewood rocked with the little boy’s rocking.

Uttamo ajatteloubi: 40 kunne poiga pandaneebi segä surma soadaneebi?

Uttamo pondered: where now should the boy be put where be done to death?

Pannaan poigoinen mereebi: pandih poigoinen mereebi. Laitto orjon kattšomahan kahen kolmen yöm perästi. Orjo toi sanan kodihe: ei poiga merehen kuole. Kuldakauhane kädessä mittajaa merestä vettä: 50 ei oo kuin kaksi kauhallista, ohois oigehem mitata osa kolmatta tulisi.

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go

65

Put the baby in the sea: the boy was put in the sea. He sent out a serf to look at the end of two, three nights. The serf brought word home: the boy was not dying in the sea. A gold ladle in his hand measured water from the sea: just two ladlefuls were left if it were rightly measured there would be part of a third.

Uttamo ajatteloubi: kunne poiga pandaneebi segä surma soadaneebi?

Uttamo pondered: where now should the boy be put where be done to death?

Pannaan poigoinen tuleebi: soarnoja sada regeebi, sada syldä tervaksija. Pandiin poigoinen tuleebi.

Put the baby in the fire of ashwood fivescore sledgefuls fivescore armfuls of tar-wood: the boy was put in the fire.

Laitto orjon kattšomahan kahen, kolmen yöm perästi. Orjo toi sanan kodihe: ei poiga tulehen kuole. Pieni koukkuinen kädessä kegäleitä liikuttaabi

He sent out a serf to look at the end of two, three nights. The serf brought word home: the boy was not dying in the fire. A little hook in his hand was stirring up the embers

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A 'J i J

O rp o III The Orphan I I I

kybenijä kyyhöttääbi.

was poking the sparks.

Uttamo ajatteloubi: kunne poiga pandaneebi segä surma soadaneebi?

Uttamo pondered: where now should the boy be put where be done to death?

70 Pannaani poiga paimeneksi selvähe sebän kylääbi selvällen sebän akalle.

Put the boy as a herdsman in an honest smith’s village for the smith's honest woman.

Tuo selvä sebän emändä leibo heän kivestä leivän 76 paisto koakun kallivosta peäldä jauhoilla silitti pani heäm paimenen evähiks.

Now, that smith’s honest mistress baked a loaf of stone cooked a cake of rock smoothed the top with flour for the herdsman’s provisions.

Paimen oi poiga pikkarainen kattšo heäm pitkäm päiväm peälle: so jo ois aiga armottoman isottoman illaistaija. Vedi veittšehen tupesta otti koakun salkustansen. Koakku oli kaunis peäldä nähhen, 85 aganoija alla kuoren. Vedi veittšesen kivehen karahutti kallivoosen. “Voi huorra homehsygerä tuo selvä sebän emändä 90 kuin leivoit kivestä leivän paissoit koakun kallivosta panit paimenen evääksi! Jos itkin issoini veistä itket laukko lehmäjäisi. 95 Tiem mie pillim Pienikistä toron Torstikin jalasta: soitan suolle männessäini karahutan kangahalla lambahat emäsusiksi too lehmät kaikki karhuloiksi.”

The herdsman was a small boy he watched the sun lengthening: now was time for the orphan the fatherless one's supper. He drew his knife from its sheath he took the cake from his bag: the cake was fair to look on there was chaff beneath the crust. He stuck the knife in the stone struck it hard against the rock. “O whore of the grey top-knot O you smith’s honest mistress who have baked a loaf of stone cooked a cake of rock for the herdsman’s provisions! I’ve wept for my father’s knife: so you’ll weep for your blazed cows. I’ll make a flute of Tiny a horn out of Thirsty’s leg: I’ll play as I walk to the marsh, blast on the heath the sheep to she-wolves 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

tuima Tuiretuinen T uolapsiolilieto Lemminkäinen se on torulle tulevi maarahoja maksamahan viemähän vetoperiä yhen neitsyen kisoille. Koksahti neito korjahan tapahteli taljoillehe: “Tuoni sinun korjollesi tauti sinun taljallesi!”

t was stern Tuiretuinen wanton child Lemminkäinen came to the market to pay his land-tax to take in his dues to play with a maid. The maid went bump in the sleigh descended upon his furs: “Death be to this sleigh of yours a pox on your fur!”

Osotteli, lausutteli kultasuita kukkaroita veitsiä hopiapäitä: koksahti neito koijahan, is tapahteli taljoillehe. Kudan käsi on kintasessa se on oroin ohjasessa, kudan käsi on kintahatta se on neion nännin alla, 2o kudan jalka on saappahassa se on korjon jalaksella, kudan jalka on saappahatta se on neion reien alla.

He showed off, he talked about money-bags with mouths of gold knives with handles of silver: the maid went bump in the sleigh descended upon his furs. The hand within a mitten was upon the stallion’s rein the hand without a mitten was under the maid’s nipple and the foot within a boot was upon the sleigh-runner and the foot without a boot was under the maiden’s thigh.

Iski ohjalla oroa: 25 oro juoksi, matka joutui reki vieri, tie pakeni.

He struck the horse with the reins: the horse ran, the journey sped the sledge rolled and the road fled.

Kysytteli, lausutteli kahen kolmen yön perästä: “Onko suurikin sukusi so heliäkö heimokunta?”

He inquired, he said at the end of two, three nights: “ Is yours a great family too are they famous, your people?”

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The Incest I

“Eikä suuri eikä pieni. Yksi on viisi veljyttäni: yks oli tuima Tuurittuinen lapsi lieto Lemminkäinen.”

“ It is neither great nor small. There are just my five brothers: one was stem Tuuri ttuinen wanton child Lemminkäinen.”

Pyyhkältihen korjast ulos. Iski kahta kätyyttähän kahen puolen runkaistahan kahta kalmalautaista viittä Viipurin veräjää.

He flung himself off the sleigh struck with his two hands the two sides of his body like the two planks of the grave the five gates of Viipuri.

40 “Oi sinä maammo kantajani panes jauhot palttinoihin saa evähät säkkisehen. Pahojani pakenemahan piilojani piilemähän: 45

häpäsin emoni lapsen.”

“Poikuoini ainoani älä lähe äläk ole: kule tuota kuusikkoa pirpata petäjikköhön 50 kuin on hurtat huiskehilla linnan miehet liikkehillä.”

“Mother who bore me put meal in a cloth lay provisions in a bag that I may flee my bad deeds that I may conceal my crimes: I have shamed my mother’s child.” “My offspring, my only son don’t go away and don’t stay: go to those spruces dash off to the pines while the dogs are on the loose 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 JL Viipurista viukaisoo alta Narvan naukaisoo viemästä verojyvvii 6 maksamasta maarahoi obrakkii antamasta. Näki neion niemen päästä kultakassaisen kulosta helmipollen heinikosta, io Poikoi tuimoi Tuurikkaine poikoi veitikka verröövä alkoi neioille läätä kassapäälle kannoitelia: “ K äy neitoi rekoiseheen 15 saa miun saaniin perrää syömään omeniaan puromaan päähkeniään!”

20

a boy came from Tuuri «L^l whistled out of Viipuri he whined from under Narva after taking in his tithes after paying his land-tax after giving his poll-tax. A T O w ,

He saw a maid on a headland a golden-locks on dry grass a bead-aproned on the hay. The stern boy Tuurikkaine the full-blooded roguish boy began to talk to the maid banter with the plaited head: “ Step, maiden, into my sledge into the back o f my sleigh to eat my apples and to bite my nuts!”

Neitoi kipest kirrois ja hän vannoi vaikeast: “ Se syököö omeniaas purkoo päähkeniääs!”

The maiden heavily cursed and swore grievously: “ M ay That One eat your apples and may That One bite your nuts!1

Poikoi tuimoi Tuurikkaine poikoi veitikka verröövä ei tiiä mitä tekköö.

The stern boy Tuurikkaine the full-blooded roguish boy did not know then what to do.

25 Näyttelöö, peittelöö kultasuita kukkaroi veitsii hopeaspäitä: neitoi repsahti rekkoin.

He displayed, he covered up money-bags with mouths of gold knives with handles o f silver: the maid flopped into the sledge.

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Rutsa I I The Incest I I

Sai hään neion rekkoin 30 syömään omeniaan puromaan päähkeniään. Löi hän ohjilla orroja helmiruosalla hevoista, mäni matkoi vähhäisen 35 teki tietä pikkaraisen teki tietä verssoin verran. Poikoi tuimoi Tuurikkaine poikoi veitikka verröövä alkoi neioilta kysellä 40 kassoipäältä kysyellä: “ Miltä maalta siä oot neitoi?”

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60

55

He got the maid in the sledge to eat his apples and to bite his nuts. He struck the horse with the reins stallion with the beaded whip: he went on a little way went a short distance he travelled a verst or so. The stern boy Tuurikkaine the full-blooded roguish boy began to ask the maiden to question the plaited head: “Where are you from, maid?”

Neitoi vassen vastaeli: “ Siltä maalta miä oon neitoi millä maalla maat sinniiset maat sinniiset, puut punnaiset kartaiset petäjän kerkit hopeaiset hongan latvat.”

The maid answering replied: “ I am a maiden from where lands are blue lands are blue, trees red the pine-sprouts are tin the fir-tops silver.”

Poikoi tuimoi Tuurikkaine poikoi veitikka verröövä löi hän kahta kämmentään kuiten kahta kalmoin usta, vipui viittä sormeaan ku viittä Viroin vippua: “ Voi miä polloinen poika jo nyt tein mit ei pitänt, jo otin ommain siarreen oman seukoin seuraelin oman marjuen manitin.”

The stern boy Tuurikkaine the full-blooded roguish boy struck his two palms together like the two gates of the grave he stuck out his five fingers like Estonia’s five beams: “O what a poor boy am I I have done what I should not: I’ve taken my own sister I’ve gone with my own sibling lured my own berry.” Singer unknown

Hevaa, Kaprio, Ingria V. Porkka, 1883

255

46 KYLVÄJÄ I The Sower I

ämsä poika Pellervoinen makais sisaruensa uinaisi emoisen lapsen: kuin tiesi tuhon tulevan hätäpäivän peälle käyvän tuo tunsi pakohon männä pimiähän Pohjolahan miesten syöpähän sekaan urosten upottajoihen.

the Pellervo boy Sämsä lay with his sister

S

5

Ahti aina arveloopi toivoo maalien makua pelloillen pehmitöstä nurmen juuren polttajoo: tomeramman touvon toisi is paremman terän tekisi. Rahojaan raksuttaa helkyttääpi hopeitaan kaksin päivin, kolmin päivin: rahat raksu pöyän peällä 20 helkky Huotolan hopeet. 10

Hukka poika huuperoinen murtiin mielesä rahoin hopeihen huopenteli Hiien kultiin kulutti. 25 Kuka Sämpsän noutanoopi Pellervöinen kehittänöön tänne maita kylvämäni taroja tihittämään? Alettiinpa arvelohon: 30 kuka Sämpsän noutanoopi

and slept with his mother’s child: when he knew doom was coming his day of distress dawning he knew he must flee to dark Pohjola among the eaters of men and the drowners of heroes. Ahti kept brooding, wanted something to sweeten his land something to soften his fields someone to bum off his grass to produce a hardy crop make a better ear. And he rattled his money jingled his silver for two, three days: the money rattled upon the table Huotola’s silver jingled. The wolf, the wild boy was a madman for money he squandered all for silver he spent all for Hiisi’s gold. Who would fetch Sämpsä win over Pellervöinen to sow these lands now scatter the seed on the fields? Folk were beginning to brood: who would fetch Sämpsä

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Kylväjä I The Sower I

Pellervöinen kehittänööni? Susi poika roapioinen osti turkin tuuheemman taretakseen pakassa: 35 läksi Sämpsän nouantahan murtiin mielesi rahoin hopeeiseen huopenteli Hiien kultiin kulutti, läksi Sämpsän nouantahan «o Pellervöinen kehittämään.

The wolf, scratcher boy bought a heavier fur coat the better to bear the cold: he went off to fetch Sämpsä was a madman for money he squandered all for silver he spent all for Hiisi’s gold he went off to fetch Sämpsä win over Pellervöinen.

Ahti aina arveloopi sylki silmille: “ Häpi häjyn näkyinen kuinsa söit emoini uuhon 45 villa-aikana parassa kesäheinän hempehellä, minä maijotak makaisin minä voita vuolattelin.”

Ahti kept brooding spat into his eyes: “ Shame, you evil-looking one when you ate my mother’s ewe in the best season for wool the sweet time of summer hay I was lying without milk was living without butter.”

60

Susi ilma lievon poika ei se paljon palkoin huolik ei anona ansioo: läksi Sämpsän nouantahan Pellerviin kehittämään.

Sanoi sinne soatuvaan: 66 “ Ahti aina toiveloopi toivoo moallen makua pelloillen pehmitöstä nurmen juuren polttajoo: tomeramman toisit touvon 60 paremman terän tekisit.” “ Voi vieminen veitoseini hyvinpä teit sinäik minun tänne tullessani.” Sämsä poika Pellervöinen 65 vähänpä otti siemeniä

17

win over Pellervöinen?

The wolf, the mild-weather boy did not care much for wages did not ask for gain: he went off to fetch Sämpsä to win over Pellervi. He said as he arrived there: “ Ahti keeps wanting, wanting something to sweeten his land something to soften his fields someone to bum off his grass you to bring forth a hardy crop and make a better ear.” “ Little brother beside me you did a good thing as I was coming this way.” Sämsä the Pellervo boy took up a few seeds

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Kylväjä I The Sower I

sekaisia siemeniä kärpän hännän mustasista jouhtenen jalostimista.

a mixture of seeds black specks from an ermine’s tail from a swan’s footprints.

“ Hyvinpä teit sinäik 70 minun tänne tullessani: sulaisit jokiin suita jäitä järvistä ohensit, rannoillen kaloja laskit suolien suikelehtavia. 76 Noutaa tuolta nuorten miesten ehtiä erän parrahin. Jopa kerta keitettihin minun tänne tullessani, Kalehvalla on kaunis hauki.”

. “You did a good thing as I was coming this way: you thawed the mouths of rivers you thinned out the ice on lakes you sent fish towards the shores sliding things to the marshes. From there young men can get them catch the best supply. Someone was cooking as I came this way: there is a fine pike at Kalehva’s.”

so Tuli tänne kylvämähän taroja tihittämään, suot kylvi, kanervat kasvo norot kylvi, koivut nousi mäet kylvi, männyt kasvo 85 maat tuoreet tuomikkoiksi maat kaijat kataakoiksi lepikoiksi lempipaikat.

He came here to sow to scatter the seed: sowed the marshes, heather grew sowed damp hollows, birches rose sowed the hills, pines grew the fresh lands for birdcherries narrow lands for junipers choice spots for alders.

Ennen Ahti maita puuttu, ennen kuin Sämpsä siemeniä: 90 etelähän ensin kylvi siitten singotti itähen pohjopuolellen porotti lopettaa luotesehen.

Ahti would run out of lands before Sämpsä out of seeds: southward he sowed first then he flung eastward he blustered on the north side and finished westward. Singer unknown

Kaavi (?), North Karelia C. A. Gottlund, ca 1835

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Al KYLVÄJÄ II The Sower I I

iksei kasva meijen kagrat rukkiit ei ylös ylleene ei kasva kasessakaa eikä noise notossakaa Sämpsän mättähälläkää Pellervoin mäelläkää?

M

5

Sill ei kasva meijen kagrat rukkiihet ei ylleene ei kasva kassessakaa 10 eikä noise notossakaa Sämpsän mättähälläkää Pellervoin mäelläkää: Sämpsä sängyssä makkais selällää seitsenristi is kylellää kymmennyblä, sääret sängystä näkkyyt rikoista rivat punnaiset.

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26

hy are our oats not growing our rye not rising growing in the clearing springing in the hollow yet on Sämpsä’s hummock yet on Pellervoi’s hill?

W not nor nor nor

For this our oats do not grow and our rye is not rising not growing in the clearing nor springing in the hollow nor yet on Sämpsä’s hummock nor yet on Pellervoi’s hill: Sämpsä was lying in bed the seven-crossed on his back the ten-buttoned on his side his legs could be seen in bed on slats his red braids.

Ei ole Sämpsän nostajaista Pellervoin ylentäjäistä.

There were none to raise Sämpsä lift up Pellervoi.

Talvipoika poissikkain nois tuo Sämpsän nostajaksi Pellervoin ylentäjäksi: otti tuuloisen oroin ahavaisen sälköväisen, alkoi tuulella aijaa ahavalla löyhyttää, puhui puut lehettömiksi heinät hempehettömiksi neitoiset verettömiksi.

The winter-boy, little lad rose to raise Sämpsä lift up Pellervoi: he took a stallion o f wind took a colt that was a gale began to ride on the wind flutter on the gale and he blew the trees leafless the grass till it lost sweetness the maids till they lost their bloom.

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K y lv å jå ll The Sower I I

30 Mani Sämpsän sängyn luoksi: “ Noise Sämpsä sängystäis selältäis seitsenristi kyleltäis kymmennyblä! ’ ’

And he went to Sämpsä’s bed: “Get up, Sämpsä, from your bed seven-crossed one, off your back ten-buttoned one, off your side!”

Sämpsä väite vastaeli: “ En noise sinnuua varte: noisen toista miestä varte. Hyvin teit tullessais vielä paremmin ollessais: puhuit puut lehettömiksi 40 heinät hempehettömiksi neitoiset verettömiksi kaalit kotsinattomaksi nagriit navattomaksi.”

And Sämpsä indeed answered: “ I will not get up for you: I will for the other man. You did well to come still better to stay: you have blown the trees leafless the grass till it lost sweetness the maids till they lost their bloom blown the cabbages headless the turnips rootless.”

Kenpä Sämpsän nostajaksi Pellervoin ylentäjäksi? Kesäpoika poissikkain nois tuo Sämpsän nostajaksi Pellervoin ylentäjäksi: otti tuuloisen oroin 50 ahavaisen sälköväisen, alkoi tuulella aijaa ahavalla löyhyttää, puhui puut lehellisiksi heinät hempehellisiksi 55 kaalit kotsinallisiksi nagriit navallisiksi neitoiset verellisiksi.

Well now, who would raise Sämpsä lift up Pellervoi? The summer-boy, little lad rose to raise Sämpsä lift up Pellervoi: he took a stallion of wind took a colt that was a gale began to ride on the wind flutter on the gale and he blew the trees leafy blew the grass till it was sweet blew heads on the cabbages roots on the turnips the maids till they were blooming.

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Ajoi Sämpsän sängyn luo: “ Noise Sämpsä sängystäis selältäis seitsenristi kyleltäis kymmennyblä!”

Sämpsä vasse vastaeli: “ Nyt noisen sinnuua varte vaa en toista miestä varte. 65 Hyvin teit tullessais vielä paremmin ollessais:

And he drove to Sämpsä’s bed: “Get up, Sämpsä, from your bed seven-crossed one, off your back ten-buttoned one, off your side!” Sämpsä answering replied: “Now I will get up for you but not for the other man. You did well to come still better to stay:

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AH * /

K y lv ä jä n The Sower I I

puhuit puut lehellisiksi heinät hempehellisiksi kaalit kotsinallisiksi 70 nagriit navallisiksi neitoiset verollisiksi! ”

you have blown the trees leafy blown the grass till it was sweet blown heads on the cabbages blown roots upon the turnips the maids till they were blooming!” K a ti

Soikkola, Ingria V. Porkka, 1883

261

48 KARHU The Bear

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here was Bruin born the honey-paw turned over? There Bruin was bom the honey-paw turned over in the upper air upon the Great Bear’s shoulders.

M

issä ohto synnytelty mesikämmen kiännätelty? Tuolla ohto synnytelty mesikämmen kiännätelty ylähällä taivosessa Otavaisen olkapäillä.

W

Missä se alas laskettiin? Hihnassa alas laskettiin hihnassa hopiisessa kultaisessa kätkyyssä: sitte läks saloja samuumaan Pohjanmoata polokemaan.

Where was it let down? In a sling it was let down in a silver sling a golden cradle: then it went to roam the woods to tread the North Land.

Elä sorra sontareittä koa maion kantajoa: is enemp on emolla työtä suuri vaiva vanhemmalla jos poikonen pahan teköö.

Don’t hurt the dung-shank kill the milk-bearer: mother has more work the parent big trouble i f the little boy is naughty. O lli T im onen

Kitee,jN orth Karelia O. A. F. Lonnbohm, 1894

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49 TAMMI I The Oak I

ouvun juottoon Jumalan käräjään Väinämöisen piiruun pojan Kalervan. Tuudin oloi juua: 6 ali oli hiiva, pääll oli vaahte ali oli hiiva hienokkainen pääll oli vaahte valkiainen keskell oli olo punainen. Kuhun valan vaahtueni 10 hukkaelen hiiveheni? Valan ison ikkunalle velloini veräjän suulle kantajaini kaivotielle. Kasvoi tuohon tarkka tammi is pitkä pihlaja yleni, harotteli haarojaan ojenteli oksiaan levitteli lehtiään. Tuohon lensiit Luojon linnut, ao Etsin tammen tagrojaista puun pitän lyhentäjäistä pihlajan piroittajaista: en saanut tammen tagrojaista puun pitän en lyhentäjäistä 26 pihlajan en pirottajaista.

hurried to God’s revels Väinämöinen’s assizes the feast of Kalerva’s son. Beer was brought to drink: below was yeast, on top foam below was fine yeast on top was white foam in the middle was brown beer. Where shall I pour off my foam and where get rid of my yeast? I’ll pour at father’s window at my brother’s gateway, at the well-path of my bearer. There a steadfast oak-tree grew a tall rowan-tree rose up branched out its branches straightened out its boughs spread abroad its leaves. There the Creator’s birds flew. I sought one to fell the oak cut the tall tree short chop down the rowan: I found none to fell the oak cut the tall tree short chop down the rowan.

Jouhtu miulle mielelleni ja syttyi syömmelleni: ompa miulla aine vello. Pyhät syytin pyyn lihoilla 30 aret ahvenen kaloilla kalatsull on kasvatettu pettypiimällä pietty:

Now, it came into my mind caught fire in my heart: I had an only brother. On Sundays I fed him grouse on weekdays I fed him perch he was brought up on white bread kept on buttermilk:

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Tammi I The Oak I

kons ei voinut voita syyä siis söi sian lihutta. 36 Menin etsin velloaini etsin Suomet, etsin Saaret etsin Turut tunnustellen linnan välit välkistellen Moskovan molemmin puolin 4o kahen puolin Kaprioo, sielt mie löysin veljyeni miesten seppien seasta naisten tarkkoen tarelta uhkein uulitsalta: 46 kultia lunasteloo hopehia ostekseli.

60

when he could not eat butter, he ate pork. I went, I sought my brother searched Finland, searched the Island sparched Turku, feeling about glancing all over the town on the two sides of Moscow on both sides of Kaprio and there I found my brother among the smith-men among the worthy women in the street of the splendid: he was buying gold purchasing silver.

“Oi vello emoini lapsi kelle kultia lunastat hopehia ostekselet?”

“O brother, my mother’s child for whom are you buying gold purchasing silver?”

Vello vasten vastaeli: “Vet en kelle kuin sisolle.”

My brother answering said: “For no one but my sister.”

Otin kiini olkanpäästä hakielin hartioista: “Käykkä velloini kotiin 56 käykkä tammen tagrojaksi pihlajan piroittajaksi!”

I gripped him by the upper arm, clasped him by the shoulders: “Gome home, my brother come and fell the pak chop down the rowan!”

Tuli velloini kotiin tuli tammen tagrojaksi puun pitän lyhentäjäksi 60 pihlajan piroittajaksi, tammen tagroi pilsoin palsoin oksat teki olutpuolikoiksi pienet puut pikariloiksi: mi jäi murui muita 65 niistä salvoi miulle saunan.

My brother came home came and felled the oak cut the tall tree short chopped down the rowan felled the oak for sticks and stakes of the branches made beer-mugs of the small wood made goblets: of the pieces left over he built a bath-house for me.

Sanoivat kyIäiset naiset: “Ollook Kirjamon kirikko vai olloo Raisun Rakkavuuri?”

And the village women said: “Could it be Kiijamo’s church or else Raisu’s Rakvere?”

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Tammi I The Oak I

Maioi vasten vastaeli: 70 “Ei oo Kiijamon kirikko eik oo Raisun Rakkavuori: se on sauna viien vellon kappali kahen siaren.”

Maioi answering replied: “ It is not Kirjamo’s church nor yet Raisu’s Rakvere: it is five brothers’ bath-house 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

5

were once four maids T here four maids and three men

yhen niitun niittäjövä: jonka niitti sen haravoi semp on karhella veteli lapovella loajitteli rukoloilla rutjokseli soaprah on savottelouve.

mowing a meadow: what they mowed they raked teased into a swath piled up a rakeful gathered in haycocks and started a rick.

Tuli Lappi Tuijam moalta se poltti porokse heinät. Tuli tuuli pohjaisesta se veiki porotki poise vallan voaran rintiehe joho kasvo puu kamala is kasvo puu verratoine joka oli oksiltah olova oli lehviltäh leviä: esti päiväm paistamasta kuuhuvon kumottamasta, 2 o siit on vilu viljah tullun kamala vejen kaloilla.

A Lapp came from Turja’s land burnt the hay to ash and the wind came from the North bore the ash away to a mountain slope on which grew a frightful tree an incomparable tree that was bushy with branches was spreading with leaves: it stopped the sun from shining the moon from gleaming from it cold came to the corn frightful for the water-fish.

Etsitähpä koatajova: nousipa on mies merestä yhem peikalom pivusse 25 kolmen sormen korkevusse. Hivoskelou kirvestanse kolmella kovasimella neljällä nivosimalla seittsemellä sieram peällä 30 kaheksalla kallivolla. Pani puuta kirvehellä

Someone was sought to fell it: now, a man rose from the sea who was a thumb long and three fingers high. He sharpened his axe upon three whetstones on four scraping-stones on seven oilstones upon eight boulders. He struck the tree with the axe

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Tammi I I The Oak I I

tammie tasaterällä: tuli säihky kirvehestä lastu tammesta pakeni. 36 Jo on tammi koatununne poikki Pohjoisen jovesta sillaksi ikusijahe männä miehem matkalaisen pimiäh om Pohjolahe 40 miesten syöpähä kylähe urosten uponnehehe. Siin on silta ikuhini joka oli syyttä syöty joka oli tauvitta tapettu 45 ilman Luojan kuolomatta pimiessä Pohjolassa miesten syöpässä kylässä: siel on luutointa lihoa suonetointa pohkiata so syyvä miehen nälkähisen haukata halun-alaisen.

the oak with the even blade: fire flashed from the axe and a chip fled from the oak. Now the oak-tree had been felled across Pohjoinen’s river a bridge to the timeless place for a traveller to go a man to dark Pohjola to the man-eating village the village that drowns heroes. He has an eternal bridge who was eaten without cause who was killed without disease without the Creator done to death, in dark Pohjola in the man-eating village: there is meat without bones there there is calf without gristle for the hungry man to eat 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

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kasvo kaunihisti Härkä lihoi mulli liiotenkin:

T hetheoxbullgrewwasbeautifully getting too fat:

pää hääly Hämeen maassa häntä torkku Torniossa. Päiväkauden pääsky lensi häpeheltä hännän päähän, kuukauden orava juoksi härjän sarvein väliä: eipä vielä päähän pääsnyt ensinkänä ennättänyt.

its head roared in Häme Land its tail drooped in Tornio. All day long a swallow flew from its neck to its tail’s tip all month long a squirrel ran between the horns of the ox: still it did not reach the end it did not get there at all.

Hajettiin tappajata. Mies musta merestä nousi ensin väänsi polvillensa sitten käänsi kyljellensä is siitä siirsi seljällensä. Saatiin siitä saalihiksi sata saavia lihoa verta seitsemän venettä kuuta kuusi tynnyriä: so täst on voiteet otetut tästä kahteet katotut jolla vihat viskotahan tulen poltot poltetahan tulen voima voitetahan 25 tulen pahat paratahan.

A slaughterer was searched for. A black man rose from the sea: first he forced it to its knees then he turned it on its side there moved it on to its back. And there a great kill was made with a hundred tubs of meat with seven boatfuls of blood six barrels of fat: from this ointments are taken from this spells are worked by which hates are hurled away the burnings of fire burnt up the power of fire overpowered the ills of fire healed. S in g er unknow n

Ostrobothnia K. Ganander(?), before 1789

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52 IS O S I K A The Great Pig

visiting Iwent my aunt in heaven.

kostissa kylässä Kävin tätilläni taivahassa. Mitä tuolla syötettihin? Luut lihoista, päät kaloista 6 kuoret leivistä kovista. Mitäs tuolla teetettihin? Paimenessa käytettihin Saksan suuria sikoja tasaisia tallukkoja 10 laukkipäitä lampahia. Sika suureksi sikisi posso kasvoi kauhiaksi: posso kasvoi puoli syltä saparo satoa syltä is kärsä kuutta kirvesvartta.

What was I made to eat there? bones from meat and heads from fish and crusts from hard loaves. What was I made to do there? made to go herding some great German pigs some well-formed young ones and sheep with blazed heads. The pig swelled to a great size the porker grew terrible: it grew to half a cubit its tail a hundred cubits its snout to six axe-handles.

Meni Ukko tappamahan kultaisen kurikan kanssa vaskisen vasaran kanssa hopiaisen nuian kanssa: 20 posso käänsi kärsäjänsä töllötti saparotansa. Ukko kuusehen pakohon muut jumalat muihin puihin petäjihin pienet herrat. 86 Ukko kuusesta toruvi katajasta karnuttavi: “Malta, malta possorukka. Kuin tulee tuleva vuosi et sie tongi toisna vuonna m et tongi Torajokea Torajoen pientaretta:

Ukko went to slaughter it with a golden club a copper hammer a silver mallet: the porker turned its snout round and gaped at its tail. Ukko fled up a spruce-tree other gods up other trees the little lords up pine-trees. Ukko scolded from the spruce he nagged from the juniper: “Patience, patience, poor porker. When the coming year is come you’ll not root another year not root at Tora River nor on Tora River’s bank:

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Iso sik a T h e G rea t P ig

otsakierohon olotan jotta läskit läiskähtävät!”

I’ll hit hard between the eyes 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

iisas viini Vuojolainen kaunis Kauppi lappalainen sykysyt lylyä vuoli talvet kaikki kalhotinta. 6 Ite viini Vuoljalainen itepä vuolon kiitelihin lykkäisi lylyn lumella sauan survaisi kätehen: ei sitä mehissä lienne 10 jot ei tällä yletäni. Potkaistihin kerran vielä: eipä korva kuulukana. Potkaistihin toisen kerran: eipä se silmä sintänynnä. is Potkaistihin kolmanen kerran jop on ylle kiini Hüten hirven.

V

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Siitä virkki noin pakisi: “Mit lienne Lapissa lasta kaikki lastuin poimen toissa, mi lienne Lapissa naista kaikki kattilan pesoja keitäntähän Hüten hirven, mi lienne Lapissa miestä kaikki veitsiä hijovat Hüten hirven nyllentävät!”

Päätyi hirvi kuulemahan seinän alla seisomassa. Neuovi Hiisi hirviä kuin emohoni lastansa: 30 “Kuin Kennet Hüten hirvi polkaistaisi kerran poisi

Finn Vuojolainen Clever handsome Lapp Kauppi in autumn shaped a left ski through the winter a right ski: Himself, Finn Vuoljalainen glided on what he had shaped pushed the left ski on the snow grasped a ski-stick in his hand: there was nothing in the woods that they would not overtake. He kicked out again: the ear did not hear. He kicked one more time: the eye did not glimpse. He kicked a third time and now he was hard on Hiisi’s elk. Then he uttered, chattered thus: “What children are in Lapland will all be picking up sticks what women are in Lapland will all be washing up pots to cook Hiisi’s elk what men there are in Lapland will all be sharpening knives skinning Hiisi’s elk!” Now the elk happened to hear as it stood below the wall. Hiisi gave the elk advice as a mother would her child: “ If you’re Hiiui’s elk with one kick away

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Hirvi I The Elk I

rautani ohjais ojenna! Potkaistaiseti toisen kerran tammitarhanen levitä!” 36 Lähti hirvi hippomahan poropeura potkemahan vasten soita, vasten maita vasten varvikkomäkiä. Ei ole minussa päivien periä 40 eikä kuijen kysyjä: käänny päivä salolla pyörähä kuu salon sisähän. Ei ole miulla omani takka takka on Tapion takka. 45 Rautapa vaara vastahas tulikoivu kohtahasi puun pinta piäntyäis joki juokse juuvakseisi järvi levätäkseisi.

stretch the bridle of iron! With a second kick break open the pen of oak!” The elk trotted off and the wild reindeer kicked off across marshes, across lands across hills of bare brushwood. I cannot recover suns nor can ask for moons: turn, sun, to the woods twist, moon, in the woods. I have no load of my own: the load is Tapio’s load. May an iron hill meet you may a fiery birch face you may a tree bar you a river run for your drink 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

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54 HIRVI II The E lk I I

18

T^oiga liedo Lemmingöine A sygyzet lylyö vuoli talvet kalhuja kaveldi kezäd vuoli keppivarttah: 8 sai lylyd lykittäväksi kalhut kannan lyödäväksi, lykkäzi lylyn lumella kando kaksi sauvaistahi kahem puolen kalhuistahe. io Yksi sauva makso markan, toini ruskien reboizen.

■v k ranton boy Lemmingöine VV in autumn shaped a left ski in winter planed a right ski in summer he shaped a staff: he got the left ski to push the right for the heel to strike pushed the left ski on the snow and carried his two ski-sticks on either side of his skis. One ski-stick cost him a mark the other cost a brown fox.

Sano liedo Lemmingöine: “Ei nyd o sidä metSässä jod ei näillä yllätetä is siivin kaksin siugavia jalan neljän juoksijie!”

Wanton Lemmingöine said: “There’s nothing now in the woods that they will not overtake whirring on two wings running on four feet!”

Peädybä Hiizi kuulomassa juuttahat tähystämässä: Hiizi hirvie azuvi so juuttahat sugieilougi: peäm mägäizi mättähästä muun rungun lahosta puusta seäret äijän seibähästä korvad lammin lumbehista 25 silmäd lammim bulbukoista.

Now Hiizi happened to hear the evil spirits to spy: Hiizi constructed an elk the evil spirits conceived snatched the head from a hummock the body from rotten wood legs from a fence-pole ears from pond-lilies the eyes from pond-lily buds.

Työndi Hiizi hirvienze, poropedra perziänzä: “Mäne, juokse Hiijen hirvi poropedra poimettele 3o Lapin lastutanderie

Hiizi drove his elk the reindeer its rear: “Go, run, Hiizi’s elk reindeer, trot along to Lapland’s timber regions

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II 54 Hirvi The Elk I I

35

Pohjom pistyjä pihoja: jalgah on jalo tevaksi potkoa kovasta korva selän keitin keikahuta liemi liedehen levitä lihat tuhkah on tuherra!”

Pohjo’s sloping yards: use your legs, great elk kick the corner of the hut and tip over the cauldron spill the soup in the fireplace spoil the meat in the ashes!”

Silloin haukku Pohjon koira silloin itki Pohjon imbi silloin nagro Pohjon naizet 40 silloin ihmehti imehet. Kuuli liedo Lemmingöine kuuli se naizen nagravaksi tähti immen itköväksi kuuli koiran haukkuvaksi. 45 Itse suksilda sanovi hiihtimildä hilgaizougi: “Midä teälä nagro naizet kuda teälä itki immet?”

Then the dog of Pohjo barked then the girl of Pohjo wept then the wives of Pohjo laughed then the folk marvelled. Wanton Lemmingöine heard heard the wife laughing saw the girl weeping heard the dog barking. From his skis he said from his snow-shoes he shouted: “Why were the wives laughing here the girls weeping here?”

Pohjon naizuot sanovat: so “Tästä juoksi Hiijen hirvi poropedra poimetteli jalgah on jalo tevaksi, potkazi kovasta korvan selän keitin keikahutti 55 liemen lietehen levitti lihat tuhkah on tuherdi.”

The women of Pohjo said: “Hiizi’s elk has run this way the reindeer trotted and the great elk used its legs kicked the corner of the hut has tipped over the cauldron spilt the soup in the fireplace spoilt the meat in the ashes.”

Niin on liedo Lemmingöine itse niin sanuo soatto suksillah on suorieugi: 6o “Ei ole sidä metlässä jod ei näillä yllätetä!”

So wanton Lemmingöine himself spoke like this as he set off on his skis: “There is nothing in the woods that they will not overtake!”

Niin kuin liedo Lemmingöine niin kuin kerram potkoaksi silmän siidämättömäksi. 65 Toizen kerram potkoaksi korvan kuulomattomaksi. Kolmannen kohendoaksi

So wanton Lemmingöine the first time he kicked the eye did not glimpse. The next time he kicked the ear did not hear. The third time he aimed

274

II 54 Hirvi The Elk I I

laudaizilla Hiijen hirven poropedram pohkeilla.

at the loins of Hiizi’s elk at the calves of the reindeer.

70 Niin tuo liedo Lemmingöine selgöä silittelöybi, taljoa taputteloubi: loadi voajan voahterizen, tallin tammizen rakendi. 75 Sano liedo Lemmingöine: “Sobis kerran tässä moata nuoren neidizen kerällä kazvavaizen kainalossa selällä sinizen hirven so poropedram pohkeilla!”

So wanton Lemmingöine was stroking its back was patting its coat: he made a shed of maple he built a stable of oak. Wanton Lemmingöine said: “ How fitting just to lie here with a young maiden under a growing girl’s arm on the back of the blue elk on the calves of the reindeer!”

Siidä suuttu Hiijen hirvi siidä suuttu, siidä seändy rikko voajan voahterizen tallin tammizen levitti, 86 siidä uidi Hiijen hirvi poropedra poiski joudu.

Then Hiizi’s elk grew angry grew angry, became inflamed smashed the maple shed shattered the oaken stable then Hiizi’s elk fled the reindeer ran off.

90

Niin tuo liedo Lemmingöine kuin tuo kerram potkoaksi lyzmähti lyly lävestä sauva sombaizen sijasta.

So wanton Lemmingöine the first time he kicked the left ski bent at the hole 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

uoksi hervi Hiien maasta potki puolen kankahalta puri varvan juossessaha joi järven janusissahan. Juoksi hään uutehen tuppahan koreaan kornitsahan: näki kyyn ollova joovan maon verryttä vettävän. Iski kyitä kylkiluihen ala maksoin mattoja: kyy itki kylkiähän mato raukka maksojahan.

J 5

10

Kuka kyihen lypsäjäine ja mattoin valuttajain? 15 Marketan emoi mokkoo toi oli kyijen lypsäjä. Kyy lypsi punaisen maijon mato valkean valutti raintaha raitaiseheen. 20 Otti kaatui maito melahan: tuohon kasvoit puut punnaiset puut punnaiset, maat sinniiset kelttaiset kattajan oksat hopeaiset hongan latvat.

elk ran from Hiisi’s land Ankicked a cowberry on the heath it gnawed a twig as it ran drank a lake when it thirsted. It ran into a new house into a splendid chamber: it saw a snake drinking beer a worm taking refreshment. It struck the snake on the ribs the worm under the liver: the snake wept over its ribs the poor worm for its liver. Who would be the snake’s milker the looser of the worm’s flood? Margaret’s mother was such: she would be the snake’s milker. The snake gave brpwn milk the worm a white flood into the striped milking-pail. The milk fell upon the ground: there brown trees sprang up brown trees and blue lands yellow boughs of juniper silver fir-tree tops. O u te

Hevaa, Kaprio, Ingria A. A. Borenius, 1877

276

56 O N G IN TA The Fishing

vanha Väinämöinen V aka se oli ongella olia käeksellä käänteliä nenässä utusen niemen &päässä saaren terhennisen: hopiainen siima vinku vapa vaskinen vapisi nuora kultanen kulisi ongiessa Väinämöisen. Lohi puuttu ongehesa taimen takrarautahasa, sen veti venoh talu talkapohjahansa. Katselevi kääntelevi 16 ei tunne kaloa tuota: siliehk on siikaseksi, kuliehk on kuujaseksi suomuton lohikalaksi räpylätön hylkeheksi so päärivaton neitoseksi vyötön Väinön tyttöseksi korviton kotiomaksi.

10

26

Sano vanha Väinämöinen: “Vyöll on veitsi Väinämöisen kattila sepon pajassa: lohi leikkoallekseni kala palstoin pannakseni murkkinaisiksi muruiksi satrinaisiksi saroiksi.”

.io Lohi loiskahti mereen

old Väinämöinen Sturdy was fishing, using a hand-net, turning about at a misty headland's tip at a foggy island’s end: the silver line whined the copper rod twitched the golden twine jingled, as Väinämöinen fished. A salmon stuck on his hook a trout on his fish-iron: he drew it into his boat guided it on to his planks. He looked, he turned it over did not know that fish— rather smooth for a whitefish rather pale for a lake-trout too scaleless for a salmon not webbed enough for a seal too unbraided for a maid too beltless for Väinö’s girl too earless to keep at home. The old Väinämöinen said: ‘‘In my belt is Väinö’s knife the pot is in the smith’s forge: the salmon is mine to cut the fish is mine to chop up into pieces for breakfast into bits for the morning.” Into the sea the salmon

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r /^ 0 \J

35

O n g in ta T h e F ish in g

kala kiijo kammertihin: näytti oikiata olkapäätä vasempia varpahia sormia nimettömiä selällä seitsemännellä kupahalla kuuennella aallolla yheksännellä.

“Oh sinä ukko utran kun et tuntenut piteä 40 Ahin lasta ainoata Vellamon vetistä neittä. Emp ollut mie tuleva lohi leikkoallaksesi kala palstoin pannaksesi 45 murkinaisiksi muruiksi: olinpa mie tuleva tulin vanhalle varaksi turvaksi tutisevalle tulen viejäksi kotihin so valkian virittäjäksi siun sian levittäjäksi päänalasen laskiaksi. Ajatusta suli annettiin syäntä suurta survattiin.”

splashed and the bright fish twisted: showed a right shoulder toes of a left foot showed nameless fingers upon the seventh water on the sixth billow upon the ninth wave. “You silly old man you did not know how to keep Ahti’s only child Vellamo’s watery maid. I was not coming a salmon for you to cut a fish for you to chop up into pieces for breakfast: no, I was coming to be an old one’s mainstay support for one who trembles a bringer of fire homeward a kindler of light to lay out your bed settle your pillow. Cares have been given to you 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

suolta löyettihin. Poika Ei tietä nimiä panna:

found in a marsh. A Noboyonewasknew what to name him:

etsitähän ristijeä kansa kaikki kastajoa.

they sought someone to christen all the people a baptist.

6 Iso kutsu Ilmoriksi emo ehtopoiaksehen sisaret sotijaloksi veljet ventojoutioksi muu peret nimettömäksi.

Father called him Ilmori mother called him her sweet boy the sisters, gallant warrior the brothers, mere layabout the other kin, the nameless.

10

Puhu vanha Väinämöinen: “Kun ois puulla päähän lyyä tahi tankolla takoa!”

Puhu poika puolikuinen kaksiviikkonen karehti: is “Oi sinua vanha Väinämöinen ei ole syystä suuremmasta isommastana asiasta ei ole puulla päähän lyöty eikä tankolla tavottu so kun makasit oman emosi rannalla meren karilla sankalla somerikolla.”

26

Siitä vanha Väinämöinen pani mielensä pahaksi siit on astu alla päin katso kallella kypärin: laulo purren vaskipohjan syöstäksi meren syvälle alasihin maaemihin

Old Väinämöinen spoke: “Would his head were struck with a log or hammered with a crowbar!” The half-a-month-old boy spoke the fortnight-old one sang out: “O you old Väinämöinen there was a greater reason a weightier cause why your head was not struck with a log nor hammered with a crowbar when you lay with your mother on the shore, on the sea-rock on the hard, gravelly beach.” Then the old Väinämöinen was in bad spirits then he plodded, his head down looked about, his cap askew sang a copper-bottomed boat plunged to the depths of the sea to the earth-mothers below

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L ä h tö I L e a v e ta k in g

/

30 yläsihin taivosihin kurimuksen kurkun suuhun.

up to the heavens above 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 Mhirren kynnystä kulutti

ariatta, fair youngest child Mwore down the timber threshold

hienosilla helmoillansa, siltalauan lattialta kautokenkän kannoillansa, toisen hirren päänsä päältä sinisillä silkillänsä.

with her fine skirt-hems and the floorboard too with the heels of her hide shoes more timber above her head with her blue silk bands.

10

Mariatta koria kuopus ei syö sen lehmän maitoa kun on häirynyt härille, ei istu sen hevon reessä kun on ollut upehilla.

Mariatta, fair youngest child drank milk from no cow that had been sporting with bulls sat in the sledge of no horse that had been among stallions.

16

Sai se paljo paimeneksi leena lehmä ajoon. Poika tuhman Tuurituisen siitä Mariatan makasi tinarinnan tiuvotteli.

The poor one took to herding and the wretch to driving cows. Evil Tuurituinen’s boy thereon lay with Mariatta seduced the tin-breasted one.

Poika synty Mariatalle. Ei tietä isoa sillä: isä kutsu Ilmariksi emo ehtopoiakseen muu pereh nimettömäksi veljet vennonjoutioksi.

Mariatta brought forth a boy of whom no father was known: father called him Ilmari mother called him her sweet boy the other kin, the nameless the brothers, mere layabout.

Tuli pappi ristimään Virokanas kastamaan Palvonen pitelemään. Sepä noin sanoiksi virkki: “Ketä tuohon tuotanehe tuon on tuhman tuomariksi?”

The priest came to christen him Virokanas to baptise and Palvonen to hold him. Now, he put this into words: “Who will be brought here to be this evil one’s judge?”

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26

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L ä h tö I I L ea o eta k in g I I

Sano vanha Väinämöinen: “Poika suolle vietäköö puulla päähän lyötäköö!”

The old Väinämöinen said: “ Garry the boy to a marsh and strike his head with a log!”

Puhu poika puolikuinen kaksiviikkonen kajahu: “Ohoh sinä ukko utran olet tuhmin tuomittuna väärin piettynä lakia.”

The half-a-month-old boy spoke the fortnight-old one boomed out: “You silly old man you have judged badly misapplied the law.”

Pappi risti lapsen ripsautti täst on lapsen kapsautd «o Metsolan kuninkaaksi Rahansaaren vartiaksi.

And the priest sprinkled the child then he dubbed the child King of Metsola Guardian of Rahansaari.

30

35

45

50

Siitä suuttu Väinämöinen siitä suuttu ja häpesi. Laulo vaskisen venehen lato ruuhen rautapohjan: läskiä karehteloo kurimuksen kulkun alla kian kielen käändmille johon puuttu polveksensa sinne vaipu viikommaksi kato kaikeksi iäksi.

Väinämöinen grew angry then, was angry and ashamed. He sang a boat of copper formed an iron-bottomed punt he launched out, he sailed away down into the whirlpool’s throat where the whale’s tongue was turning: there he lodged for all his days there sank for longer 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

/ f arj anen mäeltä huuti lVApunapuola kankahalta: “Tule neiti poimomahan vyövaski valitsemahan s ennen kun etona syöpi mato musta muikkoali.” IV

A berry called from the hill i \ a cranberry from the heath: “Come, maid, and pick me copper-belted one, choose me before the slug devours me and the black worm gobbles me.”

Neitsy Maaria emonen rakas äiti armollinen viitisekse vaatisekse 10 pääsomille suorieli vaattehilla valkehilla. Läksi marjan poimentaan punapuolan katsontaan. Niin meni mäille - sano! is keksi marjasen meältä punapuolan kankahalta: on marja näkemiehen puola ilman luomeehen, alahahko ois maasta syöä 20 ylähähkö puuhun nosta.

The Virgin lady Mary the dear merciful mother dressed herself and decked herself prettily adorned her head with a fair white cloth: she went to pick the berry to look for the cranberry. So she went to the hills - tell! found the berry on the hill the cranberry on the heath: it was plainly a berry a natural cranberry: she was too low to eat it from the ground, and too high from a tree.

Tempo kartun kankahalta senni päällä seisataksen: heitti marjan helmohinsa helmoiltansa vyönsä päälle 25 vyönsä päältä rinnoillensa rinnoiltansa huulellensa huuleltansa kielellensä siitä vatsahan valahti.

She dragged a pole from the heath and stood upon it threw the berry in her lap from her lap up to her belt from her belt up to her breasts from her breasts up to her lip from her lip on to her tongue: thence it slipped to her belly.

Siitä tyyty, siitä täyty 30 siitä paksuksi panihen

She was fulfilled, she was filled by it, grew thickset from it

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lihavaksi liittelihen, niin kohun kovoa kanto vatsan täyttä vaikieta kanto kuuta kaksi kolme 36 kolme kuuta neljä kuuta neljä kuuta viisi kuuta seitsemän kaheksan kuuta ympäri yheksän kuuta vanhojen vaimon määriin 40 kuuta puoli kymmenettä.

put on flesh from it: she carried a heavy womb a full and troubled belly she carried for two, three months for three months, four months for four months, five months for seven, eight months for a round nine months after old wives' reckonings and half a tenth month.

Niin kuulla kymmenennellä lyöäh kavon kipua immen tulta tuikatah vaimon vaivaksi tuleepi. 46 Sanan virkko noin nimesi: “Piltti pieni piikaseni lähe kylpyä kylästä saunoa Sarajahasta jossa huono hoivan saisi 60 avun anke tarvitsisi.”

So in the tenth month she was struck by a wife’s pain girl’s fire was kindled woman’s trouble came. She uttered a word, spoke thus: “Piltti my little lassie seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.”

Piltti pieni piikojansa hyvä kielas käskieki kepiä kehuttuoki sekä juoksi jotta joutu 66 - ylähäiset maat aleni alahaiset maat yleni ruman Ruotuksen kotihin.

Piltti her little lassie quick to take orders easy to persuade both ran and made haste bringing down highlands lifting up lowlands to the ugly Herod’s house.

Ruma Ruotus paitulainen syöpi juopi pöyän päässä so päässä pöyän paioillaan aivin aivinaisillaan elääpi hyvän tavalla. Ruma Ruotuksen emäntä liikku keskilattiella 66 lieho sillan liitoksella. Sano Piltti piikojansa: “Läksin kylpyä kylästä saunoa Sarajahasta

Ugly Herod in shirtsleeves ate, drank at the table-head at table in his shirtsleeves wearing only his linen lived like a rich man. The ugly Herod’s mistress trod the centre of the floor bustled at the floorboard-joint. Piltti her lassie said: “ I seek a bath in the village a bath-house in Saraja

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jossa huono hoivan saisi 70 avun anke tarvitsisi.”

where a wretch can be cared for one in trouble can be helped.”

Ruma Ruotuksen emäntä sanan virkko noin nimesi: “Ei ole kylpyä kylässä saunoa Sarajahassa: 76 on talli Tapomäellä huone hongikkokoissa johon portot pojan saapi tuulenlautat lapsen saapi.”

The ugly Herod’s mistress uttered a word, speaking thus: “There’s no bath in the village no bath-house in Saraja: there’s a stable on Tapo Hill a room in the fir-clump house where the whores have their babies scarlet women their children.”

Piltti pieni piikojansa pian juoksi jotta joutu sano tuolta tultuaan: “Ei ole kylpyä kylässä saunoa Sarajahassa. Ruma Ruotus paitulainen 86 syöpi juopi pöyän päässä päässä pöyän paiollaan aivin aivinaisillaan elääpi hyvän tavalla. Ruma Ruotuksen emäntä oo liikku keskilattialla liehu sillan liitoksella. Mie sanon sanalla tuolla: ‘Läksin kylpyä kylästä saunoa Sarajahasta 95 jossa huono hoivan saapi avun anke tarvitseepi.’ Ruma Ruotuksen emäntä: ‘Ei ole kylpyä kylässä saunoa Sarajahassa: too on talli Tapomäellä huone hongikkokeolla johon portot pojan saapi tuulenlautat lapsen luopi.’ ”

Piltti her little lassie soon ran and made haste said when she had come from there: “There’s no bath in the village no bath-house in Saraja. Ugly Herod in shirtsleeves ate, drank at the table-head at table in his shirtsleeves wearing only his linen lived like a rich man. The ugly Herod’s mistress trod the centre of the floor bustled at the floorboard-joint. And I said in these words: T seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.’ The ugly Herod’s mistress: ‘There’s no bath in the village no bath-house in Saraja: there’s a stable on Tapo Hill a room in the fir-clump field where the whores have their babies scarlet women their children.* ”

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Vaimon vaivalle tuleepi. Neitsy Maaria emonen niin sano toisen kerran:

Woman’s trouble came. The Virgin lady Mary said a second time:

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“Sekä juokse jotta juovu mene kylpyä kylästä saunoa Sarajahasta no jossa huono hoivan saisi avun anke tarvitsisi.”

“Both run and make haste seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.”

Piltti pieni piikojansa hyvä kielas käskieki kepiä kehuttuoki ns sekä juoksi jotta joutu, alahaiset maat yleni ylähäiset maat aleni.

Piltti her little lassie quick to take orders easy to persuade both ran and made haste lifting up lowlands bringing down highlands.

Ruma Ruotus paitulainen syöpi juopi pöyän päässä iso päässä pöyän paioillaan aivin aivinaisillaan elääpi hyvän tavalla. Sano piltti piikojansa: “Läksin kylpyä kylästä 125 saunoa Sarajahasta jossa huono hoivan saisi avun anke tarvitsisi.”

Ugly Herod in shirtsleeves ate, drank at the table-head at table in his shirtsleeves wearing only his linen lived like a rich man. Piltti her lassie said: “I seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.”

Ruma Ruotuksen emäntä liikku keskilattiella iso liehu sillan liitoksella. Sanan virkko noin nimesi: “Eule kylpyä kylässä saunoa Sarajahassa: on talli Tapomäellä 136 huone hongikkokeolla johon portot pojan saapi tuulenlautat lapsen luopi.”

The ugly Herod’s mistress trod the centre of the floor bustled at the floorboard-joint uttered a word, speaking thus: “There’s no bath in the village no bath-house in Saraja: there’s a stable on Tapo Hill a room in the fir-clump field where the whores have their babies scarlet women their children.”

Piltti pieni piikojansa sekä juoksi jotta joutu 140 sano tuolta tultuaan: “Eule kylpyä kylässä saunoa Sarajahassa. Ruma Ruotuksen emäntä

Piltti her little lassie both ran and made haste said when she had come from there: “There’s no bath in the village no bath-house in Saraja. The ugly Herod’s mistress

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sanan virkko noin nimesi: us ‘On talli Tapomäellä huone hongikkokeolla johon portot pojan saapi tuulenlautat lapsen luopi.’ Niin sanoo mokomin.”

uttered a word, speaking thus: ‘There’s a stable on Tapo Hill a room in the fir-clump field where the whores have their babies scarlet women their children.’ Just like that, she said.”

iso Oli aikoa vähäsen: yhä tuskaksi tuleepi painuupi pakolliseksi vaimon vaivoksi tuleepi kohtu käänty kovaksi 155 vatsan täysi vaikieksi. Sanan virkko noin nimesi: “Piltti pieni piikaseni lähe kylpyä kylästä saunoa Sarajahasta 160 jossa huono hoivan saisi avun anke tarvitsisi.”

A little time passed and still the pain came pressing forcefully woman’s trouble came her womb turned heavy filled her belly with trouble. She uttered a word, spoke thus: “Piltti my little lassie seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.”

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Piltti pieni piikojansa sekä juoksi jotta joutu - alahaiset maat yleni ylähäiset maat aleni ruman Ruotuksen kotihin.

Piltti her little lassie both ran and made haste lifting up lowlands bringing down highlands to the ugly Herod’s house.

Ruma Ruotus paitulainen syöpi juopi pöyän päässä päässä pöyän paioillaan elääpi hyvän tavalla. Ruma Ruotuksen emäntä liikku keskilattiella liehu sillan liitoksella. Piltti pieni piikojansa sanan virkko noin nimesi: “Läksin kylpyä kylästä saunoa Sarajahasta jossa huono hoivan saisi avun anke tarvitsisi.”

Ugly Herod in shirtsleeves ate, drank at the table-head at table in his shirtsleeves lived like a rich man. The ugly Herod’s mistress trod the centre of the floor bustled at the floorboard-joint. Piltti her little lassie uttered a word, spoke thus: “ I seek a bath in the village a bath-house in Saraja where a wretch can be cared for one in trouble can be helped.”

iso Ruma Ruotuksen emäntä

The ugly Herod’s mistress

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sanan virkko noin nimesi: “Ei ole kylpyä kylässä saunoa Sarajahassa: on talli Tapomäellä iss huone hongikkokeolla johon portot pojan saapi tuulenlautat lapsen luopi.”

uttered a word, speaking thus: “There’s no bath in the village no bath-house in Saraja: there’s a stable on Tapo Hill room in the fir-clump field where the whores have their babies scarlet women their children.”

Piltti pieni piikosehe sekä juoksi jotta joutu 190 sano tuolta tultuaan: “Ei ole kylpyä kylässä saunoa Sarajahassa jossa huono hoivan saisi avun anke tarvitsisi. 195 Ruma Ruotuksen emäntä sanan virkko noin nimesi: ‘On talli Tapomäellä huone hongikkokeolla johon portot pojan saapi goo tuulenlautat lapsen luopi.’ ’!

Piltti her little lassie both ran and made haste said when she came back from there: “There’s no bath in the village no bath-house in Saraja where a wretch can be cared for one in trouble can be helped. The ugly Herod’s mistress uttered a word, speaking thus: ‘There’s a stable on Tapo Hill a room in the fir-clump field where the whores have their babies scarlet women their children.’ ”

Oli aikoa vähäsen: vaimon vaivakse tulee kohtu kääntyy kovaksi vatsan täysi vaikieksi. 205 Otti vassan varjoksensa koprin helmansa kokoili käsin kääri vaatteensa itse noin sanoiksi virkki: “Lähtie minun tuleepi 210 niin kun muinenki kasakan eli orjan palkkalaisen.”

A little time passed woman’s trouble came her womb turned heavy filled her belly with trouble. She took a bath-whisk for ward in her fists gathered her skirt in her hands bundled her dress herself put this into words: “It is for me to depart as of old for the hired man or for the serf, the hireling.”

Astua taputteloo huonehesen hongikolle tallih on Tapomäelle. 215 Niin sano sanalla tuolla: “Hengeäs hyvä heponen vatsan kautti vaivallisen kylyn löyly löyähytä

She stepped, tripped along to the room in the fir-clump to the stable on Tapo Hill. She said in these words: “ Now breathe, my good horse over my troubled belly let some bath-steam loose

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sauna lämpönen lähetä vatsan kautti vaivallisen jossa huono hoivan saisi avun anke tarvitsisi.”

send some bath-house warmth over my troubled belly where a wretch can be cared for one in trouble can be helped.”

Hengäsi hyvä heponen kylyn löylyn löyähytti sas saunan lämpösen lähetti vatsan kautti vaivallisen.

And the good horse breathed let some bath-steam loose sent some bath-house warmth over her troubled belly.

Jouluna Jumala synty paras poika pakkasella synty heinille heposen 230 suorajouhen soimen päähän.

On Christmas Day God was born the best boy when it was cold born upon a horse’s hay at a straight-hair’s manger-end.

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Neitsy Maaria emonen rakas äiti armollinen piiletteli poiuttahan kultaista omenoansa alla sieklan sieklottavan alla korvon kannettavan alla juoksovan jalaksen.

The Virgin lady Mary the dear merciful mother kept her offspring in hiding her golden apple beneath the siftable sieve beneath the portable tub the sledge-runner as it ran.

Kato pieni poikuoh kultainen omenuutensa 240 alta sieklan sieklottavan alta juoksevan jalaksen alta korvon kannettavan: etsi pientä poiuttansa kullaista omenoansa 246 kesällä kevysin pursin talvella lylyin lipein. Etsittiin, vain ei löytty.

Her little offspring vanished her little golden apple from beneath the sieve the sledge-runner as it ran beneath the portable tub: she sought her little offspring her golden apple in summer in a light craft in winter on sliding skis. He was sought but was not found.

Neitsy Maaria emonen kävi teitä asteloo. 250 Tiehyt vastaan tulevi niin tielle kumarteleksen itse noin sanoiksi virkki: “Tiehyöt Jumalan luoma näitkö pientä poiuttani

The Virgin lady Mary trudged along the roads and she met a road. She bowed to the road herself put this into words: “Road, creature of God have you seen my little boy

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255 kultaista omenoani?”

my golden apple?”

Tie vastaan sanoo: “Jos tietäisin en sanoisi: poikas on minunki luonut ratsuilla ajettavaksi kovin kengin käytäväksi.”

And the road answered: “ If I knew I would not tell: •your boy created me too for steeds to be ridden on for hard shoes to walk upon.”

Neitsy Maaria emonen rakas äiti armollinen aina etsivi etemmä. Kuuhut vastaan tulevi 265 niin kuulle kumarteleksen itse noin sanoiksi virkki: “Sie kuuhut Jumalan luoma näitkö pientä poiuttani kultaista omenoani?”

The Virgin lady Mary the dear merciful mother kept searching further and she met the moon. She bowed to the moon herself put this into words: “Moon, creature of God have you seen my little boy my golden apple?”

270 Kuu se vastaan sanoo: “Jos tietäisin en sanoisi: poikais on minunki luonut päivällä katoamahan yön on aian paistamahan.”

And the moon answered: “ If I knew I would not tell: your boy created me too to vanish during the day to shine during the night-time.”

275 Aina eistyypi etemmä Neitsy Maaria emonen rakas äiti armollinen etsi pientä poiuttansa kullaista omenoansa. 280 Päivyt vastaan tulevi päivälle kumarteleksen: “Sie päivä Jumalan luoma näitkö pientä poiuttani kullaista omenoani?”

She kept on searching the Virgin lady Mary the dear merciful mother she sought her little offspring her golden apple and she met the sun. She bowed to the sun: “ Sun, creature of God have you seen my little boy my golden apple?”

285 Niin päivä Jumalan luoma sanan virkko noin nimesi: “ Poikas on minunki luonut päivän ajan paistamahan yön ajan lepäämähän. 290 Tuoli on pieni poikuosi

The sun, the creature of God uttered a word, speaking thus: “Your boy created me too to shine during the day-time to rest during the night-time. There is your little offspring

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kultainen omenasi ylisessä taivosessa isän Jumalan sialla: tulee sieltä tuomitsemaan.”

your golden apple in the highest heaven, in the place of God the Father: 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

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muuta muisteliähän Aina vaan ei tuota millonkan

other things Always are recalled, never

suurta surmoa Jumalan kovaa Herran kuolemoa 5 kuin on Luoja kuole tel tu kavoteltu kaikkivalta sadan keihään kerällä tuhannen kärellä miekan, eik ehoilla suuremmilla 10 eik ehoilla pienemmillä: heponen sulalla seiso varsa juoksi vartta myöten maho putkella makasi kasi nauku naulan tiessä is sika suoveron siassa. Kuin on Luoja kuoleteltu kavoteltu kaikkivalta kivet on alle kiusattuna kivet alle, poaet peälle so someret syäntä vasten.

the great killing of God, the Lord’s harsh death how the Creator was killed the Almighty was destroyed with a hundred spears a thousand sword-points no greater number no smaller number: a horse stood on the spearhead a colt ran along the shaft a barren cow on the sleeve a cat mewed in the peg-place a pig where the haft-joint was. When the Creator was killed the Almighty was destroyed the rocks were heaped.under him rocks under, the slabs on top the gravel against the heart.

Niin päivyt Jumalan luoma lenti peätönnä kanana puonna siipi siuotteli Luojan hauan partahilla. 25 Itkiä tihustelovi: “Nouse Luoja kuolemasta Herra hauasta hereä elikkä tulen mieki kerälläsi kuolemahan äo kanssasi katuomahan!”

So the sun, creature of God flew as a headless chicken as one cut down, its wing whirred to the Creator’s grave-side. In tears it drizzled: “Rise, O Creator, from death O Lord, awake from the grave or I too will come to die beside you to perish with you!’*

Niin on meiän suuri Luoja

And so our great Creator

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sanan virkki noin nimesi: “Ei ole täältä nousominen niinkun sieltä toivominen: 36 kivet on alle kiusattuna someret syäntä vasten. Sie päivyt Jumalan luoma lennä peätönnä kanana puonna siipi siuottele 40 siallesi entiselle paikallesi muinoselle! Paista hetki heltehesti toinen himmesti hiota kolmansi koko terältä, 45 n u k u t t e l e s n u i v a j o u k k o p a in e le s p a k a n a k a n s a n u o r e t n u o lie n n o ja h a n v a n h a t k e ih o v a r s ille n s a !”

Niin päivyt Jumalan luoma sekä lenti jotta joutu sialle on entiselle paikalle on muinoselle: paisto hetken heltehesti toisen himmesti hiotti 66 kolmannen koko terältä nuoret nuolensa nojahan vanhat keihovarsillensa. 60

60

Niin on meiän suuri Luoja nousi Luoja kuolemasta: kivet siilon kielin laulo poaterot sanoin pakasi joet liikku, järvet järkky vuoret vaskiset vavahti.

Nousi Luoja kuolemasta 66 Herra hauasta heräsi meni köyhänä pajahan kysyjänä kellarihin: teällä rautiet takovi sepät Hütten hilkkasovi.

uttered a word, speaking thus: “There is no rising from here as there is hoping from there: the rocks are heaped under me the gravel against the heart. Sun, creature of God fly as a headless chicken as one cut down, whirr your wing to where you once were to your place of old! Blaze for one moment sultry another dimly swelter for a third with your whole disc send the wicked crowd to sleep oppress the pagan people slump the young on their arrows the old over their spear-hafts!” So the sun, creature of God both flew and made haste to where it once was to its place of old: blazed for one moment sultry another dimly sweltered for a third with its whole disc slumped the young on their arrows the old over their spear-hafts. And so our great Creator the Creator rose from death and then the rocks sang with tongues the boulders chattered with words the rivers stirred, the lakes shook the copper mountains trembled. The Creator rose from death the Lord awoke from the grave went as poor man to the forge as beggar to the cellar: there the iron-men hammered the smiths of Hiisi pounded.

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70 Sanan virkki noin nimesi: “Mitä nyt rautiet takovi sepät Hütten hilkkasovi?”

He uttered a word, spoke thus: “What do the iron-men pound the smiths of Hiisi hammer?”

Sano julmin juuttahia pahin poikia pahoja 76 ilkein isän aloja: “Niinpä siulla suuret silmät niin on pitkät silmiripset niinkuin eklisen jumalan jonka moahan hautasimma so kivet peälle kiusasimma kivet alle, kivet peälle someret syäntä vasten.”

The cruellest of the Jews the worst of the evil boys basest of father’s sons said: “Well now, you have eyes as big eyelashes as long as yesterday’s god whom we buried in the earth heaped the rocks on top rocks under, the rocks on top the gravel against the heart.”

Sanovi suuri Luoja puhuvi puhas Jumala: 85 “Sillä miulla suuret silmät sillä pitkät silmiripset: viikon katson Luojan suuhun partahan palan purian leukohin lesottelian.”

And the great Creator said and the pure God spoke: “This is why I have big eyes why I have long eyelashes: long I watched the Creator’s mouth, the beard of who bites off, the jaws of who grinds and sifts.”

90 Sano julmin juuttahia pahin poikia pahoja: “Sen tein pahinta työtä kuin en muistant mittaella kuin on pitkä Luojan parta 95 kuin on pitkä kuin on paksu miten poikelle leveä. En sitä takoa taia.”

The cruellest of the Jews worst of the evil boys said: “That was the worst thing I did: I did not think to measure how long the Creator’s beard how long and how thick and how wide across so I cannot hammer that.”

Niin sano suuri Luoja puhuvi puhas Jumala: loo “Niin on pitkä Luojan kakla niin on pitkä, niin on paksu niin on poikelle leveä kuin on käkiäsi omasi.”

So the great Creator said and the pure God spoke: “The Creator’s neck is long as long and as thick and as wide across as your own neck is.”

Sano julmin juuttahia 105 pahin poikia pahoja:

The cruellest of the Jews worst of the evil boys said:

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“Eipä mun käteni keänny eikä sormeni sopine miun mittoellakseni.”

“My hand will not turn nor is my finger fit to measure it.”

Sanovi suuri Luoja: no “Miun ne keäntysi käteni miun ne sormeni sopis miun mittoellakseni.'’

And the great Creator said: “ My hand would turn it my finger would be fit to measure it.”

Sano julmin juuttahia: “Jos minä antanen mi teliä us vaan ei lukkuhun lukota eikä paina palkimehen: ei lukku käsin avata loirat sormin lonkuole. Ei ole avoan tehty, iso vast on lukku loajittu."

The cruellest of the Jews said: “ If I let it be measured do not lock me in a lock nor press on a buckle-pin: the lock is not loosed with hands the bolts not eased with fingers. No key has been made: only the lock has been formed.”

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Siilon antavi mitellä. Niin on suuri Luojuemma niin meiän Jumalutemma siilon lukkuhun lukotti siilon paino palkimehen. Niin siitä sanoiksi virkki: “Pysys tuossa, pintahine parus tuossa, pantahinen tekemässäsi pahassa luomassasi kahlehessa kuni kuuta, aurinkoa päiveä hyvännäköistä!”

Perän kanto kalliohon itse noin sanoiksi virkki: 136 “Tämän päiväsen perästä tuli taivosen valoksi vesi rauan kärkiaksi!” Niin kirkasi kiven kovaksi kaiju rauan karkieksi.

Then he let it be measured. And so our great Creator and so our Lord God then locked him into the lock pressed him on the buckle-pin. So then he put into words: “Stay in there, scoundrel howl in there, accurst in the evil you have done in the fetters you have made as long as the moon, the sun the day are fair to look on!” He bore the end to the rock himself put this into words: “ From this day forward fire is to light the heavens water to temper iron!” He hardened rock with a shout 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 295

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oli pieni Kaijan vaimo T uopa kanto kolme kohtuaha yhen Maijan, toisen Kaijan kolmannen Maijatanen. 5 Marjatta on koria neido viikon istu isän koissa kokotteli Koijolassa. Kuuvet vyölliset kulutti viijet vitjat poikki soatto 10 ison koissa istuossa emon koissa astuossa, lahkon latetta kulutti umbikengän uurtiella ison koissa istuossa is emon koissa astuossa, hirren kynnystä kulutti hienosella helmollaha, hirren kamoata kulutti leviällä lentallaha so ison koissa istuossa emon koissa astuossa.

t was Kaija’s small woman carried three wombfuls one Maija, the next Kaija the third little Marjatta. Marjatta was a fair maid sat long in her father’s house hung about in Koijola. Six waist-trinkets she got through five waist-chains she wore away sitting in her father’s house pacing in her mother’s house wore down a floorboard made a groove with her closed shoe sitting in her father’s house pacing in her mother’s house wore down a threshold timber with her fine skirt-hem wore down a lintel timber with her wide-cut frock sitting in her father’s house pacing in her mother’s house.

Läksi ullose utuna pellolla pihoja myöten. Marjane mäjellä kirgu 25 buolungaine kangahalla: “Tule vain neiti poimomaha sormuskäsi suoltamaha tinarinta riipimällä!”

She went outside as a mist to the field beside the yard. A berry shrieked on the hill a cranberry on the heath: “Come, maid, and pick me ring-handed, pull me tin-breasted, pluck me!”

Koppai koisan kobrahase äo silkin peähäsä sivalti: meät on mätky männessähä

She snatched a basket slapped a silk scarf on her head: the hills boomed with her going

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voarat on notku nousessa, otti maljan sormillaha sormilta huulillahe 36 huuliltahe kielillähä: tuosta vatšaha vajuupi kulkkuhu kureksisehe.

mountains bent with her climbing. A berry in her fingers she took, from fingers to lips from her lips on to her tongue: thence to her belly it sank was swallowed up in her throat.

Tuosta tyyty, tuosta täyty tuosta paksuksi pageni 40 lihavoiksi liittelihi. Vei on marjat toatollaha: “ Syö marjoa toatto raukka!”

She was fulfilled, she was filled by it, swelled thickset from it put on flesh from it. She took the berries to her father: “Eat a berry, poor father!”

“ Missä olit, huora, tämän äijän?” “ Olin marjan poimennassa.” 46 “ Et ollut marjan poimennassa: olit sulhasen etšossa sugapäiden, sulkkuvöijen soman kaplukan katsannossa punapaglan pujellussa.” 60

Vei on marjat moamollaha: “ Syö marjoa moamo raukka!”

“ Miss olit, huora, tämän äijän? Olit sulhasen etšossa sugapäiden, vaskivöijen 66 soman kaplukan katšannossa punapaglan pujellussa.”

Vei on marjat Veijolle: “ Syö marjoa veikko raukka!” “ Miss olit, huoran, tämän aigoa? «o Olit sulhasen etšossa sugapäiden, sulkkuvöijen soman kaplukan katsannossa punapaglan pujellussa.” Vei on marjat tšikollah:

“Where were you, whore, all this time?” “I was picking a berry.” “You were picking no berry: you were seeking a bridegroom brush-headed and silk-belted looking for a handsome heel toiling after a red lace.” She took them to her mother: “Eat a berry, poor mother!” “Where were you, whore, all this time? You were seeking a bridegroom brush-headed and silk-belted looking for a handsome heel toiling after a red lace.” She took them to her brother: “Eat a berry, poor brother!” “Where were you, whore, all this time? You were seeking a bridegroom brush-headed and silk-belted looking for a handsome heel toiling after a red lace.” She took them to her sister:

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ß5 “Syö marjoa tšikko raukka!”

“Eat a berry, poor sister!”

“Sitä mie hallehine neidosen on marjasia tšikkoseni poimomia.” “Voi milma poloista porttoa: 70 en istunut hevolla reessä

ubehilla olluzilla engä syönyt mahon maiduo härillä halissehien, en syönyt kanan munoa 76 poigakukon polgomia! Voi milma poloista porttoa luuvolla logahuma kašlan peässä kabahuma ruuvon peässä istumassa, so Täm on kohtu Luojan luoma seädämä pyhän Jumalan!” Vei on marjat ämmöllähä: “Syöpä marjoa ämmö raukka!”

“That’s what I yearned for a maiden’s berries picked by my sister.” “Wretched harlot that I am: I’ve sat in no horse’s sledge that has been among stallions nor drunk a barren cow’s milk that has been around with bulls I have eaten no hen’s eggs mounted by a cockerel! Wretched harlot that I am stretched out on a crag swaying over reeds sitting in the grass! This is the Creator’s work begotten by holy God.” She took them to her grandma: “Eat a berry, poor grandma!” “That’s what I yearned for a young maid’s berries picked by my grandchild.”

“Sidä mie hallehine 85 nuoren neijon marjasia

bunukkani poimomia.” “Vie virta, kohota koski!”

“Take me, stream, lift me, rapids!’

“Eipä siima virta vie eigä koski kohota 90 kuin on poiga polvillase herra Kristus helmoillase.”

“No, the stream will not take you nor will the rapids lift you: you’ll have a boy on your knees the Lord Christ upon your lap.”

Sai hän pojan porstuhe lapsen lastujen segaha: peittelööpi poijastaha 95 suojeloopi poijastaha sorajoven soimen alla.

She had the boy in the porch the child among the shavings: she covered her boy she guarded her boy beneath the straight-hair’s manger. “ O my serfs I bought

“Ossettuni orjuoni

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rahoin soavut roatajani! Jok on syndyt synnyn koite loo joko paistau Jumalan päivä?”

drudges I got with money! Is this the dawn of God’s birth is the sun of God shining?”

“Mi on merkki koittiessa?”

“What is the sign at daybreak?”

“Kuuset kultariitšuloissa hongat on hobiavöissä moa on kultasin orahin.”

“The spruces have gold trinkets the firs silver belts the earth puts out golden shoots.”

105 “Jo nyt on syndyt synnyn koite jo nyt paistaa Jumalan päivä Herran kesrä hellittää.”

“This is the dawn of God’s birth the sun of God is shining and the wheel of the Lord glows.”

Läksi poijan etsintähä. Tuli kuuhut vastahani: no “ Hoi kuuhut Jumalan luoma näetkö miun poijastani?”

She went in search of her boy and she met the moon: “ Moon, creature of God can you see my little boy?”

“Näen mie siun poijastase: sorajoven soimen alla pirulaiset piinataha ns paha joukko vallataha.”

“ I can see your little boy: beneath the straight-hair’s manger the devils are tormenting the evil crowd conquers him.”

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Tuli päivä vastahan: “ Hoi päivä Jumalan luoma näetkö miun poijastani?”

And she met the sun: “Sun, creature of God can you see my little boy?”

“Näen mie siun poijastase: sorajoven soimen alla pirulaiset piinataha paha joukko vallataha.”

“ I can see your little boy: beneath the straight-hair’s manger the devils are tormenting the evil crowd conquers him.”

Jo hän Tuonelah mänööpi, huuteloo, hoajelopi: 125 “Tuo venettä Tuonen tyttö lauttoa Labalan lapsi!” “Mitä Tuonella tuletta?” “Tulen Tuonelta oraista moanalaista tappelijoa.”

Now he went to Tuonela he called, shouted out: “ Bring a boat, girl of Tuoni a ferry, Labala’s child!” “Why to Tuonela?” “ I come to Tuonela for a spike underground for a fighter.”

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130 “Pitäägö rautainen vene?” “Kuusinen miun kuplattaa katajainen kannattaa rautapohja rauskahtaapi.”

“Will a boat of iron hold?” “One of sprucewood will float me of juniper will support: an iron-bottomed will squeak.”

Jo heän Tuonelah mänööpi. 136 Seppä takoo tšilkuttaapi pajass on ovettomassa ilman ikkunattomassa: pannut on turkkihi tukuksi paikaksi pahan veräjän.

Now he went to Tuonela. The smith hammered and pounded in a smithy with no door with not a window: he’d put his fur coat as a stopgap to patch up the bad gateway.

im

“What are you forging, poor smith?” “ I am forging prison-clamps.”

“Mitä tavot seppä raukka?” “Tavon vankilan varoja.”

“Mit olla paksuus vangin kaula?” “Panettele kaulallase! Kuin on paksu oma kaula 146 niin on paksu Luojan kaula!”

“How thick is the captive’s neck?” “ Put them on your neck: as thick as your own neck is so thick the Creator’s neck!”

O k k i G ordeinen

Repola, Olonets Karelia U. Karttunen, 1897

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the holy woman Mary the fair-skinned woman

aaria pyhhäin vaimo vaimo valkiaveriin kääyy käpäelöö hietroin helmoin heutaisoo 6 puhas paitain povees silkkiliinain sisääs vitsa kultainen käees hopeain ruoska vööl. Mäni odroipellolleen 10 kagroikaapunaiselleen, näki tuolt oksalt omeenan näki puult päähkinäisen, otti oksalta omeenan otti puult päähkinäisen, is loi omeenan huuloilleen huuloiltaan kieloilleen kieloilt kerukselleen.

went strolling along: her fine skirt-hems were swaying on her bosom a clean shirt under it a silken cloth a golden lash in her hand a silver whip at her belt. She went to her barley field to her small oat-rick saw an apple on that bough saw a nut upon the tree took the apple from the bough took the nut from off the tree put the apple to her lips from her lips on to her tongue from her tongue into her throat.

Tuosta tyytyi, tuosta täytyi tuosta paksuks paneeli so lihavaks liitteliis. Mäni matkoja vähäisen teki tietä pikkaraisen mäni Pohjolan kylään. Pohjoin akka oli ikkunas.

She was fulfilled, she was filled by it, grew thickset from it put on flesh from it. She went on a little way went a short distance went to Pohjola village: the crone was at the window.

25 Kysytteli akkaiselt: “ Oi akka, emohuuvein akkoi vanha vaaliain! Onka tässä yösijaist yösijaist, maan majaist 30 missä maata mannun naisen naisen raskahan levätäk

She asked Pohjoi’s crone: “ Crone, my good mother O crone, my old nurse! Is there room here for the night room for the night, an earth-lodge where an earth-woman may lie a woman with child may stretch

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hunnukkaisen huokaclla hienokkaisen henkäellä?”

a veiled one may sigh a delicate one draw breath?”

Akka vassen vastaeli: “ Mää talliin mäelle oroin suuren soimen luoksek kaaroin karsinan etteen: siell on meillä muutki vaimot.”

The crone answering replied: ‘‘Go to the stable on the hill to the stallion’s big manger to the horse’s stall: there we’ve other women too.”

Maaria pyhhäinen vaimo 40 vaimo valkiaveriin mäni talliin mäelle oroin suuren soimen luoksek kaaroin karsinan etteen. Synnytteli poikojaan 45 heinille lumekkahille kakaroille jääkkähillen.

Mary the holy woman the fair-skinned woman went to the stable on the hill to the stallion’s big manger to the horse’s stall and she gave birth to her son on the hay sprinkled with snow on the dung crusted with ice.

Jouluna Jumala syntyi tallihin hepoisen luoksek oroin suuren soimen luoksek 50 kaaroin karsinan etteen heinille lumekkahille kakarille jääkkähille.

On Christmas Day God was born within a horse’s stable in a stallion’s big manger in a horse’s stall upon hay sprinkled with snow upon dung crusted with ice.

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Tahvana oli hepoisen herra mäni juotolle hevoisen Jortanaisest joeest heroisest lähtehest. Ei juo oroit joeest lakik ei vettä lainehest.

Tahvana the horse-master went to give the horse a drink at the river, the Jordan at the never-frozen spring: it would not drink the river would not lap the water-waves.

Tahvana hepoisen herra sanoin laati suin läkkäis: “ Miks ei juo oroin joeest lakik et vettä lainehest?”

Tahvana the horse-master formed in words, declared by mouth: “Why will it not drink from the river, lap the waves?”

Oroi kieloille paneli läkinöille luotteliis: 65 “ Sill en juo joesta vettä lakik en vettä lainehest:

The stallion applied its tongue set its wagger in motion: “For this I shan’t drink from the river, lap the waves:

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kuun kuva jokehen paistoi päivöin tähti laineheen tänä huomena varaan 70 huuhtoit huorat huntujassek ripakat räpäkköjässek renkimiehet riepujassek. Sill en juo miä joesta vettä lakik en vettä lainehest.”

the moon’s form in the river shines, the daystar’s in the waves this morning early the whores have rinsed their head-cloths the fishermen their towels the hired men their rags. For this I shan’t drink from the river, lap the waves.”

Mäni otroipelloilleen kagroikaapunaiselleen, etsi poikoja pyhäist hetelmäist autuaist. Mäni matkoja vähäisen so päivöi vastaan tulloo.

She went to her barley-field to her small oat-rick she searched for the holy boy for the blessed little fruit: she went on a little way and she met the sun.

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Kysytteli päivyelt: “Oi päivöi Jumalan luoma näitkä poikoja pyhäist hetelmää autuaist?” 85 Päivöi vasten vastaeli: “Hos lien nähny, en sanele: siun hyväis miunkii saatto aamust ylenömään illoist alenomaan 90 keskipäivän kerstämään.”

And she asked the sun: “Sun, creature of God have you seen the holy boy seen the blessed fruit?” The sun answering replied: “Had I seen I would not tell: your good one has got me too in the morning to come up in the evening to go down at midday to be busy.”

Maaria pyhäin vaimo mäni matkoi vähäisen teki tietä pikkaraisen, kuu vastaan tulloo.

Mary the holy woman went a little way further went a short distance and she met the moon.

Kysytteli kuuhuelt: “Oi kuu Jumalan luoma näitkä poikoja pyhäist hetelmää autuaist?”

And she asked the moon: “ Moon, creature of God have you seen the holy boy seen the blessed fruit?”

Kuu vassen vastaeli: loo “Hos lien nähny, en sanele: siun hyväis miunkii saatto

The moon answering replied: “Had I seen I would not tell: your good one has got me too

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illoist ylenömään aamust alenomaan keskiyöllä kerstämään.” tos Maaria pyhäin vaimo mäni matkoja vähäisen teki tietä virssan verran: Pohjolan kylä näkyy . . .

in the evening to come up in the morning to go down at midnight to be busy.” Mary the holy woman went a little way further went a short distance: Pohjola village loomed up . . .

Ta i siit mäni Pohjolan kylään. no Mitä laulan, kuta laulan? laulan Luojan kuolennaist kaonnaist vallan kaiken. Kuhunpas Luojoi kuoletettu kaoteltu valtoi kaikki? 116

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Paksuille pajupehoillen tiheille tuomikoillen reunalle lehon leveän korven kaioin kainaloon: ei tuonne päivyt paissak eikä tuonne kuut kumoitak.

Well, and then she went to Pohjola village. What shall I sing, what the song? I’ll sing the Creator’s death the loss of the Almighty. Where was the Creator killed the Almighty lost? In thick willow-woods dense birdcherry-woods at the edge of a wide grove under the narrow wood’s arm: there the sun was not shining nor was the moon gleaming there.

“Päissä, päissä Luojoin päivy kuumoittele kuu Jumalan päissä Luojoin hauvoin päällen Jumalaisen kalmoin päällen: iss päässä Luojoi kuolomast kattoomasta valtoi kaikki, sulata tinaiset naaglat vaskinaaglat helli ttele puunaaglat ulos puotak!”

“Shine, O shine, Creator’s sun glimmer, moon of God shine on the Creator’s tomb on the grave of God: free the Creator from death and the Almighty from loss melt the nails of tin loosen the nails of copper let the nails of wood drop out!”

130 Paistoi, paistoi Luojoin päivöi kuumoitteli kuu Jumalan: sulatti tinaiset naagloit vaskinaagloit hellitteli puunaagloit ulos puotti, 136 päästi Luojoin kuolomast kattoomast vallan kaiken.

The Creator’s sun shone, shone and God’s moon glimmered and melted the nails of tin loosened the nails of copper let the nails of wood drop out freed the Creator from death and the Almighty from loss.

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Läksi Luojoi liikkehellen Jumala jaloille nous iltoi-tulta ottaes 140 pärettä virittäes ikkunoja pantaes porttiloja sulkies.

The Creator stirred God rose to his feet as the evening fire was lit as the splint-torch was kindled as the windows were fastened as the doors were shut.

Mäni tallihe mäelle oroin suuren soimen luoksek. 146 Sielt otti oroisistaa sielt valitsi varsoistaan mill oli lammi lautaisil ojain oroin sivuil kylmä kaivo alla kahjoin, iso sen otti siit oroisistaa sen valitsi varsoistaan siit hyppäis hyvän selälle karkais kaaroon lautaisille.

He went to the hill-stable to the stallion’s big manger: there he took from his stallions he chose from among his colts which had a pool on its loins a ditch on the stallion’s Hanks a cold well under its hoofs. He took it from his stallions chose it from among his colts then leapt on the good one’s back hopped upon the horse’s flanks.

Ajoi matkoja vähäisen teki tietä virssoin verroin: puu pyrähti, maa järähti tetroi metsääst temahti. Kuohtui Kiesuksen hepoin: Kiesus maahan ratsahaalt kivelle maaperälle. Niukahtui heppoisen jalka.

He rode on a little way went about a verst: a tree fluttered, the earth shook a black grouse flapped from the wood. The horse of Jesus startled: Jesus was thrown to the earth to a rock upon the ground and the horse's foot was sprained.

Etsi tielt tietäjäist maan seläält mahtajaist lukulankoin laulajaist sooloin sopottajaist siniisen sitteeliäist punaisen puheliaist.

He sought a sage on the road a mighty man on the ridge a singer of spells a mutterer over salt and a binder of blue threads a speaker of red ribbons.

Saant ei tieltä tietäjää eik maan seläält mahtajaist 170 lukulankoin laulajaist sooloin sopottajaist siniisen sitteeliäist punaisen puheliaist.

He found no sage on the road no mighty man on the ridge no singer of spells no mutterer over salt nor a binder of blue threads no speaker of red ribbons.

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Tuo kun meiän Luojuemme 175 ja meiän Jumaluemme käi ite tietäjäks tietäjäks taitajaks lukulankoin laulajaks sooloin sopottajaks iso siniisen sitteeliäks punaisen puheliaks: lihat liitti luihin kiin luut liitti lihoihin kiin teki päält terveheks 185 sisest kivuttomaks päält tuntumattomaks.

That was when our Creator that was when our God himself became a wise man a knowing wise man . a singer of spells a mutterer over salt and a binder of blue threads a speaker of red ribbons: fixed the flesh fast to the bones fast fixed the bones to the flesh made the top-side well the inside painless the top-side to feel no ill.

Hyppäis hyvän selälle karkais kaaroin lautaisille mäni matkoja vähäisen, wo Silta vastaan tulloo. Tuo kun meiän Luojuemme ja meiän Jumaluemme hään silloille kummaars antoi kättä siltapuille.

He leapt on the good one’s back hopped upon the horse’s flanks: he went on a little way and he met a bridge. That was when our Creator that was when our God bowed before the bridge gave his hand to the bridge-planks.

195 Mäni matkoja vähäisen teki tietä virssoin verroin. Kirkko vastaan tulloo. Tuo meiän Luojuemme ei tuo kirkolle kummarrak 200 anna ei kättä kirkkopuille.

He went on a little way went about a verst and he met a church. That was when our Creator did not bow before the church give his hand to the church-planks.

Pyhät miehet nagrahtiit enkelit imehtelliit: “ Mikä meiän Luojoillammek ku kumma Jumalallamme 205 ko ei kirkolle kummartant antant ei kättä kirkkopuille a silloille kummars anto kättä siltoipuille?”

The holy men smirked the angels marvelled: “What’s wrong with our Creator what’s the matter with our God: he did not bow to the church give his hand to the church-planks but he bows before the bridge gives his hand to the bridge-posts?”

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Luojoi vassen vastaeli vasten vastaan saneli:

The Creator in reply for an answer said:

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“ Sinis miä olin silloin al kunis juuti julki käi paha päällitse pakeni, sinis seisoin sillan al. Sill en kirkolle kummartant: kirkossa miä kiin otettiin kappalissa kauppaeltiin.”

“I stayed underneath the bridge till the Jews walked openly the bad ones fled above: so long I stood beneath the bridge. I did not bow to the church because in church I was seized in a chapel I was sold.”

Hyppäis hyvän selällen mäni matkoja vähäisen teki tietä virssoin verroin, kuuli Hiitoilan takkoovan sepoin Hiien hilkuttavan. Ajoi Hiitoilan pajaan Hiitoilan pajan etteen muuna miessä muukalaisna muukalaisna, matkalaissa.

He leapt on the good one’s back: he went on a little way went about a verst heard Hiitoila’s hammering the smith of Hiisi pounding. To Hiitoila’s forge he rode in front of Hiitoila’s forge like any other stranger stranger, traveller.

Kysyitteli kannoitteli perin pohjin poimitteli: “ Mitä taot Hiien seppoi, 230 seppoi Hiien hilkuttelet?”

He asked, he inquired right to the bottom he probed: “What do you forge, Hiisi’s smith smith of Hiisi, what fashion?”

Seppoi vasten vastael: “ Taon Luojoin hirtinpuita Jumalan kurissospuita vaan ei muistant mitata 235 kuin on paksu Luojoin kagloi kuin on paksu, kuin on pitkä kuin on poiki ten leveä.’’

The smith answering replied: “ I fashion the Creator’s gallows-tree, God’s strangling-tree but did not think to measure how thick the Creator’s neck how thick and how long and how wide across.”

Tuo kun meijän Luojuemme ja meiän Jumaluemme 240 sanoin laati, suin läkäis: “ Mittaele kagloiheis; kuin on kaglois ommais niin on paksu Luojoin kagla niin on paksu, niin on pitkä 245 niin on poiki ten leveä.”

That was when our Creator that was when our God formed in words, declared by mouth: “Measure your own neck: as your own neck is so thick the Creator’s neck so thick and so long and so wide across.”

Hää mittaeli kagloihee:

That one measured his own neck:

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Luojoi lukkuun lutisti takalukkuun takisti turkkais hänen tuleen ja vaatuun vajotti iäkseen istumaan.

the Creator locked him up and secured the latch and hurled him into the fire plunged him into hell 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

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nk Tapani koton? Tanttais toi taitava Tapani ruake toi Ruatukse hevosii kaitsi Kiivan konkarei 6 jouluyälä puhteella jalo jouluyälä korkialle vei hän hepo lähteellä juamaa. Eipä hepo vettä juanu eipä piiropää piirannu: 10 verestäpä toi vikoja etsei eipä hä verestä vikoja löynny. Näki hän tähren taivahaas tähre varjo lähtehees pilkun pilven ravos. is Vei hä hepo lähteeltä kotja kaalikkajalka kaivoltansa: kuano toin pilviä piteli häntä pitkä maata veti, ei toi loimii loimitellu eo eikä kauroi kaurotellu. Meni mä sit Ruatukse tupaa alta orten, päältä parten. Vastais Ruatus rualtansa Tiiha kansa tiskiltänsä: 25 “Jolles sä ääntänsä vähennä kyl mä sun ikänsä lyhennä.”

s Stephen at home? Clever Stephen danced fed Herod’s horses and tended Herodias’ mounts on noble, pure Christmas night on high Christmas night, he led a horse to the spring to drink. The horse would not drink water the white-streak-head did not care: he sought flaws in the water found no flaws in the water he saw a star in the sky the star’s likeness in the spring a dot in a cloud-gap. He led the horse home from the spring the club-footed from its well: its muzzle reached to the clouds its long tail dragged on the ground it had no need of blankets had no need of oats. I went then to Herod’s house beneath beams, above rafters. Herod answered from his meal and Herodias from her board: “ If you don’t lessen your noise indeed I’ll shorten your life.”

“Ny on syntyny Jumalan valta paisunu paremmi, jo mä ny luavu Ruatuksesta 30 otan uskon Kiesuksesta parempaahan palvelukseen.”

“Now the power of God is born a better one is swelling: now I am leaving Herod taking my faith from Jesus going to better service.”

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“Sitten mä ton toreksi uskon jos tua kukko laulanee.”

“1*11 believe it to be true if that cock should crow.”

Rupeis kukko laulamaaha: kananpoika kahreksatta.

And the cock began to crow: the cock crowed for six quarters the son of a hen for eight.

“Sitten mä toin toreksi usko jos toi sonni mylvinee.”

“ I’ll believe it to be true if that bull bellows.”

36 laulo kukko kuuretta farttii

Oli jo liha syäty, luu kaluttu «o käsi kenkinä piretty: rupeis sonni mylvimää luillansa luhisemmaa jäsenöilläs järskimäähä.

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The flesh eaten, the bone gnawed the hide as shoes was worn down: the bull began to bellow to crush with its bones to shake with its limbs.

“Sitten mä ton toreksi usko jos toi veitsenpää vesonee.”

“I’ll believe it to be true if that knife-point sprouts.”

Paiskais veitses permantooho: veitsenpää rupeis vesomaa vesois kuusi kultaista vessoo kultalehti kunkin pääsä.

He flung his knife on the floor: the knife-point began to sprout and six golden shoots sprouted with a gold leaf at each tip.

so “Olukaine juavukaine juaksee kohren korkomaata niin kuin reki raitjoos myäre ämmä vanha jäätä myäre. Kortteli viinaa ja kannu oltta: 66 ei tätä joukkoa vähein holtta.

“Dear beer, darling drink run towards high ground like a sledge along its tracks an old crone across the ice. Half a pint of liquor, half a gallon of beer: it takes a lot to entertain these people here.

Hyvä oli merkki miälesäni tullesani tähän kylää semmenkin tähän talloo semmenkin tähän tupaa: $o tiä musta kotaan menee toinen aitta mäellä kolmais keikku kellariihi. Kyll on oltta keilansa tammisesa tynnärisä $6 pitäväisen pruntin alla

Good was the sign in my mind as I came to this village especially to this house especially this cottage: one black road leads to the hut one to the shed on the hill a third jogged to the cellar. Yes, there’s beer in the cellar in an oak barrel beneath a bung that keeps tight

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koivusen tapin taka; punaset on isänän posket levjät on emänän lanteet kipuras on koira häntä 70 solmus on sian sapara kiiltävä on kissan selkä.” (Ulosmennessä laulettiin lopuksi:) “ Ih ha, ha, ha kaikein perse karvane.”

behind a birch tap: red the master’s cheeks broad the mistress’ hips curly the dog’s tail knotted the pig’s tail glossy the cat’s back.” (On going out this was sung finally:) “ Ih ha, ha, ha 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

kangasta kutovi Kaiapahalla pajupurolla

5

10

tihiällä tuomikolla: sukkulainen käessä käänty kun on portimo pinossa rahakarva rauniossa hongan oksalla orava. Ruotus kunnotar kuningas tuli Katrinan tulille. Sano kohta saatuahan: “Tuleppas Kaio minulle eli minun pojalleni!”

itty was weaving by a little willow-brook by a dense birdcherry-wood: the shuttle turned in her hand like a weasel in a stack a precious-fur in a cairn on a pine-branch a squirrel. Herod the dishonest king came to Catherine’s fireside said as soon as he arrived: “Come, Kitty, to me or else to my son!”

K

Kaisa taiten vastoavi: “En tule minä sinulle is enkä sinun pojallesi: paha on poikaki pahalla paha on paha itekki. Nurkasta tulit tupahan sait sisähän salvoksesta 20 oven kuurnan kuulumata.”

Katie knowingly answered: “I won’t come to you nor yet to your son: the bad one has a bad son the bad one himself is bad. By the corner you came in got in at the timber-joint: the door’s creaking was unheard.”

Ruotus kunnotar kuningas lähti puita etsimähän koivuja ja kovia puita honkia hakasatoja 25 pihlajia pitävitä: Ruotus kunnotar kuningas pani Katrinan tulille. Neitsyt Maaria emonen rakas äiti armollinen 3o oli kirjoa lukeva.

Herod the dishonest king went in search of trees birches and hardwoods firs that had shed their branches rowans that held firm: Herod the dishonest king put Catherine on the fire. The Virgin lady Mary the dear merciful mother 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

was weaving Agirl a wench held the reed:

kangasta kutoo Kapo impi pirtaa pitää, ei saatu kylällä maata kavon kankaan kudolta. 6 Kuuli Ruotusten kuningas. Oli kolme poikaa kovaa sano kohta poijillensa: “Kolmin kosiin lähtemme neljä neittä kahtomaan.”

the village could get no rest because of the girl’s weaving. Herod the king heard: he had three strong sons said straight to his sons: “We three are going courting we four to look for the maid.”

Ite vanha Väinämöinen arveloo, jouteloo: “Tuletkos sinä minullen eli minun pojallen?”

Old Väinämöinen himself considered and took his time: “Will you come to me or else to my son?”

Kapo varman vastovaa: “Rumapa sinä itekin poikasi sitä rumempi.”

The girl certainly answered: “Now, you yourself are ugly: your sons so much uglier.”

10

16

Suuttu tästä Ruotusten kuningas: kokosi kokosen puita kolmekymmentä rekee so koivuja, kovia puita honkia hakosatoja pihlajia piukehia. Tunki Katrinan tuleen hienohelman helteeseen. 26

Liehto päivän, liehto toisen kohta kolmannen alotti, kahto ahjonsa alusta liehtimensä liepeitä: Katro tungeksen tulesta

King Herod grew angry then: he heaped up a heap of wood thirty sledges full birches and hardwoods firs that had shed their branches rowans that were tough pushed Catherine in the fire the fine-hemmed into the blaze. He blew a day, another soon began a third looked at the base of his forge the edges of his furnace: Katie squeezed out of the fire

313

ZT r v J

P y h ä K a tr iin a I I S t C ath erin e I I

30 hienohelma helteestä. Vielä Katron tuleen tunkee hienohelman helteeseen.

the fine-hemmed out of the blaze. He pushed Katie in again the fine-hemmed into the blaze.

Pani poikansa paraan uuden kerran liehtomaan. 35 Se vetää vesissä silmin: oro tungeksen tulesta liinaharja lientehestä. Arveloopi, jouteloopi: onko oro hyvän tapanen? 40 Ei oro hyvän tapanen: joka päivän tamman tappaa kaksikin monikahona.

He set his best son to blow once again he blew, his eyes watering: a stallion squeezed from the fire flaxen-maned from the furnace. He considered, took his time: was the stallion well-behaved? The horse was not well-behaved: every day it killed a mare even two on many days.

Ite vanha Väinämöinen oron tunkee tuleen 45 liinaharjan lienteeseen, pani orjat liehtomaan painamaan palkkalaiset. O rjat liehto löyhytteli kolmet päivää kesäistä. 50 Jopa kohta kolmantena kahto ahjonsa alusta liehtimensä liepeitä: neiti tungeksen tulesta kultakulma kuumeesta . . .

Old Väinämöinen himself pushed the stallion in the fire flaxen-maned in the furnace set the serfs blowing the hirelings pressing: the serfs blew and fanned for three summer days. Soon upon the third day he looked at the base of his forge the edges of his furnace: a maid squeezed out of the fire 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 ensimmäisest Turun pispast joka oli syntynyt Englannis

A ballad about St Henry first bishop of Turku who was bom in England

T^r aksi oli pyhää miestä J ^ ^ ja kaksi kansan ruhtinast ristveljestä jalosta ritarist: yksi kasvoi Ruotsin maalla 5 toinen maalla vierahalla. Pian kasvoit pinnelliset yksiin vöilliset ylenit: lapsi maalta vierahalta se oli herra Heinärikki io vaan joka Ruotsisa yleni se oli Eerikki ritari Ruotsin kuulluisa kuningas.

r a iwo holy men there once were J . two princes of the people Christian brothers, noble knights: one grew up on Swedish soil the other on foreign soil. Soon the swaddled ones grew up together in napkins rose: the child from the foreign land was the Lord Henry while he who rose in Sweden was Eric the Knight the famous king of Sweden.

Sanoi herra Heinärikki Eerikille veljellensä: 15 “Läkkämme Hämehen maalle maalle ristimättömälle paikalle papittomalle kivikirkkoja tiettämähän kappelita rakennuttamahan.”

And the Lord Henry said to Eric his brother: “ Let us go to Häme Land to the unchristened country the place without priests have churches of stone put up and have chapels built.”

Sitte Eerikki ritari sanoin lausui suin puheli: ‘‘Veikkosemi vaimon poika paljon on sinne mennehitä ei paljon palannehita 25 enämpi evännehitä toki lähen, en tottele. Jos minä tapettanehen

Then Eric the King formed in words, declared by mouth: “ My brother, son of woman there are many who went there not many who have come back more who have refused: and yet I will go, I do no.: mind. If I should be killed

20

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Pyhä Henrik I St Henry I

O O

maan kuningas kaattanehen toinen jäänevi jälellen.” 30 Sitte herra Heinärikki

sanoin lausui suin puheii: “Pilttisemi pienoisemi vantti vaaksahan korkuhinen, ota korjani kodasta 36 pane korja kohdallensa perällensi pieni kirja anturoillensa aseta, aisat tammiset aseta ohjat suoniset ojenna 40 pane ränget mursunluiset valjahat majavanluiset harmon kaulan kahden puolen, ota ohrilta oroinen iduilta isoilihainen 45 maatajouhi maltaisilta, pane luokka kynnäppäinen harjalen hyvän hevoisen.” Sitten herra Hentrikki ajella karuttelepi: virman peuroin viritti jäljesänsä juoksemahan, latoi se lauman laulaitaa päänsä päällen lentämähän otsansa virvottamahan, 65 karhu oli rautakahlehisa teeri rautainen kukersi karhun rautaisen kidasa, jänöin valkoisen hypitti edesänsä hitin päällä.

60

60

the king of the land cut down one will yet be left behind.” Then the Lord Henry formed in words, declared by mouth: “ My dear little lad coachman a span high take my sleigh out of the hut and put the sleigh in order the small bright-worked part behind ht it on to its runners fit shafts of oak, stretch out reins of sinews put traces of walrus-bones a harness of beaver-bones either side of the grey’s neck: take a horse from the barley a well-built one from the shoots a sweeping-hair from the malt put a collar-bow of elm on the mane of the good horse.” Then the Lord Henry drove rumbling away: he startled a herd of deer into a run behind him he set a flock of singers flying overhead refreshing his brow there was a bear in fetters of iron, an iron grouse cooed in the iron bear’s jaws and he made a white hare dance before him on the sleigh-rug.

Sanoi piltti pikkuinen vantti vaaksahan korkuhuinen: “Jo minun tulepi nälkä.”

The tiny lad said coachman a span high: “Now I am getting hungry.”

Sanoi herra Hentrikki: “Jo pian taloi tulepi

The Lord Henry said: “Soon we shall get to a house —

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Pyhä Henrik I St Henry I

O ta kyrsä uunin päältä ota olutta kellarista heitä penninki siahan, heinät heinähuonehesta 70 kaurat kaurahinkaloista heitä penninki siahan.”

to Lalloi’s beyond the bay. Take a roll from the stove-top take some beer from the cellar and leave a coin in their place: hay from the hay-loft oats from the oat-bin and leave a coin in their place.”

Paha vaimo pannahinen satasyöjä sappehinen sepä kirkui kiukahalta 76 parku patsahan nenästä: “ Lahka Lalloi kotihin saapi vielä se luunsi luistelepi vielä päänsi päristelepi suonensi sirottelepi!”

An evil cursed woman ill-tempered guzzler yelled from the hot stove screamed from the top of the post: “Wait until Lalloi comes home: he’ll gnaw your bones yet rattle your heads yet scatter your sinews!”

so Sitte herra Hentrikki kiiruhti taloista poies.

Then the Lord Henry hurried away from the house. When Lalloi came home the old bitch told lies: “ My dear boy, my younger one a Swede to feed, a greedy foreigner has passed this way: he took a cake off the stove he took beer from the cellar and left ashes in their place hay from the hay-loft oats from the oat-bin and left ashes in their place.”

66 Lalloila takoa lahden.

Lalloi kuin tuli kotihin valehteli vanha naara: “ Poikaisemi nuorempami 85 jopa on täsä sitten käynyt ruokaruotsi, syömäsaksa: otti kakun uunin päältä otti olutta kellarista heitti tuhkia siahan, 90 heinät heinähuonehesta kaurat kaurahinkaloista heitti tuhkia siahan.” Sivui Lalloi lahtarinsa piilun pitkän kirvehensä, 95 lykkäisi lylyn lumellen kuin oli vuoltu vuoleskeltun, syöksi kalhun kaljamallen kuin on talvisen jänösen: Lalli hihti hirmuisesti loo lyly juoksi vinhiästi tuli suitsi suksen tiästä savu sauvakon siasta.

Lalloi tied on his hatchet his broad, his long axe pushed his left ski on the snow like a greased shaving, slammed his right ski on the frozen ground like a winter hare: Lalli skied at frightful speed his left ski ran fast and fire puffed in the ski’s path smoke where the stick was.

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Pyhä Henrik I St Henry I

Sitte herra Hentrikki sanoin lausui suin puheli: 105 “Lalloi hihtään tulepi pitkä keihäs kainalossa.”

Then the Lord Henry formed in words, declared by mouth: “ Lalloi comes skiing a long spear under his arm.”

Tunsi hän tuhon tulevan hätäpäivän päällen saavan ja sanoi: “Pilttisemi pienoisemi no vantti vaaksahan korkuhuinen katsokkos kiven takoa ei ole kilpeä kivessä: katsokkos takoa tammen varjosta hyvän hevoisen. us Kuhunka luuni lentelepi suoneni sirottelepi ne sinä verkahan vetelet sinilankoihin sitelet sivu kaikki kaunihista 120 aseta oroin rekehen: kuhunka orit tauvonnevi siitä härkä pantakohon, kuhunka härkä tauvonnevi siihen kirkko tehtäköhön 125 kappeli rakettakohon herra Hentrikin nimehen”

He could feel his doom coming his day of distress dawning and said: “ My dear little lad coachman a span high keep watch from behind a rock no, there’s no shield in a rock: keep watch from behind an oak in the shade of the good horse. Whichever way my bones fly and my sinews are scattered gather them up in a cloth bind them with blue threads tie them all neatly lay them in the stallion's sledge: wherever the stallion halts there let an ox be harnessed and wherever the ox halts there let a church be put up a chapel be built in the name of Lord Henry.”

Tosa on härkä tauvonnunna Nousiaisten hietamaahan hietakankahan nenähän: 130 siihen herra Hentrikki ensimäinen haudattihin kirkko myöskin rakettihin sihen herran Hentrikin nimehen.

There the ox halted on Nousiainen’s sandy soil on a tip of sandy heath: there the Lord Henry he, the first one, was buried a church also was built there in the name of Lord Henry.

Vaan ei poika pikkuruinen 135 vantti vaaksahan korkuhuinen keksinyt lumen sisältä pyhän miehen peukalota sormia isoin isännän kultasormuksen kerällä 140 ennen kuin kesäsydännä

But the tiny lad coachman a span high could not spy among the snow the holy man’s thumb nor the great master’s finger with its ring of gold till in the heart of summer

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Pyhä Henrik I St Henry I

sitte kuin kevät oli ihana jää oli järvestä sulanut niin sitte kesäsydännä pienen jäänpalaisen päällä 145 tuuli alloisa ajeli sonnia pyhän urohon kultasormuksen kerällä ihmisillen nähtäväksi tunnusmerkiksi jaloksi iso jota ei suonut suuri Luoja eikä sallinut Jumala veden alle vaipumahan eikä hukkahan tulemahan pyhän miehen peukalota 155 sormia isoin isännän kultasormuksen kerällä.

when the springtime was lovely the ice on the lake melted then, in the heart of summer on a little block of ice the wind wafted on the waves the holy hero’s finger with its ring of gold for mankind to see and a noble sign that the great Creator would not vouchsafe, nor God permit to sink beneath the water nor come to nothing the holy man’s thumb nor the great master’s finger with its ring of gold.

Lalli pahin pakanoista julmin juutasten seasta joka tappoi pyhän miehen 160 pispan herran Hentrikin otti korkian kypärän pyhän miehen pispan päästä pani päähänsä omahan kallohonsa ilkiähän, 165 meni kiltinä kotihin.

Lalli the worst of pagans cruellest of Jews he who killed the holy man the bishop, the Lord Henry took the tall helmet off the holy bishop’s head and put it on his own head on his wicked skull and went proudly home.

Vaimo kehräis torttiansa sanoin lausui suin puheli: “Mistä on Lalloi lakin saanut mies häjy hyvän kypärän?” 170 Lalli nosti lakkiansa:

Lallin hiukset lakkihin imevyit kaikki kamara kerällä luikois luusta irrallensa kaikki kallosta erannui, 175 tuli turpa turvattomaksi pää paha paljahaksi nahattomaksi kuin naudan pää paljahaksi pahan pannan.

The woman, spinning her wheel formed in words, declared by mouth: “Where did Lalloi get the cap the bad man the good helmet?” Lalli lifted up his cap: Lalli’s hair stuck to the cap and all the scalp stuck with it. It slithered loose from the bone came clean away from the skull: his snout became defenceless his evil head bare skinless as a cattle-head and bare the evil one’s brow.

319

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Pyhä Henrik I St Henry I

Sen teki suuri Luoja iso salli väkevä Jumala imeheksi isoi tunnusmerkiksi jaloksi. Nyt on pispa ilosa Lalli piinasa pahasa: ies pispa enkelein kansa laulelee ilon virttä veisailee, Lalli hiidesä hihtelepi lylynensä luistelepi piinan savuhun säkiähän iso sauvallansa satuttelee: pirut pahoin pistelevät helvetin heltehesä sielu parkaa vaivailevat.

The great Creator did that the strong God permitted that the Father for a wonder and a noble sign. Now the bishop is in joyLalli in evil torment: the bishop with the angels sings, and chants a hymn of joyLalli is skiing in hell. His left ski skating into torment’s thick smoke he strikes out with his stick: the devils sorely prick him in the heat of hell and they trouble his poor soul.

Varjele sieltä meitä vakaine Jumala 196 estä totinen Luoja: saata salihin taivaisa ilohon ijankaikkisehen, päästä häjystä mailmast.

Keep us from that, steadfast God bar the way, true Creator: see us into heaven’s hall into everlasting joy free us from the wicked world.

S in g e r unknow n

Vaasa, South Ostrobothnia A. Heikkilä, 1731

320

Karelia I

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 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-inhand way of singing folk poetry (cf. 1:5-14, p. 74). - Vuonninen, Vuokkiniemi, Archangel Karelia, 1872.

yRA ^ i

Wå

mm m R jg H /

T*

’m

■\ r &

v

\^ - J

’ M

\ j - fB B g m fö - y 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

5

10

ago two children grew Long one grew up in Cabbageland

toinen Ruotsis yleni: toinen Hämehen Heinirikki toinen Eerikki kuningas. Sanoi Hämehen Heinirikki Eerikillen veljellensän: “Lähkäm maita ristimähän mailien ristimättömillen paikoillen papittomillen.”

the other rose in Sweden: one was Henry of Häme the other Eric the king. Henry of Häme said to Eric his brother: “ Let us go and christen lands to the unchristened countries to the places without priests.”

Sanoi sitt Eerik kuningas Henrikillen veljellensän: “Ent on järvet jäätämättä sulan on joki kovero?”

Then Eric the king said to Henry his brother: “What if the lakes have no ice the winding river’s melted?”

is Sanoi Hämehen Heinirikki: “Kyllä me kiärräm Kiulon järven ympäri joki koveron. Pane varsat valjahisin suvikunnat suitsi suuhun, 20 pane korjut kohdallensan saata lastut sarjallensan anturoillensan avarat perällensän pienet kirjat.”

And Henry of Häme said: “So we circle Kiulo Lake go round the winding river. Put the colts into harness fit the yearlings with bridles and put the sleighs in order and line up the struts to their runners fit wide shafts the small bright-worked parts behind.”

He kohta ajamahan läksit. Ajoit niin päivää keväistä kaksi yötä järjestänsän. Sanoi Eerik kuningas Heinrikillen veljellensän: “Jo tässä tulepi nälkä 30 eikä syödä eikä juoda

At once they drove off. So they drove one summer day two nights in a row and Eric the king said to Henry his brother: “Now we are getting hungry neither eating nor drinking

26

21

ennen kaksi lasta Kasvoi toinen kasvoi Kaalimaassa

321

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/

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35

eikä purtua pidetä.” “On Lalli lahden takana hyväneuvo niemen pääs siinä me syömme, siinä me juomma siinä purtua pidämme.”

no stop for a meal.” “Lalli is beyond the bay the fortunate on the cape: there we shall eat, there we’ll drink • there stop for a meal.”

Siittä sinne saatuansa Kerttu kelvotoin emäntä suitsi suuta kunnatointa käytti kieltä kelvotointa. Sittä Hämehen Heinirikki otti heinää hevoisen heitti penningit siallen, otti leivän uunin päältä heitti penningit siallen,

Then, when they got there Kerttu the idle mistress steamed with her vile mouth used her worthless tongue: at that Henry of Häme took hay for the horse left coins in its place took bread off the stove left coins in its place took beer out of the cellar and rolled money in its place. There they ate and there they drank there stopped for a meal. And soon they drove off.

40

45

otti kellarist olutta vieritti rahaa siallen.

Siin on syönyt, siin on juonut siinä purtua pitänyt. Ne kohta ajohon läksit. 5o Tuli Lalli kotiansa. Tuoi Lallin paha emäntä suitsi suuta kunnatointa käytti kieltä kelvotointa: “Jo tässä kävit ihmiset 65 täss on syöty, täss on juotu tässä purtua pidetty. Otit heiniä hevoisen heitit hietoja siahan, otit leipää uunin päältä 60 heitit hietoja siahan, otit kellarist olutta vieritit santaa siahan.”

Lalli came homeward. That Lalli’s evil mistress steamed with her vile mouth used her worthless tongue: “Men have passed this way: here they ate and here they drank here stopped for a meal took hay for the horse and left sand-grains in its place took bread off the stove and left sand-grains in its place took beer out of the cellar and rolled gravel in its place.”

Lausui paimen patsahalta: “Jo vainen valehteletkin! 66 Älä vainen uskokana!”

A herdsman spoke from the post: “Now you are just telling lies! Don’t you believe her!”

Lalli se pahatapainen sekä myös pahasukuinen

Lalli, ill-behaved from an evil family too

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Pyhä Henrik I I St Henry I I

/

Lalli took up his hatchet the devil took his long spear and drove off after the lord.

otti Lalli lakkarinsan piru pitkän keihähänsän 70 ajoi se herraa takaa. Sanoi sittä uskollinen palvelia herrallensan: “Jo kumu takana kuulu ajanko tätä hevoista?”

Then the faithful man said, the servant to his lord: “There is a thudding back there: shall I drive this horse faster?”

Vastais Hämehen Henirikki: “Jos kumu kuulu takana älä aja tätä hevoista älä karkot konkarita: kätke suas kivviä varjon 80 kuultele kivvein takana. Kuin mua tavoitetahan taikka myös tapettanehen poime mun luuni lumesta ja pane härjän rekehen: 85 härkä Suomehen vetävi. Kussa härkä uupunevi siehen kirkko tehtäköhön kappeli rakettakohon pappein saarnoja sanoa so kansan kaiken kuultavaksi.”

Henry of Häme answered: “ If there’s a thudding back there do not drive this horse faster do not push the steed harder: hide in the shade of a rock listen from behind the rocks. And when I am caught or else even killed pick my bones out of the snow and put them on an ox-sledge: it will draw me to Finland. Where the ox grows tired there let a church be put up a chapel be built for priests to preach sermons in that all the people may hear.”

Palais tuoi kotia Lalli. Lausui paimen patsahalta: “Kusta Lalli lakin saanut mies paha hyvän kypärän as pispan hiipan hirtehinen?”

Then Lalli returned homeward. A herdsman spoke from the post: “Where did Lalli get the cap the bad man the good helmet the gallows-bird the mitre?”

75

Sittä Lalli murhatöinen lakin päästäns tavoitti: hiukset ne himahtelit. Sormuksen veti sormestans: loo sormen suonet liukahtelit. Näin tämän pahantapaisen pispan rakkaan raatehan

Then Lalli the murderer snatched the cap from off his head: his hair came with it. Pulled the ring off his finger: his finger-sinews slid off. So to this ill-behaved one to the dear bishop’s maimer

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tuli kosto korkialta makso mailman valtiaita.

came the vengeance from on high payment from the world’s ruler. S in g e r unknow n

West Finland Collector unknown, ca 1671

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68 PUU The Tree

li kaks karjalaista virolaist oi viisi, kuusi, hihhoiit päivän kirvestäse toisen päivän toista puolta kolmannen koko terää. Menniit puuta etsimään tammee tavottamaan: löysiit puun, tapaisiit tammen alkoiit tammen hakata.

honed for a day their axes another the other sides and for a third the whole blades and they went in search of wood to catch an oak-tree: they found a tree, caught an oak began to hack the oak-tree.

Tammi kielelle rupesi: “Mitä työ miehet minust?”

The oak chattered with its tongue: “What do you men want of me?”

O

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five T woor sixKarelians, Estonians

Miehet vasten vastasivat: “Etsin kirkon kynnyspuita alttarin asetuspuita is lukkarille laulupuita Maarian makauspuita.”

The men answering said: “ I seek wood for a church threshold wood for raising an altar wood where a deacon may sing wood for Mary to lie on.”

Tammi vasten vastajeli: “Ei minusta niiksi puiksi ei o kirkon kynnyspuiksi so alttarin asetuspuiksi lukkarille laulupuiksi Maarian makauspuiksi: sus o juossut juurillain karhu on maannut kannoillain 25 oravainen oksillaini lintu laulo latvassain.”

The oak answering replied: “ My wood will not serve for that no wood for a church threshold wood for raising an altar wood where a deacon may sing wood for Mary to lie on: a wolf has run on my roots a bear has lain on my foot a squirrel in my branches a bird has sung in my top.” S in g er unknow n

Vcnjoki, Ingria H. A. Reinholm, 1847

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69 METSÄ The Forest

soria poika Suokkaan hevoisia oli etsimässä: lesken tyttären lepäsi Marin tyttären makasi 6 kaian korven kainalossa sinisen salon sisässä. Alkoi tuo salo hävitä metsät meiän kuivaella lehet puusta, ruohot maasta 10 käk on kuusesta kukkumasta päivä päälle paistamasta kuu päälle kumottamasta. Tuotiin papit Paaritsalta: ristittihin meiän metsät 15 ristittihin, kastettihin. Siit alkoi salo siletä metsät meidän kasvaella lehet puuhun, ruoho maahan käk on puuhun kukkumahan 20 päivä päälle paistamahan kuu päälle kumottamaan.

son of Suokas T hewashandsome out searching for horses: lay with a widow’s daughter sported with Mari’s daughter under the narrow woods’ arm in the blue backwoods’ inside. Those backwoods began to die and our forest to wither leaves on trees and grass in soil cuckoo calling in the spruce sun shining on them moon gleaming on them. Priests were brought from Paaritsa: our woods were christened christened and baptised. Then the backwoods grew lovely our forests began to sprout leaves on trees and grass in soil cuckoo to call in the tree sun to shine on them moon to gleam on them. S in g er unknow n

Sakkola, Karelian Isthmus K. Slöör, 1854

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70 LÖYTÖLAPSI I The Foundling I

oi poika haikiainen H anno man hevoista etsimähän tammaa tavottamahan sukukunnan suitset vyöllä s vallan valjaat selässä.

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went to catch a mare the kin’s bridle at his waist the manor’s harness on his back.

Marketta oi koria neito män tuo luutaa lehosta vastaksia varvikosta. Puuttu Hanno haastamahan yli aian anto suuta läpi aian anto kättä.

Tuosta tyyty, tuosta täyty tuosta voipu vuotehesen tuosta paksuksi pamahti: io sai tuo lapsen lastuloille pojan porsahan pehuille.

melancholy boy H anno, went out in search of horses

Marketta, beautiful maid went out to the grove for broom to the thicket for bath-whisks: Hanno stopped to speak over the fence gave a kiss through the fence he gave his hand. She was fulfilled, she was filled by it, put to bed by it and blown out thickset from it: she had a child on shavings a boy on pig’s straw.

Elina oi sepän emäntä löys tuo lapsen lastuloilta pojan porsahan pehuilta. Toi tuo oltta tuoppisella: kuka olven juoaksensa se lapsen lapseksensa. Mihin poika pantanehe? Visataan poikanen vetehen.

Elina the smith’s mistress found the child on the shavings the boy upon the pig’s straw. She brought beer in a flagon: who drank up the beer would be parent to the child. Where was the boy to be put? He was tossed in the water.

Poika kielille rupesi: “Hannaksen punanen hattu tuo vetehen verhokseni, Marketan sinihamonen se tulehen turvakseni.”

The boy chattered with his tongue: “Hannas’ red hat shall cover me in the water Marketta’s blue skirt 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

hyvä emäntä H elinä Katro kauno varrelt

the good mistress H elinä Katro the fair of figure

kasvat tytärtä kuusi: viisi vietii vihille 5 kuuvvennen kottii heitti heitti Marketan kottii Marketan kotikanaksi. Marketta kopia neito säterissä säppelissä 10 puolen kynnystä kulutti heliöillä helmoillaa, kuuvvet vöilliset kyl piti viiet vitjat poikki kirkkotietä käyvvessää. is Sitte paken paimeneen leilo lehmiin jälestä, löysi tuolta nuoren nurmen nuoren nurmen heinäpohjan: tuohon uni nukutti 20 tuohon paineli palava tuohon lämmin läylenteli.

brought up six daughters: five were married off and the sixth was left at home at home Marketta was left to be the home-bird. Marketta the haughty maid in a silk head-band wore half the threshold away with her bright skirt-hems her six waist-trinkets frayed down her five chains on the road to and from church. Then she dashed away to herd skipped away after the cows she found young grass there young grass on old hay: and there sleep overcame her the heat oppressed her the warmth weighed her down.

Hannus Saaren saksalainen sukukunnan suitset käes heimokunnan heltukkaiset 25 löysi tuon neijon nukkuneena Marketan makkaamasta: tuosta viereen venähti tuohon siit Marketan makaisi.

Hannus, German of the Isle the kin’s bridle in his hand and the tribe’s trappings found that maid asleep found Marketta lying down: there beside her he stretched out then he lay with Marketta.

Tuli Marketta kottii 30 jo oi siit emolle outo: “Mikä o meijän Marketalla

Marketta came home seemed now strange to her mother: “What’s wrong with our Marketta

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Löytölapsi I I The Foundling I I

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and what’s up with our home-bird? She was once slim and slender now she is thickset and stout: her backside won’t rise from seats nor her feet from the floor-joint.”

ja kuka kotikanalla? Ennen oi hoikka ja solakka nyt on paksuja tornia: 35 perse ei penkist kohhoo jalat ei sillan liitoksest.”

She moved into the bath-house wore no belt around her waist walked about without leggings.

Alko siit saunassa assuu ilman vyötä vötkötteli ilman kalsutta kävellä.

Helinä the good mistress went to get some beer and to fetch some ale: she found a child in the chicken-house a boy underneath the steps. She took him to the men’s house: “Whose is this doing whose is the child’s fashioning?”

40 Helinä hyvä emäntä hää men oltta ottamaa tarii tavoittammaa: löysi lapsen loantalasta pojan portahiin välistä. 45 Vei hän miehiin tuppaa: “Kennen lie tämä tekemä kennen lapsi laittelema?” Vanno yksi, vanno toinen se vanno valan kovemman kipiämmän kiinitteli kuka ties tehnehiese tais tarkon soanehiese.

One swore and another swore that one swore a stronger oath more grievously bound himself who knew it was his doing knew well it was his getting.

Sitte vietii naisiin tuppaa: vanno yks, vanno toinen 65 se vanno valan kovemman kuka ties tehnehiese tais tarkon saaneheen. Marketta punahamoine se vanno valan kovemman, so Hannus Saaren saksalainen se vanno valan kovemman kipiämmän kiinitteli.

Then to the women’s house she took him: one swore, another that one swore a stronger oath who knew it was her doing knew well it was her getting. Marketta the red-skirted swore the strongest oath: Hannus, German of the Isle swore the strongest oath most grievously bound himself.

Siit akat ajatelloot: mihi poika pantanee es mihi surma säätänee: viijä vettee poika ja tullee tuikataa.

Then the women considered where to put the boy where death might be found: take the boy to the water and shove him into the fire.

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Löytölapsi I I The Foundling I I

Lait siis tuolle Jesus kielen Jesus kielen, Maarja mielen kolmiöiselle pojalle: “Hannuksen halia hattu miu vettee verhaksei, Marketan punahamonen miu tullee turvaksein.”

Jesus then gave him a tongue Jesus tongue and Mary mind gave to the three-night-old boy: “Hannus’ grey hat shall cover me in the water Marketta’s red skirt 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

rock two children Let’s and when shall we get a third?

me kaksi lasta T uutikas koskas kolmannen saamme? Jesus kaunis kolmanneksi Neitsy Maaria neljänneksi s isä viisas viidenneksi äiti kulta kuudenneksi: jopa meitä joukko tulee! Käykääs me Käenmäelle käen kieltä oppimahan, 10 kiskokas me niini pitkä niini pitkä ja leviä jolla hirret hirttelemme tien suuhun, veräjäpuuhun josta kuninkaat kulkevat is valtaherrat vaeltavat.

Fair Jesus shall be the third the Virgin Mary the fourth wise father the fifth dear mother the sixth: there will be a crowd of us! Let us go to Cuckoo Hill and learn the cuckoo’s language pull ofF a long strip of bast a strip of bast long and wide to hang a gallows at the road’s end, the gatepost where the kings walk, where the mighty lords stroll. S in g e r u n k n o w n

Eräjärvi, Häme N. Järvinen, 1853

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73 NEITOJA LOHIKÄÄRME II The M aid and tke Dragon II

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nuoret norolle Nouskamme kesäkempit kalliolle,

go, young ones, to the vale Let’s summer-blessed to the rock

leikatkamme lehmus pitkä lehmus pitkä ja siliä, kiskokamme niini pitkä niini pitkä ja leviä, punokamme nuora pitkä nuora pitkä ja noria mihen ylkä hirtetään tien suuhun, veräjän päähän kussa kulkoo kuningas vaeltaa linnan vanhin.

let’s cut down a tall lime-tree a lime-tree both tall and smooth pull off a long strip of bast a strip of bast long and wide: let’s twine a long rope a rope both long and supple where the bridegroom shall be hanged at the road’s end, the gatepost where the king walks, the castle’s elder strolls.

Kuningas kovin kysyy linnan vanhin vaikuttaa: is “Minkä tähen tää siottu vaimon poika vangittuna?” “Kun makas nuoren neion nuoren neion, morsiamen.” Neito rukka tuomittiin lohikäärmeen kitaan. Lohikäärme huokasiin huokasihen, henkäsihen: “Ennen nielen nuoren miehen nuoren miehen miekkoneen 25 heposen satuloineen papin kirkkokultineen kuninkaan kypärineen ennenkun nielen nuorta neittä nuorta neittä, morsianta: so neito poikia tekee 20

The king sternly asked the castle’s elder complained: “ Wherefore is this one bound here this son of woman captive?” “Because he lay with a maid a young maid, a bride.” The poor maiden was condemned to the jaws of the dragon. And the dragon sighed it sighed, it drew breath: “ I’d sooner swallow a young man, a young man with his sword and a horse with its saddle and a priest with his church gold and a king with his helmet than swallow a young maiden a young maid, a bride: a maid will have sons

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Neito ja lohikäärme I I The M aid and the Dragon I I

laivan lapsia latoo tuohon suureen sotaan Tanikan Martin tappeloon.”

will load a ship with children for that great war, for the fight 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, käykää käykää et up, get up and go, go Nouskaa Glet’s go, young ones, to the vale nouskamme norulle nooret kesot kempit kalliolle, punokamme nuora keerä 5 nuora keerä ja lakea, leikatkaa lehmus pitkä lehmus pitkä ja leveä mihin hylköi hirtellään vaimon poikoi vankataan 10 tiesuihen, veräjäspäihen aivoin aioin kolkkaseen mis kulkoot kunervoit herrasmiehet heutajaat linnoin aatelit ajaat.

summer-blessed to the rock let’s twine a taut rope a rope both taut and even let’s cut down a tall lime-tree a lime-tree both tall and broad on which the wretch shall be hanged the son of woman captive at the road’s end, the gatepost right at the fence’s corner where the kings walk, the lordlings pass by, the castle’s nobles ride.

is Kunervoi kysyttellöö: “Mingän tähen mies siottu mies siottu, mies niottu käet kiinni käärielty sormet kiinni solmieltu?”

And the king asked: “Why is a man bound here a man bound and wound his hands fastened hard fingers knotted fast?”

20

“Neioin tähen mies siottu mies siottu, mies niottu käet kiinni käärielty sormet kiinni solmieltu.”

Kunervoi kysyttellöö 25 linnoin vanhin vannottaa: “Ootko siä omasta syystä vai oot valloin vääryyest?” “En oo omasta syystä enkä valloin vääryyest.”

“Because of a maid he’s bound the man’s bound and wound his hands fastened hard fingers knotted fast.” And the king asked, the castle’s elder persisted: “Are you here through your own fault or through parish injustice?” “I’m not here through my own fault nor through parish injustice.”

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Neito j a lohikäärme H I The M aid and the Dragon I I I

30 Neitoi raukkoi tuomittun oli tuomittun, luomittun: luotiin käärmehen kitaan kaloin hauvin hampahisse. Lohikäärme loi kivoille 35 hauki rannalle rappais: “En mie jyve nuorta neittä enkä nuorta morsiant: morsian pojan tekköö laivon seppiä lattoo 40 Ruotsin suureen sotaan Tanumartin tappeloon. Jyven miehen miekkoineen uroin umpirautoineen heppoisen satuloineen 45 heikon herran valtoineen kuninkahan linnoineen.”

The poor maiden was condemned condemned and cast out: she was cast in the snake’s jaws between the pike’s teeth. The dragon slumped on the rocks the pike flung itself ashore: “ I shall not gnaw a young maid nor yet a young bride: for a bride will have a son will load a ship with shipwrights for Sweden’s great war the fight with Tanumartti. I’ll gnaw a man with his sword a hero with his sheathed blade and a horse with its saddle a weak lord with his household and a king with his castle.” Singer unknown

Hevaa, Kaprio, Ingria V. Alava, 1891

75 MATALEENA I M agdahn I

-jy yrataleena neiro nuari lV A kaw an se kotona kasvoi kawan kasvoi, kawas kuului tykönä hyvän isänsä 6 kanssa armahan emonsa: palkin polki permannosta hänen korkokenkinänsä, hirren kynnyksestä kulutti hänen hiänohelmallansa, io toisen hirrem päänsä päältä hänen kultakruunullansa, kultasen rahin kulutti astioita pestessänsä, kulman pöyrästä kulutti is hopiapäällä veitsellänsä.

.IVAwas long growing up at home long growing, widely heard of with her good father beside her darling mother: she trampled down the floor-beam with her high-heeled shoes wore down a threshold-timber with her fine skirt-hem another timber above with her golden crown wore away the golden stool as she washed dishes wore down the table-corner with her silver-hafted knife.

Mataleena neiro nuari meni vettä lähtehestä kultakiulunen käressä kultakorva kiuluisessa. 20 Katseli kuvan sijoa: “Ohoo minua neitoo parkkaa! Pois om muatoni muuttunut kaunis karvani karannut, eipä kiillä rintakisko 25 eikä hohra päähoppeeni kuin kiilsi menneennä vuanna.”

Magdalen, young maid went to the spring for water a golden pail in her hand a gold handle on the pail. She looked where her likeness was: “O what a poor maid I am! My form has quite changed my lovely hue has vanished my pendant does not glitter nor does my head-silver gleam as they glittered yesteryear.”

Jiesus paimenenna pajussa karjaslaisna kaskismaissa: “Annas vettä juarakseni.”

Ti yragdalen, young maid

Jesus, a herdsman among willows a drover in burnt clearings: “Give me a drink of water!” “I have no pitcher.”

30 “Ei oo minulla astiata.”

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Mataleena I Magdalen I

“Pistäppäs pivosi täysi kahmaloises kanniskele.’*

“Then scoop a handful fetch me some in your two hands.”

“Mitäs puhut Suomen sulha Suomen sulha, mairen orja isäni ikkuinen paimen Ruatsi ruaroill elänyt kalan päillä kasvatettu.?”

“What do you say, Finnish slave Finnish slave, serf of the soil always my father’s herdsman fed on fishbones left by Swedes nourished on fish-heads?” “If not I ’ll tell of your evil deeds.”

“Elles mä elkiäs saneles.” “Sanos kaikki mitäs tiärät.”

“Tell me all you know.”

40 “Kussas kolme poikalastas? Yhren tuiskasit tulleen toisen vetkasit vetteen kolmannen kaivoik karkkeeseen. Sen kuis tuiskasit tulleen 45 siit olis Ruattissa ritari, sen kuis vetkasit vetteen siit olis pappi paras tullu, sen kuis kaivoik karkkeeseen siit olis herra tällä maalla.”

“Where are your three little boys? One you thrust into the fire one you plunged in the water one you dug into the field. He you thrust into the fire would be a knight in Sweden he you plunged in the water would be a priest of the best he you dug into the field would be a lord in this land.”

Mataleena neiro nuari rupes vasta itkemää itki kiulun vettä täyteen, Jiesuksen jallaat peseepi hiuksillansa kuivajeli: 55 “Pane minua Herra Jessus pane minua, miinkäs tahrot soihim, maihin portahiksi porttojen poljettavaks joka tuulen tuikutella 60 valkiaisen vaikutella. Pane minuva Herra Jessu pane paikkaan, miinkäs tahrot siioiksi meren ahoille lahopuiksi lainehille 65 joka tuulen tuijotella joka lainehen lajella.

Magdalen, young maid only then began to weep wept the pail full of water and washed the feet of Jesus and wiped them dry with her hair: “Put me, Lord Jesus put me wherever you will to be steps on marshy ground to be trampled on by whores blown about by every wind swayed by every flame. Put me, Lord Jesus put me anywhere you like to be a bridge on the sea rotten timbers on the waves tossed about by every wind swept by every wave.

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Mataleena I Magdalen I

Pane minuva Herra Jessu pane paikkaan, miinkäs tahrat: tunke hiiliksi tuleheen kekäleiksi valkiahaan joka tulen tuikutella valkiaisen vaikutella.”

Put me, Lord Jesus put me anywhere you like: push like charcoal in the fire like a brand into the flames blown about by every fire 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

neitoi kaunoi Mateliina kiusin kirkkoo männöö

agdalen, fair maid Mwent defiantly to church

päätäkautena kamppailin sukassa sinertävässä 6 kaputissa kirjavassa. Löysi verkoja murruisen säteriä kappalehen, vei veroin keritsijällen saattoi Saksan suutarillen.

purposefully to chapel in bluish stockings in a many-coloured hood. She found a small scrap of cloth a small piece of silk took the cloth to the shearer to the German shoemaker.

10

Sulloitteli suutaria: “Suutari, sulloin poikoi kupemaatti, Narvoin herra tee siä tästä suuri suupa suuri suupa, kaunoi kaapu! is Tee siä kaitoi kainaloista riski rinnoin kohasta avaroi allaisin puolin! Laai sulkut suita myöte löyhyten helmoista levitä!”

She flattered the shoemaker: “Shoemaker, sweet boy, governor, lord of Narvoi make from this a great fur coat a great garment, a fine cloak! Fit it close under the arms make it strong about the bust and wide lower down! Sew silk down the openings with room to spare at the hems!”

so Suutari, sulloin poikoi kupernaatti, Narvoin herra laati tuosta suuren suuvan suuren suuvan, kaunoin kaavun, laati kaioin kainaloista 26 riskin rinnoin kohasta laati sulkut suita myöte aamitsat alaisin puolin löyhyten helmoista levitti.

The shoemaker, the sweet boy, governor, lord of Narvoi sewed from that a great fur coat a great garment, a fine cloak fitted close under the arms sewed it strong about the bust sewed silk down the openings a hemmed linen skirt below with room to spare at the hems.

Mateliina neitoi kaunoi so kiusin kirkkoo männöö

Magdalen, fair maid went defiantly to church

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Mataleena H M a g d a len ll

päätäkautena kamppailin, näki oksalta ommenan näki puusta päähkenäisen, otti oksalta ommenan 36 päästi puusta pähkenäisen, löi ommenan huuloilleen huuloiltaan kieloilleen kieloiltaan keluksilleen.

purposefiilly to chapel saw an apple on a bough saw a nut upon a tree took the apple from the bough réached the nut down from the tree put the apple to her lips from her lips on to her tongue from her tongue down her gullet.

Tuosta tyltyi, tuosta täytyi 40 tuosta tiintyi tiineheksi tuosta paksuksi panniis lihavaksi liitteliis.

She was fulfilled, she was filled by it, swelled with child by it grew thickset from it put on flesh from it.

Mateliina tuli synnin vaimo kiusin kirkkoo männöö 46 päätäkautena kamppailin, astui kirkkoon jalan toisen kirkon rappusillen.

Magdalen, sinful woman went defiantly to church purposefully to chapel set one foot within the church the other on the church steps.

Kiesus kerkui kirkon maassa Luojoi lauloi laavitsalta 60 Jummala jakun nenältä: “Mateliina neito kaunoi elä kierrä kirkkoa kamppalia kaota! Kolme on lasta vyösijalla: 65 yksi on ismaroi issois toinen vedroi velvyees kolmas on vateruees. Kaksi miä annan anteheksi vaan en kolmatta luppoa 60 annan ismaroin issois annan vedroi velvyees, en anna vateruttaas: kuomasta on kovemmat synnit vaterasta on vaikeammat.”

Jesus yelled from the churchyard the Creator from the bench sang, God from the footstool-tip: “ Magdalen, fair maid don’t go round the church don’t shame the chapel! There are three children under your belt: one by your noble father one by your supple brother and one by your godfather. For two I will grant pardon but grant no leave for the third grant for your noble father’s and for your supple brother’s but not for your godfather’s: from a sponsor graver sins from a godfather worse come.” O lg o i

Hevaa, Kaprio, Ingria V. Porkka, 1883

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77 ORJA JA ISÄNTÄ I S erf and Master I

alla Orjasurtenrukkaistu,päivän surten astu surten ruualle rupesi, leikkasi manatun leivän s manatusta kannikasta, söi orja manatun maion manatusta maljasesta manatusta koasta manatusta kattilasta 10 söi manatun, joi manatun, makasi unen manatun manatulla vuotehella.

ib

grieving started on his food cut his cursed bread from a cursed crust the serf ate his cursed milk from a cursed bowl from a cursed hut from a cursed pot ate cursed and drank cursed lay in cursed sleep on a cursed bed.

Tuli kolme taivon miestä kysyttihin, lausuttihin: “Kuss on tässä orjan tsuppu?”

Three men of heaven came asking, speaking: “Where is the serf’s corner here?”

“Oven suussa orren alla.”

“At the door, beneath the beam.”

Niin kiilu isännän silmä kun on kyy kulossa kiilu, niin soitti emännän kieli so kun on kuiva haavan lehti.

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serf under the sun Apoor grieving sat and grieving stepped

Lupa orjan annettihin lupa orjan, valta vangin juosta jouluna kotihin joulun pitkinä pyhinä parahalla pakkasella nukkavierulla nutulla hamehella hajonneella: tuonne orja tielle kylmi suistu orja suin lumehen

So the master’s eye glinted as a snake glints in dry grass the mistress’s tongue clacked like a dry aspen leaf. To the serf leave was given the serf leave, the captive power to run off home for Christmas for the long feast of Christmas in the hardest frost in a threadbare coat in a smock falling apart: there the serf froze on the way fell on his face in the snow

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30 suin lumehen, päin lumehen koprin ilmahan kovahan.

face in snow and head in snow his fists in the bitter air.

Tuli kolme taivon miestä kolmans oi Jumalan poika, otettihin orjan sielu 36 talutettiin taivosehen tuotihin Tuonelan tupahan muitten sielujen sekahan. “Istu tässä, orja rukka: sait sie siellä seistaksesi 40 oijanaki ollessasi!”

Three men of heaven came, the third the Son of God and the serf’s soul was taken was led into heaven, brought to the house of Tuonela with the other souls: “Sit down here, poor serf: you had all your standing there when you were a serf!”

Tuotihin metinen tuoppi. “Juo tästä, orja raukka: sait siellä vettä juoa!”

A flagon of mead was brought: “Drink this, O poor serf: you had water to drink there!”

Tuotihin isännän sielu 46 tuotihin tulinen tuoli: “Istu tässä, jalo isäntä!”

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And the master’s soul was brought and a fiery chair was brought: “Sit down here, O great master!”

Tuotihin tulinen tuoppi: “Juo tästä, jalo isäntä!”

A fiery flagon was brought: “Drink this, great master!”

“ Mintähe tämä minulle?”

“Wherefore is this done to me?”

“Sentähe tämä sinulle: sait siellä mettä juoa joit mettä, joit olutta.”

“For this it is done to you: you had mead for drinking there you drank mead and you drank beer.’

Astu jalo isäntä pitkin Tuonelan katuja 66 pitk on kyynärä pivossa verkatorvi olkapäillä suuri on kappa kainalossa. “Ota tästä, orja raukka ota ota, orja raukka!”

The great master stepped down the streets of Tuonela a long cubit in his hand shouldering a roll of cloth a big gallon beneath his arm: “Take this, O poor serf take, take, O poor serf!” “ I’ll not, great master.”

so “En ota, jalo isäntä.”

“Take, take, my dear serf

“Ota ota, orjaseni

342

7 7 / /

®Ti a j a käittä I S erf and Master I

suuremmallakin kapalla pitemmälläki kyynärällä!” “Mahot maksoa ajalla 65 kun on riihessä remusin alla parsihen pamusin, kun on juoksin juomavettä kolmasti kesässä yönä puista huuhoin huutehia 70 maasta kastehen karisin.”

a still bigger gallon’s worth a still longer cubit’s worth!” “You might have paid at the time I was in the threshing-house slamming beneath the rafters when I ran to drink water three times in a summer night and wiped hoarfrost off the trees 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 paimenna pakanan moassa. Tulipa lupa oija rukan joulullen kotia männä 5 nukkuveralla nutulla hamehella hamppusella. Kuolpa tielle oija rukka: vietiin sielu portin päälle. Kysy Kiesus Pietarilta: io “Kenen sielu portin päällä?’*

O

Pietari vastasi vakainen: “Siel on sielu orja raukan.”

a serf in Estonia Iwas herdsman in the pagan land. The poor serf had leave to go off home for Christmas in a threadbare coat in a hempen smock. The poor serf died on the way: his soul was borne to the gates. Jesus asked Peter: “Whose is the soul at the gates?” Peter the steadfast replied: “ It is a poor serf’s soul there.”

“Tuokoa sielua sisälle muiten sielujen sekahan.” is Sielu luotihin sisälle. Tuotiinpa kultanen tuoli. Istuu tuolle orja raukka. “Minkätähen tämä minulle?”

20

“Bring the soul inside with the other souls.” The soul was taken inside. Now, a golden chair was brought and the poor soul sat on it: “Wherefore is this done to me?”

“Sentähen tämä sinulle: olet soana seisoksella orjanaki ollessasi.”

“For this it is done to you: you had all your standing up when you were a serf.”

Tuotiinpa kultanen tuoppi mettä viinoa sisällä: “Juo tässä orja raukka.”

A golden flagon was brought with mead, with liquor inside: “Drink this, O poor serf.”

25 “ Minkätähen tämä minulle?” “Sentähen tämä sinulle:

“Wherefore is this done to me?” “For this it is done to you:

3 44

HO / O

Orja ja isäntä I I Serf and Master I I

kyll oot saanna vettä juuva oijanaki ollessasi.” Sitte kuol iso isäntä: 30 vietiin sielu portin peälle. Kysy Kiesus Pietarilta: “Kenen sielu portin peällä?” “Siell on sielu ison isännän.”

35

And then the great master died: his soul was borne to the gates. Jesus asked Peter: “Whose is the soul at the gates?” “ It is a great master’s soul.” “Bring the soul inside with the other souls.”

“Tuokoa sielua sisälle muiten sielujen sekahan.” Tuotiinpa tulinen tuoli: “Istu tähän iso isäntä.”

Now, a fiery chair was brought: “Sit here, great master.”

“Minkätähen tämä minulle?”

“Wherefore is this done to me?”

“Sentähen tämä sinulle: 40 kyll oot istunna pöyän päässä isäntänä ollessasi.”

45

you had water for drinking when you were a serf.”

“For this it is done to you: you sat at the table-head when you were master.”

Tuotiinpa tulinen tuoppi tulta tervoa sisällä: “Juo tästä iso isäntä.”

A fiery flagon was brought with fire and with tar inside: “Drink this, great master.”

“Minkätähen tämä minulle?”

“Wherefore is this done to me?”

“Sentähen tämä sinulle: kyll oot saanna oltta juuva isäntänä ollessasi.”

“For this it is done to you: you had beer to drink 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

oijoi raukkoi Olioliennen oijoi Venaas palkkoil pahoil mail piikana pirun pesäs. 5 Oli vuuen, oli toisen alkoi palkkoja anellak vaivojahaan vaikutella.

10

Pahoin palkkoi maksettiin pahoin palkkoi orjoi raukoin pikkaraisel piool kaitaisel kappaisel jyvällä tohukkahal ruummenel rajahisel.

was a poor serf T here once, a poor serf in Venaa employed in the evil lands a slave in the devil’s nest. He spent a year, another began to ask for wages to complain of his troubles. Bad wages were paid bad were the poor serf’s wages a tiny handful a narrow gallon measure and corn full of dust chaff to throw to beasts.

Lupa oijoin annettiin is lupa orjoin, valta vangin juossa joulun kottiin pääsiäissä pois paetak paljahil paioillaan aivoin aivinaisillaan 20 parahiil pakkaisiil vinkeämmillä viluil: orjoi suistui suin lumeen suin lumeen, päin vetoin koprin ilmaan kovaan 25 takaraivoin tanteresse.

To the serf leave was given the serf leave, the captive power to run off home for Christmas to flee at Easter in his bare shirtsleeves in just his linen in the hardest frosts the most howling chills: fell on his face in the snow face in snow, head in water his fists in the bitter air flat on his back on the ground.

Luojoi linnasta tulloo: on kuusi kutsaria ja kaheksan kannoillist viis oli miestä muukalaist 30 rattahil kultaisiil

The Creator came from his town with six coachmen and eight footmen too: five were foreigners in a gold carriage

346

7 0 / S

O r ja j a

is ä n tä I I I

S e r f a n d M a s te r I I I

veeriil hopeaisiil. Näkkiit tieltä orjoin seelun. Otettiin siit orjoin seelu suin lumest, päin veest 35 koprin ilmast kovast takaraivoin tanterest. Pantiin seelu rattahille rattahille kultaisille veeriille hopeaisille, 4o vietiin seelu taivoiseen Jumalan oven takkannek Luojoin ikkunan aloillen.

45

Mäni aikoja vähäisen kului kuuruu pikkaraisen, Jumalan ovi avahui Luojan portti longahtais.

with silver wheels. They saw the serf’s soul on the road. Then the serf’s soul was taken face from snow, head from water his fists from the bitter air up off his back from the ground. The soul was put in the car in the gold carriage with the silver wheels: the soul was borne to heaven to behind God’s door, beneath the Lord Creator’s window. A short time went by a little while passed and God’s door opened the Creator’s gate swung out.

Saoi Luoja oijilleheen: “Oi miun orjoin omaan mänkään, orjoit, katsomaan 50 mikä usta ulvottaa veräjää vinguttaa!”

To his serfs the Creator said: “O my own serfs go out, serfs, and see what is making the door whine what is making the gate creak!”

Männät orjoit katsomaan: ollut tuossa orjoin seelu Jumalan oven takkaan 55 Luojoin ikkunan aloil.

The serfs went to see: there was the serf’s soul there behind God’s door, beneath the Lord Creator’s window.

60

Saoi Luojoi orjilleen: “Ottakaan orjoin seelu seelu viekää seeluihen sekaan!”

To his serfs the Creator said: “Take the serf’s soul lead the soul among the souls!”

Otettiin tuost orjoin seelu seelu vietiin seelujen sekaan ruume ruumelappeaan. Tuotiin hopeastooli orjuellen istuimeks.

Thence the serf’s soul was taken the soul led among the souls body beside the bodies. A chair of silver was brought for the serf to sit upon. And the poor serf sighed

Oijoi raukkoi huokaeli

347

Orja ja isäntä I I I Serf and Master I I I

7 0 / ^

65 huokaeli, henkäeli:

“ Mingän tähen tää miullen kuka kurjoillen pojoillen?” “Sentähen se siullen: jo siä sait seissakses 70 oijuuessa ollessas pahoin miehen palkkalaissa.”

75

he sighed, he drew breath: “Wherefore is this done to me why this to a wretched boy?” “For this it is done to you: you had all your standing up when you were a serf hireling of an evil man.”

Tuotiin hopeatuoppi mettä viinaa sisäs oijuelle juotimeks.

A silver flagon was brought with mead, with liquor inside for the serf to drink.

Oijoi raukka huokaeli huokaeli, henkäeli: “Mingän tähen tää miullen kuka kurjoillen pojoillen?”

And the poor serf sighed he sighed, he drew breath: “Wherefore is this done to me why this to a wretched boy?”

“Sentähen se siullen: so jo siä saanut vettä juuak orjuen ollessaas pahan miehen palkkalaissa.”

“For this it is done to you: you had water for drinking when you were a serf hireling of an evil man.”

Mäni aikoja vähäisen kului kuuruu pikkaraisen 86 tuo kun ilkeä isäntä kääyy rukoelloo pitkin Tuonelan mätääst odrakappain käes kagrakappain kainalos: 90 “Hoi miun orjoin omaan! Maksan palkkas pareten.”

A short time went by a little while passed and then the wicked master was walking and praying down Tuonela’s hill, a gallon of barley held in his hand of oats held under his arm: “ Hullo, my own serf! I’ll pay you better wages.”

95

Orjoi vasten vastaeli: “Kun et maksaant majoilla pahoi maksakki Manal kova kostoi Tuonelas: tännek ei suutoja suvatak tänne tarkka tarvitaan luokse tuomarin totisen lakiherroin lauvoin päähän.”

The serf answering replied: “Since you did not pay at home payment is bad in Mana vengeance harsh in Tuonela: here no triflers are suffered a careful man is needed before the true judge and the law lord’s bench.”

348

7 0 I y

^ ri a i a ü&itä m S e r f a n d M a s te r I I I

loo Mäni aikoja vähäisen: tuo oli ilkeä isäntä alkoi usta ulvotellak veräjiä vingutellak.

106

Saoi Luojoi orjilleen: “Mänkää, orjoit, katsomaan mikä usta ulvottaa veräjää vinguttaa!”

To his serfs the Creator said: “Go, serfs, and see what is making the door whine making the gate creak!”

Männiit orjoit katsomaan: ollut tuos isännän seelu.

The serfs went to see: and there was the master’s soul.

no Siis otettiin isännän seelu Jumalan oven takkaant Luojoin ikkunan aloilt, vietiin seelu seelun luoksek seelu vietiin seeluin sekaan, us Tuotiin tuolle tulinen stooli.

120

A short time went by: it was the wicked master began to make the door whine to make the gates creak.

The master’s soul was taken from behind God’s door, beneath the Lord Creator’s window: the soul was borne to the souls the soul among the souls borne. A fiery chair was brought there.

Isäntäin huokaeli, huokaeli, henkäeli: “Mingän tähen tämä miullen kuka kurjalle pojalle?”

And the master sighed he sighed, he drew breath: “Wherefore is this done to me why this to a wretched boy?”

“Senen tähen se siullen: jo siä saanut istuakses isäntänä ollessaas, ja pahoin miks orjoja pitelit pahoin maksoit oijoin palkoin.”

“For this it is done to you: you had all your sitting down when you were master and you treated serfs badly paid serfs bad wages.”

iso Tuotiin tuliin tuoppi tulta, tervaa sisäs isännälle juotimeks juotimeks, syötimeks.

A fiery flagon was brought with fire and with tar inside as a drink for the master as a drink, a meal.

Tuopa ilkeä isäntä m huokaeli, henkäeli: ‘‘Mingän tähen tää miullen kuka kuijalle pojallen?”

That wicked master now sighed, now drew breath: “Wherefore is this done to me why this to a wretched boy?”

349

H

Q

/

y

Orja ja isäntä I I I S erf and Master I I I

“Sentähen se siullen: jo siä saanut olutta juua 135 isäntänä ollessas, pahoin oijoja miks pitelit. Sentähen se siulle: pahoin oijoja pitelit pahoin maksoit oijoin palkoin im pikkaraisel piool kaitaisel kappasel jyväl tohukkahal ruumenel rajahisel.”

“For this it is done to you: you had beer to drink when you were master and you treated serfs badly. For this it is done to you: you ill-treated serfs paid serfs bad wages a tiny handful a narrow gallon measure and corn full of dust 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

aštu šuota myöte Surma tauti talvitietä myöte altuu ta ajattelou: “Tappasin talolt isännän & taitaa talo hävitä. Tappasin talošt emännän levinnöykö lehmikarja? Tappasin talošta pojan katonouko kalkikirvel? 10 Tappasin talolta tytön häviey hiäverot. Tappasin talolta minjan toini tuoho tuotaneh parempi otettaneh.”

was tramping on the marsh D eath Disease down the winter road tramping, pondering: “ Were I to kill the master the house might be lost. Were I to kill the mistress would the cattle wander loose? Were I to kill off the son would the clearing-axe then fail? Were I to kill the daughter the dowry would then be lost. Were I to kill the daughter-in-law another would be brought in 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

hiihti suota myöten Surma tauti talavitietä myöten.

was skiing on the marsh D eath Disease down the winter road.

Noin puhuu suuri surma aika tauti arveloovi illalla talon takana talon aittojen takana: “Kenenkä tapan talosta: tapanko isän talosta? Jos tapan isän talosta taitavi talo hävitä nuotat tulla tuppeloille veneet vesille jiähä. En tapa isäntee talosta.”

Death the Great spoke thus Disease the Strong considered at evening behind the house behind the sheds of the house: “Whom shall I kill in the house: shall I kill off the master? If I kill off the master the house may be lost the nets may remain folded the boats stay in the water. I’ll not kill off the master.”

Surma hiihti suota myöten is tauti talavitietä myöten. Noin puhuvi suuri surma aika tauti arveloovi illalla talon takana talon aittojen takana: 2o “Kenenkä tapan talosta: tapanko pojan talosta? Jos tapan pojan talosta taitaapi talo hävitä kaskikirveet kaota 26 elopumut puolenoovat jyvälaarit laukeavat.”

Death was skiing on the marsh Disease down the winter road. Death the Great spoke thus Disease the Strong considered at evening behind the house behind the sheds of the house: “Whom shall I kill in the house: shall I kill the son? If I kill the son the house may be lost the clearing-axes vanish the corn-bins will be half-full the grain-boxes will run down.”

Surma hiihti suota myöten tauti talavitietä myöten. Noin puhuvi suuri surma 30 aika tauti arveloovi illalla talon takana

Death was skiing on the marsh Disease down the winter road. Death the Great spoke thus Disease the Strong considered at evening behind the house

5

10

352

Q 1 0 1

H iih tä v ä su rm a I I D e a th on the P r o w l I I

talon aittojen takana: “Kenenkä tapan talosta: tapanko emännän talosta? 35 Jos tapan emännän talosta taitaapi talo hävitä lyhenööpi lehmän lypsyt maitokupit kuivettuupi ravistuu vaimon rainnat. 40 En tapa emäntee talosta.**

behind the sheds of the house: “Whom shall I kill in the house: shall I kill off the mistress? If I kill off the mistress the house may be lost the cow’s yield will be cut short the milk-cups will be drained dry the woman’s pails will spring leaks. I’ll not kill off the mistress.”

Surma hiihti suota myöten tauti talavitietä myöten. Noin puhuu suuri surma aika tauti arveloo 45 illalla talon takana talon aittojen takana: “Kenenkä tapan talosta: tapanko tytön talosta? Jos tapan tytön talosta so jiäpi suluhaset surulle poikaset paholle mielin. En tapa tyttöä talosta.**

Death was skiing on the marsh Disease down the winter road. Death the Great spoke thus Disease the Strong considered at evening behind the house behind the sheds of the house: “Whom shall I kill in the house: shall I kill off the daughter? If I kill off the daughter the suitors will be left sad the young boys in bad spirits. I’ll not kill off the daughter.”

Surma hiihti suota myöten tauti talavitietä myöten. 65 Noin puhuvi suuri surma illalla talon takana talon aittojen takana: “Kenenkä tapan talosta tapanko miniin talosta? «o Jos tapan miniin talosta suapi poika toisen naisen toisen naisen naimisella.**

Death was skiing on the marsh Disease down the winter road. Death the Great spoke thus at evening behind the house behind the sheds of the house: “Whom shall I kill in the house the daughter-in-law? If I kill her off, the son will get him another wife 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

Y 7 ' olme on korvessa lähettä J^Jcolm e lohta lähtehessä kolme on poikoa minulla: empä syöne enkä juone 5 ilman kultakuppiloita vaskireunoita vadita. Yks on Ruotisa rovasti toinen piispa pappilassa kolmas on kotona herra.” io Puuttui surma kuulemaan ala seinän seisomaan: tappoi Ruotista rovastin tappoi piispan pappilasta ja tappoi kotoa herran, is “Jopa syönen jotta juonen ilman kultakuppiloita vaskireunoita vadita.”

{fTihree the springs in the forest A three the salmon in the spring three the sons I have: I do not eat, do not drink without golden cups copper-rimmed dishes. One’s a dean in Sweden, one a bishop in a palace the third is a lord at home.” Death happened to hear to be standing by the wall: it killed the dean in Sweden the bishop in the palace and it killed the lord at home. “Now I eat, now drink without golden cups copper-rimmed dishes.”

4 4

4

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

on ennen ollut T alotalotässennen, linna muinen

was here once Aahouse house once, a castle of old

jossa nyt on kumia korpi. Kolme on korvessa lähettä kolme lohta lähtehessä: yks on lohi neion nuoren toinen nuoren morsiammen kolmas on lesen punaisen.

where now is booming forest. Three the springs in the forest three the salmon in the spring: one salmon is a young maid’s another is a young bride’s a third is a red widow’s.

Leski lauleli lehossa: “En oo leski enk oo lempo en oo varaton vaimo en oo turvaton tutilas. Kolme on poikoa miulla: yks on Ruotsis rovasti is toinen on piispa pappilassa kolmas on kotona herra. A en oo syönyt enk oo juonut enk oo ihva illastanut ilman kultakuppiloitta 20 vaskireunatta väittä.”

The widow sang in a grove: “Nor widow nor demon I nor a woman without means a weakling without defence. Three the sons I have: one’s a dean in Sweden, one a bishop in a palace the third is a lord at home. I’ve not eaten, I’ve not drunk neither indeed have I supped without golden cups copper-rimmed dishes.”

Puuttu surma kuulemaan alla tuulen seisomaan: tappo Ruotsist rovastin toisen piispan pappilasta 25 kolmannen kotonta herran.

Death happened to hear chanced to be standing downwind: it killed the dean in Sweden the bishop in the palace and thirdly the lord at home.

Sitt alko leski leinaella: “Nyt on leski, nyt on lempo nyt olen varaton vaimo: nyt on sauva saateltava so kepp on käes käyteltävä.

The widow began to grieve: “Now widow, now demon I now a woman without means: now a staff has to be found now a stick used in my hand.

5

10

355

Q O

OJ

L e sk i I I T h e W id o w I I

Tulloo syyä, tulloo juua vaskireunoitta vaitta, tulloo ilman illastaia kultareuna kuppiloitta.”

I must eat, must drink without copper-rimmed dishes and now I must sup 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

5

10

K lavus, E linan muori, E lina , K irsti, O lovi, J eesus

K lavus, E lina ’s mother , E lina , K irsti , O lovi , J esus

neitty aittahan meni Elina vaskivakkanen kädes

the maid went to the shed Elina a copper box in her hand

vaskiavain vakkases. Klavus vastahan tuli: Kl: “Oliskos teillä neittä myydä piika pidetty minua vasten?”

a copper key in the box when she met Klavus: Kl: “ Might you have a maid for sale has a girl been kept for me?”

M: “Ei neittettä mäellä myydä eikä kaupita kartanolla: kyll on minul tupiakin toinen tulla, toinen mennä.”

M: “No maid is sold on a hill and none traded on a farm: but rooms I have, one for coming, one for going.” That Klavus went to a room: Elina’s five brothers sat each one at the table-head and each one stood up.

Klavus toi tupahan tuli: Elinan viisi veljestä istu kaikki pöydän pääsä nousit kaikki seisovalle. is E: “O mun muori kultaiseni älä minua Klavull anna!”

E: “O my mother, my darling do not give me to Klavus!”

E: “Tulenosta tunnen tuiman jalon jalan heitanosta.”

M: “ How do you know him?” E: “I know the stern one by his coming the swing of his noble foot.”

Miekallansa oven aukais tupellansa kiini lykkäis: Kl: “O mun muori kultaiseni onkos teillä neittä myydä piika pidetty minua vasten?”

With his sword he pushed the door open, with his scabbard shut: Kl: “ My good woman, my darling have you got a maid for sale has a lass been kept for me?”

M: “Mistäs sinä Klavun tunnet?”

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 :

t y t t ä r e t k e s k e n k a s v a n e i t a .”

“ S m a l l la s s e s I h a v e 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

M :

M :

“ L it t le E lin a c a n n o t

30

“ E i v o i v ä h ä E lin a 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

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

35

E:

K l:

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

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 .”

“ 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 w h o w ill b u m

p a h o in p ä iv in k u o le tta a .”

B u t w h o e ls e b u t t h e p o o r g i r l

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 p e e p e d in a t th e p a n e s :

v ä r k is te li v ä s t ä r illä : “ 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 to s p o il t h a t u n io n !”

jo k a tu o n v ä lin p a h e n n a is !”

M e n i o itis K la v u k s e n ty k ö : K :

“ O

m u n K la v u s k u lta is e n i

S h e w e n t a t o n c e to K la v u s : K :

O lo v i fr o u v a n k a n s a y h t ä p it ä ä .”

so K l : “ O

m u n K ir s t i p iik a is e n i

“ O

m y K la v u s , m y d a r lin g

O l o v i is w i t h m y l a d y . ”

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 th e n k e e p y o u in c lo t h .”

s in u n s it v e r a s a k ä y t ä n .”

55 K :

m e in th e fire

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;

45 K :

“ 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

j o k a m u n tu le s s a p o lt a t t a a

40

h a v e little E lin a .”

“ 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

0 1

60

E lin a n su rm a T h e D e a th o f E lin a

aja Ammasten ladolle Pienten niittusten perällä niinpän tuottelen todeksi mitän saattelin sanoksi.”

Kl: “O mun vähä Elinan sääli säkkihin evästä pane voita vakkaseen 66 liikkiö sijan lihaa ja karpio kanan munia minun kauvas mennäkseni Pohjanmaalle kärejihin.”

70

E: “O mun Klavus kultaiseni puhu puolilla sanoilla anna toisest toinen puoli niins kauvan elää saat Pohjan noittajen seas.”

Klavus toi ajohon lähti ajoi Ammasten ladolle Pienten niittusten perällä. Kirsti toi pyykille meni. Frouva sit rantahan tuli: E: “O mun Kirsti piikaiseni äo älä klappaa niin kovasti minun fiiniä vaatteitani: ei ne ole täällä saatu vaan mun muorini kotona. . . . O mun Kirsti piikaiseni 86 älä klappaa niin kovasti minun fiiniä vaatteitani: ei ne ole täällä saatu vaan mun muorini kotona. . . . Älä klappaa Kirsti huora 90 niin kovin kovasti minun fiiniä vaatteitani sill ei ne ole täällä tehdyt vaan mun muorini kotona.” 76

K: “Olispa mun lukua

drive to the barn at Ammas round behind Little Meadows and then I’ll show to be true what I have put into words.” Kl: “O my little Elina lay provisions in a bag put some butter in a box and a joint of ham and a bushel of hens’ eggs for me to go far away to Pohjanmaa assizes.” E:

“O my Klavus, my darling speak with half-words, another time give the latter half so that you may survive among the Pohja wizards.”

That Klavus drove off drove to the barn at Ammas round behind Little Meadows: that Kirsti went to wash clothes. The lady came to the shore: E: “O my Kirsti, my lassie do not beat so hard my beautiful clothes: they were not got here but back in my mother’s house. . . . O my Kirsti, my lassie do not beat so hard my beautiful clothes: they were not got here but back in my mother’s house. . . . Do not beat, Kirsti, you whore quite so very hard my beautiful clothes: because they were not made here but back in my mother’s house.” K: ”But I do not count-

359

O A O “

95

100

Elinan surma The Death o f Elina

vaikka parka palkollinen: olet sinäkin iso emäntä ollut Olevin ohesa pitkäparran parmahissa. O mun frouva kultaiseni pitäkämme pienet pitoiset niin kuin ennenkin on pidetty isännän pois ollesa: ottakat me oijat työstä häijyen härkäin perästä.”

105 E: “O mun Kirsti piikaiseni tee itse mitäs tahdot: iske kaikki muut tynnörit mutta älä sitä iske kuin on mua varten prykätty.” 110

E: “O my Kirsti, my lassie do just as you wish: tap all the other barrels but don’t tap the one which was brewed for me.”

Kirsti tähän mutkan muisti: tompa hän ensin iski.

E: “O mun Kirsti piikaiseni tee mun sian portin päällä kaunihin kamarihin us pane kaksin korvatyynyt kaksin liinalakanat ja kaksin villavaipat. . . . O mun Kirsti piikaiseni eppäs tehnyt niin kuin käskin: 120 yksin panit korvatyynyt yksin liinalakanat yksin villavaipat.”

125

I’m only a poor hireling: what a great mistress you are who have been with Olevi on the long-bearded one’s breast! O my lady, my darling let us have a little feast as we used to have when the master was away: let us take the serfs off work behind the wicked oxen.”

And Kirsti thought of this trick: she tapped that one first. E: “O my Kirsti, my lassie make my bed above the gate in the fair chamber: set out two pillows and two linen sheets two woollen covers. . . . O my Kirsti, my lassie you have not done as I said: one pillow you have set out and one linen sheet one woollen cover.”

K: “O mun frouva kultaiseni Olovi teitä tupahan kutsu.”

K: “O my lady, my darling Olovi called you to his room.”

E: “Mitästäs minä sielä teen?”

E: “But what am I to do there?” She went blindly in. Kirsti hurried after her and she locked nine locks and shot a bolt for the tenth.

Meni hän sinne arvollansa. Kirsti kiirusti peräsä yhdeksän lukkuu lukitsi takateljen kymmeneksi.

360

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'

Elinan surma The Death o f Elina

130

Meni sitt Ammasten ladolle Pikku niittusten perällä: K: “O mun Klavus kultaiseni jopan tuottelin todeksi mitän saattelin sanoksi: 136 Olovi frouvan kansa makas.’*

She went then to Ammas barn round behind Little Meadows: K: “O my Klavus, my darling I have just shown to be true what I have put into words: 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 my Klavus, my darling E: "O mun Klavus kultaiseni do not lose your ring 140 älä kadota sormustas though you lose the ring’s wearer.” josas kadotat sormuksen kantajan.**

146

160

Klavus drew his sword slashed the finger off. Elina prayed in the room: “Let all corners burn but let this one run water till I see my mother. Go hired man, to my mother’s house tell her to come here!”

Klavus miekan tupestansa otti veti oitis sormen poikki. Vähä Elina tuvassa rukoili: “Kaikki nurkat palakoon tämä vettä vuotakoon siksi kuin mä muorini näen. Meneppäs trenki muorini kotio käske häntä tänne tulla!” Trenki toi Suomelaan tuli: O: “O mun muori kultaiseni frouva teitä Laukkohon kutsu.”

O:

The man came to Suomela: “ My good woman, darling, my lady calls you to Laukko.”

M: “Voi voi minua, vaimo valju: kuinka suin sukkiani 165 suin ain edestakaisin. Kuinka liene tyttäreni?”

M: “Woe is me, a wan woman: when I pull on my stockings they are always back to front. How is my daughter?”

O: “Hyvin kyllä, muori kulta: kukko sielä kuitataan kana sielä kaltataan iso pikku prinssin pitoon.”

O:

M: “Voi voi minua, vaimo valju: kuinka puin pukujani puin ain edestakaisin. Voi voi minua, vaimo valju.

“Quite well, good woman: a cock is being scalded a hen is being plucked there for a tiny prince’s feast.”

M: “Woe is me, a wan woman: when I dress up in my dress it is always back to front. 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:

M: “Kuinka levin liinojani levin ain edestakaisin. Kuinka liene tyttäreni?”

M: “When I put on my kerchief it is always upside down. How is my daughter?”

O: “Hyvin kyllä, muori kulta.”

O:

“Quite well, good woman.”

M: “Aij aij, Laukosta saukin suitsee savu Klavuksen kartanosta.”

M:

“Ah, from Laukko smoke rises smoke from Klavus’s manor.”

O: “Lampaita slahdataan sikoja korvetaan pikku prinssin pitoon.”

O:

“Lambs are being slaughtered there and pigs are being roasted for a tiny prince’s feast.”

Muori toi laski kontillensa oman vävyns eteen. M: “O mun Klavus kultaiseni ota pois poika tulesta vaka vaimo valkiasta: anna mennä muille maille töitänsä häpeemään jälkijänsä piilomaan.”

The woman went on her knees before her own son-in-law: M: “O my Klavus, my darling take the boy out of the fire the sturdy wife from the flames: let her go to other lands to be ashamed of her deeds to cover her tracks.”

K: “Älä vaan mun Klavus kultan. Ota panni pahoja jauhoja tervatynnöri lisäksi: ehk se paremmin palanee. Heitä tänne tuleseen!”

K: “No, do not, my dear Klavus. Take a pan of bad flour, take a barrel of tar as well: perhaps she will burn better. Throw them here into the fire!”

M: “O mun Elina kultaiseni mahdoit olla mielin kielin huoran porton kansa.”

M: “O my darling Elina you might have curried favour with the harlot whore.”

E: “Ei ole syytä pienintäkän ei edes neulan terääkän. Tämä nurkka palakoon koskan muorini näin!”

E: “There is not the slightest cause not even a needle-point. Let this corner burn now I have seen my mother!”

362

“Quite well, good woman.”

Q A O

i

Elinan surma The Death o f Elina

200

J: 206

210

215

Jeesus äijänä käveli: “Mitäs itket Klavus Kurki?”

J:

Jesus as an old man walked: “Why do you weep, Klavus Kurki?”

Kl: “Kyll on syytä itkemistä vaivasa valittamista: poltin, poltin puolisoni sytytin hyvän sylini, kuoli stallinen hevoisia navetollinen eläimiä kaikki kuolit korsi suuhun kaatuvat kaurajen nojalle.”

Kl: “There is good cause for weeping and trouble for bewailing: I have burnt, have burnt my spouse set fire to my good armful a stableful of horses a shedful of beasts has died all died with straw in their mouths perished at their oats.”

J:

J:

“Älä itke Klavus Kurki: kyllän tiedän Elina frouvan.”

“Do not weep, Klavus Kurki: I know Lady Elina.”

Kl: “Kusast ompi Elina frouva?”

Kl: “Where is Lady Elina?”

J:

J:

220

225

Nothing henceforth prospered in Laukko: a stableful of horses a cowshedful of beasts died all died with straw in their mouths perished at their oats. Klavus Kurki, dreadful man both sat down and wept.

Ei sitt enää mitään menestyn Laukosa: kuoli tallillinen hevoisia navetollinen eläimiä kaikki kuolit korsi suuhun kaaduit kaurajen nojalle. Klavus Kurki, mies kamala sekä istu että itki.

“Ylimäises taivahisa kuuden kynttilän edes kultakirjainen kädes pieni poikainen sylis Olevi oven edes. Kyllän tiedän Klavus Kurjen.”

“In the highest of heavens before six candles a golden book in her hand a little boy in her lap Olevi before the door. And I know Klavus Kurki.”

Kl: “Kusast ompi Klavus Kurki?”

Kl: “And where is Klavus Kurki?”

J:

J:

“Alimaises helvetisä: vähän kannuksia näkyy pikkaraista kuumottaa. Kyllän tiedän Kirsti huoran.”

Kl: “Kusast ompi Kirsti huora?”

“ In the lowest hell: his spurs are just visible are faintly gleaming. And I know the whore Kirsti.”

Kl: “And where is the whore Kirsti?”

363

O A O «

Elinan surma The Death o f Elina

J:

230

235

“Alimaises helvetisä: vähän palmikoita näkyy.”

J:

Klavus toi ajohon lähti. Pisti pillit säkkihinsä soitti suolla mennesänsä ajoi päin sulaa merta Kirsti rakkina peräsä. Toi oli meno nuoren miehen kansa naineen urohon.

“In the lowest hell: her plaits are just visible.” That Klavus drove off. • He packed his pipes in his bag played going over the marsh drove towards the open sea with Kirsti cur-like behind. And that was the young man’s loss 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

great knight Lalmanti, pledged an infant maid

anto kättä kätkyelle ison kimpun kihlaeli 5 suurin sormuksin lunasti: “Kokotteles vuotta viisi vuotta viisi, vuotta kuusi kanssa kahdeksan keseä ynnä yhdeksän suvea 10 vuosikausi kymmenettä. Kun sa kuulet kuolleheni kaiketi kadoneheni ottakoos uroo parempi älkösä parempatani ie älkösä pahempatani ota muuton muotohittes.”

gave his hand to the cradle betrothed her with rich presents bought her with big rings: “Just wait for five years five years or six years eight summers with them and nine warm seasons a space of ten years. When you hear I am dead, wholly perished take a better man no better than me and no worse than me take one like yourself.”

Eerikki vähä ritari valhekirjat kannatteli valhekiijat kiiruhulta: so Lalmanti se on sodissa voittu pantu maahan paineloissa. Väen vietiin viintupahan väen kihlat annettihin, väen ei vihille saatu 26 eikä miehin eikä miekan eikä uljasten urosten eikä vaimojen valiten eikä neitsen kauneuden.

Eerikki the little knight carried false letters false letters in haste: Lalmanti conquered in wars brought to the ground in struggles. She was led to the wine-house by force, by force was betrothed by force could not be wedded not by men, by sword nor by brave fellows nor by choice women nor by maids’ beauty.

Inkeri se ihana neito 30 istu se lutin solassa sekä istu että itki:

Inkeri the lovely maid sat on the loft balcony both sat down and wept:

365

Q C

OJ

Uskollinen morsian I The Faithful Bride I

katto itään, katto länteen katto poikki pohjasehen. Näki kykkären merellä: 36 “Jos sa lienet lintuparvi niin sä lähde lentämähän, jos sa lienet kalaparvi niin sä vaipunet merehen, jos sa lienet Lalmantini «o laske purtes valkamahan.” “Mistäs tunnet Lalmantikses?” “Tunnennasta tunnen purtesta kahden airon laskemasta. Toinen puoli uutta purtta 45 toinen silkkiä sinistä silkki Inkerin kutoma kauan neidon kaidehtima. Minun nuori veljykäisen ota ohrilta orhisi 50 idulta ikälihani maatajalka maltahilta: aja vasta Lalmantia.” “Terve nuori näälämiehen kuinka Inkeri elääpi?” 55 “Hyvin Inkeris elääpi:

viikkokausi häitä juotu toinen lahjoja ladeltu kolmas annettu antimia.”

she looked east, looked west looked away northward. She saw a bulge on the sea: “ If you are a flock of birds *then take flight and go if you are a shoal of fish then sink in the sea if you are my Lalmanti move your boat into haven.” “How do you know it’s your Lalmanti?” “ I know the boat by the way it comes, and its two oars move. One half of its boat is new the other half of blue silk the silk Inkeri’s weaving the maiden's long fashioning. My young brother, take your stallion from the barley your ever-plump from the shoots from the malts the short-legged and drive to meet Lalmanti.” “Hullo, young brother-in-law how is Inkeri faring?” “Your Inkeri is faring well: one week the wedding’s toasted another the gifts laid out 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

5

Maanitahan Rahamies raho neion kätkyehen

rich man Maanitahan T hebought a maid in the cradle

suuhun sormuksen sovitti: kapaloiss on kauppa tehty sana saunan lautosilla. Tul sulhon sotahan läkki. Neito etsi emosen päätä illan suussa suntakina oven suussa ikkunalla.

into her mouth slipped a ring: in swaddling clothes the deal was done, the word on bath-house planks. The bridegroom must go to war: the maid groomed her mother’s head one Sunday evening by the door at the window.

Katso ulos ikkunasta: mikä myttynen meressä? Neito karkasi kaulle: “Kuin sie lienet lehtimytty niin sie lehin lennättele, is kuin sie lienet heinäpieles niin sie kaau karhehelle, kuin lienet miun vävyni siit sie soua rantuelle!” 10

20

“Terve, terve miun vävyni terve nuori nääläseni! Mitä kuuluu sotahan?”

“Ei kuulu mitä kutana: sovitti soat Jumala asetti ijäisen rauhan. 25 Mitä kuuluu kotihin? Eikös naitu miun omani eiks viety verellistäni?” Veikko vasten vastaeli: “Jo ois naitu siun omasi

She looked out of the window: what was the lump on the sea? The maid dashed into the street: “ If you are a pile of leaves then flutter away if you are a stook of hay fall in a windrow if you are my son-in-law then row to the shore!” “Hullo there, my son-in-law hail, my young brother-in-law! What’s happening in the war?” “Nothing’s happening at all: God has sorted out the wars brought about eternal peace. What is happening at home? Has my own one not been wed my kinswoman led away?” The brother answering said: “Your own one would have been wed

367

Q ZT O O

30

Uskollinen morsian I I The Faithful Bride I I

jo ois viety verellisesi ilman maire mammataisi. Toits emolle tuomisia?”

your kinswoman led away but for your darling mamma. Have you brought your mother gifts?’

“Toin mie laivan tattarista vakan valmista rahaa.”

“ In the ship’s hold I have brought a box of ready money.” S in g e r u n know n

Tyrö, Ingria D. E. D. Europaeus, 1848

368

Karelia II

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 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). - Rukajarvi, Olonets Karelia, 1917.

J □

17. Fishing was tradition­ ally one of the most important sources of food in the Finnish area and fishing rights were strictlyregulated 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.

km#

1 A\

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

from Holy River Anterus Holy River’s holy son

Pyhäjoelta, Anterus Pyhäjoen poika pyhä

he came home from school

tuli koulusta kotia

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 being asked by his mother gate a matres: “Mitäs poikan kotia tulit? Onko koulu kohdallansa Turku uusi toimesansa?”

“Why, my son, have you come home? Is the school where it should be is the new Turku busy?”

cur domum venerit: num immota sit Schola, & Aboa nova vigeat? respondet ille: se venisse ad ducendam uxorem, eamqve ex Kokemäki Svet: Cumå: negabat primum mater, verita ne repulsam pateretur, sicut alii qvidam ex Svecia nobiles, & Bothnienses divites: instante autem illo, sibi cum illa familiaritatem esse; tandem concessit, qvamobrem adomatus bene eqvis, ser­ vis, & armis; inter ea 7 clypeis, ex qvibus

why he had come home: surely the school had not been moved, and the new Turku was thriving? He answered that he had come to get a wife, and onefrom Kokemäki, Swedish Cumå. At first his mother said no, fearing that he would be refused, as certain others, nobles from Sweden and rich Ostrobothnians, had been: to this he promptly replied that he was on intimate terms 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 kaikki muut hopian hohdit:

the bridegroom’s shield glittered gold all the others flashed silver:

proci clypeus auro resplendescebat, reliqvi omnes argentofulgebant: sie profeetus acceptus advenit, sed sponsalitiis peractis, fatis ipsa cessit, rncerorem pro dote summum, Andrea redeunti domum, relinqvens.

the bridegroom's shield glittered gold, all the others flashed silver, thus he set out and was received on his arrival. But after the wedding ceremony had been performed, she happened to perish, leaving the deepest grieffor a dowry to Andrew as he returned home.

Singer unknown

24

South-West Finland D. Juslenius(?), before 1700

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

Ylisen poika Antero ylempääsen miehen poika

ntero, Ylinen’s son Ason of the high-ranking man

kuutta ratsua rakensi alla kuuen kosjosmiehen 6 seitsemättä itsellensä kaheksatta neiollensa: sen hän kultaan kuvais hopeaan huoletteli mihin itse istueli, 10 sil hän vaskee valaa mihin kaikki vellon kansa.

set up six chargers under six suitors and a seventh for himself and an eighth for his maiden: that one he adorned with gold decorated with silver upon which he himself sat on that one he poured copper where all his brother’s folk sat.

Antero Ylisen poika ylempääsen miehen poika meni Korkast kossiin is Kavalasta katsomahan meni Konnuilt kossiin Kalonniemen neittä nuorta.

Antero, Ylinen’s son son of the high-ranking man went off to Korkka to woo to Kavala to look round went off to Kontui to woo the young maid of Kalo Cape.

Kielsit isot, kielsit emot kielsit veljet keskimäiset so kielsit nuoremmat sisaret: “Älä mene poikueni älä mene, et sie saak!”

Father said, mother said no the middle brothers said no the youngest sisters said no: “Don’t go, my offspring don’t go, you shall not!”

Toki meni, ei totellut ajoi vasten, ei varrannut 25 ajoi vasten vaaruuksia kohti miehiä kovia.

Yet he went, he did not heed he rode against, did not care he rode against the fearless towards the harsh men.

Antero Ylisen poika ylempääsen miehen poika rahoi neion, tinki neion

Antero, Ylinen’s son son of the high-ranking man bought and bargained for the maid

370

QQ OO

M o rsia m e n ku olem a I I D e a th o f the B rid e I I

nosti neion ratsahalle hypytti hyvän selälle toi neion isän kottihen: viikon villoilla makotti toisen viikon höyhenillä 36 kolmannen kokon sulilla, meni noihille Viroon . . . tuli tuualta kottihen.

lifted her on to his steed leapt upon the good one’s back brought her to his father’s house: one week he laid her on wool another on down a third on eagle-feathers went to wizards in Estonia . . . and came home from there.

Antero Ylisen poika ylempääsen miehen poika 40 meni matkoa vähäisen teki tietä pikkaraisen. Kirkko vastahan tuli: aloit kilkkaa kirkon kellot.

Antero, Ylinen’s son son of the high-ranking man went onward a little way went a short distance and he met a church: the church bells began to clang.

Antero kysyttelööpi: 46 “Mitä kilkkaat kirkon kellot?”

And Antero asked: “ Why are the church bells clanging?”

Kirkon katsoja kavvala kirkon vahti liian viisas sanoin laati suin läkkäis: “Antero Ylisen poika 60 sitä soivat kirkon kellot parkuut papin passunat: ken viimoin vihille käynyt pariskunsin pappilassa sitä nyt kaksin kaimataan 66 yhennään hauataan.”

The sly watchman of the church the too clever caretaker formed in words, declared by mouth: “Antero, Ylinen’s son for this the church bells ring out the priest’s bugles howl: those who last came to be wed a couple in the priest-house have been brought, the two of them buried together.”

Antero Ylisen poika ylempääsen miehen poika puri huulta, väänsi päätä tuli matkoa vähäisen 60 jo tuli liki kottiaan. Kuuli koissa kolkettavan veräjissä veistettävän: “Mitä veistät, velvyein seitset sula settäin: 66 vain veistät sotivenoa sotilaivaa rakennat?”

Antero, Ylinen’s son son of the high-ranking man bit his lip, twisted his head came onward a little way now came near his home. He heard knocking in the house, something being shaped within the gates: “What do you shape, my brother and what smite, my sweet uncle: are you shaping a war-boat a war-ship are you building?”

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M o rsia m e n ku olem a I I D e a th o f the B r id e I I

“Veistän kudelle kottii katonelle kartanoa.”

“I shape a house for the dead a manor for the perished.”

Antero Ylisen poika 70 ylempääsen miehen poika iski kahta kämmentään kun kahta kalman usta, viskas viittä sormustaan kuin viittä Viron vippuu. 76 Tuli tuimana tuppaan: neito kolkassa lässii kujertaa kutrotukka.

Antero, Ylinen’s son son of the high-ranking man struck his two palms together like the two doors of the grave flung his five Angers up, like the five levers of Estonia. Grim, he came into the room: the maid lay in a corner the curly-head was groaning.

Veti veitsen reieltään tempas tupesta tuiman so paaen parkkinahkasesta, iski kerron neitoaan toisen kerron itsiään.

He drew the knife from his thigh snatched the grim one from its sheath the bad one from its leather first struck his maiden and then struck himself.

Niitä kaksin kaimattiin yhellään hauattiin.

They were brought, the two of them 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 A. läpi maien mainittava läksi pyhänä kirkkohon suin sukien, päin pukien 6 varren kaiken kaunistellen. Siellä riski Riion poika ja kaunis Kalevan pappi piti suaman suappahassa sekä messun miekka vyöllä. r i

io Kuin pääsi suarnastansa siitä vuati vaimoksensa huoraksensa houkutteli: tuli Kirsti kiitettävä läpi maien mainittava ie veti veitsen, riisui rauan kuletti tupesta tuiman, syöksi miestä syönalahan Iässä lämmintä lihoa.

X T ' irsti came, the praiseworthy J^k.well spoken of through the lands went off to church on Sunday well groomed and well dressed adorned all over. There Riiko’s strong son and Kaleva’s handsome priest preached the sermon in his boots said Mass with his sword-belt on.

When he’d finished preaching he demanded her for his wife enticed her to be his whore: Kirsti came, the praiseworthy well spoken of through the lands drew a knife, bared an iron bore the grim one from its sheath plunged it under the man’s heart into the warm flesh.

Itse läksi itkien kotihin kallotellen kartanohon. Ennätti emo kysyä: “Mitäs itket tyttäreini nuorra suamaini nureksit?”

She herself went weeping home wailing to the farm. Her mother managed to ask: “Why do you weep, my daughter born in my youth, why complain?”

“Tuota itken emoiseini: lähin kirkkohon pyhänä suin sukien, päin pukien varren kaiken kaunistellen. Siellä riski Riion poika ja kaunis Kalevan pappi äo piti suaman suappahassa

“For this I weep, my mother: I went to church on Sunday well groomed and well dressed adorned all over. There Riiko s strong son and Kaleva’s handsome priest preached the sermon in his boots

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Papin tappaja The Priest-Killer

sekä messun miekka vyöllä. Kuin pääsi saarnastansa siitä vaati vaimoksensa huoraksensa houkutteli* 35 tuli Kirsti kiitettävä läpi maien mainittava veti veitsen, riisui rauan kuletti tupesta tuiman, syöksi miestä syönalahan «o Iässä lämmintä lihoa. Itse läksin itkien kotihin kallotellen kartan ohon.”

said Mass with his sword-belt on. When he’d finished preaching he demanded me for his wife enticed me to be his whore. Kirsti came, the praiseworthy well spoken of through the lands drew a knife, bared an iron bore the grim one from its sheath plunged it under the man’s heart into the warm flesh. I myself went weeping home wailing to the farm.”

Emo sanoi tyttärelle: “Älä itke tyttäreini 45 nuorra suamani nureksi. Ota otrilla orihin rukihilla ruunan suuren, sitä aja muille maille maille muille vierahille.”

Mother said to her daughter: “Don’t weep, my daughter born in my youth, don’t complain. Take the horse from the barley the big gelding from the rye and drive it to other lands to other strange lands.”

so Tytär varmoin vastaeli: “Oi emoni kantajaini ikävä minun tulovi ikävä tulottelovi mailla muilla mäntyäni 55 mailla muilla vierahilla tulla tuntemattomille ikävin tuloo imettäjääni suru suurta syöttäjääni, pahin muate painajaani.”

The daughter answered surely: “O my mother who bore me I shall feel homesick be feeling homesick when I’ve gone to other lands to other strange lands come to lands unknown most for her who suckled me miss the great one who fed me her most who put me to bed.”

«o Sanoi emo tyttärelle: “Ei auta asiassa ikävä: siun pitävi mänemän muille maille vierahille.”

Mother said to her daughter: “Longing won’t help now: you have got to go to other strange lands.”

Siitä Kirsti kiitettävä 65 osti otrilla orihin

rukihilla ruunan suuren, siitä ajoi muille maille

Then Kirsti the praiseworthy bought a stallion with barley bought a big gelding with rye and then drove to other lands

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muille maille vierahille tuli tuntemattomille. 70 Ajoi linnojen torille: linnan koirat haukkumahan linnan poiat katsomahan! Puhuteltihin matkamiestä: “ Mistäs olet sinä sukusin 75 kusta sinä rotuisihin?”

to other strange lands came to lands unknown. She drove to town squares: the town dogs began to bark the town boys began to stare! They spoke to the traveller: “What kindred are you and from which people?”

“Sanoa minun tulovi jos tuima tuhottannehen: olin Kirsti kiitettävä läpi maien mainittava.”

“ I must tell it, though it were the end of poor me: I was Kirsti, praiseworthy well spoken of through the lands.”

Tästä koertoelee Kirsti alusta, kuinka hänelle tapahtunut, ja äitin sanat, joka hänen tänne lähettänyt, josta linnan pojat sanovat seuraavat sanat: so “Koska olet niin tehnynnä olkoon olut viina juoakseis lesti leipä syyäkseisi ummiskenkä käyäkseisi.”

Thereupon Kirsti toldfrom the beginning what had happened to her, and her mother's words who had sent her there, whereupon the town boys said thefollowing words: “Because you have done so, have beer and liquor for your drink bread from fine flour for your food 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

poika haikiain son of Mantu Mannun T hethegloomy Mannun poika, mies mattaala squat man, son of Mantu soitti kavvan kanneltaa viikon vihmoi pilliää, 5 nuoria nukuttelloo vanhempia vaivuttaa, sai nuoret nukuttanee vanhempaist vaivuttanee. 10

Voisi hän ukset viertehellä kastoi kaljalla sarreenat jottei ulvois uuet ukset vieriis ei verkkiset sarreenat Kaisun luokse männessää.

played long on his kantele blew for ages on his pipe lulled the young to sleep weighed the elders down and the young began to sleep the elders to be weighed down: greased the doors with wort moistened the hinges with ale that the new doors might not howl nor the canvas hinges creak as he went in to Kaisu.

Mäni Kaisun kammarii is Kaisun vieree vettiis nosti Kaisulta katetta.

He went to Kaisu’s chamber stretched himself at Kaisu’s side lifted Kaisu’s covering.

Kaisu vaimo aivoin kaunoi tuopa vasse vastaeli: “Ku ollet oma uroi 2o nii siä vieree vettii! Ku ollet vieras ventolain mää pois Kaisun kammarista Kaisun vierestä vettii!”

The woman Kaisu, right fair answering replied: “ If you are my own husband then stretch yourself at my side! If you’re a total stranger leave Kaisu’s chamber get away from Kaisu’s side!”

Tuo oli vieras ventolain 25 ei olt oma uroi.

He was a total stranger: he was not her own husband.

Kaisa vaimo aivoin kaunoi tempais tupesta tuiman pahan parkkinahkaisesta, syssäis ala syämmen

The woman Kaisa, right fair snatched the grim one from its sheath the bad one from its leather thrust it underneath his heart

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Tunkeilijan tappaja The Intruder-Killer

30 alle rintoin asetti. Tuost tuli kumu kujalle ääni äijän tanhavalle.

35

Oli Antti Anninee luhissa leppäämässä. Sanoi Anni Antillee: “Mää siä Antti katsomaa mikä on kumu kujalla ääni äijän tanhavalla!”

lodged it in his breast. There was a din in the lane a loud noise in the farmyard. Antti with his Anni was lying in the loft. Anni said to her Antti: “Go, Antti, and see what the din is in the lane the loud noise in the farmyard!”

Kaisa seisoo kujalla «o käessä verriin veitsi.

Kaisa stood out in the lane in her hand a bloody knife.

Sanoi Antti Annilleen: “Kaisan on kumu kujalla ääni äijän tanhavalla.” Antti vasse vastaeli: 46 “Oi siä Kaisa kaunis huora jo teit mitä ei pittäänt: teit verran veljillees su’ullees suuren soiman itsellees ikihäppiiän.”

Antti said to his Anni: “Kaisa’s the din in the lane the loud noise in the farmyard.” Antti answering replied: “O Kaisa, fair whore you have done what you should not brought your brothers a bad name to your kin a great reproach to yourself eternal shame.”

Kaisa vaimo kaunoi vaimo tuopa väite vastaeli: “Päässin päällään häppiiän veljiltään vertauksen su’ultaan suuren soiman 65 itseltään ikkäisen häppeen.”

The woman Kaisa, fair one she indeed answered: “I have freed myself from shame my brothers from a bad name my kin from a great reproach myself from eternal shame.”

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K a ti

Soikkola, Ingria V. Porkka, 1883

377

91 MIEHENSÄ TAPPAJA The Husband-Killer

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maire tyttö Maieistustyttö Tormion mäellä.

a sweet girl T hesat girlon aMaie, hill at Tormio:

Ken tuon Maien maasta nosti kullan ruojasta ylensi sille Maie annetaan helmerinta heitetään. Jyrki nuori poisikkainen tuo vat Maien maasta nosti kullan ruojasta ylensi: tuolle Maija annettiin helmerinta heitettiin.

who raised Maie off the ground raised the dear one from the mud to him Maie would be given the bead-breasted would be left. The young lad Jyrki lifted Maie off the ground raised the dear one from the mud: to him Maija was given the bead-breasted one was left.

Maia veitsist sängyn laati. Jyrki nuori poisukkainen hyppäs tuolle vuotehelle: is siihen rikko rintaluunsa halki hartiat porasi.

Maia made a bed of knives. The young lad Jyrki leapt upon that couch: on it he broke his breastbone ran his shoulders through.

Anoppi ajoi ylös: “Nouse ylös miniä parka! Muien kyytöt kyllin söivät kyllin söivät, kyllin joivat: meiän kyytöt kytköessä.”

Mother-in-law forced her up: “Get up, poor daughter-in-law! Others’ cows have well eaten well eaten, well drunk: our cows are tethered.”

Mihin Maie, kuhun Maie? Maie mereen pakoon: “Oi meri Jumalan luoma 25 ota minuu, hoia minuu!”

Where Maie, which way Maie? Maie ran off to the sea: “Sea, creature of God take me, care for me!”

Meri vasten vastaeli: “En tohi mie otella: täältä sie löyetään nuotan köyel temmotaan.”

The sea answering replied: “I dare not take you: you will be found here snatched with a net-rope.”

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so Mihin Maija, kuhun Maija? Maija kaivoon pakoon: “Oi kaivo Jumalan luoma ota minun, hoia minuu!” “En mie tohi ottaa: 35 täältä sie löyetään, vesipangil veitetään, korennol kotia viiään.”

Where Maija, which way Maija? Maija ran off to the well: “Well, creature of God take me, care for me!” “ I dare not take you: you will be found here drawn in water-pails taken home on a cowlstaff.”

Mihin Maija, kuhun Maija? Maija metsään pakoon 40 Maija puuhun pitempään leppään leviämpään: sieltä Maija löyettiin. Tulee Maija puusta maahan.

Where Maija, which way Maija? Maija ran off to the woods Maija up the highest tree up the most spreading alder. There Maija was found: “ Maija, come down from the tree!”

Maije vasten vastaeli: 46 “En mie tohi tulla. Mikä tuli se tapahtu: tein veitsestä vuotehen tapoin mieheni omani.”

Maije answering replied: “ I dare not come down. What was coming has happened: I have made a couch of knives I have killed my own husband.” S in g er unknow n

Narvusi, Ingria J. Länkelä, 1858

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92 HYLÄTTY I The Forsaken M aid I

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neito nuori Annikkainen istu Turun sillan päässä

the young maid Annikkainen sat on the bridge at Turku

kaitti kaupungin kanoja neuo Turun neitosia. “Nousi pilvi luotehesta toinen lännestä läheni: se kuin nousi luotehesta se muuttu neitte haksi, se kuin lännestä läheni se muuttu kesti haksi.

cared for the hens of the town counselled the maids of Turku. “A cloud rose from the north-west another from the west came: that which rose from the north-west changed into a maidens’ boat that which out of the west came changed into a Hunnish boat.

Jo mun kesti kerran petti söi mun syötetyt sikani joi mun joulutynnyrini hukutteli huoran poika, is Minun pieni pellopaitan tahto verkaista hametta, minun verkainen hamehen tahto vyötä kullatuista, minun vyöni kullatuinen so tahto raskaita rahoja, minun raskaat rahani tahto nuorta kauppamiestä, minun nuori kauppamiehen tahto mennä muille maille 25 muille maille vierahille: puhu purjehen siahan kanto hahtehen kalunsa.”

I was deceived by a Hun: he ate the pigs I’d fattened he drank my Christmas barrels and the whoreson ruined me. My little shirt of linen wanted a skirt made of cloth my skirt made of cloth wanted a gilded girdle my gilded girdle wanted a weight of money my weight of money wanted a young trading man my young trading man wished to go to other lands to other strange lands and he blew where the sail was bore his wares into the boat.”

Hikos hirvi juostessansa joi hirvi janottuansa 30 heranteesta lähtehestä. Sihen kuolansa valotti

The elk sweated when it ran the elk drank when it thirsted from the never-frozen spring: where its slaver dripped

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Hylätty I The Forsaken M aid I

sihen heitti haivenensa, kasvo sihen tuomo kaunis tuomoon hyvä hedelmä, 36 kärkäs sihen kataja kaunis katajahan kaunis maija. Joka siitä oksan otti se otti ikäsen oksan, joka siitä lemmen leikkas 40 se leikkas ikäsen lemmen.

where it left its hair there a fine birdcherry grew on the birdcherry good fruit there a fine juniper sprang on the tree a fair berry. He who took a bough from it took off an eternal bough and he who cut love from it cut off an eternal love.

“Jesuksen jätän siaani Marian hyvän majaani: hyv on toiste tullakseni ennen tehdyille teloille 46 aiotuille anturoille. Kenenkä telat tekemät? Jesuksen telat tekemät Marian anturat alomat. Hyv on toiste tullakseni 60 parempi palatakseni.”

“Jesus I leave in my place good Mary in my lodging: it will be good to come back to stocks made before to foundations once begun And by whom were the stocks made? By Jesus the stocks were made by Mary the keels founded. It will be good to come back better to return.” S in g e r unknow n

Sääksmäki, Häme E. Lönnrot, 1831

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93 H Y L Ä T T Y II The Forsaken M aid I I

q( i n

nnen heitän herkut ruuat pappilan unoutan kun on heitän kullaistani kun on heitän hertaistani 5 hylkeän oman hyväni kesän kesyteltyäni syksyn syleiltyäni. Elköhöt nyt nykyset nyt nykyset nuoret neiot 10 ja nykyset morsiammat vasta kasvavat kanaset nouatelko miesten mieltä miesten mieltä, kiurun kieltä niin kuin mie polonen nouin is nouattelin miehen mieltä miehen mieltä, kiurun kieltä: voit ostin, tupakat ostin lihat ostin, leivät ostin kalat ostin kaikenlaiset so tuotin viinat Viipurista suolat Saksan kaupungista oluet omilta mailta. Mikä minun on kullallani kuka kielilinnullani 25 kun ei tullut liitollehen sanallehen tänne saanut? Liekö viinat viivytellyt vain lie huorat houkutellut mieron naiset lauhutellut? 3o Ei oo viinat viivytellyt vaan on huorat houkutellut: huorat housuista pitävät mieron laita lahkehista.” T a p a is t it

( ( T ’d sooner leave dainty foods X roasts behind in the priest’s house than leave my dear one than leave my sweet one spurn my own good one I tamed all summer I hugged all autumn. Let them nowadays young maids nowadays and brides nowadays the chickens just growing up not carry out a man’s will a man’s will, a skylark’s word as I, poor wretch, did: I carried out a man’s will a man’s will, a skylark’s word. Butter I bought, tobacco meat I bought and bread I bought fish I bought of every kind fetched liquor from Viipuri and salt from the German town beer from the homelands. What is wrong with my dear one what with my song-bird, that he has not come and kept his bond kept his word and arrived here? Gould liquor have delayed him or the whores have enticed him the wayward women charmed him? Liquor has not delayed him but the whores have enticed him: they hold him by the trousers women by the trouser-legs.”

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Hylätty I I The Forsaken M aid I I

Läksi Anni katsomahan: 36 venehesen vei elonsa kanto rantahan kalunsa, työntävi venon vesille muille maille männäksensä. Heitti neion itkemähän 40 kultansa kujertamahan.

Anni went to look for him: he was loading up his goods bearing his wares to the shore pushing his boat out to go off to other lands. He left the maiden weeping his dear one groaning.

Annikki rukoilevi: “Hoi Ukko ylijumala mies vanha taivahassa, luota pilvi luotehesta 46 toinen lännestä lähetä kolmas iästä iske viskoa vilulta maalta, säre tuo veno vesiltä nokka korpehen kohota 50 kanna kaaret kalliolle viskoa vilulle maalle!”

And Annikki prayed: “O Ukko, high god old man in the sky bring a cloud from the north-west from the west send another from the east strike off a third toss one from the chilly land: break that boat on the water to the backwoods hoist its prow bear its ribs on to a rock toss them to the chilly land!”

Jopa Anni kutittelevi: “Kutti kutti, poika parka! Meren tyrskyt tyynynäsi 55 meren vaahet vaippanasi aallot on alasinasi, ei oo Kirtin kirjatyyny eikä Annin villavaippa eikä utunen uuvi.”

And Annikki jeered: “So there, so there, wretched boy: the sea-surf for your pillow the sea-foam for your cover the waves for your undersheet no more Kirtti’s bright pillow nor Anni’s woollen cover 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 poltteli turulla tulta alla vuoren valkeutta 5 Turun uuessa tuvassa. Kesät kestiä pitteeli talvet juotti miestä jouten kesät syötti kelleriin talvet tammikammariin 10 kuukavvet kivoikottiin. Lihat otti, leivät otti voit otti, oluet otti kaloit otti kaikenlaist kalaitsuit kaheksanlaist is viienlaist viinoit otti kestin syöä, kestin juoa kestin kestiä pittää.

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Kestitteli kestiään. Eipä tuo kesti kestäkkään kesti toivoi kessojaa: “Kiesus kesoin tekkiis Maariain lumen sullais saisin paatissa paeta venoissa vieretellä laivoissa lihutta syöä lyöä luita lainehen!”

Tuopa Luoja kuulovain Maaria älyäväin niin Kiesus kesoin tekevi so Maaria lumen sulasi: kesti paatissa pakkeeni

Turuinen’s girl A nnikke, girl of Turku, Island maid burned a fire out in the square and flames below the mountain in the new house in Turku. In summer she kept a Hun in winter let him drink free summers fed in the cellar winters in the oak chamber months long in the stone dwelling. Meat she took and bread she took butter she took, beer she took fish she took of every kind white bread of eight kinds five kinds of liquor she took for the Hun’s food, the Hun’s drink for the Hun, for the Hun’s feast. She fed, fed her Hun but that Hun wanted to run. The Hun hankered for summer: “ If Jesus made it summer if Mary melted the snow I would flee in a vessel slip off in a boat eat meat in a ship fling bones to the waves!” Now, the Creator listened Mary understood so Jesus made it summer and Mary melted the snow: the Hun fled in a vessel

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venoisessa vieretteli.

slipped off in a boat.

Annikke Turuisen tyttöi Turun tyttöi, Saaren neitoi 36 rannoilla rukoelloo: “ Tuo, Jummaala, pohjoistuulta anna vastaissaetta käännä laivoi kallalleen sysäele syrjälleen 40 aja ankkurit kivviin massit maille lykkäele, saisiit rannikot rahutta kivet pienet penninkiä!”

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Tuopa Luojoi kuulovain Maaria älyäväin toi Jummaala pohjoistuulen antoi vastaissaetta käänsi laivoin kallalleen sysäeli syrjälleen ajoi ankkurit kivviin massit maille lykkäeli.

Annikke Turuisen tyttöi Turun tyttöi, Saaren neitoi Annikke kutittelloo: 65 “ Kuti kuti, kietoi kesti kietoi kesti, lietoi leski! Et oo Annin syömillä etkä Annin juomilla etkä Annin voipaloilla 60 Annin et käärykakkaroilla ei oo Annin villoivaippoi eikä Annin höyhenpatjoi: meroin vaahi on vaippanaas meroin tuuloi turkkinaas 66 meroin aaltoi on pääsi alla.”

Annikke, Turuinen’s girl girl of Turku, Island maid prayed upon the shore: “ Bring, God, some north wind give some rain head-on: turn the ship over shove it on its side drive its anchors on a rock push its masts on land that the coasts may get money the little rocks coins.” Now, the Creator listened Mary understood: God brought the north wind gave some rain head-on turned the ship over shoved it on its side drove its anchors on a rock pushed its masts on land. Annikke, Turuinen’s girl girl of Turku, Island maid Annikke gloated: “ There, so there, smart Him smart Hun, wanton widower: you’re not eating Anni’s food and not drinking Anni’s drink. No more Anni’s butter pats no more Anni’s pancake-rolls nor Anni’s woollen cover nor Anni’s feather mattress: the sea-foam for your cover the sea-wind for your fur coat the sea-wave under your head.” O lg o i

Hevaa, Kaprio, Ingria V. Porkka, 1883

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95 V A I M O N S A T A P P A JA I The Wife->Killer I

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f y annus Pannus mies koria X JL läksi Koskelta kosihin Virran nuorinta tytärtä pajarin parasta lasta. Sano sinne mentyäsä: “ Paras minulle, ei pahinta pisin minulle, ei lyhintä!”

T T annus Pannus, handsome man X X went off to Koski to woo Virta’s youngest girl the boyar’s best child. He said when he had arrived: “ The best for me, not the worst tallest for me, not shortest!”

Sano Virran nuori tyttö pajarin parahin lapsi: “ Ei parasta, ei pahinta ei pisintä, ei lyhintä: sinull on entinen emäntä. Tapa nainen ennen naitu murra entinen emäntä!”

Virta’s young girl said the boyar’s best child: “ Neither the best nor the worst neither tallest nor shortest. You have married a mistress: kill the wife you have wedded slay the mistress you’ve married!”

is Hannus Pannus mies parahin meni Koskelta kotihin hyppäs sälön säkään nousi laikon lautasille, tappo entisen emännän 20 murti naisen ennen naiun.

Hannus Pannus, best of men went home from Koski leapt on a two-year’s withers mounted a white-face’s flanks killed the mistress he’d married slew the wife he had wedded.

Meni Koskelle kosihin sano sinne mentyäsä: “ Paras minulle, ei pahinta pisin minulle, ei lyhintä!”

He went to Koski to woo. He said when he had arrived: “ The best for me, not the worst tallest for me, not shortest!”

Sano Virran nuori tyttö pajarin parahin lapsi: “ Ei parasta, ei pahinta ei pisintä, ei lyhintä! Tapot naisen ennen naiun

Virta’s young girl said the boyar’s best child: “ Neither the best nor the worst neither tallest nor shortest! You have killed your wedded wife

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Vaimonsa tappaja I The Wife-Killer I

murrit entisen eläjän: taiat tappoa minunki.”

slain someone who was alive: you might kill me too.”

Hannus Pannus mies parahin usko huoran houkutukset pahan vaimon vaavitukset.

Hannus Pannus, best of men trusted a whore’s lures 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 Aitse Iivana Koijoine mäni Konnult kossiin Konnunniemen neitoloi 6 Kallaniemen kassapäitä.

10

Konnun neiot vastasiit: “ On teil nainen ennen naitu ennen etsitty emäntä. Tapa nainen ennen naitu ennen etsitty emäntä: siit vast miä lähen sinulle.'*

T ivana, Koijoine's son A h e , Iivana Koijoine went off to Kontu to woo the maidens of Kontu Cape plaited heads o f K alla Cape. The maids o f Kontu answered: “ But you have a wedded wife a mistress already sought. K ill the wife you have wedded the mistress already sought: only then I'll go to you.”

Iivana Koijoisen poika itse Iivana Koijoine tuli tuuvalta kottiin is kysytteli lapsiltaan: “ Mis, lapset, emoinne teijen?”

Iivana, Koijoine’s son he, Iivana Koijoine came back home from there and asked his children: “ Children, where is your mother?”

Vanhin tyttö vastaeli nuorin tyttö noin sanneeli: “ On kyläs kylpemääs so vallaas vallaimaas.”

The eldest daughter replied the youngest daughter spoke thus: “ She’s in the village bathing in the parish washing down.”

Iivana Koijoisen poika mäni, sanoi naiselleen sanoi saunan ikkunaast saunan ukselt läkkäis: 25 “ Helena hyvä emäntä Katteeriina vaimo kaunis kylve viimoi löylyseis havvoi viimoi vastaiseis paa päälles parraat!”

Iivana, Koijoine’s son went, said to his wife said through the bath-house window from the bath-house door declared: “ O Helena, good mistress Katteeriina, fair woman bathe in your last steam and soften your last bath-whisks put on your best things!”

£L Vaimonsa tappaja I I y y j The Wife-Kilter I I

Q

30 Helleena hyvä emäntä Katteeriina vaimo kaunis kylpi viimoi löylyiseen hautoi viimoi vastaiseen pani päälle parraat 36 hipiälleen hienokkaist hipiälleen hiekkaalle päivän paistamattomalle. Tuli tuualt kottiin. Iivana Koijoisen poika 40 leikkais pään naiseltaan niin kuin naatin naurehelt niin kuin kaalin kannaltaan, pään pani suohon mättähääks hiukset niitylle kuloiks 4 5 sormet suohon virvilöiks korvat koivun lehtoloiks silmät siestarin maijaseeks. Tuli tuuvalt kottiin.

60

Lapset itkööt emmoo. Iivana Koijoisen poika hään vaan vassen vastaeli: “ Miä tuon emon paremman miä tuon viitta viisahamman viittä kuutta kuuluisamman.”

56 Vanhin tyttö vastaeli nuorin tyttö noin sanneeli: “ Et siä tuo meille emmoo. Siä tuot naisen itselleis, meille tuot tukan reppiiän oo tuulelle tukan jakajan ahavalle antelijan. K u olliis oma emmonne antais viikoos viiet armot kuukauees kaheksat armot 66 netelääs neljät armot.” Mäni Konnult kossiin

Helleena, the good mistress Katteeriina, fair woman bathed in her last steam and softened her last bath-whisks put on her best things fine things on her skin on her sweating skin unscorched by the sun: she came home from there. Iivana, Koijoine’s son cut off the head o f his wife like the top off a turnip like a cabbage off its stalk made her head a marsh-hummock and her hair dry meadow-grass her fingers sprigs in a marsh her ears leaves o f a birch-tree her eyes blackcurrants. He came home from there. The children cried for mother. Iivana, Koijoine’s son answering replied only: ‘‘I’ll bring a better mother I’ll bring one five times wiser five times, six times more famous.” The eldest daughter replied the youngest daughter spoke thus: “ You’ll not bring us a mother: you’ll bring a wife for yourself you’ll bring us one who tears hair who shares hair out to the wind gives it to the gale. If she were our own mother she’d be kind five times a week she’d be kind eight times a month kind four times in seven days.” He went to Kontu to woo

389

%

70

V aim onsa ta p p a ja I I T h e W if e - K ille r I I

Kallaniemen neitoloi. Nuo vain vassen vastaeli: “Tapoit naisen ennen nai un ennen etsityn emännän: taiat siä tappaa miuisen. En miä lähe siulle.”

the maidens of Kalla Cape. They answering said only: “You have killed your wedded wife your mistress already sought: ’ you might kill me too. 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 XLiehittelin, kengittelin ehitin emon sukilla toin vaa sukkia sylellä 6 varvasrättiä vakalla kapukkoja kainalossa. Luulin linnaa mänevä herroin asioit ajava: vello kömpi koisjoiteitä io käi neion käräjäisteitä astu neion askeloja.

fitted out my brother X fitted him out, gave him shoes gave him my mother’s stockings brought a lapful of stockings and a boxful of toe-rags an armful of socks. I thought he’d go to the town about the gentry’s business: my brother trod wooers’ ways went and bargained for a maid stepped in the steps of a maid.

Tuli koisjosta kottii pani paatin patsaa mussan ruunan rummenilla, is itse tuulenna tuppaa ahavanna porstuaa, viskais kypärät kannella kintaat kypärän päällä itse päällä itkemää.

He came from wooing put his chestnut at the post his black gelding in the chaff rushed like wind into the house like a gale into the porch flung his cap on the table his mittens upon his cap started weeping over them.

20

26

Emyt luoks luotteloo likemmäksi likentellöö: “ Mitä itet poikueni: vai oot pelko miespelissä vai oot siirretty sisoista vai oot kaarrettu kanoista?”

“En ole pelko miespelissä en ole siirretty sisoista en ole kaarrettu kanoista. Sitä iten miun emoni äo miks ei miulla neiot assu

t

His mother drew near she closed in closer: “Why do you weep, my offspring: are you timid in men’s games or pushed out by your sisters avoided by the chickens?” “I’m not timid in men’s games nor pushed out by my sisters avoided by the chickens. For this I weep, my mother: the maids will not step my way

391

Q ^7 y /

Tytärtensä tappaja I The Daughter-Killer I

helmirinnat ei helise kaatteripersiit ei karise. Sill ei miulla neiot assu helmirinnat ei helise kaatteripersiit ei karise: miks on sisoja paljo emon lapsia enimmän, paljo paitoja pittää enemmän hyvviä vöitä.”

the bead-breasted won’t jingle the tassel-bottomed won’t drop. The maids will not step my way the bead-breasted won’t jingle the tassel-bottomed won’t drop because of many sisters more mother’s children I have and many shirts are needed even more good belts.”

40 Emo tudras tuulen mielyt havumieline harakka vei tyttäret vettee kanto lapset lainehessa.

The mother with wits of wind­ blown flax, twig-minded magpie took her girls to the water bore her children to the waves.

36

Vanhin tyttö vastaeli 45 kalkkaa tyttö keskimäine:

“Oi emyt, vanha emoni vanha maama vaalijani vielä lie tarvis tyttölöjä vielä lie kaiho kassapäitä 60 ku ei muulloi nii kesoilla keskkesällä, heinajalla. Kolme on kiirettä kesossa: yksi on kallis kagran kylvö toine rutto rukkein niitto 55 kolmas hellyt heinäaika.”

60

65

The eldest daughter replied the middle daughter prattled: “O mother, my old mother old mamma, my nurse there will still be need for girls still longing for plaited heads even only in summer in midsummer, at hay-time. Summer has three busy times: one is the fair oat-sowing another rush rye-reaping the third is the hot hay-time.”

Saatii se himottu minno himotulla vellolla, saatii hano halattu halatulla vellolla. Pantii kangas kankailla aivinaine alla orren liinane liki lakkia: eivät noise nuoret niiet nuoren minjan nossakilla, ei helise uusi pirta nuoren minjan helkykillä.

And the desired daughter-in-law was got for the desired brother the wanted goose was got for the wanted brother. Cloth was put upon the loom flaxen cloth under the beam linen cloth near the ceiling: the new heddles did not rise for the young daughter-in-law the new reed did not jingle for the young daughter-in-law.

Kangas kielellä läkäis:

The cloth spoke up with its tongue:

392

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y 1

70

T y tä rte n sä ta p p a ja I T h e D a u g h te r-K ille r I

“Tähä tuskaa miä tukehun tähä lämmää miä lähähyn. Viekää minnua vesitiellä kantakaakka kaivotiellä: kylän kävijäiset kuttoot matkalaiset päät pannoot keräjäiset käävyt tekkööt!”

76 Saatii kangas valmiiksi. Kellä se terävä veitsi? Minjällä se terävä veitsi: leikkais paijan miehellä toisen paijan itsellä, eo äijä raukka ei mittää ämmä raukka ei mittää. Mäni meroin rantuella huusi kerroin tyttäriä huusi kerroin, huusi toisen. 86 Vanhemp tyttö vastaeli kalkkaa tyttö keskimäine: “Oi emyt, vanha emoni vanha maama vaalijani et siä oo miun emoni »o etkä vanha vaalijani! Meroi on miun emoni meroin vaahto vaalijani meroin laine laukojani. Jo on liiva liitsan syönt 95 someroine sormet syönt.”

“In this pain I am stifled in this heat I am smothered. Take me down the water-path bear me along the well-path: the village passers-by will weave, travellers tie the ends beggars will make the shuttles!” The cloth was finished. Who had a sharp knife? The daughter-in-law had one cut a shirt for her husband another shirt for herself: the poor old man got nothing the poor old woman nothing. She went off to the seashore called out once for her daughters she called out once, called out twice. The elder daughter replied the middle daughter prattled: “O mother, my old mother old mamma, my nurse you’re not my mother and not my old nurse! The sea is mother to me the sea-foam my nurse and the sea-waves my parent: the sand has eaten my face 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

miun veikkoin Virroo Läks viemää Viron rahhoi

5

10

moaan rahhoi maksamaa. Tul miun veikkoin Virosta viemästä Viron rahhoi moaan rahhoi maksamast. Tul heää tuiman tuppaa pönkkiän pöyvän peähän: ensin visko viittajaan lähettel leääppäjää itse käi siihen istumaa istumaa ja itkemeää.

Mie oli nuorin siskoloist mie lakasin lattijoaa. is Mie kyselin velloltain: “Mitäs sie suruissa, vello alla päin, pahoilla mielin?”

20

“Sitä uon, siso, surussa kuin on äijä siskoloi, äijä paitoi pittää enemmän hyviä vöitä säkki suuri seäärivöitä kipukkaine kintahiia sopukkaine sormikkaita.”

25 Emo kuuli nuo sanaset. Emo kolme tyttöjääse män hää meren rantaselle: yhen hurstil hukutti toisen vaipal vajotti no kolmannen paino paijan kans.

y brother went to Estonia to take Estonia’s money to pay his land-tax. My brother came back from Estonia from taking Estonia’s money from paying land-tax. Grimly he came to the house proudly to the table-head: first he tossed away his cloak and flung down his cap he went and sat down he sat down and wept.

M

I was the youngest sister was sweeping the floor. I asked my brother: “Why are you grieving, brother your head down, in bad' spirits?” “For this, sister, I’m grieving: that I have many sisters and many shirts are needed even more good belts a big sackful of leggings and a bundle of mittens and a cornerful of gloves.” Now, the mother heard these words. The mother with her three girls went to the seashore: one she drowned there in a sheet one she sank there in a gown one she weighed down with a shirt.

394

Q Q

yO

Tytärtensä tappaja I I The Daughter-Killer I I

Siit otti himo miniän sen himotun, sen halutun.

She took the desired daughter-in-law the desired, the wanted one.

Pantii kangas kangahille: ei kuo himo miniä. 35 Kangas istu kaiken vuotta. Kangas kielii rupes alko kangas koarittoaa: “Kivistää miun kinttujaini pakottaa miun jalkojain. 40 Viekää minnuu vesille kantakoaa kaivotielle, siel kulkiat kuttoot käypäläiset keääntelööt ruotsalaiset roisuttaat, 45 tuovat torvel kottii ommeltun orren peähän hulpilol huonehiee.”

Cloth was put upon the loom: the desired daughter-in-law won’t weave. The cloth sat there a whole year. The cloth started with its tongue the cloth began to argue: “I have an ache in my hocks I have a pain in my legs. Take me to water carry me to the well-path: there the wanderers will weave the travellers will turn me the Swedes will swirl me. They’ll bring cloth home in a roll to the beam-end all sewn up into the room all bordered.”

Emon sotkut sotkematta: ei sotke himo miniä. 50 Emon lehmät lypsämättä: ei lypsä himo miniä.

Mother’s washing was unwashed: desired daughter-in-law would not wash. The mother’s cows were unmilked: desired daughter-in-law would not milk.

55

60

65

Emo män vettä ottamaa. Kolkutti korennan peäätä kilkutti meren kivvii: “Tule vanhin tyttärein kutomaa miun kangastain!”

Mother went to get water knocked the end of the cowlstaff and rapped the rocks of the sea: “Come, my eldest girl come and weave my cloth!”

“En tule, emosuuvein: on siul himo miniä se himottu, se haluttu. Miks ei kuo himo miniä?”

“No, I’ll not come, my mother. You have the desired daughter-in-law the desired, the wanted one: why will she not weave?”

Kilkutti meren kivvii kolkutti korennan peätä: “Tule keskin tyttärein sotkujain sotkemoaa!”

She rapped the rocks of the sea knocked the end of the cowlstaff: “Come, my middle girl and wash m y washing!”

“En tule, emosuuvein:

“No, I’ll not come, my mother.

395

Q Q ^ O

Tytärtensä tappaja I I The Daughter-Killer I I

on siul himo miniä. Miks ei sotke sotkujais?’ Kilkutti meren kiwii kolkutti korennan peätä: 70 “Tule nuorin tyttärein lehmiäin lypsämeää!”

75

“En peäse, emosuuvein. Pilvet peätäin pittäät hattarat hapeniiain: Tuonen poika on polvillain Tuonen porras tullaksein.”

You have the desired daughter-in-law: why will she not wash?” She rapped the rocks of the sea knocked the end of the cowlstaff: “Come, my youngest girl come and milk my cows!” “No, I cannot, my mother. The clouds are holding my head the vapours my hair: Tuoni’s son is on my knees Tuoni’s step my only way.” M a r ia Ä ijä

Miikkulainen, Ingria V. Alava, 1894

396

99 TYTÄR The Daughter

saunaan emoni Saisaiminun minun saunaan olkuisille:

5

10

miun ismarot isoini uuet kenkäät kulutti Saksan saappahat laotti saunan tietä käyessään. Kysyi saunan ikkunasta: “Min sinuille Jumala antoi mitä antoi armollinen? Loiko Luoja luotinkättä armollinen atrankättä?”

Miun emoin vastaeli: “Ei luonut Luoja luotinkättä armollinen ei atrankättä: ie loi Luoja tuvan pesiän antoi astiain pesiän kevätkankahan kutojan talvipoukun poukuttajan.”

20

Isoi sanoi: Saata suohon! Velloi verkkoi: Vie veteen! Setoi: Seinään säräise! Seän nainen: Seipähäseen!

Ei antant sydän emoini eikä vatsa vaaliani 25 ei voinut vetehen viiä eikä seinään säräistä: emoi oli nähnyt suuret vaivat kärsinyt kovat kipiät saunan maassa maatessaan äo olkuisilla ollessaan

n the bath-house my mother had me, on the bath-house straw: my noble father wore out his new shoes trampled down his German boots up and down the bath-house road. Asked through the bath-house window: “What has God given you, what has the merciful given? Has God made a threshing-hand the merciful a plough-hand?”

I

My mother replied: “God has made no threshing-hand the merciful no plough-hand: he has made a house-washer has given a dish-washer a weaver of spring cloth, a washer of winter washing.” Father said: Put in the marsh! Brother: Push in the water! Uncle: Dash against a wall! Uncle’s wife: Fix on a pole! But my mother’s heart would not nor would my nurse’s bellycould not push in the water nor could dash against a wall: mother had seen great troubles had borne grievous pains lying on the bath-house soil staying on the straw

397

QQ •7 y

T y tä r T h e D a u g h te r

lauvoilla levätessään. Emoi turkkais tutuun laati lapsen kätkyeen: monet yöt oli uneta 3 5 monet illat iltaisetta monet aamut atriata murkinaiset murkinata, uuet hunnut kuivatteli kaheksat hunnut kapaloi 40 yhessä kesäissä yössä. Muu pere on murkinalla miun emoin on minussa kiini käsin kaksin kätkyessä viisin sormuisin vivussa 45 kymmenen kynttä kylkipäissä. Luuli turvaa tulovan varopuuta valmistuvan, ei tullut emoille turva tult ei turva tuutijalle äo vara ei viljoin vaalijalle. Tuli turva tuurasuille veen vetäjä versusuille laisoille halon hakkaaja . ..

resting on the boards. Mother pushed me in a cot laid her child in a cradle: many nights she was sleepless many evenings supperless many mornings with no meal breakfast-times with no breakfast and she dried the new napkins in eight napkins swaddled me in a single summer night. Other kin were at breakfast my mother was stuck to me with both hands in the cradle with five fingers on the beam with ten nails at the edges. She thought there would be support a shelter would be prepared but for mother no support no support for her who rocked aid for the bountiful nurse. There was support for pick-mouths a water-drawer for blabber-mouths for sluggards a wood-chopper . . . S in g e r unknow n

Soikkola, Ingria J . Länkelä, 1858

100 POIKA The Son

poika laatu poika Laari Laari laatu poisikkainen

boy, excellent boy Laari Laari, excellent laddie

vesti suksia sykysen kaplahia kevähen kaiken: 6 suen luista vesti sukset karhun luista kaplahaiset. Vuoen säästi vuohen voita kuukauen kukon talia mil hän voisi suksiahan 10 hanhen rasvalla rapasi.

shaped skis one autumn and sledge-shackles a whole spring: of wolf’s bones he shaped the skis of bear’s bones the sledge-shackles. One year he saved goat’s butter a month long cock’s grease and with these he greased his skis smeared them with goose-fat.

Mäni maita liukumahan liuku maita Uuvuttuja liuku liukumattomia liuku suurehen salohon 15 korkeahan koivikkohon, näki oksalla otuksen käsnältä punakäköisen. Suin saoi, sanoin läkäsi: “Istu tuossa ilmoin lintu so kokota Jumalan kokko kunis pyyhin pyssyjäni ruokin ruosterautajan pyyhin pyssyin tuoreheksi ruosterautain rohoon!”

He went sliding over lands lands that had been slid over that had not been slid over slid into the great backwoods to some tall birches saw a creature on a bough a brown cuckoo on a gnarl said by mouth, declared in words: “Sit still there, bird of the air wait, eagle of God until I have wiped my gun I’ve cleaned my rusty iron wiped my gun as good as new my rusty iron on grass!”

85 Ammuin kerran, ammuin toisen ammuin kerran, löin alaitse ammuin toisen, löin ylitse puuttui kohti kolmannesti: jo putois puhas lumelle 3 0 rasva hangelle hajoisi.

I shot once and I shot twice. I shot once, I hit too low I shot twice, I hit too high but it lodged home the third time: the pure one fell on the snow the fat spilled on the snow-crust.

399

100

Th?Son

Tuon sioin serentkuhuini sioin silmäriepuhuini tuon vein emon ehoksi maammon maistutuspaloiksi: 36 “ Emosein, ehtosein maammoseini, marjaseini jokos on maito maksettuna kova piina kostettuna?”

I tied it in my handkerchief I tied it in my eye-rag took it to please my mother as a titbit for mamma: “ M y mother, my favourite my mamma, my sweet berry has the milk now been paid for the harsh torment been made good?”

Emo vasten vastaeli «o vasten vastahan saneli: “ Ei oo viel maito maksettuna kova piina kostettuna. Äsen maksat maammon vaivat kostat piinan kuoriaisi 45 kostat vaivat vaaliaisi kuin teet emolle turkin teet turkin tuutialle seitsemän revon selästä kärpän kämmenpyöräsestä 60 kuuen kuunitsan nahasta.”

Mother answering replied for an answer said: “ The milk is not yet paid for the harsh torment not made good. You’ll pay for mamma’s troubles make good your hatcher’s torment your nurse’s troubles, only if you make mother a coat a fur coat for her who rocked out of seven foxes’ backs round paws of ermine six skins o f marten.”

55

Jo teki emolle turkin teki turkin tuutijalle, pani sulkut suita myöten aarnitsat alaisin puolin veran reunille levitti.

He made his mother a coat a fur coat for her who rocked put silk down the openings a hemmed linen skirt below laid cloth along the edges.

Laari poika laatu poika kysyy emoseltansa: “Jokos on maito maksettuna kovat piinat kostettuna?”

Laari boy, excellent boy asked his dear mother: “ Has the milk now been paid for the harsh torments been made good?”

Emo vasten vastaeli varsin vastahan saneli: “ Voi miun Laari poikueni äsen on vaivat maksettuna kovat piinat kostettuna 66 kuin teet tuvan emolle teet tuvan tuutijalle porstuvan tuvan etehen

60

Mother answering replied indeed she answered: “ Ah, my Laari, my offspring the troubles will be paid for harsh torments made good, only if you build mother a house build a house for her who rocked a porch in front of the house

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7 7 a Son

kammarit tuvan sivulle kota kammarin sivulle 70 uuet ukset kammarihin.”

with chambers beside the house a hut beside the chamber and new doors to the chamber.”

Laari poika laatu poika jo teki tuvan emolle teki tuvan tuutijalle porstuvan tuvan etehen 76 kammarit tuvan sivulle kota kammarin sivulle uuet ukset kammarihin.

Laari boy, excellent boy built a house for his mother built a house for her who rocked a porch in front of the house with chambers beside the house a hut beside the chamber and new doors to the chamber.

Laari poika laatu poika kysyy emoseltansa: so “Jokos on maito maksettuna kovat piinat kostettuna?”

Laari boy, excellent boy asked his dear mother: “ Has the milk now been paid for the harsh torments been made good?’

Emo vasten vastaeli varsin vastahan saneli: “ Voi miun Laari poikueni 85 äsen on vaivat maksettuna kovat piinat kostettuna kuin tuot lehosta leivän punakuoren koivikosta.”

Mother answering replied indeed she answered: “ Ah, my Laari, my offspring the troubles will be paid for harsh torments made good, only if you bring bread from the grove brown-crusted from the birch-wood.”

Laari poika laatu poika tuopa toi lehosta leivän punakuoren koivikosta.

Laari boy, excellent boy brought bread from the grove brown-crusted from the birch-wood.

m

Laari poika laatu poika kysyy emoseltansa: “Jokos on maito maksettuna 95 kovat piinat kostettuna?”

Laari boy, excellent boy asked his dear mother: “ Has the milk now been paid for the harsh torments been made good?’

Emo vasten vastaeli varsin vastahan saneli: “Jo on nyt maito maksettuna kovat vaivat kostettuna.”

Mother answering replied indeed she answered: “ Now the milk has been paid for 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 karpaloo kantajalle, poimin miä puolaa poluksen kaksi polusta karpaloja 6 vakan verran vaapukaista seeglan verran siestaraista munan kuoren mussikaista. Tulin illalta kottii.

10

M

went after berries for mother cranberries for who bore me picked cowberries, a sockful two sockfuls o f cranberries a bushel of raspberries a sieveful of currants, an eggshellful of bilberries. I came home in the evening.

Nii kyssyit kylläist naist sannoit naiset naapurista: “ Anna Maaroi marjojaas Katoi karpaloisiaas!”

So the village women asked women among neighbours said: “ Give, Maaroi, o f your berries Katoi, of your cranberries!”

I

M iä vaa vasse vastaelin: “ Evät jovva Maaroin marjat is eikä Katoisen karpaloist, Maaroi viepi mamoille marjat Katoi kantajaiselleen.”

But I answering replied: “ Maaroi’s berries aren’t to spare nor are Katoi’s cranberries: Maaroi takes them to mother Katoi to her who bore her.”

Marjukkain miun mamoin otti marjat polvillee so poimi puolan kieloillee, tuostapa voipui vuotehesse tuostapa lavvoille lamahti: oli vuoen vuotehessa kaks oli kyllin kattehessa.

Marjukkain my dear mother took the berries on her knees put a berry on her tongue. Then she sank down on her bed then went limp on the bed-boards: she was a year in her bed two indeed under covers.

es Mitä tehnen miä polioin mitä tehnen, kui elänen? Miäpä noijille Virroo alle linnan arbulille.

What am I to do, poor wretch what to do and how to live? I’ll to Estonia’s wizards to augurs below the town.

402

101

The Mother

Evät noise nuoret noiat 30 vanhat arpojat asetu akan vanhan vaalijaksi.

35

Annoin niitä, annoin näitä annoin ainoont aivinaant annoin viljaant viimeiseent annoin kultaa piolla hopiiaa kahmalolla: noisi yksi noijan poika vanha arbuli asettui akan vanhan vaalijaksi.

The young wizards would not rise the old augurs would not stand to care for the old woman.

I gave them this, gave them that I gave my only linen I gave my last corn I gave gold by the fistful silver cupped in my two hands: one son of a wizard rose an old augur stood to care for the old woman.

«o Miä vaa kiireeltä kottii: kuulin koissa kolkataa veräjällä vessetää saranoilla salvetaa.

And I hurried home: I heard knocking in the house, something being shaped at the gateway chopped at the hinges.

“ Mitä vessät velvyeen 46 sepitset sula settoin: vai vessät sotavennooja sotalaivoja rakennat sotiairoja asseetat?”

“ What do you shape, my brother and what smite, my sweet uncle: is it war-boats you’re shaping war-ships you’re building war-oars you’re fitting?”

Velloi väite vastaeli: 50 “ En vessä sotavennooja sota- en laivoja rakenna sota- en airoja asseeta: vessän kuolleen kottiia maaha männeen maijaa.”

M y brother indeed answered: “ I am shaping no war-boats building no war-ships fitting no war-oars: I shape a house for the dead and a hut for one gone down.”

56 Miä vaa tuisahin tuppaa ahavana porstuaa: emoi on pesty penkin päällä laaitettu laavitsalla. Miä vaa luoks luoteliin 60 likemmäs likentelliin.

And I rushed into the house like a gale into the porch: mother, washed, was on the bench was laid out on the platform. And I drew nearer I closed in closer.

Aloin äänin äikytellä aloin versin vieretellä sanoin heltehin sanella:

I began to cry aloud I began to chant a dirge and in burning words to say:

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T h e M o th e r

“Oi miun ehtoisa emmoin 66 nii lakkaisit miun isolle ku linnun lihan isolle, nii lakkaisit miun halulle ku harakan veren halulle. Oi miun ehtoisa emmoin 70 anna ääni armottoman viime sana vierettele Tuonen maalle mäntyääs liivoisehe liikkuaas! Kirkko on tehty korkiain 75 päällä on risti paistavain päällä on kangas palttinain.”

“O my dear mother you’ve left me in need like a bird in need of meat you’ve left me in want like a magpie wanting blood. O my dear mother give your voice to the orphan and chant the last word now you’ve gone to Tuoni’s land now you’ve moved into the sand! A church is built high: on you is a shining cross upon you a linen shroud.” U lja a n a

Soikkola, Ingria V. Porkka, 1883

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eitoi linnassa lässii alla Saaren sairastaa. Sanoi kulta kuollessaa läkkäisi läsiessää: 6 “ K u miä kuolen kuulu tyttö ilokalkkala kattoon tuokaa suku suuni päälle heimo hengen lähtiessä! K u tulloo maine matka 10 hepoisilla tultakaa kuusin kullatuin heppoisin toisin kuusin kullattomin! K u tulloo vetoine matka venoisilla tultakaa is kuusin kullatuin venoisin toisin kuusin kullattomin!”

maid lay ill in the town below the Island lay sick. The dear one said as she died and declared as she lay ill: “ When I die, a famous girl when I, a joy-bell, perish bring the kin before my face the clan as my breath departs! I f a land-journey is made let it be made on horseback upon six gilded horses another six ungilded! If a water-journey’s made then let it be made by boat in six gilded boats another six ungilded!”

Sanoi kulta kuollessaa läkkäisi läsiessää: “ K u miä kuolen kuulu tyttö so ilokalkkala kattoon elkää papitta panna kirkkoherratta kiveetä: tuokaa pappi Paastuelta kirkkoherra Kiljannalta!

The dear one said as she died and declared as she lay ill: “ When I die, a famous girl when I, a joy-bell, perish don’t bury me priestless, set no stone without a pastor: bring a priest from Paastue a pastor from Kiljanta!

25 Viekää miuista sinne viekää sinne, kunne käsken ja sinne, kunne lähetän Kaarastan kylän kaulle! En miä malta tuolla maata so noissa liivoissa levväätä kaarastiihen karskannalta

Carry me out there carry me where I command and where I send y o u to Kaarasta village street! I cannot lie there not rest in those sands for the stamp of villagers

A

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rasvaposkiin roiskannolta hevoisravvan raksinnalta.

for the splash of the fat-cheeks for the clop of the horseshoes.

Pankaa miuista sinne 36 pankaa sinne, kunne käsken ja sinne, kunne lähetän isoin ikkunan aloille velloin seinän vieryee! En miä malta tuoskaa maata 40 noissa liivoissa levväätä isoin suurelta itulta emoin kauvas kaljunnalta velloin kerveen vestännältä minnoin kivoin jyryltä 45 sissoin värttinän siruilta.

Bury me out there bury me where I bid you and where I send y o u beneath my father’s window and beside my brother’s wall! I cannot lie there either not rest in those sands for my father’s loud weeping for my mother’s long wailing for my brother’s axe hewing daughter-in-law’s stone rumbling my sister’s distaff whirring.

Viekää miuista sinne viekää sinne, kunne käsken ja sinne, kunne lähetän kirkon kirjavan tyvvee so paaen paksun kainaloo! En miä malta tuoskaa maata noissa liivoissa levväätä papin suurelta parulta kirkkoherran kiljunnalta 65 lukkarin virren laulannalta.

Carry me out there carry me where I command and where I send you to the base o f the bright church under the thick boulder’s arm! I cannot lie there either not rest in those sands for the priest’s loud howl for the pastor’s roar the deacon singing the dirge.

60

Pankaa miuista sinne pankaa sinne, kunne käsken: kauneen kalmain multaisee soreii someroisii heleii hietasii mihe on pantu muutki neiot! Siit miä maltan siinä maata ja niissä hiekoissa levväätä.”

Bury me out there bury me where I bid you in the graveyard’s lovely soil in the sweet shingle in the shining sands where other maids are buried! Then I can lie there and rest in those sands.” H e lo i

Kaprio, Ingria V. Porkka, 1883

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103 K U O L E V A N E I T O II The Dying M aid I I

riron neiti sairasteli V sano sairastellessansa:

5

“Kun ma kuolen kuulu piika riutunen tytär rikaspa työn tietteä hyväin miesten rahan alku aitallisten, viekeä minua maata tupatkate tuutumahan ison ikkunan alle!”

rr-»he Estonian maid lay sick J . and she said as she lay sick: “When I die, a famous lass pine away, a rich daughter bringer of work for good men source of money for rich men take me to lie down press me down to sleep beneath my father’s window!”

io Eipä saane neito maata piika pitkään levätä ison ruoskan roiskeelta kapinalta karjan kynnen: iso nousee varahin is oritta apettamaan.

But the maid could not lie down nor the lass rest long for her father’s whip swishing the trampling of cattle-hoofs: her father got up early to feed the stallion.

Viron neiti sairasteli sano sairastellessansa: “Kun ma kuolen kuulu piika riutunen tytär rikaspa äo työn tietteä hyväin miesten rahan alku aitallisten, viekeä minua maata tupatkate tuutumahan veikon venovalkamahan.’’

The Estonian maid lay sick and she said as she lay sick: “When I die, a famous lass pine away, a rich daughter bringer of work for good men source of money for rich men take me to lie down press me down to sleep in my brother’s boat haven!”

25 Eipä saane neito maata: tuohon saapi Saksan laivat tulee Tukhulmin purret tervarinnat teutoavat.

But the maid could not lie down: the German ships arrived there the Stockholm craft came and the tar-bowed milled about.

Viron neiti sairasteli

The Estonian maid lay sick

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30 sano sairastellessansa: “ Kun ma kuolen kuulu piika riutunen tytär rikaspa työn tietteä hyväin miesten rahan alku aitallisten, 35 viekeä minua maata tupatkate tuutumahan emon kellarin etehen.”

and she said as she lay sick: “ When I die, a famous lass pine away, a rich daughter bringer of work for good men sdurce of money for rich men take me to lie down press me down to sleep before my mother’s cellar!”

Eipä saane neito maata: emo nousee varahin 40 hulikoita huutomaan kirnuja kolistamaan.

But the maid could not lie down: her mother got up early to rinse out the tubs to rattle the churns.

Viron neiti sairasteli sano sairastellessansa: “ Kun ma kuolen kuulu piika 45 riutunen tytär rikaspa työn tietteä hyväin miesten rahan alku aitallisten, viekeä minua maata tupatkate tuutumahan so siskon pellon pientarella.”

The Estonian maid lay sick and she said as she lay sick: “ When I die, a famous lass pine away, a rich daughter bringer of work for good men source o f money for rich men take me to lie down press me down to sleep at the edge o f sister’s field!”

Eipä saane neito maata sikon värttinän helyiltä: sikko nousee varahin. Viron neito sairasteli 55 sano sairastellessansa: “ Kun ma kuolen kuulu piika riutunen tytär rikaspa työn tietteä hyväin miesten rahan alku aitallisten, 60 viekeä minua maata tupatkate tuutumahan kirkon kirjatun sivuun satalauan lappeasen tervaporstuan poveen 65 lihavaan luumäkeen vierelle vihannan nurmen:

But the maid could not lie down for sister’s distaff jingling: her sister got up early. The Estonian maid lay sick and she said as she lay sick: “ When I die, a famous lass pine away, a rich daughter bringer of work for good men source of money for rich men take me to lie down lay me down to sleep at the side o f the bright church beside the hundred-boarded right inside the tarry porch on the fat bone-hill beside the lush grass:

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siell on äiä ännetöntä paljo paksua väkeä.”

there many silent folk are crowded together.” M a te li K u io a la ta r

Ilomantsi, North Karelia E. Lönnrot, 1838

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104 H IR T TÄ Y TY NY T N E IT O I The Hanged M aid I

A nni tyttö aini tytti j t \ läksi vastoa metästä vastan päätä varvikosta. Taitto vastan taatollensa 5 toisen taitto maamollensa kolmannen kokoeli nuorimmalla veiollansa perehen paremmolle.

r r i h e girl Anni, matchless girl X went to the wood for bath-whisks to the thicket for bath-whisks: broke off one for her father another for her mother a third she gathered for her youngest brother, the best in the family.

Osmonen orosta kirpo io Kalevainen kaskimaista: “ Kasva neito minussa mielin älä muissa nuorisoissa nuorisossa kaunihissa, kasvos kaioissa somissa is veny verkavaattehissa.”

Osmonen slipped from the dell Kalevainen from the clearing: “ Grow, maid, to please me not the other young people the fair young people: grow in narrow, in neat things grow tall in dresses of cloth.”

Anni tyttö aini tytti läksi itkien kotihin kallotellen kartanolle. Isä pääty ikkunassa 20 kirvesvartta vuolomassa: “ Mit itet Anni tytti?”

25

The girl Anni, matchless girl went weeping homeward wailing to the farm. Father was at the window was whittling an axe-handle: “ Why do you weep, Anni girl?”

“ Kirpo risti rinnaltani kirpo sormus sormestani kauniseni vyöni päästä simpsukaiset silmiltäni kultaripsut kulmiltani.”

“ The cross has slipped from my breast the ring slipped from my finger my trinkets off my belt’s end the beads from my eyes the gold tassels from my brows.”

Veljekset veräjän suussa kirjokorjoa kirjutetan

Her brothers in the gateway were adorning a bright sleigh

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laitioa laaitaan: 30 “ Mit itet Anni sikko?” “ Ompa syytä itkiäkin: kirpo risti rinnaltani.”

“ There is cause for my weeping: the cross has slipped from my breast.”

Anni tyttö aino ty tti. . .

The girl Anni, matchless g ir l. . .

Sisarekset sillan päässä 35 vyötä kullasta kuotaan hopieista huolitetaan: “ Mit itet Anni sikko Anni sikko aino sikko?”

40

“ Kirpo risti rinnaltani kirpo sormus sormestani kauniseni vyöni päästä.”

Emo aitan kynnyksellä voita kiulussa pesee: “ Mit itet Anni tyttö 45 Anni tyttö aino tytti?”

50

“ Läksin vastoa metsästä vassan päätä varvikosta, taitin vastan toatolle. Osmonen norosta huuti Kalevainen kaskimailta: ‘Kasva neito minussa mielin älä muissa nuorisossa nuorisossa kaunisossa, kasvos kaioissa somissa.’ ”

“ Anni tyttö aino tytti älä ite Anni tytti, kolm on aittoa mäellä astu aittaan mäellä avaos parahin aitta: 60 syö sie siellä vuosi vuota tulet muita vuolahampi, toisen vuoen sian lihaa

55

were building a box-sledge: “ Why do you weep, sister Anni?”

Her sisters upon the floor were weaving a belt o f gold working one of silver: “ Why do you weep, sister Anni sister Anni, matchless one?” “ The cross has slipped from my breast the ring slipped from my finger my trinkets off my belt’s end.” Mother on the shed step was washing butter in a pail: “ Why do you weep, Anni girl you girl Anni, matchless girl?”

“ I went to the wood for whisks to the thicket for bath-whisks broke off one for my father. Osmonen called from the dale Kalevainen from the clearing: ‘Grow, maid, to please me not the other young people the fair young people: grow in narrow, in neat things.’ ” “ You girl Anni, matchless girl don’ t weep, Anni girl. Three are the sheds on the hill. Step to the shed on the hill open the best shed: there eat butter for a year and grow plumper than others another year, pork

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kolmas kuorekakkaroita. Pane arkku arkun päälle es lipas lippahan lomahan, avaa sie parets arkku kimahuta kirjakansi, pane päälle parainta ripeintä rinnoillasi.”

and a third, fish pies. Stand trunk upon trunk case on top of case: open the best trunk make the bright lid slam open put on the best things the most gorgeous on your breasts.”

70 Anni tyttö aini neiti astu aittaan mäellä avasi pahimman aitan tuli muita sirkiempi tuli muita vuolahampi, 75 avasi pahimman arkun löysi kuusi kultavyötä kaheksan kapalovyötä, kuristihin kultavöille kaakistihen kapalovöille so kuukistaksen kaakistaksen riputaksen rihmallansa: siitä riutu lippahalle kaatu arkun kannen päälle.

The girl Anni, matchless maid stepped to the shed on the hill opened the worst shed became prettier than others became plumper than others opened the worst trunk found six golden belts eight swaddling-girdles strangled herself with the belts choked herself with the girdles she staggered, she slumped hanged herself with her own thread: then she dropped upon the case fell on the trunk-lid.

Emo aittaan tuleepi 86 kolme vuotta oltuohon: jop on uupu Anni tytti.

Her mother came to the shed when three years had passed: the girl Anni was no more.

“Vieres kyynel, viere toinen vierkööt vetrehet veteni hienon helman helmussoilla 90 ripeille rinnoilleni, viere kyynel, viere toinen sulkkusilla vyöni päillä, viere kyynel, viere toinen sulkkusille sukkasille, 95 vieläki sitä alemma hienon helman helmysvöillä, vieläki sitä alemma kaunehille kantapäille kultakengän kantasille, loo viere kyynel, viere toinen

“Roll, a tear, roll, another let my brimming waters roll on my fine skirt-hems on my gorgeous breasts roll, a tear, roll, another on my silk belt-ends roll, a tear, roll, another on my silk stockings lower still than that on my fine skirt-hems lower still than that upon my fair heels the heels of my golden shoes roll, a tear, roll, another

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vieläki sitä alemma alasihin maaemihin viere maahan maan hyviksi.”

lower still than that to the earth-mothers below to the earth for the earth’s good.”

Jo tuleepi kolme jokee 105 tuleepi joki tulinen yhen immen kyyneleistä, rotiupi kolme koivuu joka joen partahalle, rotiupi kolme käkeä no yhen ihmisen itusta.

Now three rivers came and a fiery river came from one maiden’s tears three birches were bred one the bank of each river three cuckoos were bred out o f one person’s weeping.

Kolmas kukku: lemmen, lemmen lapselle nimettömälle, yksi kukku: auon, auon lapselle auottomalle, 115 toinen kukku: lemmen, lemmen lapselle lemmettömälle, kolmas kukku: auon, auon lapselle isättömälle.

The third called love, love to the nameless child the first called Joy, Joy to the joyless child the second love, love to the loveless child the third called joy, joy to the child with no father. S in g e r unknow n

Uhtua, Archangel Karelia E. Lönnrot, 1834

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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

5

a lermo Ylermän yrkkä .xVkaiken vallan maan hyvä se vad kyssyy emoltaa: “Näitkö neitoo kasvavanna tukkapäät ylenevännä?”

a lermo, Ylermä’s swain ,/x o n e of all the country’s best he asked his mother: “Have you seen a maid growing one with locks rising?”

“Näin mie neijo kasvavanna tukkapään ylenevännä vaa ei sit siulle panna siun molotsan morsiameks.”

“Yes, I’ve seen a maid growing one with locks rising but she will not do for you as a bride for you, young squire.”

io Alermo Ylermän yrkkä ehitti laivutta kuusi seitsemänne itsellee: pani purjeet punaset toiset purjeet siniset is kolmannet koko rohoset, pani purjeet pursimaa tervarinnat tempomaa, mäni neitoista kossii.

Alermo, Ylermä’s swain fitted out six ships and a seventh for himself: fitted sails, red ones other sails, blue ones a third lot all green set the sails to sail' the tar-bows to tug went to woo the maid.

Neito etsi emolta päätä oven suussa orren alla kahen ikkuna välillä, pisti päätä ikkunasta suuta suuresta lovesta: “Oi emyt, vana emoni 25 vana mamma vaalijani, Untomaan sota tulloo.”

The maid groomed her mother’s head by the door, beneath the beam between two windows stuck her head through the window and her face through the big gap: “O mother, my old mother old mamma, my nurse Untomaa’s war is coming.”

20

Emyt vassoin vastaeli: “Ei tule Untomaan sota: ne siun kosjosi tulloot.

Her mother answering said: “No, Untomaa’s war is not: they are your wooers coming.

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30 Mää aittaa mäelle siell on kirstu kirstun päällä laatikko laatikon päällä: pane päällesi parasta hienokkaiset hibjällesi!” 35

40

45

Go to the shed on the hill there is chest on chest box on top of box: put on the best things fine things on your skin!”

Neito mäni aittaa mäelle. Pani päällese paraimmat hienokkaiset hibjälle, otti kuusi kultavyötä seitsemä hopiavyötä. Otsat ortehe rapasi keskikohan kaulailee: siihi suuti surmuse siihi kaatoi kalmovese.

The maid went to the shed on the hill put on the best things fine things on her skin took six golden belts seven silver belts. She fixed the tips to a beam the middle part to her neck: there she choked to death there she fell towards the grave.

Ylennä Alermon yrkkä se vad kyssyy emolta: “Kussa on vad teijä neito?”

Ylermä, Alermo’s swain he asked his mother: “Where then is this maid of yours?”

Emyt väite vastaeli: “Neito on aitassa mäellä aitassa mäellisessä: 50 mää aittaane mäelle aittaa mäellissee!”

His mother answering said: “She’s in the shed on the hill in the shed upon the hill: go to the shed on the hill to the shed upon the hill!”

Alermo Ylermän yrkkä mäni aittaa mäelle aittaa mäellissee. 65 Katso aitan uksen päälle: neito hirressä rippuu.

Alermo, Ylermä’s swain went to the shed on the hill to the shed upon the hill looked at the shed door: the maiden hung from the beam. K a t i K ä h ä rä

Narvusi, Ingria J . Ruotsalainen, 1900

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106 MENETYS I The Loss I

änin suolle sotkemaa pellolle puristammaa, mänin paitani pajulle hameheni hoavan oksal helmen hiekkarantuelle. Sit varas vahti varvikosta mies vihaine vitsikosta: vei tuo miun paitani pajulta hameheni hoavan oksalt sukkani sulalta moalta kenkäni kesäkiveltä helmet hiekkarantuelta. Mänin itkiihe kottiihe.

M

5

10

to the marsh to wash Iwent to the field to wring put my shirt on a willow my skirt on an aspen bough my beads on the sandy shore. A thief watched from the thicket a wicked man from the scrub: took my shirt from the willow my skirt from the aspen bough my stockings from the bare ground my shoes from the summer-rock my beads from the sandy shore. I went weeping home.

Emo kysy koton ta: is “Mitä itket nuorueni?”

Mother asked at home: “Why do you weep, my youngster?”

“Mänin suolle sotkemaa pellolle puristammaa, mänin paitani pajulle hameheni hoavan oksal 20 helmen hiekkarantuelle. Sit varas vahti varvikosta mies vihaine vitsikosta: vei miun paitani pajulta hameheni hoavan oksalt 25 sukkani sulalta moalta kenkäni kesäkiveltä helmet hiekkarantuelta.”

“I went to the marsh to wash to the field to wring put my shirt on a willow my skirt on an aspen bough my beads on the sandy shore. A thief watched from the thicket a wicked man from the scrub: took my shirt from the willow my skirt from the aspen bough my stockings from the bare ground my shoes from the summer-rock my beads from the sandy shore.”

“Elä itke nuorueni. Ky11 on kirstu kirjavia 30 toinen kirstu kiiltäviä:

“Don’t weep, my youngster. There’s a chestful of bright things another of shiny things:

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pane peällesi parasta hipjällesi hienokkaista!”

put on the best things fine things on your skin!” H elen a

Kupanitsa, Ingria J . Ruotsalainen, 1901

27

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107 MENETYS II The Loss I I

lin viikon oljamissa toisen viikon vierahissa, kuoin mie vaipon kultareunan hurstin hopian reunan, 5 menin suone soltumaan järven jäälle huhtomaan. Putos sormus sormestaan sanaperä peukalosta toinen toisest kädest. 10 Menin itkein kotien.

O

Emoi enniten kyseli: “Mitäs itket tyttöeni?” “Sitä itken emoni: olin viikon oljamissa is toisen viikon vierahissa.”

20

“La meidän punikki poikkii saadaan Saksan sormuksii Saksan sarapirää sata syltä sarvet pitkät tuhat syltä turpa pitkä.”

a week with parents I stayed another week visiting wove a cloak with a gold edge a sheet with a silver edge went to the marsh to wash them to the lake-ice to rinse them. A ring fell from my finger a band from my thumb and one from my other hand. I went weeping home. My mother managed to ask: “Why are you weeping, my girl?” “For this I weep, my mother: I stayed one week with parents another week visiting.” “Just wait till our brown cow calves we’ll get German rings and some German bands and horns a hundred spans long its muzzle a thousand spans.” S in g er unknow n

Skuoritsa, Ingria K. Stråhlman, 1856

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108 MENETYS III The Loss I I I

to marshes to tramp Iwent to clearings to drive about:

äksin miä soille sotkemaa ahoille miä ajelemmaa, tuol oli metsät vettä täynnä puun juuret punaista olutta 6 ahot täynnä astioia kannon juuret kannulois. Otin miä kannun, otin toissen kohta kolmatta rupesin, join miä itseen juovuksii 10 join miä itse, juotin miä muita.

there woods were full of water tree-roots of brown beer the clearings full of dishes the stump-roots of jugs. I took a jug, another started at once on a third I drank myself drunk drank myself, gave others drink.

Rupesi nukuttammaa. Nukuin miä nurmelle hyvälle vaivuin maalle valkialle alle kuusen kukkalatvan is alle haapaisen vennoisen: vei varas hyvän hepoisen hiirenkarvaisen kaotti sekä saamisen satulan. Miäpä itkien kottiin 20 kallotellen kartanolle.

I started to feel sleepy slept on the good grass sank on the white ground, beneath a spruce with its top in flower underneath an aspen boat: a thief took my good horse, made away with the mouse-hued one yes, and the ashwood saddle. I went weeping home wailing to the farm.

L

Isoi aitassa assuu emoi aitan rappusilla. Isoi ennättää kyssyy: “Mitä itket poikaiseen?”

My father was in the shed my mother on the shed steps. My father managed to ask: “Why are you weeping, my lad?”

as Miä vasse vastaelin: “Sitä itken miä, issoin: vei varas hyvän hepoisen hiirenkarvaisen kaotti sekä saamisen satulan!”

I answering said: “For this I weep, my father: a thief took my good horse, made away with the mouse-hued one yes, and the ashwood saddle!”

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40

Menetys I I I The Loss I I I

Isoi kielsi itkömästä: “Elä huoli poikueen. Eglen meillä lehmä poiki teki tuo valkoisen vasikan sukkajalan suilahutti. Tuo vietiin Viipuriin tuolla me saahaa satoi tuhansii tungetaa. Ossetaa oroi parempi taikka tamma sälköväine. Tuo syöpi kaurat räystähiltä pilvestä veen vettää.”

Father told me not to weep: “Do not worry, my offspring. Yesterday our cow calved: she has dropped a white calf slipped forth one with white hocks. If we take it to Viipuri there we’ll make hundreds thousands will be pressed on us. We’ll buy a better stallion or a mare, a young filly. She’ll eat the oats from the eaves 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

lin piennä poikaisena isän polven korkuiseina emon värttänän pituinen. Mänin piennä kyntämää 6 varrain vakoilemaa, kynnin vuavon, kynnin toisen kohta kolmatta alotin. Toi surma sussii paljon kantoi metsän karhuloi: 10 söivät miun varsani vuavost mustan ruunan mullan piält. Mie itkinä kottiihen.

O

Isä kysyi: “Mitäs itket poikaseni valkopiäkköni valitat?” is “Sitä itken mie, isäni: toi surma sussii paljon kantoi metsän karhuloi. Em mie kyntäkää kerinnyt ku söivät miun varsani vakosesta 20 mustan ruunan mullan piält.”

26

Isä vasten vastaeli: “Älä itke poikaseini valkopiäkköni valita! Lähem linnahan kesällä sekä konnoihen, kopiat, ostamma orihevoisen tahi tamman sälköväisen.”

a small boy Iwas as tall as my father’s knee as long as mother’s distaff. A small boy, I went ploughing early furrowing: ploughed a furrow, another soon began a third. Death brought many wolves carried forest bears: ate my foal in the furrow my black gelding on the soil. I went weeping home. Father asked: “Why do you weep, my lad why, my fair-haired one, lament?” “For this I weep, my father: Death brought many wolves carried forest bears. I had no time for ploughing for they ate my foal in the furrow my black gelding on the soil.” Father answering replied: “Do not weep, my lad my fair-haired one, don’t lament! We’ll go to town in summer yes, and to market proudly: we’ll buy a stallion or a mare, a young filly.” M a r ia K irp p u

Liissilä, Ingria J . Lorvi, 1914

421

no TANSSI The Dunce

5

tantsihin ruveta. T aian Ei oo tantsi miun rotima

think I will start dancing. I The dance is not my breeding

eikä toisen kumppalini: tantsi on tuotu tuonempoa Uuenlinnan ulkopuolen Pietarin pihoja myöten Vienan väljiltä vesiltä eipä vielä sieltäkänä!

nor the other’s, my partner’s: the dance was brought from yonder the far side of Novgorod through the yards of Petersburg from the White Sea’s wide waters not even from there either!

Kasvo marjanen mäellä yleni heliä heinä, heposet veti hikiveessä varsat vaahtessa samosi, pyyhyöt vihertelevät Vesasilla vempelillä, 15 Oravaiset juoksen teli aisoilla vaahterisilla, tetryöt kukerteli korjan kirjavan kokalla, vesi tippu vempelestä 20 rasva rahkehen nenästä, reki rautanen ratsasi tantsia taluttaessa ilokasta tuotaessa.

A berry grew on a hill fine grass was rising horses sweating drew foals wandered foaming partridges whistled on the sapling collar-bows squirrels ran about on the maple shafts black grouse were cooing on the prow of the bright sleigh water from the collar-bow dripped, fat from the traces-tip the iron sledge creaked as the dance was led along as the thing of joy was brought.

Jo tantsi pihalla saapi:

The dance arrived in the yard: all joy was at the window. Whose leave should I ask to lead the dance in lead the dance, my guest?

10

25 ilo kaikki ikkunalla.

Keitä mie kysyn lupoo talunko tantsin tupahan talun tantsi vierahani? Jo tantsi pihalla saapi: 30 lehmät parteh levitti

The dance arrived in the yard: the cows knocked over their pens

422

il l iV n/ Tanssi The Dance härät katko kytkyensä kiukoa kivinen liikku patsas patvinen järähti. Keitä mie kysyn lupoo: 36 isännältä pöyän päästä emännältä sen sivusta pojalta rahin nenästä talunko tantsin tupahan talun tantsi vierahani?

the oxen snapped their tethers the stone oven moved the post of curly birch shook. Whose leave should I ask master’s at the table-head the mistress’s at the side or the boy’s at the bench-end to lead the dance in lead the dance, my guest?

40 Ei tule tupahan tantsi oviseinän ottamatta: oviseinä on osmon luista periseinä petran luista karsina kapehen luista 46 sivuseinä sirkun luista laki lahnan suomuloista.

But the dance could not come in without catching the door-wall: the door-wall was of bear’s bones the rear wall was of deer’s bones the closet was of sheep’s bones the side wall of bunting’s bones and the ceiling of bream-scales.

Jo tuli tupahan tantsi. Kenpä tulloo tantsimahan sinne poika syntyöh 50 niin on viisas kun isonsa läpikäymähän keräjät jutut julki polkemahan!

65 niin on laiska kuin emonsa alla aian maattavaksi lepikköhön levättäväksi!

Now the dance came in. To him who will come dancing may a boy be born as clever as his father to go through the assizes to make a case in public! To him who won’t come dancing may a girl be born as lazy as her mother to be laid below the fence tumbled among the alders!

Alene alene hyvä roua: jo on taattos kuolemassa! 60 Alene alene hyvä roua: jo on maammos kuolemassa! Alene alene hyvä roua: jo on kuollut veikkoesi jo on kuollut sisarues 66 jo on kuollut morsiosi!

Down, down, good lady for your daddy is dying! Down, down, good lady for your mamma is dying! Down, down, good lady: your brother is dead your sister is dead and your bride is dead!

Ken ei tulle tantsimahan sille tyttö syntyöh

Ylene ylene hyvä roua: jo on taattos vironnut!

Up, up, good lady: your daddy’s alive again!

42 3

Tanssi The Dance

1 1 A 1 l v

70

Ylene ylene hyvä roua: jo on maammos vironnut! Ylene ylene hyvä roua: jo on veikkosi vironnut jo on sisares vironnut jo on morsiames vironnut!

Up, up, good lady: your mamma's alive again! Up, up, good lady: your brother’s alive again your sister’s alive again 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

5

10

kivellä istui Kirstinen toivo miestä onnellista

sat on a rock Kirstinen hoping for a happy man

lykyllistä lyyrytteli. Nousi merestä kultamiesi jonk oi kultahattu hartioilla kultakintahat kälessä: “Tuletkos Kirstinen minulle?”

lilting for a lucky man. From the sea a gold man rose with a hat of gold on his shoulders mittens of gold in his hand: “Will you come, Kirstinen, to me?”

“Ei o suotu eikä luotu eikä käsketty kotoa kultamiehelle minua.”

“Neither meant nor made nor bidden at home for a golden man was I.”

Kirstinen kivellä istui toivo miestä onnellista lykyllistä lyyrytteli. Nousi merestä hopeamiesi is jonk oi hopeahattu hartioilla hopeakintahat kälessä: “Tuletkos Kirstinen minulle?”

20

26

Kirstinen sat on a rock hoping for a happy man lilting for a lucky man. From the sea a silver man rose with a silver hat on his shoulders silver mittens in his hand: “Will you come, Kirstinen, to me?”

“Ei o suotu eikä luotu eikä käsketty kotoa hopeamiehelle minua.”

“Neither meant nor made nor bidden at home for a silver man was I.”

Kirstinen kivellä istui toivo miestä onnellista lykyllistä lyyrytteli. Nousi merestä kuparimies jonk oi kuparhattu hartioilla kuparkintahat kälessä: “Tuletkos Kirstinen minulle?”

Kirstinen sat on a rock hoping for a happy man lilting for a lucky man. From the sea a copper man rose with a copper hat on his shoulders copper mittens in his hand: “Will you come, Kirstinen, to me?” “Neither meant nor made

“Ei o suotu eikä luotu

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 30 kuparmiehelle minua.”

35

40

nor bidden at home for a copper man was I.”

Kirstinen kivellä istui toivo miestä onnellista lykyllistä lyyrytteli. Nousi merestä leipämiesi jonk oi leipähattu hartioilla leipäkintahat kälessä: “Tuletkos Kirstinen minulle?”

Kirstinen sat on a rock hoping for a happy man lilting for a lucky man. From the sea a bread man rose with a hat of bread on his shoulders mittens of bread in his hand: “Will you come, Kirstinen, to me?”

“Nyt on suotu, nyt on luotu nyt on käsketty kotoa leipämiehelle minua.”

“Yes, both meant and made and bidden at home 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 istu Suomen sillan peässä aijoin istu, toisin itki, vuotti miestä mielellistä 5 sulhasta sulasanaista.

A

nni, matchless maid sat upon the Finland Quay sometimes sat and sometimes wept waiting for a likely man for a bridegroom with sweet words.

A

Mies merellä näytteleikse oalloilla ylenteleikse rauta suussa, rauta keässä rautakintahat käsissä 10 rautahattu on hartijoilla rautakihlat kintahissa: “ Jog oot neido miussa varoin?”

A man appeared on the sea rose upon the waves iron in his mouth, his hand iron mittens in his hands iron hat on his shoulders iron gifts in his mittens: “ Are you kept, maiden, for me?”

“ Engä siussa engä kessään engä muissa nuorisossa: is kasvan kaijoissa sovissa venyn verkavoattehissa toaton leipäkannikoissa.”

“ Not for you nor anyone nor for other young people: I grow up in narrow clothes grow tall in dresses of cloth on father’s breadcrusts.”

Mies merellä näytteleikse oalloilla ylenteleikse 20 vaski suussa, vaski keässä vaskikintahat käsissä vaskihattu on hartijoilla vaskikihlat kintahissa: “Jog oot neido miussa varoin?”

A man appeared on the sea rose upon the waves copper in his mouth, his hand copper mittens in his hands copper hat on his shoulders copper gifts in his mittens: “ Are you kept, maiden, for me?”

25

“ Engä siussa engä kessään engä muissa nuorisossa: kasvan kaijoissa sovissa venyn verkavoattehissa toaton leipäkannikoissa.”

“ Not for you nor anyone nor for other young people: I grow up in narrow clothes grow tall in dresses of cloth on father’s breadcrusts.”

427

I 1 ^ 1

Meren kosijat I I The Suitors from the Sea I I

30 Mies merellä näytteleikse oalloilla ylenteleikse tina suussa, tina keässä tinakintahat käsissä tinahattu on hartijoilla 36 tinakihlat kintahissa: “Jog oot neido miussa varoin?”

A man appeared on the sea rose upon the waves tin in his mouth, in his hand mittens of tin in his hands hat of tin on his shoulders gifts of tin in his mittens: “Are you kept, maiden, for me?”

“Engä siussa engä kessään engä muissa nuorisossa: kasvan kaijoissa sovissa 40 venyn verkavoattehissa taaton leipäkannikoissa.”

“Not for you nor anyone nor for other young people: I grow up in narrow clothes grow tall in dresses of cloth on father’s breadcrusts.”

Mies merellä näytteleikse oalloilla ylenteleikse kulta suussa, kulta keässä 45 kultakintahat käsissä kultahattu on hartijoilla kultakihlat kintahissa: “Jog oot neido miussa varoin?”

A man appeared on the sea rose upon the waves gold in his mouth, in his hand mittens of gold in his hands hat of gold on his shoulders gifts of gold in his mittens: “Are you kept, maiden, for me?”

“Engä siussa engä kessään so engä muissa nuorisossa: kasvan kaijoissa sovissa venyn verkavoattehissa taaton leipäkannikoissa.”

“Not for you nor anyone nor for other young people: I grow up in narrow clothes grow tall in dresses of cloth on father’s breadcrusts.”

Mies merellä näytteleikse 65 oalloilla ylenteleikse leipä suussa, leipä keässä leipäkin tahat käsissä leipähattu on hartijoilla leipäkihlat kintahissa: 60 ,cJ 0g° °let neido miussa varon?”

A man appeared on the sea rose upon the waves bread in his mouth, in his hand mittens of bread in his hands hat of bread on his shoulders gifts of bread in his mittens: “Are you kept, maiden, for me?”

“Jo mie siulla tulen. Jo nyt on suotu, jo nyt seätty jo on eukko tuuvittana vanha voaputtana, 66 jo nyt käsketty kotona

“Now I’ll come to you. Yes, both meant and meet and rocked by my dame lulled by my old one yes, bidden at home

428

1 1 ^

1 1Z>

70

Meren kosijat I I The Stators from the Sea I I

se on sih jo luuveh luotu luuveh luotu, seämeh seätty seädämä pyhän Jumalan: musta valgian varaksi lyhyt on pitän puoliseksi.”

it is granted, made, granted, made, made meet meet by holy God that black to white be a help 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

5

10

linnukkaine Katiijätkukka istu, kavvan kasvo

a flower, little bird Kati, for ages sat, for long grew

kavvan kasveli kotonna enemmän emoisen luona. Ei pant emyt pahaksi isyt ei ovvoksi otellut Katrin kavvan kasvettua.

for long she grew up at home longer at her mother’s side: mother did not take it ill father did not think it odd that Katri was long growing.

Alko Katri kaikatella: “Miks ei naija nuoret miehet miks ei nuoret minusta naija?”

Katri began to gabble: “Why won’t the young men marry why will they not marry me?”

Se oli viekas vellon naine se oli viekas ja kavala kavalasti kaikatteli: ”Sill ei nuo sinusta naija is miks et illalla päätäs pese aamupäivin harjaele.” Alkoi Katri päätä pessä aamupäivin harjaella. Tultii kosjot kolmiöiset: 20 yhet tultii kuuvalolle toiset tultii päivyelle kolmannet peri Virroo neljännet omille maille.

’Twas her brother’s cunning wife she, cunning and sly who slily gabbled: “For this they won’t marry you: you don’t wash your hair evenings nor brush it mornings.” Katri started washing her hair brushing it mornings. Three nights wooers came: some came on the moon’s behalf some came on the sun’s behalf some on further Estonia’s behalf some on her own lands’ behalf.

Isyt tahto kuuvalolle 25 emyt tahto päivyelle vello se peri Virroo neitine omille maille: ‘‘En mie lähe kuuvalolle. Kuulla on kuusi ammattii: 30 välist pistiä pilven alle

Father wished her for the moon mother wished her for the sun the brother for further Estonia the maiden for her own lands: “ I will not go to the moon. The moon has six trades: sometimes it sinks behind cloud

430

1 1 O -1 1 » }

Kaukaiset kosijat The Suitors from A f ai

välist pilveen äären alle. En mie lähe päivyelle: päivyt polttaa paljo maata silmii sitä enemmän. 36 En lähe peri Virroo: vesivellii keitetää millä viikko vietetää kuukausi kulutettaa.”

sometimes behind a cloud-edge. I will not go to the sun: the sun burns much land the eyes so much more. I’ll not to further Estonia: there watery gruel is cooked which is made to last a week and a month goes by on it.”

Neitine omille maille 40 oman puolen poikasille. Paremp on omilla mailla roppeesta vettä juuvva ku on mailla vierailla juuvva tuopista olutta.

She chose those from her own lands chose the lads of her own part. Better be in your own lands drinking water from birch-bark than be in strange lands drinking beer from a flagon. U lja a n a

Narvusi, Ingria V. Porkka, 1883

431

114 LIKAINEN NEITO The FouCl M aid

5

10

to Kontu to woo Iwent in famous Kontu village

ulin Konnusta kosihin Konnun kuulusta kylästä ankaran apen talosta ankaran anopin luota. Puhuttelin lausuttelin: “Onkos teillä neittä myyä tahi kaupata kanaista?”

in a stem father-in-law’s house at a stern mother-in-law’s side. I spoke, I spoke up: “Have you a maiden for sale or a hen to trade?”

“Kanan kauppa orren alla neien on nelisnurkkaisessa. Menkäähän tuonne tupahan: tupa on tehty miesten tulla talli hevosten asua.”

“Hens are sold beneath a beam maids in a four-cornered room. Go that way into the house: a house is for men to come a stall for horses to live.”

K

Meninpä minä tupahan. Tupa oli täynnä tuppisuita is lattia lutaneniä peräpenkki pierijöitä. Tuotiinpa oltta tupahan kannu mettä, toinen oltta. “Ennen en huoli syömisestä 20 enkä huoli juomisesta vaan tahtoisin neittä nähdä: tuokatte neiti tupahan!”

Well, I went into the house: it was full of button-mouths and the floor of snub-noses and the back bench of farters. Beer was brought into the house a jug of mead, one of beer: “ I do not care to eat yet nor care to drink yet but I’d like to see the maid: bring the maid into the house!”

Tuotihin neiti tupahan sisaresten siiven alla 26 veljen vaimon vaipan alla kälysten käsivarassa. “Ei ole tuosta miehen naia ei ole miehen morsioksi: om musta kuin torakka 30 musta paitaroisku päällä

The maid was brought in under the wing of sisters the cloak of her brother’s wife arm in arm with her sisters-in-law: “There is no man’s marrying there is no man’s bride: she is black as a cockroach she has a black ragged shirt

432

m

L ik a in e n neito T h e F oul M a id

36

jatketut sukat jalassa silmät on sian situssa korvat koiran kuontiossa . . . ”

and patched stockings on her feet her eyes are deep in pig-muck and her ears in dog-slobber . . .”

Viikon viivyin Viipurissa kauvan suolakaupungissa. Muut naivat soreat likat: mulle herjat heitettihin kierosilmät kenkättihin.

Long I stayed in Viipuri for ages in the salt-town. Others married pretty girls: I was left with the dud ones 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 Mahol tein jäniksen aian kylän ai tein neion aian. Miun män neito aitahain s punaposk män pyytöhein.

10

16

20

26

n the road a grouse-fence I built, on the field a hare-fence by the village a maid-fence: a maid went into my fence a red-cheek into my snare.

O

Aloin neiolt kysellä: “Lähet sie neito vellollein?” Neito vasten vastaeli: “Mikä mies on vellueis?” “Kyntäjännä, kylväjännä siemenen sirottajanna.”

I began to ask the maid: “Will you go to my brother?” The maid answering replied: “What is your brother?” “A ploughman and a sower and a scatterer of seeds.”

“En mie lähe kyntäjälle. Kyntäjäll on kylmä paita: ei siiä sivussa moata ali ei leuan lämmitellä ali ei kainalon assuu ali ei parran poahkuroia.”

“ I’ll not go to a ploughman. A ploughman has a cold shirt: there’s no lying at his side getting warm under his chin no settling under his arm no chatting under his beard.”

Mie tein tielle tetrin aian ahol tein jäniksen aian kylän ai tein neion aian. Miun män neito aitahain punaposk män pyytöhein.

On the road a grouse-fence I built, on the field a hare-fence by the village a maid-fence: a maid went into my fence a red-cheek into my snare.

Aloin neittä loaitelia: “Lähet sie neito vellollein?” “Mikä mies on vellueisi?” “Seppämies on velluein.”

I began to ask the maid: “Will you go to my brother?” “What is your brother?” “He is a smith, my brother.”

“En mie lähe sepälle. Sepäll on sysinen paita:

“I will not go to a smith. A smith has a coal-black shirt:

4 34

1 1 r 1 U

Varas kosijana The T hief as Suitor

ei siiä sivussa moata 30 ali ei leuan lämmitellä ali ei kainalon assuu ali ei parran poahkuroia.”

there’s no lying at his side getting warm under his chin no settling under his arm no chatting under his beard.”

Mie tein tielle tetrin aian ahol tein jäniksen aian 36 kylän ai tein neion aian. Miun män neito aitahain punaposki pyytöhein.

On the road a grouse-fence I built, on the field a hare-fence by the village a maid-fence: a maid went into my fence a red-cheek into my snare.

Aloin neittä loaitelia: “Lähet sie neito vellollein?” 40 Neito vasten vastaeli: “Mikä mies on vellueis?” “Kyttämies on velluein.”

I began to ask the maid: “Will you go to my brother?” The maid answering replied: “ What is your brother?” “He’s a hunter, my brother.”

“En mie lähe kytälle. Kyttä haisoo havuloille 45 katajille katkujaa: ei siiä sivussa moata ali ei leuan lämmitellä ali ei kainalon assuu ali ei parran poahkuroia.’’

“I’ll not go to a hunter. A hunter smells of pine-sprigs and of junipers he stinks: there’s no lying at his side getting warm under his chin no settling under his arm no chatting under his beard.”

50 Mie tein tielle tetrin aian ahol tein jäniksen aian kylän ai tein neion aian. Miun män neito aitahain punaposk män pyytöhein.

On the road a grouse-fence I built, on the field a hare-fence by the village a maid-fence: a maid went into my fence a red-cheek into my snare.

56 Aloin neittä loai telia: “Lähet sie neito vellollein?” “Mikä mies on vellueis?” “Varkahan on velluein.”

I began to ask the maid: “Will you go to my brother?” “What is your brother?” “He is a thief, my brother.”

“Lähen, lähen varkahalle! so Varkahall on valmis paita valmis paita ja valaistu: tuol siitää sivussa moata

“I’ll go, I’ll go to a thief! A thief has a shirt ready a shirt ready and whitened: there is lying at his side

435

1 1 C 1 1 J

V aras k o sija n a T h e T h i e f a s S u ito r

alla kainalon assuu all on paian poahkuroia!”

and settling under his arm 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

aito me kaunoin kallaan armahain ahvenehen, ei kauno kaloja saanut armahain ei ahvenia. 6 Läksin mie itse kallaan: panin mie verkot selkähein kiviriipat rinnoillein. Sousin niemet, sousin soaret: joka saarel sain kalloi 10 joka luotoloil lohhii joka niemel nieriäistä. Menin mie maalle keittämähä isän pitkillä pinoilla veikon vestoslastusilla. ib Kuoret konttiin kokoisin kannon nuoita sulhon syyvä.

L

my fair one for fish I sent my darling for perch but my fair one caught no fish my darling no perch. I went off for fish myself: I put the nets on my back the stone weights upon my breasts. I rowed headlands, rowed islands: on each island I caught fish on each crag salmon on each headland trout. I went to land to cook them with my father’s tall wood-piles my brother’s shavings. The skins I gathered in a knapsack took for my bridegroom to eat. My bridegroom ate and praised them: “Now, this is good food for a useless man to eat.”

Sulho syöpi kiittelööpi: “Hyvä on tämäki ruoka syyvä miehen saamattoman.” Lämmitin metosen saunan metosilla halkoloilla, kylvin itse kylläksein viel mun kylpiit vierahain. Lämmitin häkäisen saunan 26 häkäsillä halkoloilla: laito sulhon kylpömähän. Minkä sulho vettä huusi sen mie löylyn lisäisi. Tul mun sääly säätöjäin äo syvän-kuuro kultajain, tempasin tukista maahan 20

I warmed the fragrant bath-house with fragrant firewood: bathed my fill myself and my guests bathed too. 1 warmed the fumy bath-house with fumy firewood: I sent my bridegroom to bathe. When he shouted for water then I added steam. And I pitied my sweet one felt a pang for my dear one: I dragged him down by the hair

437

1 1 l i v

K elvo to n T h e U seless B rid eg ro o m

loin tukista selkähäin suolla vein sotkuportahiksi sillaks likasioille, 36 pään pani suolle mättähäksi silmät suolle karpaloksi suun pani suolle lähteheksi. Meni mie tuota katsomalla viien kuuen viikon päästä 40 mitä mun sulhoin tekköö: ummiskenkii ompeloo. Keiles nuoita kenkosii? Sulho vasten vastajeli: “Keiles muille ko ei siulle 46 ku hyvälle konsanaanki.”

60

threw him on my back, took him to the marsh for washing-steps for a bridge to dirty spots his head for a marsh-hummock hi5 eyes for marsh-cranberries set his mouth for a marsh-spring. I went there to see after five, six weeks what my bridegroom was doing: he was sewing some closed shoes. Who were those shoes for? My bridegroom answering said: “For who else if not for you as for anyone who’s good.”

Otin mie sulhon sulleen kannon tuvan pöyvän päähän syötin sulhon, juotin sulhon panin sulhon makkoamaha itse viereen vennähän.

I clasped my bridegroom, carried him in to the table-head gave him food and gave him drink laid my bridegroom down to rest 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,

5

villat ne moata veteliivät: otim meä villat itellei mani suolle sotkulle.

ewe, an Estonian ewe Ewe, sheep, a German sheep its wool dangled on the ground: I took the wool for myself went to the marsh to wash it. And my ring dropped off. Go, girl, search for it! The girl starts to weep.

Multa putois sormus. Mäneppäs tyttö ettimeä! Tyttö rupeis itkemeä.

10

Elä itke tyttö: mänempä tästä itekkii. Löysin kure kyntämästä varikse vakuamasta.

Ajon kure kotii: panin saunan karsinoa is viskasin heinijä etie. Peses tyttö patoa: pannoa kurki kiehumoa! “Älkeä minuva patoa panko: minä pesem pitkät pöyvät so purstollai meä uunil luuvo kaulallai minä vettä kanna varpaillai minä lakase.”

Do not weep now, girl: I will go myself. And I found a crane ploughing a crow furrowing. I drove the crane home: into the bath-house closet put it, tossed hay before it. Wash the pot now, girl and put the crane on to boil! "Do not put me in the pot: I will wash the long tables with my tail I’ll brush the stove with my neck I’ll fetch water 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

mnä kuljen kuitattava I heard a crane moaning Kuulim Once pappilan niitulla ruikuttava. in the priest’s meadow groaning.

5

10

Kiärsim mnä kuljen karsina: se poje mul valkose vasika.

I went round to the crane’s pen: it bore a white calf for me.

Veim mnä olkki ettehe ei se niitä syäny. Veim mnä heini ettehe ei se niitäkä syäny. Veim mnä rukkit ettehe ja ei se niitäkä syäny. Veim mnä nisui ettehe: niit se hiukan nissutteli kapa verran nassutteli.

I put some straw before it but it would eat none. I put some hay before it none of that either. I put some rye before it none of that even. I put some wheat before it: of that it pecked a little it picked about half a peck.

Panim mnä Maija lypsämä is ei se löytäny mammoi. Panim mnä Kaija lypsämä se repel kaik karva. Menim mnä ite lypsämä lypsi ison kiulun täyre 20 pappila isom paran täyre lukri iso lusikan täyre keriläisen kengän täyre.

I put Maija to milk it but she could not find the teats. I put Kaija to milk it but she tore out all its hair. I went myself to milk it and I milked a big pail full the priest’s big pot full and the deacon’s big spoon full a beggar’s shoe full. Sofia Siivonen

Pyhämaa, South-West Finland I. Seppänen, 1928

440

119 AAMUVIRKKU The Early Riser

öin mie päivälle vettoo kuun kerällä annoin kättä auringolle annoin auringon pojalle: kumpi ehti ennen noussa ja kumpi enne hava ta neitonenko, päivynenko? TT 1

6

j lc ilp a e lin

made a bet with the sun JL I vied with the moon gave my hand to the daylight gave it to the daylight’s son: which of us would be first up and which first awake the maid or the sun? t

Neito ehti ennen noussa sekä ennen ennätellä io ehti ennen päivyttään ja ennen kuutamoistaan. Nousi aamulla ylläälle pesi pienet silmänsä karsi kaiat kämmeneen, is avvais arrinan lauan leeslauan leekahutti, otti kuiveet kiukohast segloil kuiveet siepoitteli seglalla teräksisellä, eo valoi kuiveet vakkaseen vakkaseen vaskiseen, vei kuiveet kivoikottaan saatoi hummarhuonehesen. Jauhoi kuiveet jaarotteli 26 katajaiset kivolla honkasel hummarella, jauhoi kontin kuivehii vakan vehnii veteli kulin suolsi suurimoja.

The maid was first up and beat him to it: she made it before the sun before the moonlight. She rose up in the morning washed her little eyes scrubbed her slender palms she opened the fire-grate hatch shifted the range hatch took the dried corn from the stove sifted the corn with a sieve with a sieve of steel poured the corn into a box a box of copper took the corn to the stone hut bore it to the mortar-room. She ground the corn, pounded it with a juniper pestle in a fir mortar ground a knapsackful of corn a boxful of wheat she dragged lugged a sackful of hulled grain.

äo Meni katsoon päivyään tähystämään kuutamoistaan:

She went to look for the sun to look out for the moonlight:

441

Aamuvirkku The Early Riser

1 1 Q A i v

35

vielä päivyt makaa kuutamo lepäjellöö aurinko lepäjellöö viel ei päivä päätä nosta kuu ei kulmii ylennä.

but the sun was still lying the moonlight resting the daylight resting the sun would not raise its head yet, nor the moon lift its brows.

Tuli neitonen kottiin toi hän viiet vietrat vettä kuuet uhluet kulutti, 40 pesi piimoihuonehuen maitolattian lakasi, vei rikoit yli veräjän yli laipion lasetti. Rikoilleen seisahtaihe: 45 rikat seisoi rummeneks rummenet tohuks seisoi tohut seisoi tuoksevaks tuoksevat seisoi heraveeks heraveet lähteheksi 60 lähe lämmiksi vesiksi lähteheks maanalaitse.

The maiden came home brought five buckets of water six pails she wore out washed out the churn-room swept out the dairy took the dirt beyond the gate over the palings tipped it. She stood on her dirt: she stayed till the dirt was chaff till the chaff was bran she stayed she stayed till the bran was dust till the dust was clear water till the water was a spring till the spring was warm water an underground spring.

Meni katsoon päivyään tähystämään kuutamoistaan: vielä päivyen makaa 55 kuutamo kuiskutteli aurinko lepäjellöö. Sääret sänkystä näkkyyt varpahaiset vaipan alta jalat viljot vuotehest 60 kylet kyllin kattehest.

She went to look for the sun to look out for the moonlight: but the sun was still lying and the moonlight whispering the daylight resting. Its legs could be seen in bed its toes under the cover plenty of feet in the bed sides enough under the quilt.

Tuli neitonen kottiin keri Sinervon uutin talvilampahan takelsi, karttais Sinervon villat 65 viskoi langat viipsin päälle sakan orrelle ojensi. Meni katsoon päivyään tähystämään kuutamoista:

The maiden came home sheared a bluish ewe fleeced a yearling sheep: she carded the blue one’s wool flung the threads upon the reel and hung the coat on the beam. She went to look for the sun to look out for the moonlight:

442

Aamuvirkku The Early Riser

1 1 O 1 1 y

70

vasta päivä päätä nosti kuu kohotti kulmiaan.

the sun raised its head only 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

kälyksen kolmen R iitelööt kolmen kynnyksen yli

sisters-in-law quarrelled T hree across three thresholds

kolmen patsaan takant kolmen vellon vuotehen: 6 kelle tyttö tehtänöö kelle tyttö, kelle poika? Tehtii tyttö nuoremmalle nuoremmalle, pienemmälle perehe parahammalle.

behind three stove-posts and the beds of three brothers: who would have a girl who a girl and who a boy? The youngest one had a girl the youngest, smallest best in the family.

10

Kust nuo papit saatanoo lukuherrat tuotanoo? Saatii papit Paatitsasta lukuherrat Luutitsasta. Kui tuo nimi pantanoo? ib Pannaa nimi Palaga: Palaga nimi paha ei tuota suku suvvaa. Pannaa nimi Paraska: Paraska pahatapaine so ei tuota emo suvvaa. Pannaa Naasta - lienöö nauru. Pannaa Hoora - lienöö huora. Hekko kirjasta helähti lehen kannesta lemahti.

From where would the priests be got the scholars be brought? Priests were got from Paatitsa the scholars from Luutitsa. What should she be called? Gall her Palaga: Palaga is a bad name the kin would not stand for it. Call her Paraska: Paraska is ill-behaved mother would not stand for it. Naasta? - she might be nasty. Hoora? - she might be a whore. Hekko tinkled from the book flitted from the page.

Kazvoi tyttö, Hekko tyttö Hekko helmien pitäjä mamma markkoin kantaja: kazvoi jo kaheksa vuotta yleni yheksä vuotta 30 päälle vuove kymmene.

The girl grew, the girl Hekko Hekko the wearer of beads the carrier of mother’s coins: she grew for eight years she rose for nine years for more than ten years.

26

Miehelle menijä Finding a Husband

Hekon emoi sannoo: “Mikä meijä Hekolla kuka kukkamaij alla kui ei tule Hekkoo kossii 36 ottamaa omenutta katsomaa kalervuttan?”

Hekko’s mother said: “What is wrong with our Hekko what with our blossom-berry that none comes to woo Hekko to take the apple to look for my precious one?”

Sannoo sopest sokkee evuksest epänäkköi pieni lapsi pienkanelta: 40 “Sill ei tulla Hekkoo kossii: miks ei pese silmiää harjaele hapsiaa päivän tulless ei päätä haijaa kukon kuulless ei kuivaele. 45 Tulloo pyhäinen ilta pese ei penkin lautasia lakkaa tuvan lattiaa, kui tulloo pyhäinen päivä Hekko kiirei kyllää, so ei etsi emoihe päätä karsi päätä kantajalta.”

A blind man from the comer said, sightless from the hallway a small child from the stove-bench: “For this none comes to woo her: she won’t wash her eyes will not brush her hair at sunrise won’t brush her head at cockcrow will not dry it. When Saturday evening comes she will not wash the benches nor sweep the floor of the house and when Sunday comes she dashes out visiting will not groom her mother’s head scrub the head of who bore her.”

Hekko tyttö hemme tyttö Hekkoi hemme neitsykkäine alkoi pestä silmiää 66 ikä päivä päätä pesi kukon laulust kuivatteli. Kui tuli pyhäinen ilta pesi penkin lautaset lakkas tuvan lattia, 60 kui tuli pyhäinen päivä etsi emoihe päätä karsi päätä kantajalta kahen ikkunan välissä kolmen kannen kolkkasessa.

The girl Hekko, a sweet girl Hekkoi the sweet little maid now began to wash her eyes every day she washed her head at cockcrow dried it: when Saturday evening came she washed the benches and swept the floor of the house and when Sunday came groomed her mother’s head scrubbed the head of who bore her between two windows where three tables met.

66 Karahti rekko kujjaa tarttu saani salvamee: tultii Hekkoo kossii katsomaa kalervutta

A sledge clattered in the lane a sleigh caught in the wood-joints: someone came to woo Hekko to look for the precious one

445

1 O fj 1

Miehelle menijä Finding a Husband

ottamaa omenutta. 70 Tuli manteren matala seppä itse seppä inkeroine: pani neitoise rekkee sai saanin kolkkasee silmät silkillä siteli 75 jalat kattoi kankahalla. Pani neitoise rekkee sai saanin kolkkasee, löi ruossalla orroo rappaeli rahnikella: so oro juoksi, matka joutu reko liuku, tie lyheni reko rautanen rämisi kangas kultanen kumisi vemmel piukki pihlajaine 85 tuota neittä vietäessä kultaa kulettaessa.

to take the apple. The squat smith of the mainland came, the Ingrian smith himself: he put the maid in his sledge in a corner of his sleigh bound her face with silk covered her feet with wool cloth. He put the maid in his sledge in a corner of his sleigh struck the stallion with the whip thrashed it with the knout: the horse ran, the journey sped the sledge slid, the way grew short the sledge of iron rattled the golden heath boomed the rowan collar-bow creaked as the maiden was taken 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

koito kostolia Sotkin kotihiseen männäkseen,

washed a linen shift Iwretch, in which to go home

pari paitoja puhastin kaksi paria kalsuloita. 6 Apelta anoin hevoista ky’yltäin kysyin rekeä omaltani ohjaksia anopilta tuomisia: appi jäätä jähmäseepi 10 kyty kylmää puhuu anoppi tavoitti aijaksella. Mie panin reiteni reeksi peräseni peräpajuksi sormet suorat ohjaksiksi, is Mänin vellon pellon päähän. Tuossa nuo kukkuivat kuivat kuuset lauloivat lakkapäät petäjät: “Ei ole täällä sinun kotisi, tääll on syntymäsiasi.”

cleaned a pair of shirts two pairs of leggings. I asked father-in-law for a horse brother-in-law for a sledge my own love I asked for reins mother-in-law for presents: father-in-law froze to ice brother-in-law, he blew cold mother-in-law lunged with a fence-prop. I used my thighs for a sledge bottom for a wicker-back and my straight fingers for reins. I got to my brother’s field: there the dry spruces were cuckooing the broad-topped pines were singing: “This is not your home: this is your birthplace.”

so Menin tökki, en totellut ajoin vellon kartanohon vellon lapset ikkunassa vellon nainen vieressä: “Tuolt tulee mun tätini.”

Yet I went, I paid no heed. I drove to my brother’s farm his children at the window his wife at their side: “There comes my auntie.”

25 Vellon vaimo vastajaapi: “Ei ole se sinun tätisi: nyt tulee munille murhe tulee kaikatos kanoille sekä laahe lampahille 30 sekä lehmille levitys.”

Brother’s wife answering said: “That is not your aunt: now the eggs will start to grieve the hens will start to cackle and the sheep will be put down and the cows will be laid low.”

447

101 1 ** 1

O lja m issa k ä y n ti T h e U nw elco m e V isito r

Menin tökki, en totellut ajoin vellon portin ala, uottelin mä velloain porttia avamahan, Vein mie veitseni tupesta vyöltäni vein vihaisen rauan mill avaisin portin auki raksahutin porttirampin. «o Uottelin mä velloani rinnustinta riisumaan päällistintä päästämähän, ei tuo vello tullutkaan. Itse riisuin rinnustimen 45 itse päästin päällistimet itse aisani alensin.

Yet I went, I paid no heed. I drove to my brother’s gate I waited for my brother to open the gate: but my brother did not come. I drew my knife from the sheath from my belt the angry iron with which I opened the gate made the gate-bolt crack. I waited for my brother to take the breast-strap off, to undo the head-strap: but my brother did not come. I took the breast-strap off, I undid the head-strap I let down the shafts myself.

Menin tökki, en totellut. Menin vellon porstuahan vellon lapset on lastusilla, so Vastais vellon vanhin tyttö: “Elä mene täti tupahan ennen kuin muut murunsa syövät kohtalonsa kohahtavat kaalivatinsa vaihtelevat!”

Yet I went, I paid no heed. I went to my brother’s porch his children on the shavings. Brother’s eldest girl answered: “Don’t go indoors, aunt, before the rest have eaten their crumbs cleared up their portions changed their cabbage-bowls!”

65 Menin tökki, en totellut menin velloillen tupahan: vello istuu pöydän päässä vellon nainen vieressänsä. Oven suuhun orren ala 60 miss on ennen oliit orjat ennen orjat, vasta vangit siin on tämän talon tytär.

Yet I went, I paid no heed. Went into my brother’s house: he sat at the table-head his wife at the side. At the door, beneath the beam where once the serfs were once the serfs, then the captives was the daughter of this house.

Vello sanoo naisellensa: “Mene sisoa likistämään!” 66 Vellon vaimo vastajaa: “Ennen liettäni likistän ennen harkon hahlojani ennen kuin talon tytärtä.”

My brother said to his wife: “Go and embrace my sister!” But my brother’s wife answered: “ I’d sooner embrace my hearth my prong-hooks sooner than the daughter of the house.”

35 ei tuo vello tullutkaan.

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: 70 “Tee sisolle talkkunata!” “Ves on jäässä, jauhot kylmät: sitä on kylmemmät tekijät.”

My brother said to his wife: “ Make my sister some porridge!” “The water’s frozen, meal’s cold: colder still are the makers.”

Vello sanoo naisellensa: “Tee sisolle munapataa!” 76 Vellon vaimo vastajaapi: “Ei paistu muna paassa. Arinassa on paksu paasi: siitä on paksummat tekijät.”

My brother said to his wife: “ Make my sister potted egg!” But my brother’s wife answered: “The egg won’t cook in the pot. There’s a thick stone in the grate: thicker still are the makers.”

Vello sanoo naisellensa: so “Tee sisolle voimurua!” Vellon vaimo vastajaapi: “Kattilass on paksu karsi.”

My brother said to his wife: “ Make my sister butter-crumbs!” But my brother’s wife answered: “There’s thick soot in the saucepan.”

Vello sanoo naisellensa: “Tuo sisolle oltta juoa!” 86 Vellon vaimo vastajaa: “Tappi taittui tynnyriin hiiri juoksi hiivan päälle konnikkainen kuohan päällä vatikkainen vaahen alla.”

My brother said to his wife: “Bring my sister beer to drink!” But my brother’s wife answered: “The tap broke in the barrel a mouse ran over the yeast a frog on the foam a beetle under the froth.”

90 En ole mä munille murhe

I did not make the eggs grieve did not make the hens cackle I did not put the sheep down I did not lay the cows low: the magpie made the eggs grieve and the wolf put the sheep down and the bear laid the cows low.

en ole kaikatos kanoille enkä laahe lampahille enkä lehmille levitys: harakka on munille murhe 96 susi on laahe lampahille karhu lehmille levitys.

S in g er unknow n

Sakkola, Karelian Isthmus K. Slöör, 1854

29

4 49

122 ONNETON NUORIKKO I The Unhappy Bride I

5

10

itki nellotteli N eito kaivotiellä kallotteli

and sobbed Aonmaidthewept well-road wailed

joka kukkasen nenässä joka heinän helpehessä. Puuttui isänsä kuulemahan tuli iso kyselemähän: “ Mitäs itket piikueni nuorimpaiseni nureksit: vai appi pahoin pitävi?”

at every flower-tip at every grass-husk. Her father stopped to listen father came to ask: “Why do you weep, my small one my youngest one, why complain: does father-in-law harm you?”

“Ei ole niitä maitakana ei niitä vesiäkänä: niin minulla appi siellä kuin ennen iso kotona.”

“That is not the source of it nor the spring of it: father-in-law treats me there as my father did at home.”

Neito itki nellotteli is kaivotiellä kallotteli joka kukkasen nenässä joka heinän helpehessä. Puuttui emonsa kuulemahan tuli emo kyselemään: so “ Mitä itket piikueni nuorimpaiseni nureksit: vai anoppi pahoin pitävi?”

A maid wept and sobbed on the well-road wailed at every flower-tip ' at every grass-husk. Her mother stopped to listen mother came to ask: “Why do you weep, my small one my youngest one, why complain: does mother-in-law harm you?”

“Ei ole niitä maitakana ei niitä vesiäkänä: 25 niin minulla anoppi siellä kuin ennen emo kotona.”

“That is not the source of it nor the spring of it: mother-in-law treats me there as my mother did at home.” A maid wept and sobbed on the well-road wailed at every flower-tip

Neito itki nellotteli kaivotiellä kallotteli joka kukkasen nenässä

450

1 0 0 1 eL A ,

Onneton nuorikko I The Unhappy Bride I

30 joka heinän helpehessä. Puuttui vello kuulemahan tuli vello kyselemähän: “Mitä itket mun sisoni nuorin siskoni nureksit: 35 vai kyty pahoin pitävi?”

at every grass-husk. Her brother stopped to listen brother came to ask: “Why do you weep, my sister youngest sister, why complain: does brother-in-law harm you?”

“Ei ole niitä maitakana ei niitä vesiäkänä: niin on mulla kyty kylässä kuin ennen kotona vello.”

“That is not the source of it nor the spring of it: he treats me where I live now as my brother did at home.”

40 Neito itki nellotteli kaivotiellä kallotteli joka kukkasen nenässä joka heinän helpehessä. Puuttui sisko kuulemahan 45 tuli sisko kyselemähän: “Mitä itket mun sisoni: vai nato pahoin pitävi?”

A maid wept and sobbed on the well-path wailed at every flower-tip at every grass-husk. Her sister stopped to listen sister came to ask: “Why do you weep, my sister: does sister-in-law harm you?”

“Ei ole niitä maitakana ei niitä vesiäkänä: 50 niin on mun nato kylässä kuin ennen siso kotona.”

“That is not the source of it nor the spring of it: she treats me where I live now as my sister did at home.”

Neito itki nellotteli kaivotiellä kallotteli joka kukkasen nenässä 66 joka heinän helpehessä. Puuttui setä kuulemahan tuli setä kyselemähän: “Mitäs itket neito nuori vellon lapsi vierettelet: 60 vai sulho pahoin pitävi?”

A maid wept and sobbed on the well-road wailed at every flower-tip at every grass-husk. Her uncle stopped to listen uncle came to ask: “Why do you weep, young maiden brother’s child, why do you writhe is your bridegroom harming you?”

“Sen on syy, setäsyeni: eipä arvannut isoni eikä arvannut emoni eipä vetru vellueni 65 eikä siityinen sisoni.

“It is his fault, my uncle: my father did not suspect nor did my mother suspect nor did my supple brother 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 vielä nuorasta vetäisin, kuin näkisin poltettavan vielä tulta kiihoittaisin, 70 kuin näkisin leikattavan vielä veistäni hiosin nykeäni nyökyttäisin.”

If I saw him being hanged I’d pull harder on the rope if I saw him being burned I would stir the fire up more if I saw him being slashed I would sharpen my knife more 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

mutšoini metlällä Itköö heinätiellä hellerdelöö kaivotiellä kallerdeloo. Piädy vieras kuulemalla 6 seinän alla seisomaha katoksella katšomaha: “Midäs itket mutšoiraukka: buatjkoigo sinuo paheksii?”

10

“Buatjkoi ei minuo paheksi: buatjkoi on kui oma tuatto.”

bride wept in the forest on the grass road grieved on the well-road wailed. A stranger came to listen to stand by the wall look from the shelter: “Why are you weeping, poor bride: does father-in-law hurt you?”

A

“ He does not hurt me: he is like my own father.”

Itköö mutšoini metsällä heinätiellä hellerdelöö kaivotiellä kallerdeloo. Piädy vieras kuulemaha is seinän alla seisomaha katoksella katšomaha: “Midä itket mutšoiraukka: muatjkoigo sinuo paheksii?”

A bride wept in the forest on the grass road grieved on the well-road wailed. A stranger came to listen to stand by the wall look from the shelter: “ Why are you weeping, poor bride: does mother-in-law hurt you?”

“Muatkoi ei minuo paheksi: so muatkoi on kui oma muamo.”

“She does not hurt me: she is like my own mother.”

Itköö mutšoini metsällä heinätiellä hellerdelöö kaivotiellä kallerdeloo. Piädy vieras kuulemaha 25 seinän alla seisomaha katoksella katsomaha: “Midä itket mutšoiraukka: nadosko sinuo paheksii?”

A bride wept in the forest on the grass road grieved on the well-road wailed. A stranger came to listen to stand by the wall look from the shelter: “ Why are you weeping, poor bride: does sister-in-law hurt you?”

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Onneton nuorikko I I The Unhappy Bride I I

1

.10

“Nado ei minuo paheksi: nado on kui oma tšikko.”

“She does not hurt me: she is like my own sister.”

Itköö mutšoini metsällä heinätiellä hellerdelöö kaivotiellä kallerdeloo. Piädy vieras kuulemalla as seinän alla seisomalla katoksella katšomaha: “Midä itket mutšoiraukka: kydyskö sinuo paheksii?”

A bride wept in the forest on the grass road grieved on the well-road wailed. A stranger came to listen to stand by the wall look from the shelter: “Why are you weeping, poor bride: does brother-in-law hurt you?”

“Kydy ei minuo paheksi: 40 kydy on kui oma veikko.”

“He does not hurt me: he is like my own brother.”

Itköö mutšoini metsällä heinätiellä hellerdelöö kaivotiellä kallerdeloo. Piädy vieras kuulemaha 45 seinän alla seisomalla katoksella katåomaha: “Midä itket mutšoiraukka: sulhosko sinuo paheksii?”

A bride wept in the forest on the grass road grieved on the well-road wailed. A stranger came to listen to stand by the wall look from the shelter: “Why are you weeping, poor bride: is your bridegroom hurting you?”

50

“Sulhoi on kui oma šiida: joga vitšani vihuaubi joga varbane varistaa!”

“ He is like my own devil: every rod hates me every twig burns me!” N ik it Joro

Suistamo, Ladoga Karelia I. Härkönen, 1900

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124 VEDENKANTAJA I The Water-Carrier I

tytti ainuo neiti Anni läksi vejen kannantahe,

matchless maid T hewentgirltoAnni, fetch water

otti korvosen olalla kauhan käsivarrellahe, 6 mäni meän, mäni toisen mäni kohta kolmannenkin. Katso kaivoho syväheh: jo on kaivo kuivahtaneh tinapohja tilkahtaneh 10 vaset laijalla valuneh.

took a tub on her shoulder and a ladle on her arm: she walked a hill, another soon she walked a third also. She looked into the deep well: the well had dried up the tin-bottomed had dwindled the copper-rimmed drained away.

Ottipa vettä ojasta kävi vettä virran alta j ovesta juotavuo, toip on vettä toatollahe. is Toatto kirvesvarrellahe: “Mänes tästä portto poikes tuonemma, tulini lautta: et ollut vejen kannannassa, olit sulhojen etsossa so punapaklan puujelussa kautokengän katselussa.”

She took water from the ditch went for water downriver for drinking water: she brought some to her father. Father with an axe-handle: “Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

Viep on vettä moamollahe. Moamo peällijen kokalla: “Mänes tästä portto poikes 25 tuonemma, tulini lautta: et ollut vejen kannannassa, olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

She brought some to her mother. Mother at her with a hook: “Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

so Anni tytti ainuo neiti

The girl Anni, matchless maid

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veip on vettä veijollahe. Veikko haravan kokalla: “Mänes tästä portto poikes tuonemma, tulini lautta: et ollut vejen kannannassa, olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

brought water to her brother. Her brother with a rake’s end: “Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

Anni tytti ainuo neiti 40 veip on vettä tsikollahe. Tsikko löi smeikallahe: “Mänes tästä portto poikes tuonemma, tulini lautta: et ollut vejen kannannassa, 45 olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

The girl Anni, matchless maid brought water to her sister. Sister struck her with a clasp: “Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

Viep on vettä tiätällähä. Tiätä keihäsvarrellahe: “ Mänes tästä portto poikes tuonemma, tulini lautta: et ollut vejen kannannassa, olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

She brought some to her uncle. Uncle with a spear-handle: “Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

35

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Anni tytti ainuo neiti veip on vettä tiätintkällä. Tiätintkä ajelupalikalla: “Mänes tästä portto poikes so tuonemma, tulini lautta: et ollut vejen kannannassa, olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

The girl Anni, matchless maid brought some water to her aunt. Her aunt with a rolling-pin: “ Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

65 Anni tytti ainuo neiti veip on vettä ukollahe. Ukko kertoa verttinällä:

The girl Anni, matchless maid brought water to her grandad. Grandad once with a distaff:

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“Mänes tästä portto poikes tuonemma, tulini lautta: 70 et ollut vejen kannannassa, olit sulhojen etsossa punapaklan puujelussa kautokengän katselussa.”

“Get away from here, harlot, yonder, scarlet whore: you were not fetching water you were searching for suitors toiling after a red lace looking for a fancy shoe.”

Anni tytti ainuo neiti veip on vettä ämmällehe. Ämmä otti vettä juua.

The girl Anni, matchless maid brought water to her grandma. Grandma took water to drink.

Anni tytti ainuo neiti Ali on päin, pahalla mielin kaiken kallella kypärin so astu aittahan mäjellä: nosti arkun arkun peällä lippahan lippahan lomahe. Virsilippahan vejälti: löysi pakloa palasen 85 kuristautu, koakistautu riputih on rinnan kautti kaklan kautti koakistautu.

The girl Anni, matchless maid her head down, in bad spirits her cap all askew stepped to the shed on the hill: she lifted trunk upon trunk case where case had been. It was a dirge-case she drew: she found a small length of lace strangled herself, slumped she hanged herself by the breast by the neck she slumped.

Kolm oi yötä katsomatta. Emo aittahe mänöve. eo Katselove, keäntelöve: jo on Anni ollun, männyn tinarinta ripsahtane riputautu rinnan kautti.

Three nights she was not looked for. Her mother went to the shed. She looked, she turned her over: Anni had been, gone the tin-breasted snapped was hanged by the breast.

“Anni tytti ainuo neiti 96 nouse nuorra kuolomasta kauniina katuovomasta verevänä vierömästä!”

“O girl Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling away!”

?5

“Emp on nouse, en käkiekänä: äijän portoikse polite loo mieron lautoikse lasite.” Emo pirttihin tulove jo on noin sanoiksi virkki:

“I cannot rise, I will not: you condemned me for a whore damned for a village harlot.” Mother came into the house put this into words:

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“Jo on Anni ammoin kuollun tinarinta ripsahtane, riputautu rinnan kautti.”

Läksi toatto nostamahe vanhempi virottamahe: “Anni tytti ainuo neiti nouse nuorra kuolomasta no kauniina katuovomasta verevänä vierömästä!” “Emp on nouse, en käkiekänä: äijän portoikse polite mieron lautoikse lasite.” us Toatto pirttihin tulove jo on noin sanoiksi virkki: “Jo on Anni ammoin kuollun tinarinta ripsahtane riputautu rinnan kautti.” 120

Läksi veikko nostamahe: “ Oi on Anni ainuo neiti nouse nuorra kuolomasta kauniina katuovomasta verevänä vierömästä!”

“Anni is long dead the tin-breasted snapped is hanged by the breast.” Father went off to raise her the parent to revive her: “O girl Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling away!” “ I cannot rise, I will not: you condemned me for a whore damned for a village harlot.” Father came into the house put this into words: “Anni is long dead the tin-breasted snapped is hanged by the breast.” Brother went off to raise her: “Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling" away!”

125 “ Emp on nouse, en käkiekänä: äijän portoikse polite mieron lautoikse lasite.”

“ I cannot rise, I will not: you condemned me for a whore damned for a village harlot.”

Veikko pirttihi tulove jo on noin sanoiksi virkki: 130 “Jo on Anni ammoin kuollun tinarinta ripsahtane riputautu rinnan kautti.”

Brother came into the house put this into words: “Anni is long dead the tin-breasted snapped is hanged by the breast.”

Läksi tsikko nostamahe: “Oi on Anni ainuo neiti 135 nouse nuorra kuolomasta kauniina katuovomasta

Sister went off to raise her: “Anni, matchless maid rise as a young one from death a fair one from perishing

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verevänä vieremästä!”

red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: äijän portoikse polite mieron lautoikse lasite."

“ I cannot rise, I will not: you condemned me for a whore damned for a village harlot.”

Tsikko pirttihi tulove jo on noin sanoiksi virkki: “Jo on Anni ammoin kuollun tinarinta ripsahtane 146 riputautu rinnan kautti.”

Sister came into the house put this into words: “Anni is long dead the tin-breasted snapped is hanged by the breast.”

Läksi tiätä nostamalle: “Oi on Anni ainuo neiti nouse nuorra kuolomasta kauniina katuovomasta iso verevänä vieremästä!”

Uncle went off to raise her: “Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling away!”

“Emp on nouse, en käkiekänä: äijän portoikse polite mieron lautoikse lasite.” Tiätä pirttihi tulove 156 jo on noin sanoiksi virkki: “Jo on Anni ammoin kuollun tinarinta ripsahtane riputautu rinnan kautti.”

im

Läksi tiätintkä nossattamaha: “Oi on Anni ainuo neiti nouse nuorra kuolomasta kauniina katuovomasta verevänä vieremästä!”

“Emp on nouse, en käkiekänä: 165 äijän portoikse polite mieron lautoikse lasite.” Tiätinkä pirttihi tulove jo on noin sanoiksi virkki: “Jo on Anni ammoin kuollun

“ I cannot rise, I will not: you condemned me for a whore damned for a village harlot.” Uncle came into the house put this into words: “Anni is long dead the tin-breasted snapped is hanged by the breast.” Her aunt went off to raise her: “Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling away!” “ I cannot rise, I will not: you condemned me for a whore damned for a village harlot.” Her aunt came into the house put this into words: “Anni is long dead

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170 tinarinta ripsahtane riputautu rinnan kautti.”

the tin-breasted snapped is hanged by the breast.”

Läksi ämmä nostamahe ämmä itkien mänöve: “Anni tytti ainuo neiti m nouse nuorra kuolomasta kauniina katuovomasta verevänä vierömästä!”

Grandma went off to raise her • grandma went weeping: “O girl Anni, matchless maid rise as a young one from death a fair one from perishing red-cheeked from rolling away!”

“Oi on kukki ämmöseni nousisinpa, emp on peäse: iso kalma kättä niin pitäve Tuoni toista hallitsove. Etpä portoiksi poline mieron lautoiksi lasine.”

“ My darling granny though I would rise, I cannot: the grave is holding my hand Tuoni commands the other. You condemned me for no whore damned for no village harlot.” H o to Lesonen

Vuokkinicmi, Archangel Karelia A. Berner, 1872

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125 V E D E N K A N T A J A II The Water-Carrier I I

rikko Riian neito Eeva läksi linnasta veelle läpi linnan lähtehelle rautasella raennalla 6 tinaisella teekupilla vaskireunalla vailla.

10

poor maid of Riga Eeva, went from town to the water through town to the spring with an iron milking-pail with a tin teacup a copper-rimmed pan.

Akat linnasta kysyvät: “Kelle sä neito vettä kannat?”

The crones of the town asked: “Maid who do you fetch water for?”

“Isälleni silmävettä. Juot sinä isä, vain janoitset vain peset sä silmiäsi?”

“For my father, eye-water. Will you drink, father, or thirst or else will you wash your eyes?”

Isä vasten vastajaapi: “En minä juo enkä janoitse enkä pese silmiäni. 16 Kirottu on sinun vetesi. Kauvan viivyit kaivotiellä: katsoit kaivon korkeutta mittasit meren syvyyttä pitkin pienarta makaisit so poikki pienarta lepäsit.”

Her father answering said: “ I will neither drink nor thirst nor yet will I wash my eyes. Curst is your water. You dallied on the well-path: you were watching the well’s height were reckoning the sea’s depth along the field-edge lying across the field-edge resting.”

Eeva rikko Riian neito läksi linnasta veelle läpi linnan lähtehelle rautasella raennalla 86 tinaisella teekupilla vaskireunalla vailla.

Eeva, poor maid of Riga went from town to the water through town to the spring with an iron milking-pail with a tin teacup a copper-rimmed pan.

Akat linnasta kysyvät: “Kelle sä neito vettä kannat.?”

The crones of the town asked: “Maid who do you fetch water for?”

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Eeva vasten vastaeli: 30 “Emolleni silmävettä. Juot sinä emo, vain janoitset vain peset sä silmiäsi?”

Eeva answering replied: “For my mother, eye-water. Will you drink, mother, or thirst or else will you wash your eyes?”

Emo vasten vastajaapi: “En minä juo enkä janoitse 35 enkä pese silmiäni. Kirottu on sinun vetesi. Kauvan viivyit kaivotiellä: katsoit kaivon korkeutta mittasit meren syvyyttä 40 pitkin pienarta makaisit poikki pienarta lepäsit.”

Her mother answering said: “ I will neither drink nor thirst nor yet will I wash my eyes. Curst is your water. You dallied on the well-path: you were watching the well’s height were reckoning the sea’s depth along the field-edge lying across the field-edge resting.”

Eeva rikko Riian neito läksi linnasta veelle läpi linnan lähtehelle 45 rautasella raennalla tinaisella teekupilla vaskireunalla vailla.

Eeva, poor maid of Riga went from town to the water through town to the spring with an iron milking-pail with a tin teacup a copper-rimmed pan.

Akat linnasta kysyvät: “Kelle sä neito vettä kannat?” 50 Eeva vasten vastaeli: “Veikolleni silmävettä. Juot sinä veikko, vain janoitset vain peset sä silmiäsi?”

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60

The crones of the town asked: “Maid who do you fetch water for?” Eeva answering replied:' “ For my brother, eye-water. Will you drink, brother, or thirst or else will you wash your eyes?”

Veikko vasten vastajaapi: “En minä juo enkä janoitse enkä pese silmiäni. Kirottu on sinun vetesi. Kauvan viivyit kaivotiellä: katsoit kaivon korkeutta mittasit meren syvyyttä pitkin pienarta makaisit poikki pienarta lepäsit.”

Her brother answering said: “ I will neither drink nor thirst nor yet will I wash my eyes. Curst is your water. You dallied on the well-path: you were watching the well’s height were reckoning the sea’s depth along the field-edge lying across the field-edge resting.”

Eeva rikko Riian neito

Eeva, poor maid of Riga

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läksi linnasta veelle 65 läpi linnan lähtehelle rautasella raennalla tinaisella teekupilla vaskireunalla vailla.

went from town to the water through town to the spring with an iron milking-pail with a tin teacup a copper-rimmed pan.

Akat linnasta kysyvät: 70 “Kelle sä neito vettä kannat?”

The crones of the town asked: “Maid who do you fetch water for?”

Eeva vasten vastaeli: “Siskolleni silmävettä. Juot sinä sisko, vain janoitset vain peset sä silmiäsi?”

Eeva answering replied: “For my sister, eye-water. Will you drink, sister, or thirst or else will you wash your eyes?”

75

Sisko vasten vastajaapi: “En minä juo enkä janoitse enkä pese silmiäni. Kirottu on sinun vetesi. Kauvan viivyit kaivotiellä: so katsoit kaivon korkeutta mittasit meren syvyyttä pitkin pienarta makaisit poikki pienarta lepäsit.”

Her sister answering said: “I will neither drink nor thirst nor yet will I wash my eyes. Curst is your water. You dallied on the well-path: you were watching the well’s height were reckoning the sea’s depth along the field-edge lying across the field-edge resting.”

Eeva rikko Riian neito 85 läksi linnasta veelle läpi linnan lähtehelle rautasella raennalla tinaisella teekupilla vaskireunalla vailla.

Eeva, poor maid of Riga went from town to the water through town to the spring with an iron milking-pail with a tin teacup a copper-rimmed pan.

90 Akat linnasta kysyvät: “Kelle sä neito vettä kannat?”

The crones of the town asked: “ Maid who do you fetch water for?”

Eeva vasten vastaeli: “Sulholleni silmävettä. Juot sinä sulho, vain janoitset vain peset sä silmiäsi?”

Eeva answering replied: “For my bridegroom, eye-water. Will you drink, bridegroom, or thirst or else will you wash your eyes?”

Sulho vasten vastaeli: “Sekä juon sekä janoitsen

Her bridegroom answering said: “Yes, I will both drink and thirst

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sekä pesen silmiäni. Siunattu on sun vetesi!”

and I’ll wash my eyes also. 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 performed at a fixed time of the year (cf. Poems 34, 38; pp. 539, 541). - Kremena, 1911.

33. The vessel in this photograph was intended for inshore sailing along the Gulf of Finland, (cf. Poems 26, 27). 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 metonymically 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

yläh, katlon alah: Katson ylähöänä päiväne paistau alahoana venone šoudau, istuu venozešša rodnoi toattone. 6 “Ota toattone milma venozehel!”

10

“Et mahu, et mahu tytär rukka: itle mie issun peräzellä jalgazet miula sebäzellä.”

“No room, no room, poor daughter: I myself sit in the stern I have my feet in the prow.”

Katšon yläh, katšon alah: ylähöänä päiväne paistau alahoana venone šoudau, istuu venozešša rodnoi moamone. “Ota moamone milma venozehel!”

I looked up, looked down: the sun was shining above a boat was rowing below and in the boat my own mother sat. “Take me, mother, in your boat!”

“Et mahu, et mahu tytär rukka: is itše mie issun peräzellä jalgazet ne lebäzellä.”

“No room, no room, poor daughter: I myself sit in the stern my feet, they are in the prow.”

Kation yläh, katlon alah: ylähöänä päiväne paistau alahoana venone loudau, so istuu venozella rodnoi veikkone. “Ota veikkone milma venozehel!”

I looked up, looked down: the sun was shining above a boat was rowing below and in the boat my own brother sat. “Take me, brother, in your boat!”

“Et mahu, et mahu sizar rukka: itse issun mie peräzellä jalgazet ne lebäzellä.” 25 Katlon yläh, katlon alah: ylähöänä päiväne paistau alahoana venone loudau,

so

looked up, looked down: the sun was shining above a boat was rowing below and in the boat my own father sat. “Take me, father, in your boat!”

I

“No room, no room, poor sister: I myself sit in the stern my feet, they are in the prow.” I looked up, looked down: the sun was shining above a boat was rowing below

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istuu venozešša rodnoi tšikkone. “Ota tšikkone milma venozeh!” 30 “Et mahu, et mahu sizar rukka:

itše mie issun peräzeSsä jalgazet ne miula SebäzeSSä.”

and in the boat my own sister sat. “Take me, sister, in your boat!” “UJo room, no room, poor sister: I myself sit in the stern I have my feet in the prow.”

Katšon yläh, katšon alah: ylähöänä päiväne paistau 36 alahoana venone šoudau, istuu venozešša rodnoi minjane. “Ota minjane milma venozeh!”

I looked up, looked down: the sun was shining above a boat was rowing below and in it the daughter-in-law sat. “Take me, my own, in your boat!”

“Tule tule nado rukka: mie hotj istuotšen peräzeh 40 a šie hotj istuotšet Sebäzeh.”

“ Come, come, poor sister-in-law: I am sitting in the stern 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

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A jo kaksi karjalaista .xVkolme puoin poikasii. Olin neito pikkaraine: aloin kitkii sinnoo puhastella pillervoo.

Sano miulle puotipoika: “Kui sie tietäsit vähäse pikkaraisen arvajaist, etkä kitkiis sinnoo io puhastais pillervoo: sie oot neito meille myöty meill oot kaupattu kanane.”

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r r iw o Karelians came driving, i . three shopkeeper-lads. I was a tiny maiden: began to weed the blueflower to trim the flax-plant. A shopkeeper said to me: “ If you knew a bit guessed but a little you would not weed the blueflower nor trim the flax-plant: you, maiden, are sold to us made over to us, chicken.”

“Kuka möi miun polosen kuka kauppas kanasen?” “ Iso möi siun polosen iso kauppas kanasen.”

“Who has sold poor me who made over the chicken?” “Father sold poor you he made over the chicken.”

“ Mitä sai isä miulla?” “Issäis sai kivisen kirkon moamois sai Mahikki-lehmän vellois sai sotioroisen sissois sai sinervä uutin.”

“What did father get for me?” “Your father got a stone church your mother the cow Damsel your brother a war-stallion your sister got a blue ewe.”

Venäläin oi viekas poika viettel neion venosehee sai neion venosehee. 25 Neitonen kujertelloo venäläisiin vennees Punaparran purjehis: “Souvva tuonne rantasee: tuol tuikkaap tuloinen

The Russian, a tricky boy lured the maid into the boat got the maid into the boat. The little maid lamented in the Russians’ boat in the Redbeard’s craft: “Row towards that shore: there a fire twinkles

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30 valkiaine vaikuttoaa, suur on paimmenen tuleks pien on vältinvalkiaks. Tuo tul on ison tuloine.”

a flame is showing too big for a herdsman’s fire and too small for a camp fire. That fire is my father’s fire.”

Neito huusi huikahutti: 35 “Lunasta iso miuista!”

The maid called out, shouted out: “Ransom me, father!”

Iso vasten vastajel: “ Millä mie siun lunastan?” “ On siul kivinen kirkko miun peähäin peästimeks 40 henkein lunastimeks.” Isä vasten vastajel: “Ennen luovun lapsestain ennen kun kivisest kirkostain.” Venäläinen viisas poika souteluoo jouteluoo Suome suurel merel Ruotsin ruokorantases. Neitone kujertelloo: “Souva tuonne rantasee: 50 tuolla tuikkaa tuloine valkiaine vaikuttaa, suur on paimenen tuleks pien on vältinvalkiaks. Tuo tul emon tuloine.” 45

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Father answering replied: “What shall I ransom you with?” “You have a stone church for the release of my head for the ransom of my life.” Father answering replied: “I’d sooner give up my child than my church of stone.” The Russian, a clever boy rowed along, idled along to Finland’s great sea Sweden’s reedy shore. The little maid lamented: “Row towards that shore: there a fire twinkles a flame is showing too big for a herdsman’s fire and too small for a camp fire. That fire is my mother’s fire.”

Neito huus huikahutti: “Lunasta emo miuista!”

The maid called out, shouted out: “Ransom me, mother!”

Emo vasten vastajel: “Millä mie siun lunastan?”

Mother answering replied: “What shall I ransom you with?”

“ Onhan siul Mahikki-lehmä miun peähäin peästimeks henkein lunastimeks.”

“Well, you have the cow Damsel for the release of my head for the ransom of my life.”

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Neito ja vene I I The M aid and the Boat I I

“Ennen luovun lapsestain kuin Mahikki-lehmästäin.” Venäläine viekas poika 66 souteluoo jouteluoo Suome suurel merel Ruotsin ruokorantases. Neitonen kujertelloo venäläisiin vennees 70 punaparran purjehis: “Tuolla tuikkaa tuloine valkiaine vaikuttoaa, suur on paimenen tuleks pien on vältinvalkiaks. 76 Se siit on vellon tuloine.”

‘T d sooner give up my child than my cow Damsel.” The Russian, a tricky boy rowed along, idled along to Finland’s great sea Sweden’s reedy shore. The little maid lamented in the Russians’ boat in the redbeard’s craft: “There a fire twinkles a flame is showing too big for a herdsman’s fire and too small for a camp fire. That there is my brother’s fire.”

Neito huusi huikahutti: “Lunasta miuista vello!”

The maid called out, shouted out: “Ransom me, brother!”

Vello vasten vastajel: “Mil mie siun lunastan?”

Brother answering replied: “What shall I ransom you with?”

so “On siul sotioroine miun peähäin peästimeks henkein lunastimeks.”

“Well, you have a war-stallion for the release of my head for the ransom of my life.”

Vello vasten vastajaa: “Ennen luovun siskostain 86 kuin sotiorosestain.”

Brother answering replied: “ I’d sooner yield my sister than my war-stallion.”

Venäläine viekas poika souteluoo jouteluoo Suome suurel merel Ruotsin ruokorantasella. »o Neitone kujertelloo venäläisen vennees punaparran purjehissa: “Tuol tuikkaa tuloine valkiaine vaikuttoaa, 96 suur on paimenen tuleks pien on vältinvalkiaks. Siit se on sison tuloine.”

The Russian, a tricky boy rowed along, idled along to Finland’s great sea Sweden’s reedy shore. The little maid lamented in the Russian’s boat in the redbeard’s craft: “There a fire twinkles a flame is showing too big for a herdsman’s fire and too small for a camp fire. 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: “Lunasta siso miuista!” loo Siso vasten vastajaa: “ Mil mie siun lunastan?” “On siulla sinervä uutti miun peähäin peästimeks henkein lunastimeks.”

The maid called out, shouted out: “ Ransom me, sister!” Sister answering replied: “ What shall I ransom you with?” “You have a blue ewe for the release of my head for the ransom of my life.”

105 Siso vasten vastajaa: “Ennen luovun siskostain kuin sinervä uutistain.”

Sister answering replied: “ I’d sooner yield my sister than yield my blue ewe.”

“ Issoin kivine kirkko kannollee koatukoo, no moamoin Mahikke-lehmä maitoihe mahettukkoo, velloin sotioroine kirkkotiel kirvotkuoo kirkkotiel kiistates, us siskoin sinervä uutti villoihiee viipyköö vuonihiee voipukoo!”

“ May my father’s church of stone fall down to the ground may my mother’s cow Damsel be barren of milk may my brother’s war-stallion drop on the church-road while racing on the church-road and may my sister’s blue ewe flop down with its wool 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

5

^ rcnhäläinen verikorva V soutaa ja joutaa, neitty istuu kajutissa itkee ja huokaa kädet paatin laidalla polvet meren pohjassa, näki isänsä kävelevän rantaa. “Rakas isä, kulta isä lunasta minua täältä!”

Russian, a bloody-ear was rowing, idling: a maid sat in the cabin weeping and sighing her hands on the vessel’s side her knees on the sea’s bottom saw her father walking on the shore. “Dear father, darling father ransom me from here!” a

io “Millä mä sinun lunastan?” “Ompa sulia kolme hevosta: pane paras pantiksi.” “Ennen luovun tyttärestä ennen kun paraasta hevosestani.”

“What shall I ransom you with?” “You have three horses: Give the best one for a pledge.” “ I’d sooner yield my daughter than the best of my horses.”

is Venhäläinen verikorva soutaa ja joutaa, neitty istuu kajutissa itkee ja huokaa kädet paatin laidalla so polvet meren pohjassa, näki äitinsä kävelevän rantaa. “Rakas äite, kulta äite lunasta minua täältä!”

A Russian, a bloody-ear was rowing, idling: a maid sat in the cabin weeping and sighing her hands on the vessel’s side her knees on the sea’s bottom saw her mother walking on the shore. “Dear mother, darling mother ransom me from here!”

26

“Millä mä sun lunastan?” “Ompa sulia kolme lehmää: pane paras pantiksi.” “Ennen luovun tyttärestäni ennen kun paraasta lehmästäni.”

“What shall I ransom you with?” “Well, you have three cows: Give the best one for a pledge.” “I’d sooner yield my daughter than the best one of my cows.”

Venhäläinen verikorva

A Russian, a bloody-ear

471

1 O ö A

Neito ja vene I I I The M aid and the Boat I I I

30 soutaa ja joutaa, neitty istuu kajutissa itkee ja huokaa kädet paatin laidalla polvet meren pohjassa, 3 5 näki veljensä kävelevän rantaa. “ Rakas veli, kulta veli lunasta minua täältä!”

was rowing, idling: a maid sat in the cabin weeping and sighing her hands on the vessel’s side her knees on the sea’s bottom saw her brother walking on the shore. “Dear brother, darling brother ransom me from here!”

“Millä mä sinun lunastan?” “Ompa sulia kolme miekkaa: 40 pane paras pantiksi.” “Ennen luovun sisarestani ennen kun paraasta miekastani.”

“What shall I ransom you with?” “Well, you have three swords: Give the best one for a pledge.” “I’d sooner yield my sister than the best one of my swords.”

Venhäläinen verikorva soutaa ja joutaa, 46 neitty istuu kajutissa itkee ja huokaa kädet paatin laidassa polvet meren pohjassa, näki sisarensa kävelevän rantaa. 50 “Rakas sisar, kulta sisar lunasta minua täältä!”

A Russian, a bloody-ear was rowing, idling: a maid sat in the cabin weeping and sighing her hands on the vessel’s side her knees on the sea’s bottom saw her sister walking on the shore. “Dear sister, darling sister ransom me from here!”

“Millä mä sinun lunastan?” “Ompa sulia kolme kruunua: pane paras pantiksi.” 65 “Ennen luovun sisarestani ennen kun paraasta kruunustani.”

"What shall I ransom you with?” “Well, you have three crowns: Give the best one for a pledge.” “I’d sooner yield my sister than the best one of my crowns.”

Venhäläinen verikorva soutaa ja joutaa, neitty istuu kajutissa 60 itkee ja huokaa kädet paatin laidalla polvet meren pohjassa, näki ylkänsä kävelevän rantaa. “Rakas ylkä, kulta ylkä 65 lunasta minua täältä!”

A Russian, a bloody-ear was rowing, idling: a maid sat in the cabin weeping and sighing her hands on the vessel’s side her knees on the sea’s bottom saw her bridegroom walking on the shore. “Dear bridegroom, darling bridegroom ransom me from here!”

472

1 O Q 1 Z O

Neito ja vene I I I The M aid and the Boat I I I

“Millä mä sun lunastan?” “Ompa sulia kolme sormusta: pane paras pantiksi.” “Ennen luovun sormuksestani 70 ennen kun sinusta, morsiameni!”

“What shall I ransom you with?” “Well, you have three rings: Give the best one for a pledge.” “I’d sooner give up my rings than yield you, my bride!”

“Isäni hevoset kaatukoon paraana toukoaikana, äiteni lehmät ehtyköön paraana lypsyn aikana, 76 veljeni miekat kätkeköön paraana sota-aikana, sisareni kruunut sulakoon kihkeenä kirkon aikana, ylkäni sormukset pitäköön so kaiken elinaikani.”

“ May my father’s horses die in the best sowing season may my mother’s cows dry up in the best milking season may my brother’s swords snap off in the best season for war may my sister’s crowns melt down at the great moment in church may my bridegroom’s rings hold good 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

.Li toinen poika mustikahek 5

kolmas jäniksen ajohon. Tuli poika puolukasta toinen tuli mustikasta, kolmas ei tullukkana.

^ \ n e boy went for cowberries V ^ / another for bilberries a third hare-hunting: one boy came with cowberries the second with bilberries the third did not come.

Läksi isä etsimähek otrasella oluella kakrasella kannikalla io leivällä rukehisella: eip on löytänt poikoansa kultaista omenoansa.

His father went seeking him with some barley beer with a crust of oats with a loaf of rye: but he did not find his son his golden apple.

Läksi emä etsimähek otrasella olutveellä is kaurasella kannikalla leivällä rukehisella: eip on löyä pojuttahek kultaista omenuttahek. Mäni itkein kotihin 2o kallutellen kartanolle.

His mother went seeking him with some barley beer-water with a crust of oats with a loaf of rye: she did not find her offspring her little golden apple. She went weeping home wailing to the farm.

Läksi veikko etsimähek otrasella olutveellä kakrasella kannikalla leivällä rukehisella. 25 Läksi sikko etsimähek otrasella olutveellä kakrasella kannikalla leivällä rukehisella: “Missäp olet veikkoseni?”

His brother went seeking him with some barley beer-water with a crust of oats with a loaf of rye. His sister went seeking him with some barley beer-water with a crust of oats with a loaf of rye: “Where are you, my dear brother?”

474

1 OQ 1 Z y

P ° ik a j o p i l v i I B o y a n d C lo u d I

30 “Täällä olen siukkuseni pilvi päätäni pitävi hattara hivuksiani toinen toista jalkojani.”

“Here I am, my dear sister: a cloud is holding my head a vapour my hair 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

poika piähkiniä Läksi toinen poika tuorehie

boy went for nuts Oneanother for game

kolmas läks kesäkalal neljäs läks jänön jälil 6 viijes läks suven vivoil. Tul poika piähkenest toinen poika tuorehest kolmas kesäkalast neljäs jänön jälilt, 10 ei tullut suven vivoilta.

a third went for summer-fish a fourth went tracking a hare a fifth went trapping a wolf: one boy came with nuts the second with game the third came with summer-fish the fourth from tracking a hare but not from trapping a wolf.

Keiles poikaa ikävä halu lasta laajitella? Isol tul poikaa ikävä halu lasta laajitella. 15 Iso mänkyö etsimiä ets sutena suuret korvet jäniksenä peltopuistot karitsana korvet korjat itikkana lensi ilmat. 20 “Tule pois poikasein!”

Who misses the boy wants to look after the child? The father misses the boy wants to look after the child. The father went out searching searched great forests like a wolf spinneys like a hare high forests like a lamb, flew through the air like an insect. “Gome away, my little boy!”

“En pääse isosuvein: pilvet piätäin pittiät hattarat hapeniijain. Ota olkii kuponen 25 pärehii vihkeröinen millä poltat pilven reunat pilven hattarat hajotat.”

“ I cannot, my kind father: the clouds are holding my head the vapours my hair. Take a sheaf of straw a bundle of splints with which bum the cloud-edges 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

5

miun emmoin Marjukkain Karjukkain kantajaan

mother of mine Marjukkain, Karjukkain, she who bore me

kuwais tytärtä kuutta lasta viittä laaitteli: viisin saatteli vihille kuuennen kottiihe jätti jätti Maijen tyttäreksi kultia kuluttammaa hopeia hoitamaa.

brought forth six daughters cared for five children: five she saw to the altar but the sixth she kept at home kept Maije for a daughter to spend the gold and to guard the silver.

Kulutti isoihe kullat hoisi veljehä hoppiat, laati kullat kulmillee sinilangat silmillee vaskilangat varrellee is vyöllehee hoppialangat.

10

20

26

And she spent her father’s gold guarded her brother’s silver set the gold upon her brows the blue threads upon her eyes copper threads on her figure at her belt the silver threads.

Otti koivuiset korennat otti pangat patsan puista, mäni kaivolle kahulle pellolle kylän perälle läpi uuvven kuuen linnan läpi kampulin kaheksan: sieltä Maijoi varrassettii vetoitieltä temmaistii.

She took the birchwood cowlstaves the handles from the stove-post went to the well-way to the field past the village went through six new towns through eight parishes: and there Maijoi was stolen on the water-road was snatched.

Kelle etso, kulle etso? Ved ei kelle kui emoille: emoin etso ensimäin siis perästä perreehen etso.

Who will seek her, who will search? Well, no one but her mother: mother sought her first after her the family sought.

Emoi kenki jalkojaa jalan kenki kynnyksellä

The mother put on her shoes shod one foot on the threshold

477

1 OI U I

Neito ja pilvi M aid and Cloud

30 toisen Maijen kirssun päällä,

mäni etsi Maijojaa käi suttena suuret metsät karhuna komiat korvet oravana puijen oksat 35 jäniksenä järven rannat.

the other on Maije’s trunk went in search of her Maijoi trod the great woods like a wolf the fine forests like a bear the tree-boughs like a squirrel and the lakeshores like a hare.

Nousi suurelle mäelle korkealle kankahalle, kiljahti kiiaan täynnä suun tävven suikkaeli: 40 “Tye Maijoini kottii!”

She went up on a great hill up on a high heath yelled at the top of her voice let fly a mouthful: “Gome home, my Maijoi!”

Maijoi vastaa parriis: “En pääse emoi kottii: pilvoi päästäni pittää pilvoin poikoi polvistaan 45 hattarain hiuksistaan. Mää siä emoi kottii keitä ozrasta olutta makuvettä maltaisesta!”

Maijoi answering screamed out: “ I cannot come home, mother: a cloud is holding my head a cloud’s son my knees a vapour my hair. You go home, mother brew some barley beer some tasty malted water!”

Emoi juossulla kottii 50 keitti ozrista olutta

makuvettä maltaisesta, antoi pilvoille pikkaarin toisen pilvoin poikoiselle kaksin kaikelle väelle. 55 Siis pääsi Maijoi kottii.

The mother rushed home brewed some barley beer some tasty malted water gave a glassful to the cloud another to the cloud’s son two to the whole crowd of them: so Maijoi reached home. Tatiana

Soikkola, Ingria V. Porkka, 1883

478

132 KADONNUT SUKA The Lost Brush

■fT» mo synnytti miuista: .H i mie syytä synnyttelin. Isoi kasvatti minuista: mie kassan kasvattelin.

/ry mother gave birth to me IV X and I bore my hair, father brought me up: I was rearing locks.

6 Kasvo miulle kassa pitkä kassa pitkä, tukka tuima pellavaan pion pituus meren vaahen valkeuus: ei voinut suka sukia io sian harjus harjaella.

Long the locks I grew long the locks and tough the hair as long as a length of flax as white as sea-foam: brush could not brush it pig-bristles could not groom it.

Mäni velloni Viroon viemähän verojyviä maksamaan maarahoja. Mie virkin vellollein: is “Tuo vello suka Virosta sian harjus moisiosta.”

My brother went to Estonia to take the tithe-com to pay the land-tax. I said to my brother: “Bring a brush from Estonia, brother pig-bristles from the manor.”

Toi vello suan Virosta sian harjuksen moisiosta. Mänin meren rantaselle istsin saarelle kivelle panin lauvan polvellein harotin haluset hiuksen halusille hartioille, aloin päätäni sukia 25 harjaella hiuksiani. Suikahti suka merehen: painettaisin katsomahan täyvyttäisin ottamaan kallistaisin katsomaan, 20

He brought a brush from Estonia pig-bristles from the manor. I went down to the seashore I sat on an island-stone I put a board on my knees I shook my sad hair out over my sad shoulders I began to brush my head and to groom my hair. The brush slipped into the sea: I bent down to look for it had to pick it up I leaned out to look for it

47 9

Kadonnut suka The Lost Brush

m

30 suikahin suan jälestä kaglast saa kalaveteen kulkust saa kalan kutuun.

I slipped after it to my neck in fish-water up to my throat in fish-spawn.

Puuttu miekka purstohoin miekan kannoin kaglahain: 35 mie miekan maalle kannoin. Kuhun miekka, mihin miekka kuhun miekka kelpajaa? Mie miekan vellollein. Mihin miekka, kuhun miekka? 40 Vello miekan moisioon. Isännät imehtelööt emännät ajatteloot: “Tämä miekka on miestä syönyt miestä syönyt, verta juonut 45 rauta rajunut uroa teräs miest on tempaellut.”

A sword was caught in my tail a scabbard-sling round my neck: I carried the sword to land. Which way the sword, where the sword what was the sword useful for? I took it to my brother. Where the sword, for what the sword? He took it to the manor. The masters marvelled the mistresses considered: “This sword has been eating man has eaten man, has drunk blood the iron has hurt heroes the steel has snatched men away.”

50

Vello vasten vastaeli: “Ei oo miekkoi miestä syönyt miest ei syönyt, vert ei juonut rauta ei rajunut uroa teräs ei miestä tempaellut: tää miekka on merestä tuotu meren pohjasta otettu.”

My brother answering said: “The sword has not eaten man not eaten man, not drunk blood nor the iron hurt heroes nor the steel snatched men away: this sword was brought- from the sea 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

hymmertelen H ypyttelen, lekuttelen, lellertelen tinatipukaisilla vaskivarpahuisilla 5 kultaista kujoista myöten hopiaista tietä myöten. Tulipa ojani vastah ojasell on mättähäini mättähäisellä kotani, io Kolkkasin kovan ovie rämähytin räyssäspuuta: impi itkien tulou. “Mitäs itet impi raukka?”

16

“Ompa syytä itkijällä vaivoa valittajalla: Veijoni on sotahan viety ison polven korkevuona emon värttinän pituona.”

31

frisked, I frolicked I skipped, I scampered on hoppers of tin on toes of copper down a lane of gold a road of silver. Now, I met a ditch: by the ditch was a hummock by the hummock was a hut. I knocked upon the hut door rattled the eaves-wood: a girl came weeping. “Why are you weeping, poor girl?”

I

“She who weeps has cause she who laments has trouble: my brother has been taken to war, tall as father’s knee and long as mother’s distaff.”

“Elä ite impi raukka: so jo veijos sovasta tuloo alta meren airot läikkyy peältä linnan peä näkyvi.”

“ Do not weep, poor girl: your brother’s coming from war down on the sea his oars flash above the town his head shows.”

“No mitäpä annan Veijollani? Annan paian palttinasta 26 ku ei kaiva kainaloja kutšuta kuvellihoja. Mitäpä miulla veio tuopi? Tuopi hanhen kostintšoikši. Kunne panen hanhuoni 30 minne mielilintuseni?

“ What shall I give my brother? I’ll give him a linen shirt which won’t dig under his arms itch below his ribs. What will my brother bring me? He’ll bring a goose for the gift. But where shall I put my goose my favourite bird?

481

1 O O 1 D

Kadonnut hanhi I The Lost Goose I

Panisin viliavakkahain villani vanuttanoo, panisin osrapuumuhun okahih juuttunoo, 36 panisin ruispuumuhun rukehih juuttunoo, panisin riihen räystähäl savuhun läpehtynöö, panisin leävän räystähäl. . . 40 panin leävän räystähäl. Olin päivän, olin toisen olin kohta kolmannenkin. Mänin lintuo kattšomah: jo oil lintun ollut männyt. 45 Kunne sai miun hanhuoni kunne mielilintuseni?” “Saipa rautasoappoat kostelisen kolmanneks.”

Put it in my wool-basket it will mat my wool put it in my barley-bin and it will catch on the spikes put it into my rye-bin and it will catch on the rye put it on the threshing-house eaves it will stifle in the smoke put it on the cowshed eaves . . . yes, upon the cowshed eaves. I stayed a day, another soon I stayed a third as well: I went to look at the bird but my bird had gone. Where had my bird gone my favourite bird?” “She got iron boots a crutch for a third.”

Läksi lintuo ettåimäh: mäni matkoja vähäsen kulki teitä pikkusen. Kuunteloo: sumu kuuluu. Kattšo: Katti tien kylessä Katti kangasta kutou 65 impi pirtoa pitäy hanhi siellä käämittäy.

She went in search of the bird she travelled a little way walked a short distance. Listened: heard a hum. Looked: Katti at the roadside. She was weaving doth a girl was holding the reed the goose there winding.

“Sieltä löyän hanhuoni panen parempah tilah.”

“There I found my goose put it in a better place.”

60

K a tti N ykänen

Akonlahti, Kontokki, Archangel Karelia A. R. Niemi, 1904

4 82

134 KADONNUT HANHI II The Lost Goose I I

5

10

suolle sotkemaan Mänin löysin suosta mättähäisen

to the marsh to scrub Iwent in the marsh found a hummock

mättähäisestä kotosen. Kolkutin kotosen usta rämäytin räystäspuuta: sieltä neitonen širahti räkkikoira neion kaa.

on the hummock found a hut. I knocked upon the hut door rattled the eaves-wood: a maiden slunk out a cur with the maid.

Tuo neito sanaksi virkki: “Mitäs etsit neito nuori: vai etsit punapaninta vai etsit Saksan saappahia vai etsit Suomen sormuksia vai etsit linnan linttipäitä?”

That maid put in words: “What is it you seek, young maid: is it red trappings you seek or do you seek German boots or do you seek Finnish rings or ribbon-heads from the town?”

Tuo neito sanaksi virkki: 15 “En etsi Suomen sormuksia eikä Saksan saappahia enkä linnan linttipäitä: etsin nuorta velloani. Miks mäni nuorena sotaan so maitosuuna tappeluun?”

That maid put in words: “No, I don’t seek Finnish rings nor yet German boots nor ribbon-heads from the town: I’m seeking my young brother. Why has he gone to war young to battle as a milk-mouth?”

“Älä itke neito nuori. Tuo veikkos kotihin tuloo: linnut piikkaa pivossa hanhet kaljuut kainalossa.”

“Do not weep, young maid: your brother is coming home birds are chirping in his hand geese honking under his arm.”

25 “Mihin paan mie vellon linnut? Tien mie tarhan tanhavalle koppelin kovalle maalle, paan mie kukon kuulemaan mustan linnun muistamaan

“Where to put my brother’s birds? I’ll make a pen in the yard and a coop on the hard ground: I’ll put a cock to listen a black bird to mark

483

1 1

3

r

Kadonnut hanhi I I The Lost Goose I I

30 tervaskannon tietämään.

35

Itse mänin jauhamaan jauhoin vakan, jauhoin toisen jauhoin kolmatta vähäisen. Mänin hanoo katsomaan jo oli hanoni paennut: ei tuo kukko kuullutkaan musta lint ei muistantkaan tervaskanto ei tietäntkään.

Mänin hanoi etsimään: 40 juoksin virstan, juoksin toisen vaaksan valuin vatsallani. Tuli sotkijat vastaan. ‘Oi sotkijat sisarueni oi sotkijat emäni lapset 4& näittekö te miun hanhojani? Tästä lensi liehoitteli.’ ‘Mikä oli merkki hanhoillasi?’ ‘Tinat oli suuhun tilkutettu vasket varpahiin välissä. 50 Tässä lensi liehoitteli: yksi siipi vettä viilsi toinen taivast tavoitti.’ Juoksin virstan, juoksin toisen juoksin kolmatta vähäisen, 55 puutuin uuteen kylään puutuin uuteen taloon: hano kiehui kattilassa häntää häilyttää siipee siputtaa.”

and a tarry stump to know. I myself went to grind com: ground a boxful, another ground a little of a third. I went to look at the goose but my goose had fled: that cock had not heard at all nor the black bird marked nor had the tarry stump known. I went in serach of the goose: I ran a verst, another slid a span on my belly. I met the washerwomen: ‘Washerwomen, my sisters my mother’s children have you seen my goose? It flew, it fluttered this way.’ ‘What marking did your goose have?* ‘Patches of tin on its mouth of copper between its toes. It flew, it fluttered this way: one wing parted the water the other reached for the sky.’ I ran a verst, another ran a little of a third came upon a new village and came upon a new house: the goose, boiling in the pot was wagging its tail was beating its wing.” S in g er unknow n

Narvusi, Ingria J. Lukkarinen, 1909

484

135 KADONNUT VELI I The Lost Brother I

on meitä veljeksiä Kolm kolme veljen poikasia.

were three of us brothers T here three brother-lads, we:

Läksi yksi hirven hihantahan toinen jänön ajohon s kolmans revon pyytännähän. Tuli tuolta yksi veli jänön on käpäle käessä, tulpa tuolta toinen veikko revon kaakku kainalossa, 10 kolmanspa ei tullutkana.

one went skiing after elk the second hunting a hare and the third to snare a fox. Back came one brother with a hare’s paw in his hand back came the second brother a fox-skin under his arm but the third did not come back.

Vuotin päivän, vuotin toisen vuotin kohta kolmannenki. Kyselin kylän akoilta: “Sait sie sanoa kantajilta is näitkö minun veikostani?”

I waited a day, two days soon I waited a third too. And I asked the village crones: “You have heard from messengers: have you seen my dear brother?”

“Näin eillen näillä päivin selvällä meren selällä istu suurella kivellä suki suruista päätä 20 harjaeli halunalaista: sorotti suka merehen harja kirpesi kiveltä. Kallistihin katsomahan ojentihen ottamahan, 25 surotti suvalle jälestä: ‘Voi mun armas äitiseni ellös panko taikinoa meren veellä viskaelko! Mikäli on meren vesiä 30 sikäli on minun veriä,

“I saw him at this time yesterday upon the clear open sea: he sat upon a big rock brushing his sorrowful head grooming his dejected head. The brush plopped into the sea the bristles fell from the rock. He leaned out to look for it he stretched out to pick it up and he plopped in after it: ‘My darling mother do not make dough, don’t sprinkle it with seawater! As the seawater so also my blood

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mikäli rannalla risuja sikäli minun luitaki.’ ”

as the brushwood on the shore so also my bones.’ ” S in g er unknow n

Suistamo, Ladoga Karelia R. Polén, 1847

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136 KADONNUT VELI II The Lost Brother I I

■t i tsin viikon velloani JZjkuukauen kulervuttaini etsin Suomet, etsin Saaret Moskovan molemmat puolet 6 kahen puolen Kapriota: en löytänyt sielläkään.

week I sought my brother a month sought my precious one I searched Finland, the Island both sides of Moscow the two sides of Kaprio: did not find him there at all.

Mänin rannoille meroille näin laivoin lainehtivan punakieloin purjehtivan io solkkuvan sotivenoisen sotipaatin paurakkoivan. Suotta luottiisin loheksi vetiisin vesikalaksi asettaisin ahveneksi, is uin laivoin porraspuille laivan keploille kejahin.

I went down to the seashore saw a ship cleaving the waves a red-keel sailing a war-boat pitching a war-craft rolling. Promptly I changed into a salmon turned into a water-fish set myself up as a perch: I swam to the ship’s ladder to the ship’s bows I darted.

Kysyin laivoin vanhimmatta: “Onko täällä velloani onk täällä emoni lasta?” so Harvoin haasto laivoin vanhin päältään tutilahalta hiuksiltaan harmahilta: “ Ei oo täällä velloasi ei täällä emosi lasta.” 26

a

And I asked the ship’s master: “ Is my brother here is my mother’s child?” Slowly the ship’s master spoke with his head trembling and his hair gone grey: “No, your brother is not here your mother’s child is not here.”

Kysyin laivoin vanhemmalta: “ Miksi on vesi punainen vaahti valkea verinen?”

And I asked the ship’s master: “Why then is the water red the white fcam bloody?”

Laivoin vanhin vastaeli:

The ship’s master made reply:

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“Sill on vesi punainen 30 vaahti valkea verinen: halastihin hauvin vatsa sivastiihin siian vatsa, suolet luotihin merehen maksat maalle kannettihin.”

“For this the water is red the white foam bloody: a pike’s belly has been slit a whitefish’s belly stabbed the guts cast into the sea the entrails borne to the land.”

36 Velloin veosta lausu emoin lapsi lainehista: “Ei halaistu hauvin vatsa ei sivaistu siian vatsa: halaistihin vellon vatsa 40 suolet luotihin merehen maksat maalle kannettihin.”

From the water my brother spoke, from the waves mother’s child: “No pike’s belly has been slit no whitefish’s belly stabbed: brother’s belly has been slit his guts cast into the sea his entrails borne to the land.”

Vei siso emolle viestin: “Elköhön minun emoni polttaa merestä puita: 45 kuin polttaa meroista puita niin polttaa pojoihe luita. Elkää miun isoini juoa merestä vettä: kuin juopi merestä vettä 50 niin juopi pojahen verta. Elköhön miun emoni pitsilakkia pielkö kantaa kultaotsimusta, elköhön miun sisoini 56 silkkiriepui siellä, elköhön miun velloini verkaviittoja veellä, elköhön miun isoini syyä meren kaloja: 60 kuin syöpi meroin kaloja niin syöpi pojoin lihoja.”

My sister took the tidings to mother: “May my mother never bum wood from the sea: if she bums wood from the sea she’ll bum her son’s bones. And may my father not drink water from the sea: drinking water from the sea he’ll drink his son’s blood. And may my mother never wear a lace bonnet bear a gold headband and may my sister never tie on a silk scarf and may my brother never dress in a cloth cloak and may my father never eat fish from the sea: if he eats fish from the sea he’ll eat his son’s flesh.” S in g er unknow n

Tyro, Ingria D. E. D. Europaeus, 1853

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137 SOTAANLÄHTÖ I The Warrior*s Departure I

Kalervan poika Kulerva läksi soitellen sotaan

ulerva, Kalerva’s son Kwent with music off to war

ilon lyyen muilen mailen kulleroijen Karjalaani. 6 Sano isälle sanoman: “Hyvästi hyvä isäni ikäni elättäjäni: itkeskös sinä minua koskas tiijät kuolleeni 10 meren jäälle jäänneeni kansasta katoneeni väestä väheneeni?”

16

plucking joy to other lands merrily to Karelia said these words to his father: “Fare you well, my good father my provider all my life: will you weep for me when you know that I am dead left on the sea-ice lost to my people taken away from my folk?”

“En minä sinua itke: poika toinen tehtäneen vielä markkoo parempi taleria taitavampi.”

“No, I will not weep for you: another boy will be got one mark better still and one daler more skilful.”

“Äitiseni kultaiseni minun kaunis kantajani ikäni imettäjäni: so etkös sa minua itke?”

26

“ My dear mother, my darling fair one who bore me my nurse all my life won’t you weep for me?”

“Poikaseni kultaiseni etkös tunne äitin syäntä? Niin minä sinua itken lumet niljeneksi ja ne niljet suliksi maiksi ja sulat maat vihoittamaan.”

“My little son, my darling don’t you know a mother’s heart? Yes, I’ll weep for you weep the snow to slush the slush to soft soil and the soil to bloom.” S in g er unknow n

Juva, Savo C. A. Gottlund, before 1871

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138 SOTAANLÄHTÖ II The Warrior's Departure I I

5

A nterus koria poika, xY sulho nuoren nuorukkaine heä valiasti tulise ruunan tulisella tantereita tulise rien ettiene veri kiehu vempeliestä rasva rahkien nenästä — sotahoan on männäksiesen.

a nterus the handsome boy AX the young bridegroom in his prime harnessed the fiery gelding in the fiery field in front of the fiery sledge blood boiled from the collar-bow and fat from the traces-tip to go off to war.

Anterus koria poika io sulho nuoren nuorukkaine miehen kanta kaunukkaine kirja! linnasta lähätti paperit pahalta moalta: “Itketk sie iso miuista 15 kui sovassa sorrettoane linnan alla ammuttoane?” “ Itken, armas poikuveini.”

Anterus the handsome boy the young bridegroom in his prime fair beginning of a man sent out letters from the town papers from the evil land: “Will you weep, father, for me if I’m felled in war and shot below the castle?” “I will weep, my sweet offspring.”

Anterus koria poika sulho nuoren nuorukkaine 2o miehen kanta kaunukkaine kirjal linnast lähätti paperit pahalta moalta: “Itketk sie miuista neito kui sovassa sorrettoane 25 linnan alla ammuttoane?”

Anterus the handsome boy the young bridegroom in his prime fair beginning of a man sent out letters from the town papers from the evil land: “Will you weep for me, maiden if I’m felled in war and shot below the castle?”

Neito vaste vastajieli: “Mitä mie siuista itken? Kuin näkisin poltettavan vielo tulta kiihottaisin, 3o kuin näkisin leikattavan

The maiden answering said: “And why should I weep for you? If I saw you being burned I would stir the fire up more if I saw you being slashed

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viel mie veistäi hihoisin nykäjäin on nyrsyttäisi, kuin näkisin hirtettävän viel nuorasta vetäsin.”

I would sharpen my knife more I ’d swish my knife-end if I saw you being hanged I ’d pull harder on the rope.” M a t t i S u telain en

Metsäpirtti, Karelian Isthmus A. A. Borenius, 1887

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139 SOTAANLÄHTÖ III The Warrior's Departure I I I

usi juoksi suota myöten O karhu kangasta samosi. Suo nousi suen jaloissa kangas karhun kämmenissä: 5 kasvo rautaset orahat suen suurille jälille karhun kämmenen tiloille.

A wolf ran over the marsh i l a bear wandered on the heath. The marsh rose at the wolf’s feet and the heath at the bear’s paws: iron shoots sprang up in the wolf’s great tracks and where the bear’s paws had been.

Tuop oli seppo Ilmarinen otti rautaset orahat io tempasi terässekaset suen suurilta jäliltä karhun kämmenen tiloilta.

’Twas that smith Ilmarinen took the iron shoots snatched the steel-blended from the wolf’s great tracks from where the bear’s paws had been.

Jopa seppo Ilmarinen takoja iänikuinen is takoa taputtelevi lyöä helkähyttelevi pajassa ovettomassa ilman ikkunattomassa. Tako miekan mielellisen 20 kilven kaikkien parahan kätehen Kalevan pojan: tuonpa kuu kärestä paisto päivä västistä välötti.

Now, the smith Ilmarinen the everlasting craftsman hammered, tapped away beat, clattered away in the forge without doors, without windows. He hammered a likely sword and a shield, the best of all for the hand of Kaleva’s son: now, the moon shone from its point and the sun glowed from its hilt.

Tuo kaunis Kalevan poika 25 läksi taitellen sotahan hotelien ihmisihin ilon taiten tappeluhun, sano kohta mentyähän suurelle sotakeolle 30 miesten tapputanterille:

That fair son of Kaleva went with music off to war rejoicing off among men playing joy into battle said as soon as he’d arrived upon the great battlefield on the slaughter-lands of m en:

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“Hiietki yhen urohon sovissahan suojelevat kaavuissahan kattelevat suurilla sotakeoilla 36 miesten tappotanterilla.”

“ Even the demons will guard a hero with their war-gear will cover him with their cloaks upon the great battlefields on the slaughter-lands of men.”

Jo tuolla tuli tuhua pääty päiviä pahoja: jo Kullervo kukistettihin kaattihin Kalevan poika 40 suurille sotakeoille miesten tappotanterille.

Now destruction came evil days befell: now Kullervo was conquered Kaleva’s son was struck down upon the great battlefields on the slaughter-lands of men. M is h i Sissonen

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

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140 K UO LINSANO M AT I N ew s o f Death I

i v r inerva Kanervan poika ■ läjä k si soitellen sotahan ilo lyöen muille maille. Pisti pillit säkkihinsä 6 soitti suolla mennessänsä kajahutti kankahalla: suo surahti, maa järähti kangas vastahan kajahti.

- T T - inerva, Kanerva’s son J ^ .w e n t with music off to war striking joy to other lands. He thrust whistles in his bag played as he went through the marsh echoed on the heath: the marsh hummed and the ground shook the heath echoed in reply.

Tuotihin sanajälestä: io “Jo isos kotona kuoli!”

The word was brought after him: “ Your father at home has died!”

“ Saan mie ison mokoman saan rungan lahosta puista jalat raian haarukoista pääranin pataranista is vatsan vai vasen säkistä silmät liinan siemenistä korvat koivun lehtosista.”

“ I ’ll get a father like him a body of rotten wood legs of forked sallows a skull of a worn-out pot belly of a beggar’s bag . and eyes of flax-seeds and ears of birch-leaves.”

Kinerva Kanervan poika läksi soitellen sotahan 20 ilo lyöen muille maille. Pisti pillit säkkihinsä soitti suolla mennessänsä kajahutti kankahalla: suo surahti, maa järähti 25 kangas vastahan kajahti.

Kinerva, Kanerva’s son went with music off to war striking joy to other lands. He thrust whistles in his bag played as he went through the marsh echoed on the heath: the marsh hummed and the ground shook the heath echoed in reply.

Tuotihin sanajälestä: “Jo emos kotona kuoli!”

The word was brought after him: “ Your mother at home has died!”

“ Lienöhö kuollut, kuolkohon!

“ If she has died, let her die!

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Saan mie emon mokoman so saan rangan lahosta puista jalat raian haarukoista pääranin pataranista vatsan vaivasen säkistä silmät liinan siemenistä 35 korvat koivun lehtosista.”

I ’ll get a mother like her a body of rotten wood legs of forked sallows a skull of a worn-out pot belly of a beggar’s bag and eyes of flax-seeds and ears of birch-leaves.”

Kinerva Kanervan poika läksi soitellen sotahan ilo lyöen muille maille. Pisti pillit säkkihinsä 40 soitti suolla mennessänsä kajahutti kankahalla: suo surahti, maa järähti kangas vastahan kajahti.

Kinerva, Kanerva’s son went with music off to war striking joy to other lands. He thrust whistles in his bag played as he went through the marsh echoed on the heath: the marsh hummed and the ground shook the heath echoed in reply.

45

Tuotihin sana jälestä: “Jo veljes kotona kuoli!”

“ Liep on kuollut, kuolkohon! Saan mie veljen mokoman saan rungan lahosta puista jalat raian haarukoista 50 pääranin pataranista vatsan vaivasen säkistä silmät liinan siemenistä korvat koivun lehtosista.”

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The word was brought after him: “ Your brother at home has died!” “ If he is dead, let him die! I ’ll get a brother like him a body of rotten wood legs of forked sallows a skull of a worn-out pot belly of a beggar’s bag and eyes of flax-seeds and ears of birch-leaves.”

Kinerva Kanervan poika läksi soitellen sotahan ilo lyöen muille maille. Pisti pillit säkkihinsä soitti suolla mennessänsä kajahutti kankahalla: suo surahti, maa järähti kangas vastahan kajahti.

Kinerva, Kanerva’s son went with music off to war striking joy to other lands. He thrust whistles in his bag played as he went through the marsh echoed on the heath: the marsh hummed and the ground shook the heath echoed in reply.

Tuotihin sana jälestä: “Jo siskos kotona kuoli!”

The word was brought after him: “ Your sister at home has died!”

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“Jos on kuollut, niin kuolkohon! 65 Saan mie siskon mokoman saan rungan lahosta puista jalat raian haarukoista pääranin pataranista vatsan vaivasen säkistä 70 silmät liinan siemenistä korvat koivun lehtosista.”

75

Kinerva Kanervan poika läksi soitellen sotahan ilo lyöen muille maille. Pisti pillit säkkihinsä soitti suolla mennessänsä kajahutti kankahalla: suo surahti, maa järähti kangas vastahan kajahti.

“If she’s dead, then let her die! I’ll get a sister like her a body of rotten wood legs of forked sallows a skull of a worn-out pot belly of a beggar’s bag and eyes of flax-seeds and ears of birch-leaves.” Kinerva, Kanerva’s son went with music off to war striking joy to other lands. He thrust whistles in his bag played as he went through the marsh echoed on the heath: the marsh hummed and the ground shook the heath echoed in reply.

so Tuotihin sanajälestä: “Jo vaimos kotona kuoli!”

The word was brought after him: “Now your wife at home has died!”

“Voi mie polonen poika: uupu uutimen tekiä vaipu vaipan kirjottaja. 85 Voi mie polonen poika voi poika polon-alanen! Millä pesen vaimoani? Pesen Saksan saipohilla. Mihin käärin vaimoani? 90 Käärin Saksan pakinahan. Mihin panen vaimoni? Panen kirkon sillan alle alle alttarin asetan.”

“Poor boy that I am: she who made curtains grew tired she who worked mantles sank down. Poor boy that I am wretched, downcast boy! What shall I wash my wife with? I’ll wash her with German soap. What shall I wrap my wife in? Wrap her in German linen. Where shall I bury my wife? Under the church floor under the altar put her.” S in g er unknow n

Suistamo, Ladoga Karelia R. Polén, 1847

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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, 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

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änin viinaa Viroista Osmeroilta ottamaa. Vierähti sana jälestä: “Jo siun issois kuoli.”

went to Estonia for liquor from Osmeroi and the word rolled after me: “ Your father has died.”

Millä pessä miun issoin? Ossan Saksan saippuaa: sillä pesen miä issoin. Millä vaattoitan issoin? Ossan linnan liesenkii: sillä vaattoitan issoin. Mistä teen isoille kirssun? Kirssun kullasta kuvvaan hopiasta huolittelen hopianaaglat nappaelen.

W hat shall I wash father with? I ’ll buy German soap: with it I ’ll wash my father. What shall I dress father in? I ’ll buy Silesian linen in town: with it I ’ll dress my father. W hat make father’s coffin of? I’ll shape the coffin in gold work it finely in silver tap in silver nails.

is Menin viinaa Viroista Osmeroilta ottamaa. Vierähti sana jälestä: “Jo siun emmois kuoli.”

I went to Estonia for liquor from Osmeroi and the word rolled after me: “ Your mother has died.”

Millä pessenen emmoin? Ossan Saksan saippuaa: sillä pesen miun emmoin. Millä vaattoitan emmoin? Tuon sulkkua sylellä: sillä vaattoitan emmoin. 25 Mistä teen emoille kirssun? Teen miä kirssun Kilpin luista: siihe paan miä emmoin puunaaglat nappaelen.

W hat shall I wash mother with? I ’ll buy German soap: with it I ’ll wash my mother. W hat shall I dress mother in? I will bring an ell of silk: in it I’ll dress my mother. W hat make mother’s coffin of? I ’ll make it of Fleetfoot’s bones: in it I ’ll put my mother tap in wooden nails.

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30 Osmeroilta ottamaa. Vierähti sana jälestä: “ Kuoli jyrkkä miehyees vaipui vaatteen-allain kaatui katteen-allain.”

for liquor from Osmeroi and the word rolled after me: “Now your stem husband has died yqur bedfellow has sunk down your bedmate fallen.”

Millä pesen miehyeen? Keltaisen kanan pasalla. Millä vaattoitan miehyeen? Kylän kyntyrättilöillä. Mistä teen kirssun miehyelleen? 40 Menin allasta kyllää mihe paan jyrkän miehyeen en saant allasta kylästä. Otin pölkkyä pyörsin siihe panin jyrkän miehyeen 4 5 rautanaaglat nappaelin, kasit panin kirjaa lukomaa koerat koulua kantamaa. Vein miä alas mäkkee: mää sie Hitoin kättee 5o seitsemälle perkelelle!

What shall I wash my man with? With a yellow chicken’s shit. What shall I dress my man in? In the village ploughing-rags. What make my man’s coffin of? I sought a trough in the village to put my stem husband in got no trough from the village. I took a log and rolled it: there I put my stem husband tapped in iron nails. Gats I set to read the book and dogs to keep school. I brought him down the hill: go into the hands of Hittoi to seven devils!

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K a t i , K i r i l ä ’s w if e

Soikkola, Ingria V. Porkka, 1883

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142 SOTURI The Warrior

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ensi lintu alta linnan sulka valkia vaelsi: se toi sotasanomet sotaviestin vieretteli sotakelloin kieli laulo.

A

bird flew from below the castle a white-feathered one wandered: it brought news of war tidings of war it trundled with bells of war its tongue sang.

Kenen on sottaa männä? Sison on sottaa männä vellon on kottii jäähä. Emyt mielille pahoille syämmille surkeille, isyt mielille hyville syämmille lämpymille.

Who shall go to war? The sister shall go to war: the brother shall stay at home. Mother fell to bad spirits to sadness of heart: father fell to good spirits to a warmth of heart.

Alko herrat henkäellä kuninkaatki kummistella is esivallat arvaella: “ Ei uo noita enne kuultu enne kuultu, enne nähty sormussormia soassa linttipäitä alla linnan.”

Lords began to gasp kings too to marvel and powers to ponder: “These things were not heard before heard before or seen before ringed fingers at war ribbon-heads at the castle.”

äo Lensi lintu alta linnan sulka valkia vaelsi: tuo toi sotasanomet sotaviestin vieretteli sotakelloin kieli laulo.

A bird flew from below the castle a white-feathered one wandered: it brought news of war tidings of war it trundled with bells of war its tongue sang.

25 Kenen on sottaa männä? Vellon on sottaa männä sison on kottii jäähä. Isyt mielille pahoille syämmille surkeille,

Who shall go to war? The brother shall go to war: the sister shall stay at home. Father fell to bad spirits to sadness of heart:

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30 emyt mielille hyville syämmille lämpymille.

35

mother fell to good spirits to a warmth of heart.

Siso saunan lämmitteli lämmitti sotien saunan sotaselle vellolle. Vei vettä, kanto puita vei vellon kylpömää.

The sister warmed the bath-house heated the warrior’s bath-house for the warrior, her brother: she took water, carried wood she took her brother to bathe.

Vello kylpöö lautasilla siso neuvoo kynnyksellä: “Oi vello emoni lapsi 40 ku saat sottaa mänemää elä uo uhkia soassa aivan tarkka tappelussa: elä mää ettee muita elä jää jälellä muita, 45 kierrä keskellä väkkee liki lipunkantajaa! Lipunkantaja kavala: lippu maaha lipsahtaa, lipsaha lipun sihalle! 50 Oi halli hevoisueni vanhin taatan valkoruuna ku saat sottaa männä elä heitä velloani lakkaa emoni lasta!”

Brother bathed upon the boards sister advised on the step: “O brother, my mother’s child when you get to war do not be valiant in war nor very keen in battle: don’t go before the others don’t lag behind the others cling to those in the middle close to the standard-bearer! The standard-bearer is sly: if the standard slips to earth slip into the standard’s place! O grey, my dear horse father’s oldest white gelding when you get to war don’t leave my brother or forsake my mother’s child!”

55 Kulu yötä viisi kuusi katosi kaheksan yötä. Hirnahti hevo kujalla. Pistin päätä ikkunasta suuta suuresta lovesta: 60 “Oi halli hevoisueni vanhin taatan valkoruuna mihi heitit velloseni lakkasit emoni lapsen?”

Five, six nights went by eight nights passed away. A horse neighed in the lane. I thrust my head through the window and my face through the big gap: “O grey, my dear horse father’s oldest white gelding where have you left my brother forsaken my mother’s child?”

65

The grey indeed answered: “Your brother was valiant in war and very keen in battle:

Halli väite vastaeli: “Vellosi oli uhkia soassa aivon tarkka tappelussa:

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ajo ettee muien välistä jäi jälellä muita kiertänt ei keskellä väkkee. 70 Suuni suitsilla revitti jalat katko kannuksilla.”

he drove before the others at times lagged behind others nor clung to those in the midst. He tore my mouth with bridles broke my legs with spurs.” A n n i P o rissa

Narvusi, Ingria V. Porkka, 1883

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143 K A A R LE-H ERTTU A Duke Charles

herra herttu Kaarle H yvä Ruotsin kullainen kuningas

good lord Duke Charles T heSweden’s precious king

vahva Suomen valtamies isänmaan iso isäntä hankiskeli hahtejans laitteli laivojans: tyyrin vartta valmisteli Suomen tielle toimitteli oijensi pisimät pielet suurten hahtein hartioil ylensi purjeet punaiset kirjoiraakansa rakensi.

Finland’s strong ruler the fatherland’s great master got his craft ready he laid out his ships prepared the tillers set out for Finland dressed the tallest masts on the shoulders of great craft hoisted the red sails put up his brightly-worked yards.

Tuimast siit tulit venhet hartaast myös hahdet suuret ie kovasti ison kokoiset pikaisesti pitkät järvet läpi laski lainehita kohdastansa koukkupaikat järjestänsä järvet suuret 20 syrjällänsä syvimät sundit kalliot vaelsi kaarittain karttain taittet taampaa paitsi juoksit paksut mäet sivuitsen sitkiät vuoret.

Grimly the boats came eagerly too the great craft hard those of large size swiftly over the long lakes through the waves they sailed in order through tight places in line over the great lakes edging past the deepest sounds the rocks they skirted skirting the cliffs more widely they ran beyond the firm hills beside the steadfast mountains.

25 Rantahan siit laivoja rakensi tuli Turun vierrahaksi Suomen suureksi hyväksi linnan liiaksi vierrahaksi.

He put in to shore came to Turku as a guest to Finland as a great good to the castle unbidden.

Suomehen siit saatuansa so Papinluotohon pantuansa

When he arrived in Finland reached Papinluoto

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Ruskiankalliohon ruvettuansa linnan alla tultuansa leirins levitti kedolle meren rannalle rakensi 36 ankkurins asetti merehen maalle karvahti kappalehens laivans kiinitti lainehille venhens istutti vesille: ranta raskui, meri häälyi 40 kalliot kovin kajasit hahdet hartaasti vapisit pyssyt parvuit partahilla.

set out for Ruskiakallio and canfe below the castle he pitched his camp in a held put it up by the seashore dropped his anchors in the sea landed his pieces fastened his ships on the waves sat his boats on the water: the shore rang and the sea rocked and the rocks loudly echoed the craft eagerly trembled and guns roared at the gunwales.

Astui siit maalle manterelle istuten Ispostenmäelle 46 henkeänsä vetämähän jalkojansa levättämään.

He stepped on to the mainland he sat on Isponen’s Hill to get his breath back and to rest his feet.

Lähetti kirjan kiiruhusti varhain paperin rahdun nopiasti hyvän sanomansa 60 kauniin kultaisen puheensa Suomen sonnein kylihin suurten sankarten salihin tothollarein tupihin linnan vahvinten vajoihin: 66 “En mä tullut sotia varten enkä varten tappelusta vaan Suomee sovittamaan ankaroita asettamaan tappeluksia taittamahan «o riitoja ratki rikkomahan vääriä oikein kääntämähän tottelemattomia toru mahan.”

He sent a letter in haste a scrap of paper early his good news quickly his fair precious speech to the villages of Finland’s sons to the halls of great heroes the houses of governors the huts of the town’s strongest: “I have not come here for war nor yet for battle but to bring peace to Finland to settle the fierce to interrupt fights to break up quarrels to turn wrongs to rights to scold the heedless.”

Ilkiät siit isännät linnan pappein pojat pannaiset 66 Turun suutarritten suvusta karjakoiran kodosta kovasti kovat puhelit häijysti häpiämättömät

Then the town’s evil masters outcast sons of priests Turku cobbler-kin reared by cattle-dogs harshly the harsh spoke wickedly shameless

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Kaarle-herttua Duke Charles

valjusti valjut vastaisit 70 pahasti pahantapaiset * purit huulta, väristit päätä kallistelit kallojansa mulistelit muotoansa Ruotsin sotaa vastaan: 75 “Herttuan merehen heitämme hahdet halvoksi rikomme venhet särjemme vesille!”

bleakly bleak answered ill the ill-behaved bit their lips and wagged their heads waved their skulls about twisted their faces against Sweden’s war: “We’ll throw the Duke in the sea chop up his craft for firewood smash his boats on the water!”

Hyvä herra herttu Kaarle Ruotsin kullainen kuningas so se kyl lausui lapsillens puhui poikaen tykö: “Lähtekämme liikkumahan vahvasti vaeltamahan.”

The good lord Duke Charles Sweden’s precious king indeed addressed his children and spoke to his sons: “Let us be going strongly on our way.”

Kulki siitä Kupitsalle 85 harpaisi Hanhenpajustohon krapsais Turun kallioille jopa jouduttiin Tallimäkehe johon siirsi laumansa laitti levitti leirinsä 9 0 sodan siirsi sivullansa toisen toiselle puolellansa. Siehen rattaat rakensi asetti myös arkkelins kuljetti kuparipyssynsä 95 vaivaisi vaskikappalens.

He walked then to Kupitsa strode to Hanhenpajusto scrambled up the Turku cliffs: now they reached Tallimäki on to which he moved his flock laid, spread out his camp moved a war-band to one flank another to his other. There he put the wheels placed his artillery too transported his copper guns settled his brazen pieces.

Hyvä herra herttu Kaarle Ruotsin kullainen kuningas pyssyt päästi pylvimähän nuolet suuret kulkemahan too vitjat pitkät vinkumahan: kupari kovin kilisi kansa kaikki vaskitorvet puupillit pärisit sekahan pärmät vahvasti pärisit 1 0 5 kansa kaikki kalvolaudat. Orhi hirnui, kangas kaikui,

The good lord Duke Charles Sweden’s precious king let the guns bellow the great arrows fly and the long chains creak: the copper resounded loud with it all the brazen horns the wooden pipes shrilled as well and the drum-skins strongly boomed with all the drum-slats. Stallion whinnied, heath echoed

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harniskaiset hartioilla rautamiehet ratsoilla vahvistetut vahvoill aseil.

and armour on men’s shoulders the iron men on horseback strengthened with their strong weapons.

no Hyvä herra herttu Kaarle Ruotsin kullainen kuningas ottaa tulta tuttisestans väkevitä vierrestänsä hamppunuorran hartioiltansa us vyöltänsä viritysnuorran, kohta ruutia rakensi vänkkipannuun panepi.

120

The good lord Duke Charles Sweden’s precious king took fire out of his fire-fork power out of his side hempen cord from his shoulders from his belt a cord lifted gunpowder put it in the pan.

Kovin siit kirppuisit kipinät Hard then the sparks hopped luodit läksit lentämähän shot came flying out 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

J

aakko Pontus jalo herra viisas Viipurin isäntä laittoi laivoja merelle pani poikia sisään: laittoi laivat lastinkiin purjehensa pustinkiin, pani tuulet tuulemaan puijeita puhelemaan. Ajo Riian linnan alle.

J

Ensin tyrsäytti tykillä valkkunilla vangutteli: alkoi linna liikahdella torit maahan torkahella muurit vieriä veteen.

First he fired cannon made falconets roar: the castle began to shake towers to tumble to the ground walls to roll in the water.

is Näin puhuu Puolan herra linnan vanhin vastajaa: “Ele riko Riikajani ele Naarvan kaupunkia: tule siivolla sisään 20 saat olutta juuakseis mielimettä syyäkseis.”

Thus spoke Poland’s lord the castle’s eldest answered: “Don’t wreck my Riga nor yet Narva town: come quietly inside have a drink of beer eat some sweet honey.”

Moni mies, moni heponen moni herra höyhenhattu moni miekka kultavästi 25 Riian virrassa viruut. Ukko kuusessa toruu närehessä nälkyttää: “Jo nyt hytyä aholla sängellä säkin siteitä.”

Many a man and many a horse many a feather-hatted lord many a golden-hilted sword lie outstretched in Riga’s stream. An old man up a spruce-tree scolded, up a young fir nagged: “There are hats now on the heath on the stubble bits of rags.”

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acob Pontus, noble lord wise master of Viipuri laid out some ships for the sea put some boys inside: he loaded the ships and he trimmed his sails set the winds to be windy to blow on the sails and drove below Riga town.

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J a a k k o P o n tu s J a c o b P o n tu s

Jaakko Pontus jalo herra viisas Viipurin isäntä ajo naiset Naarvan alle piiat pitkään sotaan jotk ei taitaneet tapella eikä jousta jännittää.

Herra, armias Jumala piti pilvissä keräjän rakehista rauan ilman ettei ruutinen palanut «o eikä tykki paukahellut.

Jacob Pontus, noble lord wise master of Viipuri drove the wives below Narva the lasses to the long war who did not know how to fight nor to draw a bow. The Lord, gracious God held assizes in the clouds filled the air with iron hail so the powder did not burn nor the cannon boom. S in g e r unknow n

Liperi (?), North Karelia E. Lönnrot, 1839 (?)

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145 IIV A N A Ivan

ivana iso isäntä Imeijän kuulu kullansolki

great master I van, our famous golden buckle

suoritti sotaväkiense niin kuin sotka poikijanse 5 tavi laitto lapsijanse, laski heän laivoja mereh niin kuin sotka poikijanse tavi laitto lapsijanse: vaimot itki miehijänse 10 akat itki poikijanse kun soatih miehet miekan alla rauvan kirkkahan kisah rauvan valkien varah. Leset leikkie panouve is tyttäret iloin eletäh: “On nyt miestä mielehistä sulhaista monen nävöistä!”

put his war-band in order as a scaup-duck its ducklings or as a teal its children and he launched ships on the sea as a scaup-duck its ducklings or as a teal its children: the wives wept for their husbands the matrons wept for their sons as men went under the sword to the game of bright iron the mercy of white iron. The widows fell to joking daughters went about joyful: “Now there are some likely men some different-looking bridegrooms!”

Laski heän laivate mereh nosti purjon puun nenähe 20 voattien varpojen varahe, laskie karuuttelouve Inarihi ilkijöhe rohkijehe Ruotsin moaha. Työnsi heän kirjan kiirehestä 25 paperin pakon perästä: “Onko linnassa lihoa eli voita Volmarissa Iivanalla iltasekse venäläisellä verokse 30 syyvä miehen nälkähisen haluta halunalasen?”

He launched the ships on the sea raised the sail to the mast-top the cloth into the mast’s care sailed steadily off to Inari the evil to the bold land of Sweden. He wrote a letter in haste and a demanding paper: “ Is there meat in the castle butter in Volmar for Ivan’s supper the Russian’s tribute for the hungry man to eat that the needy needs?”

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145 J£T Sieltä on varsin vastajeltih: “Ei ole linnassa lihoa eikä voita Volmarissa. as Vaipu valkija hevoni se on jeäny järven peähä Iivanalla iltasekse venäläisellä verokse.”

Back indeed came the answer: “There’s no meat in the castle butter in Volmar: a white horse dropped down and is left at the lake-end for Ivan’s supper the Russian’s tribute.”

Iivana iso isäntä 40 muurti suuta, muurti peätä muurti mustoa haventa: pani pyssyt pyrkimähe jalot jouset jahmamahe. Ampu kerran, noin ylitsi 45 ampu toisen, noin alatsi ampu kolmannen kesellä: jo nyt räystähät rämyöve tuohen levyt lentelöve.

Ivan, great master twisted his mouth, tore his head tugged at his black hair: made his guns thunder his great bows rumble. He shot once - too high he shot twice - too low shot a third time - on target: now the eaves rattled the sheets of birch-bark fluttered.

“Venäläini veikkoseni 50 karjalaini, kenkä kaunis tapoit toaton, tapoit moamon, tapoit viisi vellijäni seitsemän sisarijani: ota nyt kultija kovera 66 hopieita huokin täysi oman peäni peästimekse henkeni lunastimekse!”

“ Russian, my brother fair-shod Karelian you’ve killed father, killed mother killed my five brothers my seven sisters: take now a fistful of gold a felt hatful of silver for the release of my head for the ransom of my life!”

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“Kusen konna kultihisi ilkie, hopiehisi: Ruotsin on kullat ruostunuote soastunuot Savon hopiet. Peästä aivoni avaisit.”

“ I piss, villain, on your gold evil one, on your silver: Sweden’s gold has gone rusty tarnished is Savo’s silver. You’d take the brains from my head.” P o a v ila Sirkeinen

Uhtua, Archangel Karelia K. Karjalainen, 1894

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146 KAARLO X II Charles X I I

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Kaarle kaupungilta Läksi verolla verikäpälä

went from the town Charles for the tax, the bloody-pawed

Ruotsin murha murkkinalla pillomus Piiterillä päälle päien päässäkseen.

the Swedish cut-throat for food the wrecker to Petersburg to turn the place upside-down.

Venähen väki väkevä kuninkahan miehet kuullut maailman valitut miehet alinomaiset kasakat 10 illoin, aamuin vuotetaan kerta keskipäivällään. Kovat kostinsa osuvat: leivota kivestä leipä kakku päissä kalliosta is tulovallen vieraalle saavalle käkievällen. Kovat kostinsa osuvat.

Russia’s stout forces the king’s famous men choice men of the earth Cossack regulars evenings and mornings waited once at midday too. Harshly they treated their guests: Bake a loaf of stone make a cake of rock for the coming guest the intending visitor. Harshly they treated their guests.

Kaarlo kaukoa näkyy sinisorkka sinnempätä 20 kahen luotosen lomatsi päällitse Atimosaaren etänähki on Koroinen. Pannaan pyssyt pyykämään avokurkut ampumaan 25 jalojouset joukomaan jäntiet järäjämään kohti Kaarlen karpasoa Punaparran purtta myöten: jos tiirut tipahteloo 30 mastot maiskavat mereen teräsnuolen tempoissa

Charles was seen far off the blue-hoofed yonder in between two crags over Atimo Island: some way off was Koroinen. The guns were set thundering the open-throated shooting the great bows twanging the bowstrings trembling towards Charles’s boat against Redbeard’s craft: then the steering-oars dropped in the masts smacked into the sea as the arrow of steel wrenched

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as the iron arrow tore the sails were thudding to be carried by the wind driven by the squall.

rautanuolen raastaissa, purjehet tomahteloo nuiksi tuulen vietäviksi 36 ahavan ajeltavaksi.

Karku Kaarlella tuloo tullessa tulisen nuolen rautaharkon raastaissa teräsnuolen tempoissa.

And Charles took to flight as the fiery arrow came as the shaft of iron tore as the arrow of steel wrenched.

40 “Venäläinen, veikko rukka anna vettä juoakseni!”

“Russian, poor brother give me a drink of water!”

Venäläinen vet sanoo kovarinta kolkkasoo: “On vettä veneses alla 46 alla laian lakkimista.”

But the Russian said the hard-hearted snapped: “There’s water beneath your boat underneath the ship to lap.”

60

Kaarlo varsin vastoaa: “Verell on vesi meressä: rannat Ruotin raaviskoi ta myssypäit on myllistetty pyöräpäitä pyöritetty.”

Charles indeed answered: “Bloody is the seawater: the shores are heaped with Swedish corpses, capped heads overthrown 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

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147 REKRYYTTI The Conscript

kudreva kuningas Meijen vahoitukka linnan vanki istuu, ajattelloo rautaisen rahin nenällä, 6 teki kirjat kiireest papeerit pakoin perästä lähetteli meijen maille meijen maille maireille.

10

Ken nois kirjan katsojaksi ken lehen levittäjäksi? Vallan staarasta tasane vallan kylmä kymmenikko se nois kirjan katsojaksi se lehen levittäjäksi.

ur curly-haired king the wax-haired castle-captive sat and considered upon a bench-end of iron wrote letters in haste demanding papers sent them to our lands to our lovely lands.

O

Who should look at the letter who spread out the leaf? The parish elder the cool parish dean he should look at the letter should spread out the leaf.

15 Mitä on kirjaa kirjutettu ja pantu paperin päälle? “Ottakaamma soitattia valitkaamma vankiloja!”

What’s written in the letter and set out on the paper? “Let us take soldiers let us choose captives!”

Vallan staarasta tasane vallan kupias kuuloisampi tuli kyytillä kyllää yövalolla, kuuvalolla päivän valkian valolla hevosella hiirakalla 25 kalahavvin karvoisella, korjas kylän kokkoo ajo vallan vainiolle.

The parish elder its most famous chief drove to the village by night-light, moonlight and in white daylight on a mouse-hued horse of a pike’s colour called the village together drove the parish to the field.

Kysy kylän Ukkoloilta: “Onko vallassa varasta

He asked the old village men: “Does the parish have a thief

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30 pienen pillan tehnehiä kovan kortsin käynehiä?”

any petty wrongdoers frequenters of the tavern?”

Vallan ukot vastaeliit: “Ei oo vallassa varasta pienen pillan tehnehiä 36 kovan kortsin käynehiä?”

The old parish men answered: “No, the parish has no thief and no petty wrongdoers frequenters of the tavern.”

Meijen kudreva kuningas vahoin-tukka linnan vanki istuu, ajattelloo rautaisen rahin nenällä: 40 “Mitä tehnen miä poloine riisunenko rikkahia vai valinnen vaivaisia?”

Our curly-haired king the wax-haired castle-captive sat and considered upon a bench-end of iron: “Poor me, what am I to do: shall I strip rich men or pick on wretches?”

Puuttu rikas kuulemaa: rikas kävi riitelemmää 46 riitelemmää, tappelemmaa. Rikas rinnalla aijaa köyhä käyp käeksyttää, rikkaan raha kulluu köyhän raisan pää männöö.

A rich man happened to hear: the rich man went quarrelling quarrelling, fighting. Where the rich men drive abreast the poor men walk arm in arm: where the rich man's money flows the poor man’s head wears away.

Kumpa arpo arvomaa? Visattii se viijen arpa arvottii se kolmen arpa: hyppäs arpa armottoman isättömän, onnettoman 66 äitittömän äärimäine. Siottii isätöin poika käet nuorilla kovilla, siottii emätöin poika jalat rautaa rapsattii, $o vietii kylä kylältä saatettii talo talolta vietii ottajiin oville kupemaatterin kujille katsojiin kartanolle 66 isvassikkoin ikkunalle.

Which lot would be drawn? The lots of five men were cast the lots of three men were drawn: the lot of the orphan leapt — the fatherless, the luckless the motherless, the last lot. The fatherless boy was bound his hands with harsh ropes the motherless boy was bound his feet were clapped in irons led from village to village escorted from house to house to the doors of the takers the lanes of the governor the farm of the selectors the windows of the drivers.

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Mäntii Kolkanpään kohalle: vangit männööt iessä raw at rapsaat jalassa, vahit männööt jälessä 70 rautakeppiset käessä millä vangit vaivataa pikkaraiset piinataa. Mäntii Kolkanpään kohalle Väämojan kylän välille. 76 Vanki juoksulla pakkoo: vierähtiit veripisarat tuisahti tuline kyynel vangin sirkun silmästä. Otetti kii vanki-parka so vietii ottajan ovelle.

They went towards Kolkanpää the captives going in front irons clanking on their feet and the guards going behind with iron rods in their hands with which the captives were hurt the little ones tormented: they went towards Kolkanpää beside Väämoja village. A captive took to his heels: drops of blood rolled down and a fiery tear spurted from the lively captive’s eye. The poor captive was seized, led to the door of the taker.

Kuningas tulloo kujalle kyssyy kuningas: “Oot siä omasta syystä vai oot vallan vääryestä 86 va oot kylän vihosta?’*

The king came into the lane and the king asked him: “Are you here through your own fault or through parish injustice or village anger?”

Poika vastoin vastaeli: “Meit on paljo poikaloja kaikki on adran kantajia: miun poloisen arpa hyppäs 90 miun oli arpa äärimäine.”

The boy answering replied: “There are many of us boys and all plough-bearers: the lot of poor me leapt up mine was the last lot.”

Sano suuri sulkaherra: “Ky11 on tässä poikaloja vaikka viessoilla visata vaikka punterilla mitata.” 96 Vietii mittohuoneesse mitottii, mierottii arssinoilla arvottii: viel oli verskaa pitempi olen kortta korkiampi. loo Issutettii stuolin päälle siinä hiukset hillottii lieminäiset leikottii

The great plumed lord said: “Here are boys enough: even if they’re weighed measured with steelyards.” To the measuring-room he was led, measured, tried for size reckoned up with a yardstick: he was too long by an inch and too tall by a straw-stalk. He was seated on a chair: there his hair was clipped his tresses were cut

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kerittä se kultakudra tukka maaha tuisattii m tukka tuulee Jumalan ahavaisee armollisen.

his golden curls shorn his locks were showered to the ground his locks to God’s wind the gracious one’s squall.

Siis tuotii hattu päälaelle tuotii sinisineli tuotii musta munteri no tuotii paita päällä polven tuotii kaatiat kainalossa tuotii sukkia sylellä varvasrättiä vakalla tuotii saappaat vaskikannat us vaskikannat, kultavarret. Heitettä poika parka silmät pestä, pää kerittä soviteltii soltatiksi maniteltii matrossiksi. iso Tuotii tulinen pyssy saatii verine miekka: pyssy annettii akaksi miekka mieliksi hyviksi.

They brought a hat for his head they brought a blue overcoat brought a black tunic they brought a shirt on their knee they brought pants under their arm they brought an armful of socks and a boxful of toe-rags they brought boots with copper heels copper heels, gold legs: the poor boy was tossed about his eyes were washed, his head shorn fitted to be a soldier worked on to be a sailor. They brought him a fiery gun they fetched him a bloody sword gave the gun to be his wife the sword to be his pleasure.

Vietä oppii omenat iss vietä kurjat kulkemaa marjukkaiset marssimaa läpi uuven kuuven linnan läpi kaupungin kaheksan vietä suuren väljän päälle: 130 ei osaa opissa olla maha ei kävvä marssimassa.

They took the apples to be trained, took the wretches walking the berries marching through six new castles through eight towns, took them over a great plain: he was no good at learning could not keep in step.

Lensi sieltä hanhiparvi. Vanki hanhille saneli: “Kun työ määttä sinne maalle 136 missä on miun emoni viekää viestit miun emoille sanat saunantuojalleni: itkeköö miun emoni haleksikkoo hautojani! im En ossaa opissa olla

A skein of geese flew that way. The captive said to the geese: “When you reach the land where my mother is take tidings to my mother who had me in the bath-house: may my mother weep she who hatched me grieve! I am no good at learning

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maha en käwä marssimassa. Kyllä on täällä kuija olla: pyhät pyssyjä puhassa aret käwä ampumassa. im Ku tuloo pyhäinen päivä ja se paras praasnikkapäivä siin vinkuu vihaine vitsa ja painuu pajune keppi vinkuut vitsat pihlajaiset iso painuut koivuset patukat miun poloisen hartiosse.”

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Vieri tuosta viikko, toine: oli kurja kulkemassa marjukkaine marssimassa. Lensi sieltä joutsenjoukko. “Joutsueni, joukkuveni ku jovvutte sille maalle missä on miun emoni viekää viestit miun emolle: älköö itkekö miun emoni haleksikko hautojani! Hyvä on olla soltattinna kaunis miekan kantajanna: leipä on selkee, vaate valkia suharia on syötävännä merivesi juotavanna. Se on soassa pahempi: pyhät pyssyä puhassa aret käwä ampumassa.”

cannot keep in step. It is wretched enough here: on Sundays it’s gun-cleaning on weekdays it's out shooting. Come the holy day and that best feast day then the angry lash whistles and the willow rod presses the rowan lashes whistle and the birch truncheons press down on the shoulders of poor me.” A week rolled by, another: the wretch was walking the berry marching. A flock of swans flew that way. “My dear swans, my flock when you reach the land where my mother is take tidings to my mother: may mother not weep may she who hatched me not grieve! It’s good to be a soldier fine to be a sword-bearer: the bread is smooth, the clothes white there are rusks to eat seawater to drink. It is worse in war: on Sundays it’s gun-cleaning on weekdays it’s out shooting.” Stefitt

Narvusi, Ingria V. Porkka, 1883

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148 LOPPUSANAT Epilogue

Mikä sorti äänen suuren äänen suuren ja sorian äänen arinahan alenti jottei nyt jokena juokse 6 vesivirtana vilaja koskena kylän kohassa lammikkona lailattele?

What so oppressed a strong voice a strong, handsome voice brought down a sweet voice, that it does not as a river run as a stream sparkle as rapids by a village as a pool ripple?

Välein vähä väsyy pian uupu pikkarainen: 10 heponenki hengähtää pitkän matkan juostuaan, rautanenki raukenoo kesäheinän lyötyä, vetonenki vierähtää is joen polven käytyä, tulonenki tuikahtaa yön pitkän palettuansa.

Quickly the small one wearies soon the tiny one is tired the horse also gasps for breath having run a long journey the scythe too grows weak having cut the summer hay water also rolls away having passed the river curve dying fire flashes having burned all night.

Täysi täysi, kyllä kyllä tämän illaista iloa so päivänlaskuhun laulantota.

All, that’s all, enough, enough joy for this evening song for this sunset.

Laulanta runolla työtä kukunta kesäkeällä painanta Sinettärellä luonta Kankahattarella.

Singing is the poet’s job cuckooing is the cuckoo’s pressing is the Blue Girl’s job weaving the Loom Girl’s:

517

1 AO 1 iO

L o p p u sa n a t E p ilo g u e

26

singer, though good, does not sing his fill of verses nor do rapids, though swift, come to their water’s end.

Laul ei laulaja hyvänä laul ei tyyten virsiähä eikä koski vuolaskana lase vettäsä lopeten.

We will stop, we will leave it we will round off, we will end for better singers more skilful poets: I’ll wind my verse in a ball I’ll arrange it in a coil put it up in the shed loft inside locks of bone whence it shall never be freed nor ever get out unless the bones are shaken the jaws are opened the teeth are parted the tongue set wagging.

Herennemmä, heittänemmä äo luonemma, lopettanemma paremmille laulajille taitavammille runoille. Käärin virteni kerälle sovittelen sommelolle, 36 panen aitan parven päähän luisten lukkujen sisälle jost ei pääse päivinähän selviä sinä ikänä ilman luien lonsumata 40 leukain leviämätä hammasten hajoamata kielen keikkelehtämätä.

8 —17 S in g er unknow n Karelian Isthmus E. Lönnrot, 1837

1 —7 S in g e r unknow n Karelian Isthmus E. Lönnrot, 1837 18 —20

21—28 M o o se s A honen Latvajärvi, Vuokkiniemi, Archangel Karelia A. A. Borenius, 1877

S in g e r unknow n

Savo (?) A. I. Arwidsson, E. A. Crohns, before 1836

29 —42 S in g e r unknow n Kemi, North Ostrobothnia Z. Topelius, 1803 or 1804

518

COMMENTARY

materials in the Commentary are arranged in three sections. Each poem, or group of T herelated 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. Fi. Ingr. Ru.

= = = =

Estonian Finnish Ingrian Russian

Kar. MDial. MFi. Sw.

Karelian Modern Dialect Modem Finnish Swedish

521

OFi. = Old Finnish OSc. = Old Scandinavian OSw. — Old Swedish

PROLOGUE 1, EPILOGUE 148 A recurring and ancient feature in the singing of Kalevala epic poetry, especially in Kare­ lia, was the use of various stock passages to introduce and conclude the performance of a poem or sequence of poems. There was no sharp distinction between prologue and epi­ logue materials and it was for the singer to decide for which of these functions a particu­ lar variant was used. In the poems the singers reflect on the act of singing and on the source and power of their songs: sometimes they ask for beer to moisten their throats and on occasions defend themselves against possible criticism of their performance. The predominant stylistic characteristic of these stock passages is the use of metaphor. A parallel can be drawn here with, for ex­ ample, the kenning of Old Norse literature: while the modern reader may find the images obscure and difficult to grasp, they are firmly rooted in the cultural and social milieu from which they were drawn and were readily understood by those listening to the perform­ ance. Journey metaphors were characteristic of male singers, while women used those associated with spinning, weaving and other domestic functions. Laying down and marking a track and spinning and winding thread into a ball are typical metaphors for the perform­ ance and memorizing of a poem. Some schol­ ars see a similarity in the function and style of these passages with corresponding devices employed by several ancient poets, including Homer, Virgil, Propertius and Horace, and later by Dante, who frequently began and ended their poems with a journey metaphor such as the raising and lowering of sails.

1 F871 1—14 The singing procedure favoured by men in Kare­ 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, proud’ was a secondary development that only occur­ red in Finnish). 1 5 -22 This fragment of a poem, of which many var­ iants have been collected from Archangel Karelia and Central Ingria, is thought to have evolved from a medieval custom whereby groups of schoolboys 522

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 addressed to the hosts and thanks them for their hospitality. 23—47 Incorporated in this passage, which was used with incantations, are images associated with Arctic animism and shamanism. The first stanza describes how the singer, or shaman, acquires his powers from natural objects in his immediate environment. The ‘hummock’, 'bright rock* and 'thick boulder’ in the second stanza are characteristic of nature animism which invests strikingly-shaped natural objects with spiritual properties. It was to these a shaman’s soul was thought to travel in search of magic powers; m more advanced cultures this act evolved into the concept of the journey to the otherworld; 26 luote < OSc. cf. b l6 t 'the means by which a divinity was approached’, hence ‘spell’; 37 a ita n p a r v i ‘shed loft’: a metaphor for ‘skull’, hence 'memory’ (this metaphor is more fully developed in 148: 35—42) 4 4 Concer­ 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 the singer knows so many spells about the sam po and Lemminkäinen that even Lemminkäinen would die and rot away before the singer had sung all his poems. This fragment is more commonly associated with the ancient shaman Vipunen (cf. Poems 28, 29); 4 8 -5 2 A recurring male metaphor, the signi­ ficance of which would have been immediately ob­ vious to the listeners. In the northern winter, the hunter or traveller who faced the hardest task was the one who opened up a new track after the fall of fresh snow. He had to tread the soft snow into a firm track which others could then use. He marked the route by bending branches of trees, an act often referred to in variants of this passage.

THE CREATION 2, 3, 4, 5 Poems about a bird that flies over the open sea in search of a nesting-place, where it lays one or more eggs, have been collected from Karelia, Ingria and Estonia. Some event causes the egg or eggs to break or to roll into the sea. From the pieces of the egg evolve the main components of the cosmos - the sun and moon, the sky and earth, and the stars. The myth of the creation of the world from an egg is widely known over an area that extends from the eastern Mediterranean to India, Japan, Polynesia and Peru. The ver­ sion collected in the Baltic-Finnish area in­ corporates the ‘diver’ myth - the bird that plunges into the sea - which is common among Arctic poeples. The bird, which is often referred to as ‘bird of the air’, is a

scaup duck or goose in the Karelian variants and a swallow in those from Ingria; variants in which the bird is an eagle have been col­ lected from both regions and are thought to represent an older version of the myth. Typical of all the Baltic-Finnish variants is the formation of the sun and moon from parts of an egg. However, this is preceded in the Karelian variants by the formation of the earth and sky, also from an egg. The identical structure of the cosmogonic ending, not only in the Karelian and Ingrian variants but also in those from Estonia, points to the antiquity of the poem. The original theme survives most clearly in the Ingrian variants (Poems 2, 3). Poem 2, which was sung by Russian Orthodox Ingrians, depicts the bird laying its eggs on a hummock and their being blown into the sea by a great wind sent by the pagan god, Ukko. Poem 3, which was sung by Lutheran Ingrians, retains the same theme but intro­ duces more recent motifs. The Christian divinity replaces Ukko and the poem ends (11. 25-41) with a surrogate passage, which is itself largely compiled from stock phrases.

2 A13.2 A142 A641 D853 *F859 N855 26 tu u tsa < Ru. cf. tucha ‘cloud’; 3 1 -4 3 A reference to the works of creation performed by the smith Ilmarinen which are described in greater detail in Poems 8, 12, 14, 15.

3 A13.2 A641 A814.9 F735 32 n a p p isa k sa t lit. ‘button-Germans' (concerning the second component see German [y] /Saksa in Name Index): i.e. pedlars who purveyed cloth and small metal wares that were in great demand outside the 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 description is found in 120:76-86).

attribute the shaping of the world to Väinämöinen. In the redaction which this variant represents, the C rea tio n myth is introduced by a fragment of a poem (11. 1-19) which reflects the traditional hostility be­ tween the Lapps and the Finns; the underlying theme - the murder of a hero by a blind man - has parallels in many parts of the world, e.g. the Scandinavian myth about Baldr, a friendly and benevolent god, who according to some versions was accidentally killed by an arrow of mistletoe shot by his blind brother. 2 v iik k o ‘week’: a term commonly used in some dia­ lects to mean ‘a long, unspecified period of time’; 8 ru oja ‘cripple’ is a strong pejorative; 10 sokian (accusative): a mistake by the singer, the nominative so k ia is the expected form; 38 la m p i < Sw. cf. OSw. (pi.) lim b e r ‘limbs’.

5 A13.2 A641 A713.1 A811 A814.9 A1012.3 B264.2 D1121 D1273 N825.2 This typical Archangel Karelian series (see pp. 69-71) brings together four themes. The first (11. 1-64) is drawn from T h e W o u n d (cf. Poem 6) and describes how the injured Väinämöinen searches for a shaman who knows a spell to staunch the flow of blood. The second theme (11. 65-78) is a variant of the poem about the shooting of Väinämöinen, which in the Karelian redaction (Poem 4) has been associated 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 bed (a role that probably belongs to the earliest stratum of Väinämöinen motifs), while the fourth theme (11. 88-127) uses the Bird myth to describe the creation of the cosmos. This part of the poem also incorporates the motif of the struggle between a giant pike and a giant eagle (11. 103-115); this 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 the sun was stolen and released from the stomach of a fish (cf. p. 525). In certain areas the series of themes from 1. 65 to the end was frequently associated with the s a m p o - p o e m s . 80 a p a ja ‘hole’: lit. ‘part of a lake where good catches of fish were customarily made’; 95 k u lo ‘dry grass’: lit. ‘dry, withered grass of the previous year’.

THE WOUND 6 A1012.3 D1121 D1273 D1503.1 F841 H335 H10211022 N825.2 This poem usually occurs as the epic component of incantations to stop bleeding. The emphasis on the amount of blood as such was not the poet’s principal interest; his main concern was to describe the prim­ eval wound and thus to acquire the knowledge

4 A13.2 A641 A814.9 F735 The Suistamo variant provides a link between the earliest stratum of C rea tio n myths and those which 5 23

needed to effect a cure. In this variant T h e W o u n d is represented by 11.31-73 and is introduced (11. 6-30) 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 North Star; the heavens were thought to revolve around the star. In this variant the motifs of the boat, wound and flood have parallels with Deluge myths recorded in many other parts of the world, e.g. the Biblical account of the great flood and Noah's Ark. O f par­ ticular importance, when considering the form of the myth in the Baltic-Finnish tradition, are the visionary writings of St Methodius of Patara (d. 311), which were widely known in the Eastern Church: Method­ ius’ account of the construction of the Ark stated specifically that it was built on a mountain. The view that the poem springs from popular adapta­ tions of the Biblical story finds support in the ref­ erence in some variants to Väinämöinen as ‘holy hero’ and in an incantation in which the Virgin M ary staunches the flow of blood from Jesus’ knee. The Boat-building motif can also be associated with that of the primeval boat in T h e V oyage (Poems 26, 27) and T h e S p e ll (Poems 28, 29). In certain variants of the S am po poems, in which Ilmarinen is told to 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. 1 -5 The names in this mythical fragment are com­ mon in incantation poetry; 56 p a a rn a < Sw. cf. 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.

reference to the same act is also found in The Singing Match (cf. 10:32-38).

7 A142 A1447 F663 H335 LI 13.6 S62 *T75.4.1 The intention of the singer of this variant was to present a version of T h e C o u rtsh ip (cf. Poems 16, 17, 18). He drew his materials from four sources. The fragment of the lost myth-poem is found in 11. 18-23, while the character of the smith in the opening episode (11. 1-15) has been elaborated in lines in­ fluenced by stock phrases associated with Ilmari­ nen and T h e G olden B r id e (Poems 21, 22). The theme 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 conclusion is a surrogate passage borrowed from T h e W if e - K ille r (Poems 95, 96). The motif of the forging of the sky as a task set for the suitor is rare, and has found its way into this poem because of its direct association in the mind of the singer with Ilmarinen. 14—15 i.e. the place near the door where uninvited or unimportant visitors had to remain, a stock pas­ sage borrowed from poems about Lemminkäinen (cf. 34:155-158).

8 A142 A527.1 A1447 F663

FIRE 9 A142 A1414 »A1415.2.2. Å1457.3

THE TASKS 7, THE SMITH 8 The Tasks and The Smith are the best ex­ amples of a number of variants which pre­ serve fragments of an otherwise lost mythpoem about how the smith Ilmarinen forged the sky. The fragment represented by Poem 8 identifies the smith as Ilmarinen and es­ tablishes his role as either a culture-hero or deity. Poem 7, in which the smith is not mentioned by name (although the context leaves no doubt of his identity), dwells more on the nature and performance of the smith’s craft and points to a culture-hero rather than a deity. Other references to Ilmarinen's forg­ ing of the sky are found, for example, in certain variants of the Sampo poems, in which, because he is known to have shaped the sky, he is asked to make the sampo; an obscure 524

This poem, together with numerous variants which preserve the myth of the origin of fire, survived in the Baltic-Finnish area as an incantation for treating bums. Its original function, however, is thought to have been part of a seasonal fire-lighting ritual - an important and often difficult task until relatively recent times (cf. 11. 81-88). The ritual was probably performed, for example, in connection with burnbeat cultivation (i.e. the felling and burning of trees and undergrowth and the growing of crops in the ashes (see Plate 13), lighting the first fire in a new home or lighting a ritual bonfire at the summer or winter solstice. Folklore about animals that carry a spark occurs as far afield as New Guinea and North-West Amer­ ica. Older variants of the Finnish poem reveal features that have numerous parallels throughout the Arctic region. Some describe, for example, how the spark was struck from three eagle feathers by ‘the bird of the air’ (cf. 15:134-143), a motif similar to the Arctic myth about the bird that strikes thunder. The variant represented by Poem 9 acquired its present form during the early Christian era (cf. pp. 53-54). The opening lines (11. 1-4) illustrate the

clash between old and new beliefs: the spark is struck by Väinämöinen and Ilmarinen, but in a series of ‘heavens’, reflecting the concept of heaven that was common among some early Christian sects (cf. the doctrine of the early Church). In some variants the ancient heroes are replaced by the Virgin Mary and Jesus. Other examples in the variants of the clash between old and new beliefs are fragments of prayers addressed variously to a female pagan spirit and the Virgin Mary. One of the poem’s older motifs is the carrying of the spark in the belly of a fish. This may have been influenced by European versions of the Indian Suntheft myth (cf. p. 523). The description of the prim­ eval fishing net is another ancient feature found in the Baltic-Finnish area only in poems about the origin of fire. Certain variants describe how stone tools were used to spin and weave the net from the inner bark of juniper or from heather, while the fishing technique described in the poem is known throughout Asia and much of Europe. Some scholars see a connection between the fishing motif and the Scandinavian myth of how Loki, who has been compared to Prometheus, attempts to escape his pursuers by changing into a salmon and is caught in a seine-net. 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 fence’: a kenning, i.e. the shore.

of an exchange of magic power. Similar themes are known, for example, in Mordvin and Vogul foklore. The final episode of each variant (10:86-103; 11:118—134) incorporates a much later feature, the ‘returning-homeweeping’ formula (cf. Poems 106, 107, 108, 109; pp. 59-60).

10 D523 »D791.2.3 D1275 *R90 7—9 vesa ‘shoot’: a corruption of veri ‘blood’ (cf. 11: 13-15 where the older form, a battle metaphor, survives). The singer(s) of Poem 10 appear to have been influenced by a similar metaphor in T h e S p e ll (cf. 28:28-30); 25 siverret: i.e. MFi. Syvärit, syöverit; 27 tunti: i.e. nominal derivative of Kar. tuntie ‘to know; feel’; 43 nisulihat ‘waist’: lit. ‘part of the body immediately below the ribs’; 103 la n k o (MFi. ‘brotherin-law’) commonly means ‘male relative’ in OFi. and some dialects.

11 A1251 B184.1.4 D523 »D791.2.3 D1275 N542.1 *R90 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 two lines are a fragment of a myth about how man originated from a tree-stump that splits in two (the fragment occurs in a clearer form and context in 41:7-8); 47 raunio ‘cairn’: lit. ‘pile of stones cleared from an area of land to facilitate ploughing’; 99-103 i.e. she eats food that makes her plump and is there­ fore by contemporary criteria beautiful.

THE SINGING MATCH 10, 11 The poem of the duel between Väinämöinen and Joukahainen is one of the outstanding products of Finnish epic poetry. It describes the encounter of the two principal characters either on the frozen sea or a narrow road and their quarrel about who should give way. Various theories have been advanced to explain the significance of the duel: the participants have been seen as the gods of water and ice, as Viking heroes, and as rival shamans. The poet-singer’s main aim seems to have been to depict the great power of Väinämöinen and his singing, i.e. magic, and various devices are employed to emphasize the difference in the participants’ personal qualities, including a reference to Väinämöinen’s role in the creation of the world (cf. 10:29-38). The interpretation of the poem as a duel between two rival shamans (who would also have been rival tribal leaders) seems the most appropriate, for the poem contains several symbols associated with shamanism and the duel itself takes the form

THE SAMPO 12-15 More than any other theme in Finnish folk poetry, the story of the sampo, how and why it was made, stolen and lost, has stimulated debate among scholars and captured the imagination of poets and artists. Indicative of the 150 years of conjecture about the sampo is the fact that it is frequently difficult to separate scholarship from fantasy. Scholars failed to explain the origin and purpose of these poems because they worked from false premisses and imposed an anachronistic logic on their material. They assumed that the poems had been created as a unified whole in which the sampo had a clearly defined 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 object worth stealing. The singers themselves were uncertain about what the sampo was; many depicted it as a device that produced wealth, some ascribed the fertility of land and sea to its fragments, while others understood it as some kind of mill. The association with fertility has already been mentioned and there may be a connec­ tion here with early animistic beliefs that invested natural objects with tutelary spirits (cf. the reference to the sampo being rooted to the earth in 12:252-253). In more devel­ oped forms of animism practised in Arctic regions special columns were set up and worshipped. The Lapps, for example, are known to have erected symbolic ‘world pil­ lars’. These were often provided with or­ nately-worked metal tops representing the North Star and around which the heavens (i.e. kirjokansi) revolve. They were thought to ensure success in hunting, fishing and animal breeding and it was not uncommon for minia­ ture symbols of the same kind to be made out of valuable metals. Hence it is possible that the original function of the second theme of the epos was a fertility incantation which was performed as part of the worship of a valuable, symbolic object. The concept of the sampo as a device that produces wealth, often a mill, may be the result of a confusion with and reinterpretation of the Scandinavian myth of the grotti, a magic mill owned by King Frodi of Den­ mark which had the power to produce whatever its owner desired and was finally destroyed by an enemy’s magic. Against this interpretation, however, must be set the relatively late date of the grotti poem and the fact that ‘mill’ is not the only inter­ pretation of the sampo by Finnish singers: other objects of great value are also called sampo. The third theme, the theft, shows clear evidence of Scandinavian influence and the main motifs, although not the themes to which they are tied, appear to have been borrowed from medieval mythical-heroic fomaldarsögur. The parallels are striking. Their accounts of journeys to strange lands and encounters 527

with mythical creatures appear to have been transferred, almost translated, to a Finnish milieu. The main theme of the Scandinavian legends is a journey to a distant land, e.g. Gandviky Dumbshqf, Jötunheimar, Kirjdlabotnar, Helsingjabotn (the -botn place-name component corresponds to Finnish pohja as in Pohjanmaa ‘Ostrobothnia’ and Pohjola, the destination of the heroes in the sampo poems), to steal a magic device or to release a maiden guarded by a witch; the latter is either portrayed as a bird or assisted by a monstrous bird. Bosa saga illustrates the extent of the similarity between the Scandinavian legends and the events that surround the theft of the sampo. To obtain a pardon for having murdered a prince, Bosi has to steal the egg of the giant gammr, conceived as an enormous bird. He sails with a companion to a distant land and, with the aid of a girl he has seduced, he and his followers discover where the egg is hidden, kill the monsters guarding the egg, release an imprisoned princess, and return home safely with their booty. Before long Bosi and his companion set out again, accom­ panied by a third man called Smidr (‘smith’). Their task is to save a maid who is to be married against her will. As the wedding ceremony is about to begin, they carry her off to their boat where Bosi conceals her in his miraculous harp. A furious battle takes place in the boat during which Smidr strikes the most dangerous of the enemies with his magic sword. The enemy changes into a flying dragon, spits poison over the boat and swal­ lows Smidr. The dragon is in turn attacked by a giant bird and Smidr’s foster-mother who joins the battle in the shape of an ani­ mal. Although the Scandinavian influence is evident in the motifs of the third theme of the sampo epos, the basic structure appears to be Finnish. Stylistic evidence shows that these borrowings date from a very early pe­ riod when contacts between the peoples on either side of the Gulf of Bothnia were still infrequent. Moreover, the motifs that were borrowed also recur in Finnish folk poetry in contexts that have no connection with the sampo epos. Hence there is no question of

the Finns’ having borrowed an ancient epic as such from Scandinavian sources.

12 A142 B31 B184.1.4 D152.2 D672 D853 D1175 D1364 D1419.3 D2142.1 F871 *N381.2 T52 This is the best known and longest example of the 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 for the epos in Archangel Karelia, the area where the largest number of sa m p o poems survived. The three main themes are all represented. The shooting of Väinämöinen and his works oi creation shift to the second theme at 1. fiO. The account of the forg­ ing of the sam po assumes that the listeners are fa­ miliar with T h e C o u rtsh ip (Poems 15, 16, 17); this secondary theme enters at 1. 124 when Väinämöinen persuades Ilmarinen to forge the sa m p o in return for the daughter of the mistress of Pohjola; the question of the task being a ransom for Väinämöi­ nen is not mentioned. The second theme moves easily into the third at 11. 192-215 which are an undated attempt by a poet-singer to provide a bridge passage explaing why Väinämöinen and Ilmarinen wish to steal the sa m p o . 1 -3 6 Various reasons have been suggested to explain why it was a 'Laplander’ who shot Väinämöinen. Some scholars see in this an allusion to the medieval expeditions of the Birkarls to rob and levy taxes on the Lapps and the resulting hostility. Others associate ‘Laplander’ with the Lapps’ traditional reputation as powerful workers of magic. Since the poem dates from an early period, an alternative explanation would be that the choice of ‘Laplander’ as the enemy reflects the hostility and suspicion common between groups of different culture and language living in relatively close proximity. Hence ‘Laplander’ may be a pejorative comparable to ruotsalainen ‘Swede’ and venäläinen ‘Russian’ at later periods (cf. Lapland in Name Index); 100 passim k irjo k a n si 'brightlyworked cover’: the most common parallel of sa m p o . The first component, k ir jo -, is cognate with MFi. k irja v a ‘(multi-)coloured’ and derives from a word denoting ‘ornamented’. Several theories have been advanced to explain the second component; most scholars relate it to MFi. k a n si ‘cover, lid’, although it has been suggested that it may be cognate with k a n ta ‘base’. In folk poetry it came to be understood as 'ornamented lid, cover’ and in this sense was used synecdochically to mean 'sa m p o ', ‘sky’, and 'chest with a painted lid’; 101—105 Cognate forms of this series of impossible tasks occur in several parts of Europe, including Scotland, Denmark, Germany, and Russia. In the Finnish area the formula is pri­ marily associated with tasks set for suitors. Its occur­ rence here is secondary, probably influenced by the association of the sa m p o poems with the T a s k s f o r S u ito rs theme; 180— 185 The description of the ornamentation of the sledge is a surrogate passage 528

from wedding poems (cf. 66:55-59 and notes); 237 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 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 objects that grow into great obstacles, a theme that is more clearly represented in Poem 32 (cf. pp. 537538); 330 Kar. m esta ta ‘to throw’; 345 leivo ‘skylark’: a corruption of lievo < lieve ‘mythical bird’.

13 A ll 15 B31 F871 This fragment is of historiographical and historical interest. Not only it is one of the earliest examples of poetry collection inspired by the early 19th century Turku Romantic movement (which culminated in the K a le v a la and K a n te le ta r ), it is also the earliest recorded reference to the existence of a magic device called the sa m p o . The historical importance of the fragment lies in the fact that it was collected not in the Finnish area but among the Värmland Finns of Central Sweden, descendants of emigrants from Savo who left during times of hardship in the 16th and 17th centuries. Hence this fragment shows con­ clusively that the sa m p o poems were once known in areas to the west of where they survived in the 19th century. This has led many scholars to the view that the separate poems, and possibly the chain that forms the epos, first took shape in an area close to the west coast of Finland. The variant represents the third theme of the archetypal epos, although the reference at the end of the fragment to the powers of fertility conferred by the sa m p o point to the postulated ritual function of the epos and the underlying theme of the second main poem. The singer did not understand what the sa m m a s was, or even what the poem was about, for the sa m p o is confused with the mythical bird into which, according to most variants, the mistress of Pohjola changed. The fact that the details described by the singer and the three verses in her account are so close to the corresponding passages in Kare­ lian variants emphasizes how deeply rooted and widely known the sa m p o poems must have been.

14 B31 B872.1 D152.2 D672 D1121 D1175 D1208 D1275 D1419.3 D2153.1 F871 *N381.2 This variant is the most reminiscent of the motifs associated with the fo m a ld a rsö g u r. As in Poem 13, the singers were uncertain of the identity of the sa m p o . The booty stolen by the three heroes is var­ iously described as ‘spoils’ (11. 10, 72, 74), ‘farm’ (1. 73), and ‘sturgeon’ (1. 29). The latter, Fi. sa m p i, is a folk etymology of sa m p o . Where sa m p o occurs in the variant, it means ‘boat’. 66 dial, k u lk k u : i.e. k u rk k u ; 98 Kar. su v i ‘south’; 100 Kar. luode ‘west’; 109 ta m m a ta < Sw. cf. sta m p a ‘to stamp’.

15 A142 A284 A811 B31 B576 D152.2 *D791.2.3 D853 Dl 175 D1275 F735 F871 H335 LI 13.6 R225 T52 This variant is a typical example of the form of the sam po epos sung in the area bounded by southern Archangel Karelia and Lake Ladoga. The search for a bride, drawn from T h e C o u rtsh ip (cf. in particular Poems 16, 17), has replaced the theft of the sa m p o as the central theme. The singer’s approach is one of allusion, making frequent use of surrogate pas­ sages to refer to themes and motifs that he knows will be familiar to his listeners. The structure of his poem consists of six episodes: 1 Väinämöinen wants a bride and woos the daughter of the mistress of Pohjola (11. 1-105). 2 He can have her on condition that he forges the sa m p o (11. 106-108). 3 He does this and receives his bride (11. 109-112), but 4 steals the sam po and sails away (11. 113-120). 5 The mis­ tress of Pohjola pursues and defeats him, and, it appears, recovers both daughter and sa m p o (11. 121— 156). 6 Väinämöinen seeks another bride and ob­ tains Joukahainen’s sister (11. 157-196). The surrogate passages employed by the singer come from several well known poems and are linked to sam po material in such a way that the underlying narrative is clear. Episode 1 draws on T h e C o u rtsh ip ; 2 alludes to the bargain struck between the mistress of Pohjola and Väinämöinen for the latter’s release (cf. 12:98-105), while 3 uses lines about Ilmarinen to indicate that the sa m p o was forged (cf. 12:158-170). In episode 4 the poet has drawn on well known accounts of the theft and the struggle over the sa m p o (cf. 12:225-375; Poem 14). Episode 5 provides the best illustration of the singer’s use of stock phrases and surrogate passages: to depict Väinämöinen’s defeat at sea, the loss of his bride and the sa m p o , followed by the shipwreck, the singer has woven together verses from variants about the O rig in o f 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 episode 6, the singer indicates to his listeners that Väinämöinen has found another bride by incorpo­ rating a short version of T h e S in g in g M a tc h (Poems 10, 11). 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 scure surrogate passage from a Finnish version of the world-wide M a g ie F lig h t tale (cf. pp. 537-538); 134 Ilm a n ukko ‘Old Man of the Air’: cf. 9:1-2 and Name Index.

THE COURTSHIP 16-18 The Courtship frequently combines two main themes: tasks set for a suitor and the rivalry between two suitors. Although the first of these is far older, similarity of content led in some areas to their combination into a single 34

poem, which in turn produced numerous redactions. The theme of the task set for a suitor comes from an ancient fairy tale {Märchen) about a girl, usually a supernatural being, who is promised to the man who can perform a series of specific tasks. The form and structure of the wooing theme developed differently according to area and period. In Ladoga Karelia, the girl is the daughter of the demonic Hiisi (Poem 17); in Ingria, the wooing takes place in the otherworld (Poem 18), while in North Ostrobothnia, the girl is depicted as an air-virgin (cf. Poem 6). A form of the tale in which the girl is not so obviously associated with a supernatural background is found in The Gift (Poems 19, 20) .

In all these variants the conditions set for the suitor follow the impossible-task formula. The specific nature of the tasks varies, again according to place and period; they have also been influenced by other typologically similar motifs. The oldest stratum is possibly repre­ sented in Poem 7, in which Ilmarinen has to perform cosmogonic acts. The tasks in Poem 17 suggest a culture in which sha­ manism was practised, while those perform­ ed by the smith in Poem 18 belong to a relatively recent period. A stage between shamanism and the era represented in Poem 18 may underlie Poems 19 and 20; the tasks associated with fiery objects and walking on sharp points suggest the influence of medieval Christian legends of hell, while fairy tales which reached the Finnish area through Russia provided such motifs as the knotting of an egg. The Golden Bride (Poems 21, 22) was often sung as the continuation of The Courtship, either to describe how a wife was found for the rejected suitor, or for his rival, who in some way had lost his bride as they were returning home together. The second of the two main themes occurs in those variants of the Sampo Epos in which the daughter of the mistress of Pohjola is promised to Ilmarinen in return for making the sampo. In the form in which the theme is incorporated in The Courtship, Väinämöinen also wants to marry the girl, but as he sets off to woo her, he reveals his intention to

529

Ilmarinen’s sister, Anni. She tells her brother, who races to Pohjola to claim his bride. De­ spite Väinämöinen’s offer of great riches, she is given to his rival. The three variants of The Courtship illustrate the various stages in the evolution of this poem. The separate existence of the two themes can be seen in Poems 16 and 18, while their assimilated form is apparent in Poem 17. Stylistic evidence suggests that the rivalry theme without reference to the requirement to perform certain tasks, the form represented by Poem 16, took shape during the Viking period. Although many background motifs are mythical, certain details indicate a poetic tradition very different from that of the earlier myth poems. The variants preserve an ethnographically accurate picture of daily life in early medieval Finland: travel, meth­ ods of hunting and fishing, the tasks allotted to men and women, and even the problem of recalcitrant servants. Another feature typ­ ical of the style of this later period is the psy­ chological portrayal of the characters, espec­ ially of the women: the femininity of Ilma­ rinen’s sister and the vanity that prompts her to strike a bargain with her brother be­ fore she will reveal what she knows about Väinämöinen are traits that mark a different approach to poetry, one that is separated by several centuries from the tradition to which, for example, the mistress of Pohjola be­ longs.

16 A142 B576 LI 13.6 T52 This variant, an outstanding example of the psy­ chological and ethnographical realism of the poetry of the Viking period, preserves a version of the rivalry between two suitors in a form close to that 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 listeners to be familiar with the relevant sa m p o poems (in association with which this was sometimes sung). 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). 27 k u u lta a ‘to catch’: i.e. with a seine-net (k u lle ); 53 tin a rin ta ‘tin-breasted’: i.e. wearing a large, tin brooch on the breast;7 7 -8 2 A surrogate passage from a Karelian wedding poem, sung to the bridegroom as he took the ritual purifying bath before setting off to claim his bride; 103 i.e. red from the reflection 530

of the ship’s huge red sail, hyperbole to denote Väinämöinen’s great wealth; 130-131 These lines and the corresponding passage in Poem 17 (11. 162— 167) show that both poet and audience associated this episode with the S a m p o E p o s.

17 A142 B264.2 B576 D152.2 F87 F989.15 H335 H335.0.1 HI 154 HI 188 LI 13.6 An early stage in the assimilation of the two main themes is evident in this variant; the ancient tale and the later account of the rival suitors are partly in juxtaposition and partly interwoven, leading in places to apparent conflict in the narrative. This can be seen in the first two parts of the poem (11. 1-87, 88-145), where the listener is expected to know that the girl has been pledged to Ilmarinen, and in the final episode (11. 146-251) where the poetsinger refers to an earlier betrothal ceremony be­ tween Ilmarinen and the girl (e.g. 11. 162-167) and there is no longer any suggestion of a rival suitor. At the end of the poem the demon changes his daughter, now married to Ilmarinen, into a gull, possibly as a punishment for having helped her suitor; in most variants from Ladoga Karelia (where this episode also functions as the O rig in o f the G u ll myth), the wife irritates Ilmarinen with her spite as they return from the otherworld and it is Ilma­ rinen himself who punishes her. 5 A wooden implement with a broad spade-like end for beating washing, often painted and decorated with ornate carving, customarily a gift from a young man to his betrothed; 11 ruoan ru o tsi ‘Swede to feed’: cf. 66:86 (from a variant of which this epithet has been borrowed); 15 i.e. mating dances performed by certain fish; 3 6 -3 9 A hyperbole describing a Viking long-ship; 165—166 i.e. icons, a reference to the Rus­ sian Orthodox betrothal ceremony (a surrogate pas­ 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 meaning ‘icon*; 224—231 These lines are an obscure version of the ancient theme of the struggle between the pike and the eagle (cf. 5:1030; pp. 523, 527); 248-251 These verses arc to be read together with 61:77-79 for a more complete description of the punishment inflicted on the girl; 251 lo re s ‘stone’: lit. ‘stone for weighing down fish nets’.

18 A142 B184.1.4 D853 F87 H335 HI 131.1 LI 13.6 N542.1 The main motifs of the ancient fairy tale are evident and the girl is a supernatural being. While a smith is the suitor and has to perform the impossible tasks, there is no suggestion of a rival. 2 senihka < Ru. cf. zh en ik ‘betrothed; bridegroom*; 21 ra h a risti ‘money-cross’: ‘money-’ here is a quali­ fier to denote an object of value.

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 the influence of T h e C o u rtsh ip on Finnish adapta­ tality offered by the girl’s parents, the violent of 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 path of the sledge on the journey to Kojo’s home way in which the motifs of the Russian poem the (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 panions of Godinovich set out, each to hunt a dif­ city. 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 'blood without a ladle’ (11. 102-103, 124cherishcho dies in an accident; Nastasia re­ pouring 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). -9 The lament about the difficulty of finding a sion, Godinovich’s behaviour is approved by 1suitable 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 G61 H335 H373 H1021 H1022 Q451.9 does not occur in the bylina. The confusion B184.1.4 S62 *S177 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 is a motif of great antiquity that was known ing the impossible tasks set by his father-in- chaff, 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

THE GIFT 19, 20

531

that the poet-singer was familiar with versions of the 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 and boy ask each other to perform impossible tasks. 12 m olotsa passim < Ru. cf. m o lodets ‘young man’; 3 4 -3 7 A stock phrase drawn from poems sung as the accompaniment to wedding ritual (cf. 84:7-10).

THE GOLDEN BRIDE 21, 22 The concept of a ‘golden bride’ is known in many parts of Arctic Eurasia; peoples as far apart as the Lapps, the Ostyaks and the Voguls are known to have named certain cult objects or places ‘Golden Bride’ and Russian accounts of the mission of St Stephen of Perm to the Zyryans in the 14th century describe pagan worship of ‘idols, fire and water, a golden woman, witches, and trees’. Similar references to the worship of ‘golden woman’ idols are found in 16th and 17th century travel accounts. Several theories have been advanced to explain the origin and significance of the poem in the Baltic-Finnish area. The style and content of The Golden Bride are typical of the old stratum of aetiological epic. A later poet-singer introduced the courtship and impossible-tasks themes, and the structure of the latter is evident in the smith’s three attempts to make himself a wife. Another view is that The Golden Bride was composed to deride a culture-hero and is comparable, typologically, to the Greek myths that ridicule the god of crafts, Hephaes­ tus (who was assisted by ‘golden maids’ and made Pandora, the first woman) and the Indian Tvashtria, the builder of the universe. A third theory sees the poem as the highly individual, plaintive elegy of an aging bach­ elor, composed about the time of Christ in an area on the southern shore of the Gulf of Finland.

21 A142 B102 F663 LI 13.6 T117.il In Archangel Karelia T h e G olden B rid e was usually sung in a series as the continuation of T h e C ourtship after the suitor - Väinämöinen or Ilmarinen - had been rejected or had lost his wife. The warning in 11. 73-78 is secondary and was probably added during the Christian period. 532

22 A142 B102 F663 LI 13.6 T117.il T h e G olden B r id e generally survived as a separate poem in Ingria, where long sequences occurred less 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, probably dating from the Middle Ages, and refer to the division and allocation of land practised in West Finland and Estonia. In medieval Estonia it was customary for the village smith to set up his forge on the common land of the village (cf. 11. 5-8); 3 p iu s ta ‘rod’: approx. 1.04 m ;4 v a a k sa 'span’ approx. 20 cm; 21 va a rn a ‘peg’: i.e. from which to 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 tation; 7 3 -7 4 passim i.e. that has lived one autumn or winter.

THE KANTELE 23-25 Variants of The Kantele have been recorded throughout the Baltic-Finnish area. North of the Gulf of Finland and Lake Ladoga the poems about the origin and playing of the kantele were generally linked to poems about the construction of the primeval boat and a voyage (cf. Poems 26, 27); together they formed a miniature epos comparable to the Sampo cycle (Poems 12, 13, 14, 15). Ingrian and Estonian variants, however, show clearly that these poems were originally sung sep­ arately. Numerous secondary developments and additions make it difficult to identify the precise content, still less the archetypal form of the Baltic-Finnish poems about the origin of the kantele and the primeval boat. It is not possible even to establish with any cer­ tainty the identity of the hero who created them. Comparative evidence suggests, how­ ever, that he was a smith. Typologically, the poems appear to have been close to a type of aetiological epic in which animals played an important role: the kantele, and originally the boat also, were constructed from the bones of a bird, fish, or reindeer, and it was animals which tried in turn to play the kantele. The two poems about the origin of the instrument and the boat were combined by a poet-singer of outstanding skill and know-

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 boat and the voyage; the shift to the k a n tele poem parts of the world: he may have elaborated occurs at 11. 41-45 (sometimes it is provided by Väikantele 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 of three people, or three groups of people, a fisherman made a harp from the body of formula 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 ‘some kind of head-dress’, or ‘brush orna­ another widely known myth - a boat that smooth*, 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 more developed northern sequences (cf. argues that the bylina could have been in­ stylistically 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 Ingria, for example, the smith is always Ilmarinen. ment to settlement, becoming in turn the in 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 mean ‘world-smith’, i.e. ‘shaper of the world’, ful choice of vocabulary point to a conscious would 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 corrupion of virren (genitive of v irsi ‘song’), hence ’songsmith’; 25 toprouuem a local derivative from Ru. cf. dobry den' ‘good day!’: 55 k en k iä < Sw. cf. sk ä n k a ‘to present’.

25 A142 A1461 D853 D1441.1.3.2 N855 The North Ingrian variant has developed in a mark­ edly different way from Poems 23 and 24. While it retains the main theme of the Ingrian variants - i.e. the making of the k a n tele by a smith - the singer has compiled this variant from stock phrases and sur­ rogate passages. The opening (11. 1-21) is a fragment from an otherwise lost poem about the origin of a horn instrument which the singer has loosely asso­ ciated with the ka n tele (cf. the apparent conflict that occurs in several places, e.g. 11. 20-27). 6 - 7 These lines are suggestive of the Finnish proverb: 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

‘The head for the catcher, the tail for the slaugh­ terer, the middle part for the cook’.

of wood, is associated here with Christian festivals (11. 3-4). A possible survival of an early stratum of the poem is seen in 11. 39-42, where animal bones provide the materials from which the boat is built. The factually accurate description of the selection df the crew, departure and the voyage (11. 52-80) contain features that were originally used to depict Ahti’s voyage in T h e B o n d (Poems 39, 40), but which no longer survive in that poem; the account of the storm may also be another common feature with T h e B o n d . The passage about Pentti’s castle is usually followed, as here (11. 126-131), by the pagan G reat O x (Poem 51); this variant is also typical in that it incorporates a fragment from the satirical G reat P ig (Poem 52). 5 2 -5 3 A riddle: i.e. a boat; 67 aivinainen ‘linen’: i.e. white; 110 P e n tti : possibly a corruption of the second component of the name J a a k k o P o n tu s (cf. Jacob Pontus in Name Index). In variants of the poem about the siege of Riga (Poem 144), Pontus’s name was often confused with that of the officer command­ ing the garrison, a possible explanation for Pentti’s 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 in common is the theme of travel at sea with all its associations of danger. This has served as a nucleus for many different themes, the earlier of which were linked to Väinämöinen’s construction of a boat and a kantele (cf. Poem 23) and formed a miniature epos com­ parable to the Sampo cycle (Poems 12, 13, 14, 15). In more recent redactions of The Voyage other persons also appear in the role of the hero, e.g. Untamo (Poem 26) or God (Poem 27). The original poem about the building of the boat evolved into a account of the search for wood suitable for its construction (a theme that is also widely known in Esto­ nia) and was cast in the framework repetition form. Poems that survived in Ingria show that this theme was later adapted by Chris­ tian poets to describe the search for wood suitable for the construction of a church (cf. Poem 68).

B877.1.2 D950.2 D1121 D1419.3 F841 G5Ö0 This version, generally known as T h e Voyage o f the Son o f G o d , incorporates two Christian themes within the framework of T h e V oyage: the accounts of God’s struggles with Leviathan, drawn from The Psalms and Job, and the story of how Jesus calmed the storm on the Sea of Galilee. This particular com­ bination of Old and New Testament stories was especially popular throughout Central Europe in the Middle Ages and it was probably in this form that the theme of the poem reached the Finnish area. It has been suggested that the account of the struggle with Leviathan is an adaptation of an ancient tra­ dition to which, for example, also belong the Baby­ lonian myth of how Marduk slew Tiamat and the accounts of the struggles between an eagle and a pike in the oldest strata of Finnish folk poetry (cf. p. 523, 530). It should be noted that this Christian version of the poem did not enjoy great popularity in the Finnish area; the older form, in which Väi­ nämöinen is the hero, is far more common. 1 passim The reference to Sampsa Pellervoinen, traditionally a fertility figure (cf. Poems 46, 47; pp. 544-546), may be the result of association and poss­ ibly confusion with the Russian Orthodox St Sam­ son; in most variants of this poem, it is God or the singer-ego who searches for wood; 3 Concerning the ritual significance of the oak see p. 547; 13—16 passim i.e. the wood was rotten. It was commonly believed in the Middle Ages that ravens sought out dead or dying trees; 59 passim S a n tta A n n i ‘Saint Ann’: a corruption of A n tti, i.e. St Andrew, the brother of St Peter (cf. 1. 60 passim). 85 venom a corruption of veen (— veden) on.

26 B16.1.5.1 B871 D1121 F841 X1201 This is a typical example of how Ingrian singers often linked T h e V oyage to J a c o b P o n tu s (Poem 144): the poems are joined here at 11. 110-140. The opening (11. 1-51), describing the search for the right kind 534

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. In variants of The Spell the shaman who of the Christian period, they provide an in­ 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. A medieval poet-singer added the motifs of animal, to travel to the abode of a specific dead person, frequently a shaman of great sword-blades and needle-points (cf. 28:32-33) and other images from vision poetry. Wellrepute, or to the otherworld. 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 mouth and being swallowed. The shift to the existed between shamans. 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

THE SPELL 28, 29

535

to complete the contsruction of a boat; as such this is an elaboration of the motif of the primeval boat in Poems 26 and 27. The account of the visit to Vipunen’s grave has been reinterpreted in terms of medieval concepts of the journey to hell and the narrative makes frequent use of stock phrases. It has 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 fish and escapes by chopping the wood and lighting a fire in its belly. Versions of this tale are known as far afield as the East Baltic and Polynesia. 10-20 An augury metaphor; 2 6 Concerning v iik k o ‘ages’ see p. 523; 30 veneh h a a p a ‘boat aspen’: the oldest Finnish boats were hollowed from aspen logs, an especially hardwearing wood, and it is thought that one of the ancient Finnish tribes used such boats to cross to the northern shore of the Gulf of Finland; 34—37 A surrogate passage borrowed from T h e M e s ­ sia h . An example of the passage in its original con­ text can be seen in 59: 201-211; 4 9 -5 0 i.e. and cause Vipunen to disgorge him (a surrogate passage bor­ rowed from T h e C rea tio n , cf. 4:38-39).

29 ♦D791.2.3 D1121 D1275 D1419.3 D1441.1.3.2 D1810.13 F81.1.2 F93.1 F141.1 F531.2.6 F841 HI 382.1 The archetypal form of the poem can be seen at the beginning of this variant (11. 1-33), where it has been handed down from the pre-Christian era with­ out the thematic changes introduced by the medieval poet-singer. On the other hand, the shamanistic function of the ancient poem has become obscure and the variant has evolved into a poem about Väi­ nämöinen, intended to entertain rather than accom­ pany ritual. Several popular themes in which Väinämöinen is the central character have been brought together in a loosely linked series. Beginning with the spell motif taken from variants about the primeval boat (1. 1-17, 18-33), the singer has combined two poems to take Väinämöinen first to Tuonela (cf. Poem 30) and then to the grave of the famous shaman. The second theme (1. 34—89) has been drawn from T h e V oyage, with the addition of various stock ideas to emphasize the power of the great hero; the theme of T h e Voyage stops where the ship runs aground on the shoulders of a great pike and shifts to T h e K a n te le (1. 90-120). The link (11. 121-129) to the final theme, T h e S in g in g M a tc h (11. 130-163), makes use of several allusions. The 'water’s mistress’ in 1. 118 appears to have been associated by the singer with the mistress of Pohjola, and is therefore an enemy figure who has to be attacked. This task falls to Jougamoinen ( ~ Joukahainen), traditionally Väinämöinen’s an­ tagonist and very often the man who shoots him (cf. 4:8-19). 16 sau n a i.e. savuna 'as smoke’: a corruption of sa u k ­ kona ‘as a beaver’; 88 In Kar. dialects Ia m b i ‘pond’ 536

also means ‘area widened by a river; depths’; 98 Con­ cerning so itto ‘instrument’ see p. 533; 112 Concern­ ing ilo ‘joy’ see p. 533; 141 naroda < Ru. cf. narod ‘people’; 149-150 In his excitement the singer has momentarily stopped singing and continued in prose, at device often used to hasten the narrative.

THE VISIT TO TUONELA 30 A672 D191 D1810.13 »E420.1 E481.2.2 F141.1 F167.il.1 This poem develops the theme, referred to briefly in Poem 29 (11. 7-13), of Väinämöinen’s visit to Tuo­ nela to acquire the necessary words of magic to complete the building of his boat. As such, T h e V isit to T u o n ela provides a vivid account of what was believed to happen when a shaman fell into a trance and his soul went to the otherworld. The poem has been associated with an event in certain variants of L em m in käin en and K a u k a m o in en (Poems 34, 35, 37, 38), which refer to the presence of a singer and his sledge among the revellers; it breaks and has to be repaired. The incident is an elaborate metaphor that (cf. p. 522) describes a shaman's, or a bard’s act of singing; hence the symbol of the sledge breaking and the need to repair it means that the singer has forgotten the words of his song and has to go to the otherworld to find them. The description of Väinämöinen’s arrival at the Tuonela river and his request to be rowed across, reminiscent of the Styx and Charon, also reflects a widely held belief that the deceased arrives in the otherworld in the state in which he died (cf. 11. 41-64). A distinctive shamanistic feature is the ac­ count of how Väinämöinen changes into a lizard or worm and swims back across the river to the world of the living. The lizard, worm or snake was one of the more common forms a shaman's soul was thought to assume. Although the main theme is ancient, the form in which the poem has survived is characterized by numerous secondary features: it is an unusual com­ pilation of ancient beliefs, and stock phrases, frag­ ments of surrogate passages, and images from var­ ious strata. The present form of the poem took shape during the Middle Kalevala period, although several of the stylistic features are later additions; the conversation with the daughters of Tuoni is modelled on the Viking period dialogue in the opening of Poems 16 and 17, while the structure of certain subordinate clauses is typical of medieval poetry. Above all, the poem has attracted several- features that are characteristic of the early Christian period: Väinämöinen is on his way to church when the sledge breaks, and the description of the journey to the otherworld uses horror-images borrowed from vision poetry. The warning at the end of the poem against the practice of shamanism (11. 94-101) sug­ gests that this variant was used as propaganda by the early missionaries (cf. pp. 53-54). The poet-

singer’s own attitude towards pagan practices is possibly indicative of how the early missionaries them­ selves understood Christianity: his message is not that there is no otherworld from which spells can be acquired, but that it is wrong for Christians to go there before they die. 4 1 -4 2 passim i.e. killed by a weapon; 57 -5 8 passim i.e. burned to death; 9 1 -9 2 Some variants have ‘snake’, and refer to an iron net stretched across the river to prevent Väinämöinen’s escape (cf. 11. 29-30).

SUN AND MOON 31-33 A myth known all over the world tells how the sun and moon are imprisoned and pre­ vented from performing their normal func­ tions. They are released from captivity by a cunning animal culture-hero, e.g. a crow, hedgehog, or coyote. In Eurasian versions of the myth the liberator can also be a human culture-hero, Prometheus being the most ob­ vious example. Though it has not been poss­ ible to establish a genetic relationship to the Finnish form of the myth, a very similar version in known in Kalmuk mythology. An outcast angel, Irlik-khan, leaves his home in the depths of a mountain, and steals the sun having foiled its female guards. Men, animals and plants begin to perish in the darkness and cold until the leader of the guards, Okuntengri, disguises herself as a beggar and de­ scends to Irlik-khan’s home. She puts the guards to sleep and after a bitter fight over­ comes him and releases the sun from a gaping wound in his body. The myth originally had a ritual function. Throughout the Arctic regions strikingly similar myths exist to explain the disappear­ ance of the sun during the winter months and ceremonies evolved to ensure its return in the spring. Sun-worship is also known to have played an important role in pre-Chris­ tian cults in Fenno-Scandinavia, although it is believed that the form of the ritual and myths associated with it among the Lapps and Karelians were borrowed from peoples further east. Various versions of this particu­ lar myth reached the Finnish area, some more complete than others. The passage in The Creation of how the eagle’s eggs changed into the sun and moon in the belly of the pike 537

(5:116-127) is possibly a fragment that be­ longs to the same tradition and can be com­ pared to the episode in the Indian sun-theft myth describing how the primeval couple found the sun and moon, took them home, and later placed them in the sky. It has been suggested that the more complete versions of Sun and Moon were transmitted to the Fin­ nish area by Slav peoples, for a corresponding myth is known by the Ukrainians and rela­ tively complete variants of the poem have been recorded only among Russian Orthodox Karelians and Ingrians. Within the Finnish area the incorporation of fragments of Sun and Moon into evocations by early Christian missionaries indicates how deeply-rooted the poem was. It is uncertain, however, whether the closing theme, express­ ing ideas of social equality (cf. 32:76-91; 33:146-152), was part of the version that originally reached the Finnish area and was elaborated during the Middle Ages by Do­ minican mendicant monks, or whether it was added by them (cf. pp. 54-56).

31 A142 A527.1 A672 A734 A737 A1447 *B91.8 D2142.1 This variant, which survived in an area from which epic poetry had largely disappeared, is a fragment of a longer, already forgotten poem and was probably remembered more as a Väinämöinen poem than as a variant of Sun a n d M o o n . Although the variant is defective and composed largely of stock phrases, it contains several motifs associated with the Sun a n d M o o n theme, e.g. the opening verses (11. 1-3) and the reference to how Väinämöinen restored the sun and moon to the sky (11. 23-24). The release of the sun and moon is not described as such, but is sym­ bolized by a stock Smith passage (11. 4-12; cf. Poem 8; 17:49-55), which the singer associates with the forging of the sa m p o , and the allusion to the journey to Pohjola to steal it (11. 21-24). The journey itself has been partly conditioned by accounts of a sha­ man’s journey to the otherworld similar to those that underlie T h e V isit to T u on ela (Poem 30).

32 A605.1 A714.2 A734 A739.8.1 D672 D1364 A more complete version of the poem is found in this variant, which probably dates from the early Christian period. While it retains the structure of a shaman poem, especially the description of the jour­ ney to the otherworld to recover the sun and moon,

the poet-singer has introduced Christian features by making the smith-culture hero’s daughter perform her tasks in the service of God. A parallel has been drawn between the smith’s daughter and Okuntengri of the Kalmuk myth in that both of them foil the guards of the otherworld by putting them to sleep. A second motif, the world-wide M a g ic F lig h t tale, has been introduced to describe the return of the smith’s daughter to the world of the living. The subject of this tale is usually a young man who escapes from the otherworld by outwitting his pur­ suers with various magic devices. The tale ends with the young man crossing the otherworld river and leaving his pursuers on the opposite bank; hence the river that the smith’s daughter creates in 11. 61-68 marks the boundary of the otherworld. 20 passim versta ‘verst’: 1069 metres; 39 i < Ru. cf. i 'and; even’.

33 A605.1 A714.2 A734 A736 A739.8.1 D1562 F141.1 *U62 While retaining the underlying structure of Poem 32, this variant has been cast in the form of a medi­ eval legend poem. The theme of the magic flight has been reversed, to describe the journey to hell, and modified; all that remains of the earlier poem is the use of magic devices to overcome the obstacles that are placed in the way of Jesus. 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 monly associated with horses, possibly a fragment from an otherwise lost poem about a giant horse; 4 0 -4 3 passim The splitting of an object by pouring beer or mead over it is a secondary feature that evolved from the confusion of two images: the split­ ting of a rock, a Finnish version of the Biblical ac­ count of the rending of the rock of Golgotha (cf. 35:263 for a primary occurrence of this image), and the image of snakes drinking beer within a rock (cf. Poem 55: 7-8); 4 6 -5 0 A stock passage, probably borrowed from wedding poetry, to emphasize the size and importance of the road; 50 p a a sto < Ru. cf. p a s tv a ‘parishioners’; 103—104 A stock hiding-place phrase.

LEMMINKÄINEN 34-36 The Lemminkäinen poems form a composite miniature epos, comparable to The Sampo, and The Kantele and The Voyage, and syncretize shamanistic and early Christian beliefs. Lemminkäinen is built around two main themes. The first is a poem that took shape some­ where in the southern Finnish area, probably in the late pagan period - a description of a

shaman’s journey to the home of a rival (Väinämöinen and Lemminkäinen are tradi­ tionally enemies), where a contest takes place and the latter is either killed or banished to the otherworld. The motifs used to denote the preparations for the journey, the warn­ ings, the dangers, and the way in which Lemminkäinen overcomes the obstacles are typical of shaman poetry (cf. Poems 28, 29, 30, 32, 33). It is possible that the substance, if not the detail, reflects the ancient custom of contests between the shamans (i.e. cham­ pions) of neighbouring communities. The Sing­ ing Match is another example of this custom. In some variants Lemminkäinen’s destination is Luotola, which until the late Middle Ages was one of the names of the South-West Fin­ nish Archipelago; this has led to speculation that the theme of Lemminkäinen was originally a contest between the shaman-champions of a coastal and a skerry fishing community. In more northern areas certain motifs, in parti­ cular that of the snake-infested beer, attract­ ed two other poems to the main theme: Päivölän pidot (The Feast at Päivölä’), the accompaniment to brewing ritual, and Kaukamoinen, a poem from the later Viking period about a man who has to flee after killing a rival. In this later version of Lemminkäinen, the account of the singing contest between the two shamans is described in greater de­ tail. The second main theme, Lemminkäinen’s death and his mother’s efforts to restore him to life, is a version of the earlier poem that was probably recast in the Savo region during the period known as ‘barbarian Christianity’, i.e. when Christian ideas were permeating the Finnish area but before the Church had obtained a firm foothold. The nature of Lem­ minkäinen’s death and the events surround­ ing it have been likened to the murder of Baldr. In some variants Lemminkäinen per­ forms acts of benevolence for all but one of those present; the man left out takes his re­ venge by killing Lemminkäinen with a sprig of hemlock, the one means of attack against which Lemminkäinen had neglected to pro­ tect himself (cf. Achilles’ heel). Comparison 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 B437.3 B875.1 D615.1 D945 D1275 F142 medieval myths based on the story of the A671.2 F771.5.1 P677 death and resurrection ofChrist; in the FennoThe 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 how he will overcome them; 11. 153-200, the myth of Osiris. The influence of Christian show 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 which are known throughout the Arctic motifs and images with which this episode is features 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 tian visions. evident. The opening scene (11. 1-59) is a surrogate passage The form that the Lemminkäinen miniature from 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 Finns from the Ancient Balts and the ritual prob­ tian’ shape, and the new beliefs introduced the 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 to the Greek Dionysos cult. Until relatively world, and to The Voyage (Poems 26, 27), nificance 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). The contest between the two heroes also reflects tions by the medieval poet-singer include the 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 (11. 201-212), describe a duel between boisterous traits. 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 him uninvited (Ahti first appears in the var­ matic parallels. The latter invite comparison leaving 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 hops until relatively recent times in parts of granted immortality and made judge of the for 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 This is one of the few examples of L em m in käin en protected themselves; 155—158 cf. 7:14-15 and note; recorded as far south as Ingria and preserves a version 162—163, 164—165 The poet-singer has brought to­ of the earlier poem that does not incorporate the gether two Finnish proverbs; 166—200 These animals secondary K a u k a m o in en features that characterize the are usually interpreted as the shaman’s familiars; Karelian variants. The underlying theme of the ri­ 169—170 passim i.e. from the beams, for the house valry between two neighbours - here relatives - is would have only a hole in the roof to let out the reduced to basic essentials, and the series of ob­ smoke; 191—198 The hyperbole is a surrogate passage stacles and traps set for the young man are images from T h e G rea t O x (cf. 51: 3-9); 209 to p p a ‘serpent’: typical of shamanistic poetry. Certain details in the lit.'snake that hibernates in a cowshed’; 216-217 variant illustrate how originally fantasy themes were A stock phrase borrowed from medieval vision poems modified and given a realistic interpretation in the and describing the journey to hell; 2 2 3 -2 2 6 A fuller version of this stock passage is found in 37:119— later Viking period, e.g. the episode in 34:201-205, in which Lemminkäinen is offered worm-infested 123. 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 from T h e L o st G oose , cf. 133:10-11; 134:3-8), and A671.2 B575.1 D1275 E186 E363.3 £761.1.7 F142 linguistic evidence reveal considerable Estonian in­ F167.11.1 F771.5 *F859 P231 Q560 R153.4 T415 fluence. V229.1 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 gest that the poet-singer’s own conviction of the Kaukamoinen has been described as structurally supremacy of the Christian doctrine was only rudi­ 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 of ancient Finnish poetry. It is an emotionally doctrine which proves the more powerful, and the uncomplicated tale of an early medieval, per­ concluding cautionary lines (11.275-306) a re a power­ 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 numbered by his enemies, a sexually attract­ symbols which serve as an indicator of their fate, ive young man of Herculean prowess, who generally an animal or some object closely associated 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 The Viking world in which Kaukamoinen mentarily uses prose to emphasize the force of Väi­ 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 Finland into Russia and south to Byzantium. the pivot broke, the heavens would fall and the earth Earlier attempts to identify events, characters would be destroyed by fire; 235—236 passim i.e. the 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 so far as it has any historical significance, it A popular concept in medieval vision poetry (cf. 30: is as an illustration of attitudes during the 86-87).

KAUKAMOINEN 37, 38

540

early East Viking period: Kaukamoinen is the product of a virile, adventure-hungry, often ironical male fantasy. The main theme is uncomplicated: an in­ sult at a Viking feast leads to a duel. One of the warriors is killed and his opponent has to flee across the sea to escape revenge. In the land where he finds refuge, all the women­ folk fall in love with him, he performs feats of great sexual prowess and again has to take flight across the sea to escape the wrath of the menfolk. The place where the Viking first finds refuge is generally known as ‘the Island’. Various theories about its location have been advanced; Gotland, Saaremaa and Ahvenan­ maa are among the many Baltic islands that have been suggested. An alternative ex­ planation is that ‘the Island’ is merely a nar­ rative device to provide a place to which the hero could flee. It has also been suggested that the poet could have been influenced by Scandinavian poetry and that the flight to ‘the Island’ is a typological parallel of the legends of Viking heroes who fled from Nor­ way to Iceland, or from Iceland to Green­ land, to escape revenge, the law or obtrusive authority. Although the poem is a characteristic pro­ duct of the Viking period, several points of contact with byliny suggest that it originated in Karelia or Ingria rather than in West Finland. The description of the dangers that beset the journey to Päivölä in Poem 37 ('ll. 8-94), borrowed from Lemminkäinen, preserves fragments of the Vaviio bylina which no longer survive in the Russian source poem (cf. 11. 22-30, 81-85). Other motifs and stylistic features taken over from byliny include the description of how Kaukamoinen returns home dejected, *his helmet askew’, and both the structure and content of the dialogue be­ tween mother and son.

37 A671.2 B575.1 D1275 FI 12 F142 F777.5.1 P677 S139.2.2.1 The Archangel variant illustrates how L em m in käin en and K au kam oin en were associated and often confused: the first part of the framework of the new poem has been drawn from L em m in k ä in en , the remainder from 541

K a u k a m o in en . The poem opens with a surrogate pass­ 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 borrowed from L em m in k ä in en . The events associated with Kaukamoinen’s arrival and the style of pre­ sentation are depicted by motifs drawn from several sources. The entry into the rival’s home (11. 95-98) is simple and realistic, while the following verses (11. 95-102), cast in terms that show the singer’s personal disapproval of the host, are a popular stock passage taken from later poems based on Christian legends (cf. Poems 59, 63, 64, 65). The choice of Herod as Kaukamoinen’s opponent is a result of confusion by the singer. The provocation, leading to the duel, has been influenced again by L em m in k ä in en to the extent that the motif of the drunken, quarrelsome Viking has been lost, although the Viking background is readily evident in the detailed description of the duel - from the measuring of the blades and choice of site to the fatal blow (11. 124-153). The death of the rival, Herod, and Kaukamoinen’s flight to his home (11. 154-194) are reminiscent of byliny. Al­ though the following episodes (11. 195-274) - escape to ‘the Island*, the amorous adventures, and the need to flee again - are all features commonly asso­ ciated with Viking poetry, items of detail drawn from byliny further support the hypothesis of an origin in an East Finnish area where poets were familiar with Russian heroic poetry. 5 2 Leppänen ‘alder’: because of its red sap ‘alder* is a synonym of ‘blood’; 112—115 i.e. Kaukamoinen’s generosity is greater than anyone else’s; 155—194 The question Kaukamoinen’s mother asks are all motifs that occur in byliny; 164 tsa rk o < Ru. cf. charka ‘cup, goblet’; 177 i.e. in racing; 191-194 i.e. custom demands that Herod’s death be avenged; 198—199 Possibly an allusion to the practice known in many parts of Europe of maintaining well-stocked communal hiding-places for shelter in time of war. In Finland such hiding-places were either deep in the forest or on islands; 275 cf. 1:50-52; p. 522.

38 FI 12 P677 R310-317 The Ingrian variant is closer to the archetypal poem than Poem 37. While it has a similar structure, its main features are more distinct and the narrative flow is not obscured by so many secondary features. The theme is introduced by a version of T h e O rig in o f B eer (11. 1-29), that is relatively close to the original 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 clearly (concerning the ritual function and significance of the poem see p. 539). The drinking festival leads to the quarrel between the two drunken, boisterous Vikings, ending in Kalervo’s death and Kaukamoinen’s flight. The narrative employs some of the secondary motifs found in the corresponding passage in Poem 37. To heighten the tension, the poet-singer has incorporated a surrogate

passage from a variant of the Estonian H u s b a n d -K ille r at 11. 78-122 (cf. 91:22-37); this dramatizes Kaukamoinen’s plight and brings out the desperation of the action to which he finally resorts. The conclusion of the variant has the same structure as Poem 37. 10 m e llakoida ‘rumble’: i.e. the noise caused by fermentation; 19—25 These verses are a factual de­ scription of brewing technique. The use of animal slobber as a source of enzymes to start fermentation was common in many parts of the world and a reference to it is found in the Icelandic sagas. Until yeast came into common use, pig slobber was espe­ cially favoured by the Finns. The reference to the pair of 'pigs in heat’ who ‘tumbled below a moun­ tain’ describes the mating dance when pigs produce unusually large amounts of slobber; 48 A battle image; 152 Concerning k a r ttu ‘bat’ see p. 530.

THE BOND 39, 40 The Bond belongs to the same East Viking tradition as Kaukamoinen; in some fragments Kaukamoinen is Ahti’s companion and, con­ versely, Ahti appears in Lemminkäinen and Kaukamoinen. Stylistic factors, especially the dialogue and repetition, are similar, but there are important differences in content. Kauka­ moinen is expansive and boisterous, and de­ spite its emphasis on amorous adventures, it is emotionally uncomplicated. The picture it presents of the Viking is stereotype, and often superficial and romanticized. While The Bond lacks the scope of Kaukamoinen, it has never­ theless more psychological depth: the char­ acters are aware of their emotions, they try to come to terms with them, and suffer in trying to do so. Ahti and Kyllikki share the same desire as Kaukamoinen - a longing to do what appeals to them as individuals - though in their case they do their best to suppress their own desires for the sake of their life together. After a long and difficult courtship (cf. 39:1-4) they marry and swear to give up their for­ mer ways. Kyllikki breaks, or appears to break, her vow, which gives Ahti the oppor­ tunity to sail away in search of adventure. The psychological interest is heightened by Kyllikki’s attitude to her apparent misde­ meanour: she does not regard one lapse as sufficient to render the vow invalid, which contrasts with Ahti’s readiness to see himself released from his own vow. Ahti’s personality

is no less complicated than Kyllikki’s; his behaviour is determined by different but equally powerful factors: the Viking’s long­ ing for adventure and honour, elaborated by the role of a second, also newly-wed Vik­ ing, Teuri, whom the poet uses to emphasize the strength of this emotion (cf. 40:3042). The Bond survives only in fragments. The two main variants are represented here, one from Olonets Karelia (Poem 39), the other from Archangel Karelia (Poem 40). Both variants are defective, but it is possible to reconstruct from them the main features of the original poem (according to one estimate about 100 lines have been lost). The recon­ structed narrative falls into eight parts. Ahti’s and Kyllikki’s courtship is represented by 39:1-4 and is followed by the vow of fidelity: 40:1-8 describes the nature of the vow, while 39:5-9 illustrates its solemnity. The factors that weaken each partner’s resolve are found in the Archangel Karelian variant: .40:9-12 shows Ahti’s rough handling of Kyllikki and her disenchantment. Ahti’s longing for the Viking way of life is symbolized by his boat's lament (40:13-20). Kyllikki’s response to her husband’s behaviour is echoed in his sister’s malicious report of what she has been doing in the village (39:10-13), which provides Ahti with the excuse to prepare for departure (39:14-16; 40:21-47). At this point the poet’s interest moves from male to female psycho­ logy to show how Kyllikki tries to persuade her husband to stay at home, depicting viv­ idly the abrupt change in her attitude when she realizes that Ahti cannot be dissuaded. The longer passage, depicting Teuri’s readi­ ness to leave his wife and the alacrity with which he joins Ahti, is indicative of the fun­ damentally male approach to the theme. 40: 48-65 provides scant details ofAhti’s voyage and his being trapped by the early onset of winter. The remainder of the poem has been lost; 39:48-53 and 40:66-72 are surrogate passages from The Flk (Poems 53, 54). Some indication of the possible end of the poem is found in an Ingrian variant of The Voyage, in which fragments of The Bond are embedded. In this variant, Ahti is the cap542

tain of the boat and is assisted by Kauko. An old woman, whose son, Antero, they want as navigator (cf. 26:52-62), warns them that a great north wind will overturn the boat. This prophecy invites comparison with Kyllikki’s dream in 39:18-23 warning Ahti of a catastrophe at sea.

39 D1812.5.1.2 M l 14 M205 5 -8 cf. 17:165-166 and note; 12-13 i.e. she was taking part in the games of unmarried girls. Social custom drew strict boundaries between what was permissible for unmarried girls and for married women; the two states were marked by styles of dress, hair, adornment, and also by deportment. Hence a woman who did not behave according to accepted norms would quickly attract attention and gossip; 18-23 Prophetic dreams are not common in Finnish folk poetry, although they often occur in Scandina­ vian folklore (a wife's prophetic dream is a motif that is also known in many other parts of the world). This, together with certain contextual features, has led some scholars to draw parallels with Old Ice­ landic poetry, in particular with the themes of am­ bition, preference for adventure to the security of home and family, and the need to demonstrate mas­ culinity; 46 m arkka ‘mark’: the word’s earlier mean­ ing (dating from 875 AD), in which sense it spread from Scandinavia to Central Europe, was as a gold and silver weight measure (8 oz) and it is probably this that is intended here; 48-51 ly ly ‘left ski’, siv a k k a , kolh u ‘right ski’: English lacks the vocabulary to translate these words adequately. L y ly is a long, narrow ski used for gliding; North Fi. siv a k k a and South and Central Fi. k a lh u is a short, broad ski covered in hide, not unlike a modern snow-shoe, with which the skier propels himself.

40 M l 14 M205 4 i.e. a lifetime; 18 p u n a p a rra s ‘red side’: a corruption 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) '(m y ) gunwale’; 4 6 -4 7 i.e. the boat was ready to depart: all the other warriors have boarded and stowed their spears in the upright position. An alter­ native explanation is that this symbolizes the Viking warriors’ sense of brotherhood. An important dating criterion is found in an older Archangel Karelian variant of this passage which describes Teuri’s spear as one on which ‘a wolf blew on the shaft, a cat mewed on the nail’: zoomorphic motifs formed the basis of most Nordic ornamentation in the Viking period; 67 k e itti ‘steamed’: a corruption of k e tti ‘at­ tached a hide to the underside of the ski'; 68, 71: cf. 39:48-51 and note; 71 lå p y ‘hole’: i.e. through which the strap was attached.

THE ORPHAN 41-43 The Orphan is a medieval adaptation of themes and motifs from the Middle Kalevala period. Stylistic features typical of the early Middle Ages include the references to the shining of silver and gold, the ‘all-but-one’ emphatic stylistic device, the herdsman who is provoked into committing murder, the motifs of the shackled wolves and bears, the fence motif, and the morbid interest in brutality. The original poet used these features in a poem that also brings together several well-known themes. The dominant theme and the structure the feud between the two families and the taking of revenge - have parallels in the fornaldarsögur, while details of the acts of the illtreated youth recall the heroes of West Scan­ dinavian ballads who tear up trees by their roots and brandish them at their enemies. The latter are often giants whose gory deaths are depicted in great detail and with obvious enthusiasm. The poet’s handling of his mate­ rial appears to have been strongly influenced by various other features popular in many parts of Europe. The motif of the stone baked in a cake, for example, is known in various other connections. The most important factor in giving the poem its present shape was the world-wide Strong John folk tale. Parallels with this tale include the child who displays superhuman strength while still in the cradle and who later as a young man is unable to do anything to the satisfaction of his master, often a smith (cf. Poem 42). Other similarities are the incidents with wild animals and un­ successful attempts to bring about the youth’s death. Despite the importance of the in­ fluence of the Strong John tale, it is almost certainly secondary and to some extent ob­ scures the earlier revenge theme.

41 A1251 H1510 LI 11.4.4 P173.2 Z356 The Ingrian version of T h e O rph an retains some simi­ larity with Scandinavian poetry, especially in its structure; it describes the cause of the feud between two brothers, the ensuing massacre and the survival 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 iants to Turku as the city from which he is child’s strength by borrowing the description of the returning suggests that the poem originated attempted burning of St Catherine and substituting 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 The Finnish variants are based on a Swedish world (cf. p. 525); 2 2 - 2 4 A stock passage indicating ballad about the three sons and three daugh­ that preparations were made quickly and at short 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, return as grown men to their former home were highly-valued woods and indicate the impor­ 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

42 B845 D945 D1222 F614 LI 11.4.4 P I73.2 8— 9 Lines referring to the period when this part Finland and Karelia was still under the same ruler. The context shows that the child was sold into a wealthy family; 5 4-56 i.e. he is longing for the sun to set so that he can return home, a surrogate pass­ age borrowed from herdsmen’s lyric; 60-61 These were essential items of a herdsman’s equipment in the Finnish area; the horn was used to call the cattle and the rattle to frighten away dangerous animals (and possibly spirits).

they have done, they prefer death to flight. The Swedish ballad was itself an adaptation of a theme which originated in France and of was known in Italy, Switzerland, Germany, Scotland, the Faroe Islands and Iceland.

44 N365.3 T415 A secondary feature in the Ladoga Karelian variant is the closing description of Tuiretuinen’s flight to escape punishment, a surrogate passage borrowed 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 Scandinavian family saga and the k å m p a v tia tra­ dition. It is a rare combination, found only in Olo­ nets Karelia (although the singer came from Ingria), of the themes of childhood and the stone baked in a loaf, leading to the taking of revenge. It was probably this redaction that gave Lönnrot the idea of bringing these themes together to produce the outstanding cycle of Kullervo poems. 1 -1 3 It is likely that ‘Finland’ and ‘Karelia’ are to be understood in a specifically local sense, i.e. 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 who is less pleasant than he appears to be.

The Ingrian variant preserves a form closer to the archetypal poem. It also differs from the Ladoga Karelian variant in language and in the choice of images, both of which reveal much greater Russian influence. 6 o b ra k k i < Ru. cf. o brok ‘quit-rent’; 13 k a ssa p ä ä ‘plaited-head’: i.e. she was unmarried; 15 saara < Ru. cf. s a n i ‘sleigh’; 44 -47 i.e. a paradise metaphor; 51 The image may derive from the Russian Ortho­ dox practice of building a small wooden structure over the grave.

THE SOWER 46, 47 The Sower, originally a framework repetition poem, is a survival of what was once the ac­ companiment to the performance of an annual rite at which an offering of food and drink, preserved in a small container {vakka), was made to a fertility deity or spirit. The character of Säm(p)sä and the accompanying ritual have been compared to the rites

THE INCEST 44, 45 Variants of a medieval ballad of how a man (Tuurikkainen is only one of several names) unwittingly seduces his sister while returning from paying his taxes are known over an area 544

associated with Dionysos, the Greek fertility god, the Latvian tutelary spirit of grain, Jumis, the Estonian Pekko, and Russian Ortho­ dox beliefs linked with St Samson. Relics of the rite survived until relatively recently among Russian Orthodox Ingrian Finns as a result of the pagan tradition being incor­ porated into a Christian festival celebrated on St Peter’s Day (29th June in the Ortho­ dox calendar); attendance in church and prayers for a good harvest were thus paral­ leled by the ritual drinking of freshly brewed beer in an enclosed wooded area (correspond­ ing to the old pagan sacred grove). Poem 47, the Ingrian variant (usually known as the Ukko Song) is an example of the accompaniment to the Christian adapta­ tion of the old rite. It was preceded by an evocation for rain: “Holy Ukko, merciful one, give juice to your lands, softness to your fields.” Further north, in Lutheran Finland, rituals of this kind were gradually stamped out by churchmen. There is evidence to show, however, that they were still alive as late as the 16th century; in 1551 Finland’s Bishop Mikael Agricola complained: ‘And when the spring sowing is done, a toast is drunk to Ukko. Ukko’s tankard is brought out and both girls and women drink. Then many shameful things are both seen and heard to be done.’ The origin of the fertility practices which so angered Mikael Agricola probably lies in a monistic view of the world, according to which every living thing - ani­ mate and inanimate - was thought to be part of a single entity (cf. 47:39-43 passim). Acti­ vity in one area, therefore, was believed to stimulate similar activity in every other area; hence human fertility practices were thought to set in motion the process of reproduction in animals and plants and thus ensure the continuing supply of the resources on which man’s existence depended. In Finnish folk poetry Sämpsä’s role is that of the sower. One of the first forage plants of the year in the Finnish area, the forestrush (scirpus silvaticus), is named after him and it is possible that at one time this plant was regarded as the personification of the fertility spirit. In the northern part of the 35

Finnish area Sämpsä generally occurs in the role of the planter of various kinds of tree, while in Ingria he is credited with the sowing of grain. Also associated with him are con­ cepts of a ‘holy wedding’ and illicit love: he is said to have had sexual intercourse with his stepmother - possibly personifying the earth - amongst the corn ricks, and then gone away to an unspecified place. The purpose of the ritual was to find him and bring him back to set the process of growth in motion again. The description of how first the son of winter and then the son of summer competed to wake Sämpsä has been compared to ancient spring customs in which creatures representing winter and sum­ mer fight and from which the latter emerges as victor (this invites comparison with the medieval Scandinavian spring ceremony in which horsemen representing summer and winter join in combat and the summerhorsemen win).

46 A430 A1425 A2681 N365.3 T415 The form of this variant is such that it is not poss­ ible to know whether the collector obtained two defective versions and attempted to combine them, or whether the singer was uncertain of the poem and sang two versions or simply confused the sequence of the lines. To reconstruct the narrative, it is necess­ 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 sequence the shape of the refrain poem begins to emerge. Gaps in the narrative remain, however, and comprehension is obscured by the numerous stock phrases and surrogate passages with which the singer elaborates, rather than expounds, the narrative. At the beginning of the poem Sämpsä is identified by a brief reference to his sexual impropriety, given as the reason for his disappearance; the actual dis­ appearance is described in terms usually associated with Väinämöinen’s adventures (cf. 14:6-8; 30:88— 90). The approach of spring is marked by Ahti, a land-owner, who is growing impatient because the soil is barren. The lines used to emphasize his annoy­ ance (16-20) are a fragment of an otherwise lost poem about a wealthy man. It is not difficult to follow the next stage in the narrative - Ahti’s realization that someone must go and persuade Sämpsä to make the land fertile. More complicated, however, is the singer’s use of a ‘wolf’ for this purpose. Comparison with Poem 47 shows that the first person to go was the ‘winter-boy’, who brought bad weather with him and thus failed; he 545

was followed by the ‘summer-boy’. A characteristic of Poem 46 is that winter has been personified as su si ‘wolf’, an abbreviation of susikuu ‘wolf month’ (i.e. the wolf’s mating season which can be any time in winter). The extension of the personification to the summer (1. 49) appears to have been an error by the collector who either heard or noted su v i ‘sum­ mer’ incorrectly as su si. While Poem 46 no longer retains all the charac­ teristics of a framework repetition poem, the original structure can still be discerned in the description of the visit of the two wolves to Sämpsä. Several verses appear, however, to be missing after I. 41. The archetypal poem probably contained a descrip­ tion of how the winter-wolf told Sämpsä that ‘Ahti kept brooding’ followed by 11. 10-14 (cf. 56-60). L. 42 would then refer to Sämpsä’s and 1. 43 to Ahti’s abuse of the wolf. The repetition framework is again defec­ tive at 11. 48 and 49. A repetition of 11. 25 —31, and a near-repetition of 11. 21-24, probably occurred here. 6 7 -6 8 Images commonly used to describe places where seeds were stored; 7 7 -7 9 These lines appear to be a fragment of an otherwise lost poem, probably stimulated by the association with fish in the previous line; 93 Concerning Kar. luode see p. 528.

47 A430 N819.5 The archetypal form of the poem survives more clearly in the Ingrian variant. The sequence of events is also in the correct order and the seasons and their attributes are explicit. The idea of fertility, 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. 3 k a s k i ‘clearing’: i.e. where trees, shrubs and other undergrowth are cut and burned, and a crop sown in the ashes. Burn-beat remained a common method of cultivation in Karelia and East Finland until the present century (see Plate 13); 14—15, 17 s e itse 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 ornamentation of some kind of ritual object or idol used in the fertility ritual. They have also been com­ pared to the markings which in certain ancient phallic rites symbolize the buckles by which Dio­ nysos was fastened to the womb of his father Zeus; 3 7 -38 This passage is obscure; a possible explana­ tion is that the singer made a mistake in anticipation of 11. 65-66 and should have sung P a h o in te il tu lle ss 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’.

of the animal was accompanied by complicated, often dramatized ritual intended to protect the hunters and their families from the bear’s avenging spirit. Similar practices have been recorded among peoples throughout the Arctic region and also among the Indians of North America. The Finnish version of the myth of the origin of the bear has much in common with myths of the linguistically related Voguls and Ostyaks. These tell of a young bear whose father, the supreme deity, lowers him to earth at the end of a gold and silver chain (cf. 11. 8-10). The antiquity of rituals asso­ ciated with the bear in the Finnish area is demon­ strated by archeological finds. Fifteen stone imple­ ments ornamented with bear-heads and apparently used in connection with ritual have been discovered (there is evidence to show that the elk was also the object of worship in the same area, cf. pp. 548-549). The Finnish poems were sometimes sung at the beginning of hunting expeditions and, very rarely, at the ensuing celebrations; as such these are the only examples of myth poems which retained their original function until relatively modern times. More commonly, however, the poems were adapted for other purposes. In the 19th and 20th centuries frag­ ments of T h e B e a r survived in incantations, as in this poem, which is a typical example and was sung when cattle were let out to graze in the forest after the long winter under cover. The taboo felt by the singer against mentioning the animal’s name and his use of endearments are psychological features associated with the bear and other dangerous animals throughout the world (cf. 1. 2, 4, 17). 13 so n ta reisi ‘dung-shank’: i.e. cow.

THE BEAR 48 A 1836 D1273 The bear was the animal held in greatest respect in ancient Finnish society. The killing and eating 546

THE OAK 49, 50 The myth of an oak that grew up to the sky and deprived the world of light, and of how it was felled originates from the same cult­ ural tradition as the myth about the crea­ tion of the world from an egg. It is known from the Mediterranean to the Pacific. Schol­ ars are divided about its original significance. According to one theory it describes the origin of the Milky Way, which in ancient times was thought by many peoples to be the path along which the soul passed to the otherworld. Comparison with similar themes out­ side the Finnish area suggest that The Oak derives from this kind of aetiological myth, traces of which are thought to survive in the Archangel Karelian variant (cf. 50:35-51). The most likely origin of the secondary redactions, of which the Finnish poem is one, is a poem about beer froth (a motif that

centre and ranked in importance with Tallinn; 4 1 -4 6 These lines refer to the reputation that the BalticFinnish peoples had in Russia as skilful smiths; 44 u u litsa < Ru. cf. u litsa ‘street’; 65 The construc­ tion of the bath-house from fragments of the oak may also have a ritual significance. Among the Baltic-Finnish peoples, the bath-house was a place associated with supernatural forces and where women delivered their children; bathing was also an essential preliminary ritual to many activities.

has parallels in Mordvin tradition); this was probably connected with brewing and formed part of ritual practices similar to those which the Ancient Balts performed around an oak at the centre of a sacred grove. The oak is variously said to have grown from one of several possible sources; the blood of a goose or a beer-drinking snake, the tears of an orphan or an adder, the slobber of an elk that had flowed into a stream (cf. p. 549), or from the fragments of drinking vessels. Although the ritual function of the poem appears to have been forgotten, traces of it can still be discerned in some of the surviving Baltic-Finnish redactions. In Estonia it be­ came a gay song sung by girls as they played on swings and describes how the wood from the oak would be used to make a betrothal gift; in Ingria it became a lusty drinking song, with the wood being used for beer barrels and drinking vessels. In Karelia it was adapted as the prologue to incantations for curing sudden attacks of illness; the un­ derlying idea was that pain was caused by arrows made by a worker of magic from the wood of the oak, and that by describing the cause of the illness their magic power could be destroyed.

50 A625 A2681.2 D950.2 E481.2.1 F95.5 F535 F610.2

49 A652 A2681.2 D950.2 Many features of an early form of the secondary redaction survive in the Ingrian variant. It is a typical example of the poem’s function as a drinking song: the tree originates from beer froth and its wood is used for drinking vessels. The conclusion of the poem, in which an Estonian place-name occurs 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 of adaptation. 2 k ä r ä jä t : ‘assizes’: i.e. a meeting of freemen to settle matters pertaining to the whole community; 8 Ingr. punainen ‘brown’; 14— 22 The original idea that the oak had to be felled because it obscured the light has been lost from this variant (cf. 50:18-21); 15 As in many other parts of Europe, the rowan was regarded as a sacred tree; 39 The reference to Mos­ cow, rather than to St Petersburg, probably reflects a pre-Petrine period in the development of the poem; 40 Kaprio is used here not in contrast but as a parallel to Moscow, i.e. a second large town, for in the Middle Ages it was a major fortified trading 547

In the Archangel Karelian variant T h e G rea t O a k survives as part of an incantation for curing various diseases (i.e. 11. 9-34). Both the opening episode (11. 1-8) and the conclusion (11. 42-51) are typical of incantation poetry. Some singers concluded the poem with prayers addressed either to the pagan Ukko or to the Virgin Mary. The opening is a sur­ rogate passage borrowed from an incantation to cure sudden internal illnesses, while at the end the per­ sonified cause of the illness (11. 42-44) is encouraged to leave the sick person and go to the otherworld, where conditions are described as more congenial (cf. 11. 48-51). The same underlying idea, i.e. to make the passage of the personified cause of the illness to the otherworld as speedy as possible, is also the reason for felling the oak, thus providing the spirit with easy passage to the otherworld. 1—12 Other variants describe how the oak grew on a sandy ridge at the point where three seas meet; 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. Ukko or Tursas; 18—19 These lines retain the orig­ inal, mythical reason for felling the oak; 20—21 i.e. life ceased. This couplet embodies two of the main factors in a primitive economy - burn-beat cultivation and fishing; 36 i.e. the river marking the boundary of the otherworld; 37, 4 2 The motif of the bridge to the otherworld has parallels in Indian mythology, but is otherwise almost unknown in Fin­ nish folk poetry.

THE GREAT OX 51 A672 B16.1.5.1 B871 F610.2 X1201 The subject of T h e G re a t O x has been variously in­ terpreted as a constellation, a rainbow, and a north­ ern version of the opponent of Mithras. It is more likely, however, that the poem was sung as the ritual accompaniment to the sacrifice of an ox, either at the time of the annual sowing or at harvest time. In some areas the poem was incorporated into in­ cantations for healing burns, the function of this particular variant. In Ingria and Karelia the ritual function was forgotten and T h e G rea t O x was linked to other epic poems.

Structural and stylistic details suggest that several 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 the sea, who fells the oak, and the concluding list of products obtained from the wood of the tree. I t is thought that the idea of the destruction of a huge object, such as the oak, was extended to in­ clude large animals e.g. the ox, and later other domestic animals. The theme recurs in animal hus­ bandry incantations, in poems sung to accompany group work in autumn, and in children's poems.

THE GREAT PIG 52 A284 B871 Z1201 Although some scholars have interpreted T h e G re a t P i g as a ritual poem comparable to T h e G re a t O x , it seems more likely that it is a parody of the latter composed by Christian missionaries to ridicule pa­ gan practices. In some variants the ‘other gods’ (1.23), who are put to flight and made to look fool­ ish, are called Ryönikkä (or Rauni), thought to be the wife of Ukko, Virokannas, or Päivänen. The propaganda content of the poem suggests that it was composed at about the same time as the de­ scription of the banishment of Iku Turso in T h e V oyage (27:91.0). 1 k o rtissa < Ru. cf. r g o s ti ‘as a guest'; 17-1 9 i.e. the h a m m e r (?thunderbolt) customarily associated with Thor.

THE ELK 53, 54 The material and spiritual interdependence between man and animal is one of the most important themes of primitive epic. In Fin­ land, as elsewhere in the Arctic region, the animals most relevant to this relationship were the bear and the elk. Both were highly prized as a source of food and hides and all activity associated with them appears to have been conducted with elaborate ritual. Rock paintings and archeological evidence indicate the great age of this phenomenon and show that such practices existed in the Finnish area long before the ancestors of the Finns spread north from south of the Gulf of Finland (cf. Poem 48; pp. 21-27). The respect shown for the spirit of the dead animal was an in­ tegral aspect of the primitive beliefs. Some living objects - and among some peoples even plants and features of the landscape - were believed to possess spirits, on the reincarna­ tion of which the continuation of a species 548

was thought to depend. The spirit of a large and dangerous animal had to be treated with special respect for fear that it might seek revenge. In some parts of the north, rituals éven included attempts to convince the dead animal’s spirit that someone other than the hunter had killed it. In more developed forms of the bear and elk cult all the a n i m a l s of the species were credited with a non-specific tutel­ ary spirit which was worshipped instead of an individual animal’s spirit; The Elk is an exam­ ple of this development, the tutelary spirit in the Finnish versions being the demonic Hiisi. The form of the poem known in the Fin­ nish area - the pursuit of Hiisi’s elk by a hunter on skis - probably derives from one of the North Eurasian versions of the Orion myth, which are also known among the Ostyaks and Voguls. The Baltic-Finnish poem based on the myth is thought to have taken shape between 1000 and 1300 AD on the west or south-west coast of Lake Ladoga. The main theme describes how a Lapp makes a pair of skis and tries three times to catch the elk. Two separate poems evolved from this nucleus. Traces of the triple-attempt motif survive in the poem that spread south into Ingria, although it was obscured by many secondary features and changes (cf. Poem 100). The Elk represents the form of the poem in the northern area; the principal character appears to have been a boastful hunter who caught the elk but lost it. He is sometimes described as a Lapp and much of the narrative is set in areas said to be inhab­ ited by Lapps (cf. Lapland in Name Index). Some variants suggest that the elk escapes by fleeing to a mythical place, possibly the arch of the sky.

53 BI84.4 F849 The Ladoga Karelian variant preserves the principal features of T h e E lk . LI. 1-16 describe how the aids were made, the chase and capture. L. 16 may have been noted down incorrectly, or misunderstood by the singer: it implies that the hunter caught the elk. The preparations for the ritual slaughter and eating of the animal (11. 17-25) bring out the motif of the boastful hunter, although this is more obvious in the Archangel Karelian variant (cf. 54: 76-80). The

account of the elk’s escape (11. 26-38) reflects the beliefs associated with the slaughter ritual and a tutelary spirit. The relationship between the Finnish version and the Orion myth is suggested by 11. 35-42 with the elk’s escape into the heavens denoted by ‘suns’ and the parallel ‘moons’; these lines are the hunter’s admission of his inability to catch the elk as it moves in the heavens and his plea to it to return to earth, i.e. the ‘woods’. The significance of 11. 43-44 is obscure; comparison with other variants suggests that T a p io n ta a k k a 'Tapio’s load’ is a parallel of k irjo m a n i lit. ‘ornamented mountain’; the latter has been associated with ancient rock paintings of elks made at places where they were trapped and where incantations for success in hunting were recited. While this does not clarify ‘load’, it helps to clarify the last five lines of the poem; taken from a hunter’s incantation, they are a realistic description of the method of trapping elks (and in Lapland reindeer) by driving them into an area from which there is no exit: escape might be blocked by a rock face (‘iron hill’), a wooden stockade (‘fiery birch tree’), or by the land falling away steeply into a river of lake.

54 B184.4 F849 The Archangel Karelian variant retains part of the structure of Poem 53: the making of the skis, the chase and capture, the elk’s escape and the hunter’s failure to recapture the animal are all evident. The flight of the elk to the heavens, however, is omitted. A distinctive stylistic feature is the ironical-satirical tone of this variant; the chase is a challenge to the boastful hunter. This and other satirical features, including the naming of the hunter as ‘Lemmingöine’, are all secondary. 32 te v a k s i : possibly a hyper-correction of tevana ‘elk’, on the assumption that -n a marked the essive and that translative - k s i was better suited to the sense of the line; 7 9 -8 0 i.e. on the elk’s pelt; 89 lä p i ‘hole’: a horizontal hole for the foot-strap bored crosswise through the ski at its midpoint.

ELK AND SNAKE 55 A2681 B 184.4 B531.2 E lk a n d S n ake is a northern adaptation of T h e S ta g , one of the zoological fantasies included in the secondor third-century P h ysio lo g u s. The earliest record of the theme of the stag that swallows a snake is in the N a tu r a lis H isto ria of Pliny the Elder (23-79 AD). He described how stags look for holes and crannies 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 verse of Psalm 42: ‘As the hart panteth after the water brooks, so panteth my soul after thee, O God.’ The anonymous Alexandrian churchman compared the stag with Christ and the snake with the Devil.

549

During the following centuries the bestiary was copi­ ed many times and its fantasies were embroidered and given new interpretations. In an 11th century German version of the bestiary, for example, the stag swallows the snake, hurries to a spring and spits out the poison. At the same time, it sheds its fur and antlers and an oak grows from the place where they fall. In the following century, the German St Hildegard (1098-1179) retold the tale in more colourful and imaginative terms and added that the stag, after shedding its fur, regained its strength by eating herbs and drinking spring water. The popularity of the tale in the Middle Ages sprang mainly from its allegorical association with the principal tenets of Christian doctrine. The stag symbolized man, the spring Jesus or God, and the snake the Devil. The swallowing of the snake re­ presented the Fall; the running to the stream and the spitting out of the poison symbolized baptism and absolution; the loss of the stag’s antlers and fur were the renouncing of the flesh, while the recovery of strength by eating herbs and drinking spring water symbolized the sacrament of the Eucharist. The final episode of the allegory, the acquisition of eternal life by taking a branch from a tree (i.e. the Cross) that had grown from the discarded fur or antlers, referred to the atonement for the sins of mankind by the death and resurrection of Christ. Several of these features are found in Poem 55; 11. 1-12 retell the main theme of the account in P h ysio lo g u s , although the sequence of events has changed; the acts of recovering strength and drink­ ing (11. 3-4) occur before the struggle with the snake (a more detailed and clearer rendering of the act of recovering strength and the acquisition of eternal life is embedded in T h e F orsaken M a i d , cf. 92:28-40). LI. 13-24, however, show that a poet-singer, though apparently aware of the structure of the original tale, introduced a second theme for the poem shifts to the legend of St Margaret of Antioch, who over­ came a dragon that had swallowed her (in parts of Europe she was believed to be the protector of 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 the E lk a n d S n ake allegory possibly explains why St M argaretes mother] draws the snake’s poison, i.e. redeems sin, and why symbolically splendid trees grow from where the milk (i.e. poison) had spilt. 1 -2 H iie n m aa ‘Hiisi’s land’; puolen (k a n g a s) ‘cowberry (on the heath)’: these two phrases may be corrup­ tions of H iid e n m a a , i.e. the Estonian island H iiu m a a and P u o la ‘Poland’; 6 k o m its a < Ru. cf. g o m its a ‘up­ per room’; 17 passim Ingr. punainen ‘brown’.

THE FISHING 56 B81.13.11.1 The poem’s underlying idea, a mermaid and her relationship with a mortal, is known throughout

Europe. The Finnish version is reminiscent of the Scandinavian nature myth ballads, which frequently described a brief erotic encounter between a mortal and an immortal. An earlier form of Poem 56 appears to have been sung in the first person; the substitution of Väinämöinen occurred when early Christian singers were composing poems to ridicule the pagan heroes (cf. pp. 53-54). The influence of this teaching is evident in the depiction of Väinämöinen as a senile, helpless character. 2 - 3 The durative function of the Finnish construc­ tion, indicating a steady, unhurried repetition of the action over a long period cannot be adequately repro­ duced in English; 53—54 This couplet does not appear to be part of the original poem and was probably added by the singer of this particular variant.

LEAVETAKING 57, 58 Leavetaking, together with The Fishing (Poem 56), represents the final period of Väinämöi­ nen poems when the ancient hero was being used by early churchmen to denigrate the old beliefs. The poem combines some pagan and Christian features which illuminate how the early Christians often adapted pagan prac­ tices to their own ends. In some variants the poem ends with an account of how Väinä­ möinen will one day return. Some scholars believe this to be a Finnish version of the world-wide myth of the hero who leaves his people, promising to come back at the end of time. The main theme, name-giving, is a factual account of a practice common throughout pre-Christian Scandinavia: a child had to be given the name of a recently deceased relative in order to establish a link with the deceased’s soul and thus ensure its freedom of move­ ment in the otherworld. In some areas it was even believed that the soul could not pass from the grave to the otherworld until a child had taken its name (a belief also held else­ where in the world). Conversely, if a child received the wrong name, it could fall ill or even die. Until a child had been baptized, it could be put to death by exposure or drown­ ing; illegitimate children, therefore, were generally allowed to live only if someone ad­ mitted parentage. A more detailed illustra­ tion of the importance of choosing the right name for a child can be seen in Finding a Husband (120:10-24).

Certain other features also point to Scan­ dinavian influence. The reference to the Maelstrom, the whirlpool through which men and ships were sucked down to the other.world, reflects a myth which appears to have survived long after the formal adoption of Christianity in Scandinavia (e.g. Olaus Mag­ nus’s map of the North, 1539, locates the Maelstrom close to the Lofoten Islands). The pagan theme of Leavetaking has be­ come associated with a Christian legend. The episode in which the child speaks and names his father appears to be an adaptation of the French legend of St Goar (cf. pp.556-557), who was summoned to baptize a three-day-old bastard. When no one will admit paternity, the child himself names his father, Bishop Rusticus. The latter throws himself at the mercy of the saint and is made to do penance for seven years. The same theme occurs in The Foundling (Poems 70, 71).

550

57 S341.1 T585.2 T5961 Z252 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 Scandinavian name-giving custom, 11. 10-22 repre­ sent the Christian legend, and in 11. 23-31 the Christian poet combines the two themes to discredit the pagan heroes. 5 - 9 i.e. ‘Father’, ‘mother’, etc. of the family that found the abandoned child; 15—20 This is the only recorded reference to Väinämöinen’s involvement in an incestuous relationship. It is probably the poet's own addition and appears to have been influenced by one of Lemminkäinen’s epithets describing him as the man who seduced his sister (cf. 35:9-11); 31 This line reflects the popular belief that the Mael­ strom was caused by a giant whale sucking the sea into its throat (cf. 58:47-48 where the motif is clearer).

58 C102 D1275 S341.1 T311 T585.2 T596 Z252 The poem begins with a surrogate passage from T h e F o u n d lin g (Poems 70, 71) containing fragments made up variously of time, wealth and chastity hyperbole which to not survive separately, but occur as stock introductory material in many poems (cf. Poems 61, 71, 75). 13 p a ljo , p a l ’l'o ‘poor’, cf. Fi. p a lja s ‘bare’; 14 leena ( < le in ä , cf. Fi. lein a ‘weak’) < Ru. cf. Ien' ‘lazi­ ness*.

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 not only language and prosody but also the stable; 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 ing by local poet-singers of church paintings ther two poems; 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 of impregnation (11. 1-28), the search for a place to deliver the child and the birth (11. 29-230), and the search for the lost child (11. 231-294). The style of presentation suggests that the poetsinger was using the poem as a commentary on a series of church paintings or panels depicting the life of Christ. It is uncertain how familiar he was with the details of his subject. The opening verses suggest a painting of a picture showing how Mary, while fleeing into Egypt, asked for the fruit of a tree. The singer appears to have confused this with the conception of Jesus and attempts to describe the event in terms that his listeners will understand. Nevertheless, some sense of uncertainty seems to have remained in the poet’s mind: cranberries grow on low shrubs, not on trees, and 11. 17-18 show him trying to reassure his listeners - and perhaps himself - that it really was a berry even though it was so high above the ground (11. 19-20) that Mary had to climb up a pole to reach it (11. 21-22). The retarded, step-by-step description of how Mary swallowed the berry (11. 23-28) and the phases of her pregnancy, with the concluding joke (11. 39-40), suggest a poet-singer who was consciously and skil­ fully developing dramatic tension and who was well versed in Kalevala poetry; the model for the de­ scription was T h e F lo w in g o f T e a rs , a poem known throughout Estonia, Ingria and Karelia. He uses a framework repetition structure to create a similar tension in the description of the onset of M ary’s labour and of how her maid had to run back and forth in search of a place to deliver the baby, and later when Mary searches for her lost son. 6 4 -6 5 In Baltic-Finnish dwellings it was customary for the menfolk to sit on one side of the main living area and the womenfolk on the other: the descrip­ tion of Herod’s wife at the centre of the floor implies that she bullied and dominated the household; 78 passim tu u len lau tat ‘scarlet women’: lit. ‘whores fit for burning’ (the long -«- results from the collector’s misunderstanding of the singing technique); 2 0 5 It is uncertain whether the bath-whisk is a local adapta­ tion of a fig-leaf or whether it reflects pagan prac­ tices in which protection was obtained from danger­ ous spirits by sweeping with a whisk; 216—222 These lines are an interesting example of how the singer has taken a well-known medieval legend (i.e. how the animals in the stable where Jesus was born showed reverence) and adapted it to local tradition (e.g. the steam that comes when water is thrown on the bath-house stove is provided by the breath of the horse); 230 A popular ‘horse’ metaphor in Finnish folk poetry.

60 A677.1 A733.6 A1071.1.1 N818.1 V211.2.1.3 V211.7 V211.8 The Archangel Karelian series of the resurrection and descent into hell is regarded as one of the finest poems that survive from pre-Reformation Finland. 552

Certain passages have a remarkable aesthetic quality (e.g. 11. 26-30, 60-63), ideas are expressed in a highly individual style (e.g. 11. 85-89), and the poem as a whole reveals the personality of a singularly indi­ vidual poet: the opening lines, in particular, suggest a priest who has grown weary with the wayward­ ness of his parishioners. The description of the deathand burial of Christ (11. 1-20) differs in certain details from other var­ iants of this poem. Christ’s murderers (11. 7-8) are usually the guardians of his tomb (cf. 11. 45-48). LI. 11-15 should be seen as an aside, describing the ornamentation of the spears, and is possibly a relic of an otherwise lost fragment of T h e B o n d (cf. 40: 43-44). The second episode (11. 21-57) is an interpreta­ tion, unique in Finnish poetry, of the events be­ tween the burial and resurrection and is a further example of the poet’s individuality. He has com­ bined the roles of the sun - as the indicator of the passing of the days before the resurrection - and of the angel who puts the guards to sleep. In some variants the sun makes Christ’s resurrection possible by melting the stones that cover his tomb. The final episode (11. 66-139), Christ’s descent into hell, is thought to be based on the apocryphal Acts of Pilate, which describe Christ’s struggle with the Devil and how he finally chained his opponent by the neck. The underlying themes of .how the powers of good outwit the powers of evil, and how a superhuman being is chained to a rock for eternity (cf. the Prometheus legend) are known in many parts of the world. The version in T h e M e ssia h has its closest parallels in Lithuanian tradition where the disguised Christ meets Lucifer and asks him why he is forging chains. When Lucifer replies they are for Christ, the latter asks Lucifer to demonstrate how he will attach the chains and, when Lucifer demonstrates on himself, Christ locks them and thus traps him for ever. The theme in T h e M e ssia h is essentially the same and employs similar motifs. 9 —10 e ik eho illa : a corruption of e i k eih o illa 'not with spears’; 6 6 -6 7 i.e. to hell; 73 ju u tta a t ‘Jews’: the term used in this context derives from J u d a s .

61 A677.1 A 1071.1 C102 D1311.6 E481.2.2 F93.1 F960 H I 385.2-3 T 311 T511.1.1-2 V10.1 V211.7 Z216 While all five legends can be identified in the Olo­ nets Karelian variant, they are no longer so clearly defined. The singer retains the main themes of T h e M e s s ia h , but often only alludes to them, using long surrogate passages from other poems to denote the underlying idea. The variant also lacks the tight structure of the Archangel Karelian poems, in which the flow of the narrative is uninterrupted and the shift from one theme to another is clear. The poem falls into seven main episodes. The first (11. 1-37) describes impregnation. This passage itself is in two parts. The singer begins with popular in­ troductory material (cf. 58:1-7; p. 550) to characterize

the daughter of a wealthy family who shows no inclination to leave home. T h e M e ssia h as such be­ gins at 1. 22. The second episode (11. 38-40, 69-81) describes the realization of pregnancy. The singer has drawn surrogate passages from several sources. LI. 70-75 are a chastity hyperbole generally found in intro­ ductory material (cf. 58:1-7; p. 550), while 11. 77-79 preserve an otherwise lost passage from T h e C o u rtsh ip (cf. 17:248-249, pp. 529-530). LI. 41-68 and 82-86 are a digression stimulated by the family’s refusal to believe that Mary is a virgin. This prompted the singer to introduce surrogate passages from T h e W a te r-C a rrie r (Poems 124, 125), substituting ‘berry’ for ‘water’, and of which she sings a relatively com­ plete version (there is slight confusion at 11. 66-68). The third episode (11. 87-91) incorporates a medi­ eval legend, adapted to the Finnish milieu, of how M ary attempts to take her life. This leads to the fourth episode (11. 92-96), the birth in the stable. The singer has interpolated as the fifth episode (11. 97-107) a brief account of how Herod tries to dis­ cover whether Christ has been born - 11. 97-100 and 102-104 being spoken by Herod and 11. 101 and 105-107 by his servants (cf. S t S teph en , 63:32-49, in which Herod demands three miracles before he will believe that Christ has been born). The sixth episode (11. 108-122) combines legends of the search for Jesus and his death. The episode concludes with an allusion to the persecution and crucifixion and shifts directly to the seventh episode, the descent into hell (11. 123-145). The singer’s use of surrogate passages is most marked in the final episode. She has drawn 11. 123-134 from T h e V isit to Tuonela (Poem 30) to describe the journey to the otherworld and in 11. 135-145 sings an abbreviated account of the struggle between Christ and the Devil. Only 11. 140-145 are original to T h e M essiah-, 11. 135-139 are a stock passage that could have been bor­ rowed from any of the numerous poems about smiths. 1 The construction is obscure; in Kar. dialects vaim o often means not only ‘wife’ but also ‘woman’. Hence this line appears to mean that it was Kaija’s ‘small woman’, i.e. daughter, who gave birth to the children; 13 u m biken ka ‘closed shoe’: i.e. a shoe with uppers attached and made by a skilled cobbler. In a society where people wore boots or only the most rudimentary footwear (or went barefoot), a shoe of this kind was an indication of wealth; 41 to a tto < Ru. cf. ta ta ‘daddy’; 47 Concerning ‘brushed hair’ see p. 533; 48 k a p lu k k a < Ru. cf. k a b lu k ‘heel’; 49 p a g la < ?Ru. cf. p a k ly a ‘oakum’; 86 bunukka < Ru. cf. vnuk ‘grandchild’; 96 Concerning * so ra jo vi (a cor­ ruption of su orajouhi) ‘straight-hair’ see 59:230.

62 A677.1 A733.6 A1071.1 B130 B184.1.4 C623 D1311.6 D 1503.1 E471.1.1.2 F960.1 H1385.2-3 N818.1 T511. 1.1-2 T581.4 V138 V211.7 V211.8 The Ingrian variant is in six episodes. The first (11. 1-17) is a simple account of impregnation, followed

by the birth in the stable (11. 18-52); the ill-treat­ ment of M ary is implied by the choice of stock phrases and surrogate passages associated with Poh­ jola and its mistress. The third episode, describing St Stephen and his horse (11. 53-74), the miracle that marks the birth of Christ, is a surrogate passage; the concluding lines of this episode, which should describe the miracle, have been substituted by lines from an incantation about the origin of diseases (11. 69-72). The fourth episode (11. 75-109) describes Mary’s search for her lost son; the concluding line and the line in prose suggest that the singer was beginning to confuse the search with the descent into hell, but then corrected herself before shifting to the fifth episode (11. 110—36); 11. 115-120, depicting the site of Christ’s crucifixion, may possibly have been in­ fluenced by descriptions of pagan sacred groves. The opening lines (11. 137-142) of the final episode illustrate the transposition of the resurrection into a wholly Finnish context. The remaining verses (11. 143-251) are the most complicated part of the va­ riant. They have the same framework as Poems 60 and 61: the descent into hell and the struggle with the Devil. Within this framework, however, are embedded two layers of Christian propaganda. The earlier is the Christian missionaries’ efforts to deni­ grate pagan beliefs, while the later layer reflects the struggle between the mendicant monks and the es­ tablished clergy (cf. pp. 54-56). The description of Christ riding a horse that falls, and of how he cures its injury (11. 137-186) is from a medieval incanta­ tion for curing sprains that was known throughout Europe and was a Christian adaptation of an earlier incantation dating from about the 10th century. The poet uses the incident to show that Christ’s powers were stronger than those of an ordinary (i.e. pagan) worker of magic: Christ found no ‘singer of spells’ and had to perform his own magic. As he continues on his journey into hell, he comes to a bridge, which marks the incorporation of a variant of T h e B rid g e a n d the Church poem (11. 187-217). The poet-priest, clearly himself a mendicant, con­ strues a folk explanation (11. 211-217) to explain why Christ showed reverence to the bridge and not to the church (i.e. because he found sanctuary beneath a bridge when he was being hunted, but was taken prisoner in a temple.) The historical rea­ sons, however, for the Dominicans’ attempts to ele­ vate the bridge and denigrate the church were both secular and non-secular. On the one hand, bridges were frequently built in the Middle Ages in Europe on the initiative of various religious orders to en­ courage the passage of pilgrims (cf. the medieval French Fratres Pontifices, an order founded specific­ ally for this purpose); thus there is an obvious asso­ ciation of bridges with religious activity. On the other hand, bridges were, and have remained in some parts of the Finnish area, the places where members of the local community gather for formal and informal activities. Hence bridges were the ob­ vious places for the mendicant monks to hold im­ 553

promptu open-air services and to hear confessions. The concluding verses (11. 218-251) preserve a rela­ tively complete version of how Christ tricks the Devil into fixing the shackles around his own neck. 7 - 8 v its a ‘lash’ and ruoska ‘whip’ are folk interpre­ tations of improperly understood motifs in medieval church paintings (cf. pp. 551, 561); 86 hos < Ru. cf. k h o t ’ ‘if’; 109 ta < Ru. cf. d a ‘yes’; 140 Concerning p ä r e ‘splint’ see p. 539; 156 p u u ‘tree’: a corruption of p y y ‘hazel grouse’; 165-167 passim These lines depict one of many ways of performing spells and soothsaying. The spells were chanted (i.e. ‘mutter’) over salt (the vital importance of salt in a primitive economy has given rise to numerous superstitions, many of which still flourish) and at the same time the worker of magic would perform (i.e. ‘bind’) with ‘threads’ and ‘ribbons’ of different colours a soothsaying (i.e. ‘speak’) ritual; 250 va a tu < Ru. cf. v adu ‘in hell’.

ST STEPHEN 63 B130 C623 D1311.4.0.1 F838.3 F960.1 H252

E32 E168.1 E471.1.1.2

is an example of a poem that dates from the medieval period before the new Christian teach­ ing had either completely eliminated or assimilated pagan beliefs and practices. Certain of these practices became associated with St Stephen and survived in ceremonies which accompanied the singing of the poem on St Stephen’s Day (26th December). In West Finland, where the practices survived until the 20th century, they were linked to mumming customs observed on the days immediately after Christmas. The song was performed to the accompaniment of dance by a group of young men, who went from house to house repeating the ceremony and receiving beer as payment. The group would include one man dressed up as ‘St Stephen’, i.e. with a straw tether wound around him, while some of his companions 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 ticularly active. Throughout the world this has pro­ duced ceremonies of great complexity designed either to protect men against the power of spirits or to placate them and secure their support for the coming year. The St Stephen ritual illustrates how such prac­ tices were adopted and assimilated as part of Chris­ tian ritual. Customs comparable to those known in Finland, particularly donning animal disguise, have been recorded in many parts of Europe and North­ ern Asia. The version of the legend on which Poem 63 is based is known in many parts of Europe. It originated and took shape in England, and describes how Herod’s scullion, Stephen, sees a vision of Bethlehem in the sky above the stars. He tells his master that the Saviour has been bom, but Herod says he will S t S teph en

only believe this if the dead cock on the table crows. The bird comes to life, rises and crows ‘Christ is bom ’. Herod summons his executioner and has Stephen stoned to death (the punishment for blas­ phemy laid down in Mosaic Law). The legend , reached Finland through Sweden, where it was al­ ready well-known in the 12th and 13th centuries. In Scandinavia the stoning episode was omitted and church paintings indicate that by this time St Stephen had begun to be portrayed not as a scullion but as a groom; this probably resulted from the coincidence in many parts of pre-Christian Europe of St Stephen’s day with the ritual watering of horses at the winter solstice to ensure their health and strength through the coming year. There are many parallels, especially in Germany, for the subsequent association of such rites with St Stephen. In Finland the medieval St Stephen legend was 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 for beer (11. 50-55) and a song of thanks (11. 56-71). The boisterous carnival spirit that pervades the per­ formance of the poem is apparent in 11. 2, 25-26 and the concluding couplet. Parallels for the three Nativity miracles (11. 32-49) are found throughout Europe and the motif of the crowing cock is com­ monly used in this context. A distinctive Finnish development, however, appears to be the bringing together of these various miracles into a composite Nativity series. 4 Concerning k o n k a ri see p. 538; 17—18 A stock Finnish hyperbole (cf. 51:3-4); 25—26 Lines inter­ polated by the performers as a comment on their own boisterous behaviour; 33 i.e. the cock that is trussed and roasted. In a more complete variant this verse is foilwed by the lines: j o k a on p a is tin a v a d is / höyhenet tu lip a d a ssa ‘which is roasted on the plate / feathers in the fiery pot’; 35 f a r t t i < Sw. cf. k v a rte r 'quarter of an hour’; 5 4 -5 5 Surrogate lines borrowed from a much later, unidentified song.

ST CATHERINE 64, 65 These variants illustrate how the saints’ le­ gends became confused both with each other and with pre-Christian myths. According to the earliest sources, St Catherine of Alexan­ dria was a virgin of noble birth and excep­ tional learning, who was tortured on a wheel and then beheaded (307 AD) because she had protested at the persecution of the Christians by Emperor Maxentius. Legends about her martyrdom did not begin to spread, however, until the 10th century; by the late 13th century they were widely known

554

in Sweden and St Catherine was especially revered by the Dominicans, the order that was most active in medieval Finland. She is the subject of numerous church paintings, in which one of her symbols is the wheel on which she was tortured (cf. the ‘Catherinewheel’ firework). In the Finnish area this was understood as a spinning wheel, hence in Finnish poetry she is generally associated with spinning or weaving. Accounts of her martyrdom by burning are again the result of confusion. It is not known what fate was originally ascribed to her in Scandinavian and Finnish tradition. In a corresponding Swedish poem St Catherine is carried up to heaven by white doves. The Finnish variants suggest that she may have escaped martyr­ dom. The Finnish poet-singer has used stock phrases and surrogate passages from poems about Ilmarinen, in particular The Golden Bride (Poems 21, 22), to describe the at­ tempted burning of St Catherine. It is un­ certain whether the wooing motif, which has no foundation in the earliest records of the legend, was inspired by The Golden Bride or came about through confusion with legends about St Margaret (cf. Poems 70, 71). The substitution of Herod for Maxentius is a further example of confusion, with Herod occurring as a stock character to represent evil.

64 Q414 T326.3 28—30 These lines, in which the identity of St Cath­ erine has changed, can be compared to medieval Swedish church paintings in which the saint is depicted as reading.

65 B102 Q414 T117.il T326.3 The Savo variant is a compilation of stock and sur­ rogate passages. A Finnish variant of the St Cath­ erine legend survives in 11. 1-9, 17-24. The substi­ tution of Väinämöinen for Herod in 11. 10-16 was probably confusion by the singer and suggests the influence of the Christian poems composed to deni­ grate the pagan heroes. While the Finnish S t C a th ­ erine legend is apparent in 11. 17-24, it is cast against the background of poems about Ilmarinen; 11. 25-54,

however, have been borrowed with only small changes from T h e G olden B rid e (Poems 21, 22). The reference to Väinämöinen in 1. 43 could either have been influenced by the earlier reference or have been borrowed from a variant in which Väinämöi­ nen appears as a smith. 2 p ir ta ‘reed’: a weaver’s tool for separating warp threads.

ST HENRY 66, 67 St Henry, the legend of the martyrdom of Finland’s patron saint, is the best known poem of the Roman Catholic period in Fin­ land. Bishop Henry, according to tradition an Englishman, accompanied the Swedish King, Eric Jedvardsson, on a crusade to Fin­ land (1154 or 1155) and remained there as head of the Church after Eric’s return to Sweden. According to legend, Henry was murdered by a peasant, Lalli, on 20th Jan­ uary 1156 while crossing the ice of Lake Köyliö in South-West Finland. Henry’s death was commemorated in a Latin liturgical text, composed in Turku, and read regularly in Finnish churches. It stated that the Bishop had wished ‘to impose on a certain murderer the corrective discipline of the Church in such a way that he would not regard a pardon easily acquired as encouragement to further criminal acts. Then that unhappy, blood­ thirsty man attacked the servant of right­ eousness and cruelly killed him.’ The official account and the wealth of local folklore stimulated by the crime gave birth to St Henry. It appears to have been composed towards the end of the 13th cen­ tury by a poet of some learning - familiar with contemporary Scandinavian chivalrous ballads (e.g. the ‘noble-servant-grey horse’ combination), a versatile exponent of Kale­ vala epic poetry technique and also well versed in contemporary Catholic legends, on which the structure of the poem is modelled. The factual style and earthy vocabulary, however, suggest that it was not the conscious intention of the poet to imitate popular legend poems, but rather to compose a chronicle of Bishop Henry’s life and work in Finland, embroidering his narrative with as many facts as possible (cf. the unusual number 555

of proper names). Several features such as the description of the journey and the concluding episode about divine judgement were added by a later poet-singer. The purpose of the poem, of which fourteen manuscripts or fragments of manuscripts survive, was to attract pilgrims to the church at Nousiainen, where Henry was first buried. Nousiainen continued to be an important place of pilgrimage even after Bishop Henry’s remains were moved to Turku Cathedral in 1280. The historical validity of the poem has been the subject of much controversy. Lalli’s behaviour on hearing his wife’s lies, for ex­ ample, is less surprising in the context of the time when abuse of the privilege of free board and lodging was regarded as a punish­ able act. It would seem, however, that the poem’s propaganda purpose, its legend struc­ ture and the changes introduced by later generations of singers have obscured the historical relevance the poem may once have had.

or Swedish-speaking Finnish officials, had the right to claim free board and lodging when travelling on government business, a privilege that was frequently abused; 8 6 -£ 7 Concerning the translation of sa k sa see German[y]/Saksa in Name Index; 178 p a n n a < ,Sw. cf. p a n n a ‘brow’.

67 B155.1 C949.2 K2127.3 V111.3

THE TREE 68 D950.2 T h e T re e is an adaptation by early Christian Ingrians of a pagan theme. The original idea is found in T h e V oyage (Poems 26, 27) as the description of the search for timber suitable for the keel of a boat. The motifs in the adaptation have a symbolic function comparable to those in E lk a n d S n a k e (Poem 55; cf. pp. 549, 564): the wood of the tree is rejected as unsuitable for a church because it has been defiled by animals associated with evil. 25—26 These verses suggest that the archetypal poem contained a passage describing how the woodmen sought and found a suitable tree, i.e. one associated with animals symbolizing God and virtue (cf. 27: 36-44).

66

THE FOREST 69

B155.1 C949.2 K2127.3 Q,172 Q560 VI 11.3 33 tta n tti ‘coachman’: lit. ‘coachman who stood at the rear of the sledge behind the passenger’. The word derives through Swedish from Latin in fa m ; it was probably this association, together with allit­ eration, that determined the choice of va a k sa ‘span’ as attribute; 40 m u rsunluiset ‘walrus-bones’: i.e. the various fixtures by which the traces were attached to the shafts and the horse; 41 It is thought that v a lja a t ‘harness’ referred solely to the bit; 50 -5 9 A stock metonymic passage describing sounds associated with travel; in the view of some scholars the images may also refer to the designs carved or painted on the sleigh; 50 v ir m a : an associative change from k irm a ‘hood placed over a sleigh or carriage’. It is known that these hoods were frequently decorated with animal motifs; 5 0-55 Hence these verses describe the decoration on the sleigh hood; 55 i.e. the bear­ skin cover on the horse that was attached by iron clips. At one time it was also common to fix pieces 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 imity to the bear-skin horse blanket; 58—59 A refer­ ence to the popular custom of decorating travel-rugs in the same way as the sleigh-hood; 66 k y rsä ‘roll’: i.e. a flat, round, hard rye loaf with a hole in the centre; 85 ru okaru o tsi ‘Swede to feed’: a pejorative that derives from the 14th century when Swedish, 556

C998 D705.2 F979.23 T h e F o re st appears to have been composed in Esto­ nia, from where it spread into Ingria and north along the Karelian Isthmus. The association of the moral protest with fertility suggests that the poem is a description of some kind of purification ritual used by Christian priests in places where crops had failed to flourish; the lack of fertility was ascribed to pollution caused by sinful behaviour (cf. 11. 3-6). Hence 11. 7-12 depict the dire consequences of such behaviour: the absence of fertility (11. 7-9), the in­ terruption of the natural cycle (1. 10), and the plunging of the earth into total darkness (11. 11-12). The remainder of the poem, describing the purifi­ cation ceremony (11. 13-15) and the subsequent re­ storation of fertility, is an interesting illustration of how early Christian thought and practice were under­ stood and propagated in the Baltic-Finnish area.

THE FOUNDLING 70, 71 The Foundling, which is also known in Estonia, brings together several popular medieval themes. The underlying idea is the legend of St Margaret of Antioch (also known as St

Marina), who according to some versions of the legend committed suicide to save her virtue; in other versions either the prefect Olibrius or the Devil disguised as a dragon (cf. Poem 55; p. 549) attempts to seduce her while she is herding pigs. From as early as the 7th century, St Margaret was honoured in the Eastern Church and later was one of the saints commonly invoked by women in labour. In these variants the main themes of the legendäre cast in a ballad framework, simi­ lar to that, for example, of The Forsaken Maid (cf. Poems 92, 93, 94; pp. 563-564); the seducer, Hannus, also belongs to the same tradition: a medieval Finnish Don Juan character. The legend of St Margaret is apparent at the beginning of the Finnish poem where Marketta is approached by a stranger while she is herding in the forest. The Finnish version departs from the original in that Marketta is seduced and conceives, possibly a reflection of the saint’s association with childbirth. The end of the poem, in which the parentage of the child has to be established before it can be baptized, com­ bines pagan name-giving practices and ver­ sions of the French legend of St Goar (cf. Poems 57, 58; p. 550). The Finnish adapta­ tion of the legend was used as a cautionary poem to warn girls of the dangers of be­ coming emotionally involved with strangers (cf. pp. 563-564, 568).

70 H1510 LI 11.4.4 S341.1 T585.2 Traces of the St Margaret legend can be discerned in 11. 1-16, while 11. 17-24 represent the pagan name-giving practices. The concluding lines skil­ fully and symbolically combine the pagan practices, which place the child’s life in jeopardy, with the St Goar theme. 3 -5 These lines illustrate the process of change as a motif passes from singer to singer. Together with 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 v y ö llä ,/v a rsa n v a lja h a t o la lla ‘at his belt the yearling’s reins/shouldering the colt’s harness’; as the poem was transmitted su vik u n ta ‘yearling’ (lit. 'one-summerold’) became sukukunta ‘kin’ (su v i and suku are near­ homonyms in certain inflected forms), and varsa ‘colt’ became v a lta (cf. p. 532); 8 v a sta s ‘bath-whisk’: i.e. leafy twigs bound together, with which bathers beat themselves to stimulate perspiration. 557

71 H1510 LI 1.4.4 S341.1 T475.2.1 T585.2 The variant from the Karelian Isthmus preserves a fuller version of the St M argaret legend. The opening lines (11. 1-14) employ stock introductory material (cf. 58:1-7; p. 550) and the legend begins at I. 15. The seduction, marking the shift to the ballad theme, occurs against the girl’s will, thus preserving some vestige of the ancient legend. The remainder of the poem has the same structure as Poem 70, though with greater elaboration of the theme and motifs. 37 i.e. the moment had come to give birth; 45 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 have separate quarters for the men and women who worked there.

THE MAID AND THE DRAGON 72-74 The theme of the dragon that refuses to eat a young woman is unique to Finnish poetry and is one of the first poems to introduce a vein of humour into the generally serious poetry of medieval Finland. Linguistic and stylistic features indicate that it was com­ posed in South-West Finland and was prob­ ably the work of one particular, skilful poetess who also produced several other poems that won wide popularity. Composed on the mod­ el of the legend of St George and the Dragon (in some variants the young man is called Yrjö ‘George’), the purpose of the satire is to rebuke men who are unfaithful to their women, by teasingly suggesting that they should be put to death, and at the same time to draw attention to the importance of women in a male-dominated society by emphasizing their role as mothers. The use of the first person plural and the opening lines show that the poem was per­ formed by girls as they walked in procession. While it is not possible to date the poem’s composition precisely, textual evidence sug­ gests the early 16th century; dragon themes occur in Swedish and Finnish church painting only after 1480 and references to war in some of the variants appear to be to Danish attacks on the southern coast of Finland some twenty years later.

72

maritan woman at a well (John 4). The leg­ end originated in France and spread through­ out Europe. Two versions were transmitted to the Finnish area, most probably by men­ dicant Dominican monks for St Mary was their patron saint. In its advocacy of humility and condemnation of social differences, the poem epitomizes Dominican teaching (cf. pp. 54-56).

P19.4.1 Q413 The S t G eorge legend and the satire are obscure in the West Finnish variant. The theme and motifs become clearer, however, when the variant is com­ pared with Poems 73 and 74; 11. 1-7 suggest the assembling of girls in preparation for a procession in which each person, or group of persons, has a particular role to play. LI. 8-15 correspond to the episodes in Poems 73 and 74 that describe the hanging. 9 i.e. learning to sing; 10 n iin i 'bast’: inner bark of the lime tree used in rope-making (cf. 73:4—7); 12 h irret 'gallows’: a corruption of Y rjö 'George’, i.e. 'to hang (St) George*; 13 tien su u 'road’s end’: the traditional gallows site; 14—15 i.e. a public place, possibly the area in front of a castle or palace.

75 V211.2.1.3 V223.3

73 B11.8 P19.4.1 Q413 The variant from the Karelian Isthmus brings out more clearly the principal motifs; 11. 1-14 and 17-18 describe the procession to the gallows to hang the young man and the reason for his execution. LI. 13-16 are the first stage in the satire cast in terms that recall Pontius Pilate’s inquiry about the reasons for the condemnation of Jesus. It is possible that a passage has been lost at 1. 19 where the poem shifts to the legend of S t G eorge a n d the D ra g o n ; it would be in keeping with the satirical tone of the variant for the man to be pardoned and the maid to be condemned. LI. 19-33 contain the full thrust of the protest and at the same time throw a rare shaft of light on how women saw their role in Finland in the Middle Ages (cf. 11. 29-33).

74 B11.8 P I9.4.1 Q413 4—8 A change has occurred in that the lime tree which was originally the source of the bast now provides the timber for the gallows; 8 h ylk ö i ‘wretch’: a corruption of Y rjö ‘George’; 27 A reference to the conditions in which a serf was wholly at the disposal of his master and could make no appeal to higher authority; 3 2 -3 5 These lines illustrate how a singer, who might herself never have seen a picture of a dragon, tries to describe one to listeners who know even less; it is possible that she may have had a picture of a crocodile in mind.

MAGDALEN 75, 76 The legend of St Mary Magdalen reached the Finnish area in a form that was associated with the account of Jesus’ meeting the sinful Sa­ 558

The version which survived in West Finland, where it was performed as part of the Sääksmäki Whitsun­ tide celebrations, is regarded as one of the outstanding products of medieval Finnish poetry. It differs mark­ edly from the corresponding German, Scandinavian and Slav versions which are closer to the Latin orig­ inals, and does not describe M ary’s sexual impropri­ ety, wickedness, and punishment in the same colour­ ful, lewd and malicious terms; the Finnish poettranslator introduced a refined sense of moral con­ sciousness and cast his version in a restrained style that skilfully heightens the effect of the dramatically powerful climax. Other features added by the poettranslator include the description of what Mary’s three murdered children might have become, which is structurally and thematically similar to T h e W id o w (Poems 82, 83), and the emphasis on the difference in social status between M ary and Jesus, who is disguised as a herdsman. The portrayal of Mary’s vanity as when she regrets the fading of her beauty when she sees her reflection in a stream, 11. 16-26) 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); 11 A medieval legend that St Mary Magdalen was of royal descent has led to her often being depicted, especially in church paintings, as wearing a crown; 28 Concerning k a sk i ‘burnt clearing’ see pp. 524, 546; 57 i.e. the stones or wooden stumps that were placed in marshes to aid travellers; 6 3 -6 4 Two features have been confused here; stumps placed in marshes, i.e. as a ‘bridge’, and stock phrases about drifting at sea. Fi. s ilta originally meant 'wooden plank(s) or beam(s) on which to walk’, which explains why it means ‘bridge’ in some dialects and ‘floor’ in others.

76 T 5 11.1.1-2 V223.3 The Ingrian redaction was transmitted not through Finland but through Estonia. It preserves features that are not found in Scandinavia, but which can be shown to be linked to Romance tradition, e.g. the concluding episode in the church (11. 48-64). Christ here is very different from the merciful char­

acter in the Sääksmäki redaction; this trait is also a feature of Romance tradition and appears to have 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 epitome of an upper-class young woman of her time - frivolous, arrogant, fashion-conscious and con­ temptuous (11. 1-31). The surrogate passage at 11. 32-42, borrowed from T h e M e ssia h (cf. 62:11-17) and possibly influenced by accounts of the forbidden fruit, alludes to Mary’s sexual wrong-doing and sug­ gests that the listeners were already familiar with the salient facts of the legend. 5 k o p u tti < Ru. cf. h a p o t ‘bonnet, hood’; 52 A ref­ erence to the traditional procession around the church that forms part of the Easter Vigil ceremonial; 57 passim vateru t < ?Sw. cf. f a d e r ‘father’ (the Swed­ ish versions refer to a priest in this context).

is possible that the poem originally functioned as the text of a moralizing drama.

77 Q,171 0560 U90 V515.1.1 The Ladoga Karelian variant retains the three-part structure of the archetypal poem. The opening lines (11. 1-20) are a surrogate passage from a lament lyric sung by serfs; 11. 21-31 describe the serf’s harsh death, 11. 32-52 portray the master’s retribution and punish­ ment after death, and the concluding lines (11. 53-70) elaborate the Dominican doctrine that wickedness by the rich towards the poor was a sin that could not be atoned in purgatory. To heighten the pathos, the singer has used a surrogate passage (11. 1-13) 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. 22 Kar. lu p a ‘leave, permission’ and Kar. v a lta ‘power; leave, permission’ have overlapping semantic fields which cannot be adequately translated; 15 Con­ 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 ‘gallon’: i.e. a dry capacity measure, 4.58 litres; 6 9 -7 0 i.e. the only source of water he could find.

SERF AND MASTER 77-79 Serf and Master is an outstanding example of how the Dominicans taught the sanctity of poverty. Better than any other poem, it pres­ ents the doctrine in its most simple form, emphasizing the uncompromising way in which the poor understood sin and virtue, retribution and reward. The association in many variants of the Christian heaven with pagan Tuonela suggests that the poem took shape at a time when Christianity was only beginning to gain supremacy over the old beliefs. The concepts of a separate heaven and hell had still to take root; life after death was thought to be in the same place, though with differing conditions, for everyone. The theme is thought to be a popular adaptation of the parable of Dives and La­ zarus in Luke 16. An alternative explanation is that it may go back further to the ancient Egyptian legend of Osiris’ punishing a rich man by making him exchange roles with a poor man. Textual evidence suggests that the poem reached Finland from Western Europe and was possibly transmitted by Dominican monks who had studied at the universities of Western Europe. The poem survived longest, however, in those areas south of the Gulf of Finland, where the oppressive Baltic-German system of land tenure existed and the contrast and antipathy between rich and poor were most acute. It

78 A661.0.1.2 Q.172 0560 U90 V515.1.1 The main features of the original poem survive most clearly in the Central Finnish variant, having par­ ticular historical interest for it was collected in an area where serfdom never existed. Although this variant lacks the detailed didactic content of the Ladoga Karelian and Ingrian versions, its laconic, terse style reveals a greater depth of bitterness, a feature that has parallels in other types of oral tradition. 1 -2 A stylistic device, rather than a statement of fact, to impress on the listeners that this is 'a true story’; 2 i.e. where serfs were treated very badly, ‘in the pagan way’.

79 0172 Q560 U90 V515.1.1 Structurally, the Ingrian variant has the same form as Poem 77: prologue (11. 1-13), death of the serf (11. 14-25), afterlife with reward or retribution (11. 26-143). All these variants reflect Russian Orthodox doctrine about death and judgement, whereby, un­ like Roman doctrine with its tradition of purgatory, the soul proceeds at death immediately to judgement and thence to heaven or hell. A characteristic of 559

THE WIDOW 82, 83

this variant is the particularly vivid way in which the poet-singer has elaborated the legend with con­ temporary fantasy (e.g. 11. 26-32). 4 p iik a 'maid, slave’: although the Finnish word normally specifies a woman it is clear from the text that the serf is a man; 11 passim Concern­ ing k a p p a 'gallon* see p. 559; 15 Concerning v a lta see p. 559; 96 su u ta < Ru. cf. su yeta 'fuss, bustle’.

The Widow illustrates one aspect of the ethics of the mendicant Dominicans and in terms of its cautionary function and antithetic structure is comparable to Serf and Master (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 hubrismained 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 C451-452 L412 Zl 11-112 poem. This variant became the accompaniment to a dance; ‘red’ in 1. 8 possibly refers to the colour of the gar­ ment worn by the person acting the role of the widow. 2 9 -3 0 i.e. she has to support herself by begging.

80 Z l 11-112 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 ' derives from the same Germanic root); ta lv itie ‘winter road’: i.e. the route used in winter that went across frozen swamps and lakes in contrast to the more circuitous ‘summer roads’; 9 Concerning k a sk i ‘clear­ ing’ see pp. 524, 546.

81 F492.1 Z l 11-112 2 Concerning ta u ti ‘disease’ see above; 24 Concerning k a s k i ‘clearing’ see pp. 524. 546. 560

THE DEATH OF ELINA 84 F 1041.1.11.3 K2112 0,172 Q560 S62 T61.4 V211.2.1.3 The five-scene dramatic poem, which may have 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 Finland where it was composed; fragments collect­ ed in Ingria indicate that it entered oral tradition. The poem was inspired by a widespread tale about a lord of a manor who burned his innocent wife and his best workman to death after a malicious chamber­

maid had lured them into a bedroom and locked the door. The m urder is set in the manor of Laukko, close to Vesilahti, which from 1450 until 1470 be­ longed to Klaus Kurki, the provincial judge of Ylä-Satakunta in South-West Finland and who was well-known for his efforts to stamp out witchcraft (cf. 1. 73). Although folk tales link his name with the crime, documentary sources show that it was committed at the end of the 14th century by Klaus Djäkn, one-time provincial judge of the Province of Häme (1383-1390) and later commandant of Turku Castle (1409-1434); after burning his wife to death, he married one Kristina Jönsdotter. T h e D e a th o f E lin a is the last major medieval poem in the Kalevala epic tradition and was composed shortly before the tradition began to die out in West Finland. As such the poem and the circum­ 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 been a clerk in the Kurki household. Textual evi­ dence shows him to have been a masterly exponent of Kalevala epic, familiar with its technique and practice in both West and East Finland. He was also a man of some education and was well versed in the poetry of Scandinavia { T h e D e a th o f E lin a displays, for example, the influence of the Danish 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 skilfully handled the psychological development of the narrative and revelled in the macabre melodrama (cf. 11. 157-160, 173-175). The Vesilahti variant, recorded at least 160 years ago, is the only one known to cue each character. The original 300-line drama was divided into five scenes. In this variant the division is: Scene 1 = 11. 1-46, Scene 2 = 11. 77-98, Scene 3 = 11. 99-137, Scene 4 = 11. 138-195, Scene 5 = 11. 196-236. The sequence of the lines in the opening scene has been confused and should be 1-3, 17-19, 4-11, 20-21, 12-14, 22-24, 15-16, 25-46. The episode in which Elina and Kirsti go to do their washing (11. 77-98) should form the opening of the second scene and precede 1. 47. In this variant Elina’s reply in 11. 69-73 omits any reference to her advanced state of pregnancy and the dialogue in 11. 139-141 does not include the plea of mercy for her new-born son, whom Klaus maintains is not his but Olovi’s. Simi­ larly, the description of how Kirsti entices Elina and Olovi separately into the bedroom where, con­ trary to instructions, she has prepared a bed for two, no longer reflects the scale or content of the corresponding episode in the original poem. The most complete section of this variant is the conclu­ sion, in which the influence of legend poetry is evident. An interesting linguistic aspect of the text is the frequency of Middle Swedish loanwords, some of which preserve phonetic forms that no longer occur in Modern Finnish, while others never rooted in the standard language. Examples are: 39 f lik k a cf. 36

MDial. lik k a ; 49 passim f r o u v a cf. MFi. rouva; 80 passim k la p a ta cf. MDial. la p a ta ; 81 passim f iin i cf. MDial.; 109 p r y k ä tä cf. MDial.; 138 k la s i cf. MFi: Ia si 148 tren k i cf. MFi. renki; 173 sla h d a ta a n cf. MDial. la h d a ta ; 209 passim s ta lli- cf. MFi. ta lli- . 6 p iik a ‘girl’, but cf. 1. 32 ‘lass’ (i.e. servant, maid). This Swedish loan had both meanings in Old Fin­ nish; 9—10 i.e. a wealthy home; 18 tu le n o sta : a corruption of tu len n osta or tu len n a sta from tu len ta ‘coming’; 43—44 Glass in the windows indicates wealth; it is also an important dating criterion, for window panes were not introduced into Finland until about 1500; 185 p a n n i ‘pan’: a medieval dry capacity measure, 91.6 litres; p a h a t ja u h o t ‘bad flour i.e. gunpowder; 216—219 The description of Elina appears to have been influenced by paintings of the Virgin Mary.

THE FAITHFUL BRIDE 85, 86 The Faithful Bride is one of the few examples (cf. The Death of the Bride, Poems 87, 88) of a chilvarous ballad in Finnish folk poetry. It is largely a translation of the Swedish Lagmansvisa, the most important of the numerous Swedish bride-stealing ballads. The poem reached West Finland by not later than the 15th century, was transmitted to Ingria by the ancestors of the Äyrämöinen and davakko Finns in the 16th century, and through them reached the Izhors. In Finland the poem survived only as part of the Sääksmäki Whitsuntide festival (cf. p. 58). While the main characters and themes of the Swedish poem remain in the Finnish variants, the latter have acquired motifs from other, unrelated Scandinavian ballads (e.g. letters bearing false news, 85:18-19). The conclusion of the Swedish ballad, describing how the knight threw himself between his betrothed and his usurper when they were already in the nuptial bed, has been omitted from the Finnish variants. The betrothal of Inkeri while still in her cradle, or only a child, is another motif that does not occur in the Swedish poem. The Finnish variants also differ in certain points of emphasis; the contrast, for example, in the social status of the hero and his rival appears to be a dis­ tinctively Finnish motif.

561

joki and Kokemäki, royal estates in the Middle Ages, also refer to his nobility. The poem appears to have been composed in Finland during the 14th century, although it •was clearly influenced by popular Swedish ballads. The archetypal form of the ballad cannot be reconstructed. It is evident, how­ ever, that the poet was well versed in the European ballad tradition. The opening epi­ sode suggests the influence of the Swedish ballad of The Boy Returning Homefrom School, while a Swedish version of the Scottish Bride who was not a Virgin seems to be the source of the albeit obscure main theme: i.e. because the bride was pregnant at the time of her marriage, either by her husband or someone else, she had to be punished by death. In this respect the poem has a cautionary pur­ pose comparable to that of Poems 75-83. An Ingrian poet-singer later replaced certain themes and motifs with features from The Mother (cf. Poem 101).

85 ♦K1851.2 T61.5.1 T65 T210.1 Textual features show that by the time this variant was recorded, it was little more than the vocal accompaniment to a procession with little attention, if any, paid to content and meaning (cf. notes to 11. 42 and 44). LI. 42-47 show, for example, that the singers had only the vaguest notion of the kind of vessel in which Lalmanti was sailing, a result of the transmission of the poem to an inland area where the singers were unfamiliar with seafaring imagery. The poem is in three parts; 11. 1-16 describe the betrothal and 11. 17-40 the attempts to persuade In­ keri to marry someone else and her loyalty to Lal­ manti. The third part (11. 41-58) depicts Lalmanti’s return just in time to prevent Inkeri being forced into marriage with another man. 2 vaku < Sw. cf. v a g g a 'cradle*; 3 A reference to the solemnisation of betrothal by clapping hands; 4 2 tu n tu m a s ta : a meaningless corruption of tu len n a sta (i.e. tu len ta ‘coming’), probably the result of regressive assimilation caused by tu nnen; 4 4 p u r tta (partitive of p u r s i) 'boat*; a corruption of p u r je tta (partitive of p u rje ‘sail’).

86 T 6 1.5.1

87

The original theme is obscure in the Ingrian variant. The betrothal scene remains (11. 1-5), but the knight's departure has been reduced to a single verse (1. 6). The motif of the rival suitor has been lost and the only indication of an attempt to marry the girl to another man is implicit in 11. 26-27 and 11. 29-31. The waiting for and the return of the knight are structurally similar to the corresponding passages in the West Finnish variant, although different motifs are used to convey the idea. LI. 17 and 19-21, in which the person who greets the knight switches from the girl to the mother, or possibly her brother, indicate that a passage has been lost and that at one time the poem may have been cast as a frame­ work repetition poem. The two concluding lines are a surrogate passage. 3 An adaptation by a poet-singer who did not understand the original verse (cf. 85:5); 5 i.e. at the moment of birth (the bath-house was the place where confinement traditionally took place, cf. p. 547); 7 A stock endearment phrase in Finnish poetry, it refers to searching for lice (see Plate 16).

T211.9 The South-West Finnish variant has an historio­ graphical interest in addition to containing the nu­ cleus of the poem. The text, one of the earliest surviving specimens of Finnish folk poetry, has sur­ vived in Daniel Juslenius* study of Turku, A b o a vetu s e t no va (1700); the poem was quoted in a pa­ triotic endeavour to prove the antiquity of schools, and thus of civilisation, in Finland.

88 T61.4 T211.9

DEATH OF THE BRIDE 87, 88 Death of the Bride is another example of a Finnish chivalrous ballad (cf. The Faithful Bride, Poems 85, 86). The reference to shields and the young man’s epithets identify him as a nobleman, and it is possible that Pyhä­ 5 62

The main theme and the cautionary function emerge clearly in the variant from Ingria, where the poem survived longest (fragments have also been found in Finnish Karelia). It retains the structure of the archetypal poem, even though surrogate passages from at least six other poems and numerous stock 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) was once included here, describing how a woman falls ill and how her son seeks help from shamans (cf. also p. 566). The poet-singer has introduced to this variant a touch of macabre melodrama in the two-part prophecy of doom: the warning by the sexton (U. 52-55), and the relative preparing the cofiin (II. 61-68). The husband’s suicide at the end of the poem (1. 82) was determined not by the main

theme, but is part of another poem that the singer incorporated as the conclusion (11. 78-84) of this variant. 76—77 i.e. she was in labour.

THE PRIEST-KILLER 89 ♦N770.1 Q.243.2.1 R345.1 T320.2 The poem about a girl who kills a priest when he 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 its emphasis on the sanctity of the priest’s oath of celibacy, and in this respect it can be compared to the corresponding passage in M a g d a le n (76:55-64). The basic theme comes from an otherwise lost West Finnish ballad recast in the ‘going-weeping-home’ nucleus repetition form as a result of medieval Esto­ nian influence. This is the only variant in which the postulated original idea survives, although certain features of it are embedded in T h e H a n g e d M a i d (Poems 104, 105). The concluding lines indicate that the poem was performed as the accompaniment to some kind of drinking ceremony. 7 - 9 A reference to the early days of Christianity in Finland when priests often had to defend themselves from attacks by pagans; 87 Concerning u m m isk en k å ‘closed shoe’ (see p. 553).

THE INTRUDER-KILLER 90 K1340 Q,243.2.1 T210.1 T320.2 Certain thematic similarities with the ballad of L a d y have led some scholars to postulate a common origin. It is more likely, however, that T h e I n tru d e r-K ille r originated inde­ pendently in Finland during the Middle Ages. From there it spread to Finnish Karelia and Ingria where it survived until recent times, becoming associated with many other ballads warning young women about the dangers of having anything to do with men they do not know, especially foreigners. The opening episode of the archetypal poem, which is missing from this variant, describes how a man, frequently H a n n u s S aaren S a k sa la in en ‘Hannus, the German of the Island’ (Poems 70, 71) or V ietr ik k å (possibly f