# Kalevala (Kirby 1907)/Introduction

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INTRODUCTION
The Kalevala, or the Land of Heroes, as the word may be freely rendered, is the national epic of Finland, and as that country and its literature are still comparatively little known to English readers, some preliminary explanations are here necessary.
On reference to a map of Europe, it will be seen that the north-western portion of the Russian Empire forms almost a peninsula, surrounded, except on the Norwegian and Swedish frontiers, by two great arms of the Baltic Sea, the Gulf of Bothnia and the Gulf of Finland; the two great lakes, Ladoga and Onega; the White Sea, and the Arctic Ocean. In the north of this peninsula is Lapland, and in the south, Finland.
The modern history of Finland begins with the year 1157, when the country was conquered from the original inhabitants by the Swedes, and Christianity was introduced. Later on, the Finns became Lutherans, and are a pious, industrious, and law-abiding people, the upper classes being highly educated.
During the wars between Sweden and Russia, under Peter the Great and his successors, much Finnish territory was wrested from Sweden, and St. Petersburg itself stands on what was formerly Finnish territory. When what was left of Finland was finally absorbed by Russia in 1809, special privileges were granted by Alexander I. to the Finns, which his successors confirmed, and which are highly valued by the people.
The upper classes speak Swedish and Finnish; and the lower classes chiefly Finnish. Finnish is upheld by many Finns from patriotic motives, and there is a considerable modern literature in both languages. Translations of most standard works by English and other authors are published in Finnish.
The Finns call their country Suomi, or Marshland; and it is ​often spoken of as the Land of Ten Thousand Lakes. The language they speak belongs to a group called Finnish-Ugrian, or Altaic, and is allied to Lappish and Esthonian, and more distantly to Turkish and Hungarian. There are only twenty-one letters in the alphabet; the letter J is pronounced like Y (as a consonant), and Y almost as a short I. The first syllable of every word is accented. This renders it difficult to accommodate such words as Kālĕvălā to the metre; but I have tried to do my best.
The Finlanders are very fond of old ballads, of which a great number have been collected, especially by Elias Lönnrot, to whom it occurred to arrange a selection into a connected poem, to which he gave the name of Kalevala. This he first published 1835, in two small volumes containing twenty-five Runos or Cantos, but afterwards rearranged and expanded it to fifty Runos, in which form it was published in 1849; and this was speedily translated into other languages. Perhaps the best translations are Schiefner’s German version (1852) and Collan’s Swedish version (1864). Several volumes of selections and abridgments have also appeared in America and England; and an English translation by John Martin Crawford (in two volumes) was published in New York and London in 1889.
Schiefner used a flexible metre for his translation, which resembles the original as closely as the different character of Finnish and German would permit, a metre which had previously, though rarely, been used in English. His work attracted the attention of Longfellow, whose "Song of Hiawatha" is only a rather poor imitation of Schiefner’s version of the Kalevala, some of the lines being almost identical, and several of the characters and incidents being more or less distinctly borrowed from those in the Kalevala. The incidents, however, are generally considerably altered, and not always for the better.
It will be seen that Lönnrot edited the Kalevala from old ballads, much as the poems of Homer, or at least the Iliad and Odyssey, are said to have been put together by order of Pisistratus.
In the preparation of my own translation, the flexibility of the metre has permitted me to attempt an almost literal rendering; without, I hope, sacrificing elegance. The simplicity of ​the Finnish language and metre would, in my opinion, render a prose version bald and unsatisfactory. My chief difficulty has been to fit the Finnish names into even a simple English metre, so as to retain the correct pronunciation, and I fear I have not always succeeded in overcoming it satisfactorily. I am greatly indebted to Prof. Kaarle Krohn and Madame Aino Malmberg of Helsingfors, for their kindness in looking over the whole of my typewritten translation, and for numerous suggestions and comments. Of course I am solely responsible for any errors and shortcomings which may be detected in my work.
I have added short notes at the end of each volume, and a glossary of proper names at the end of the book, but a detailed commentary would be out of place in a popular edition. The Arguments to each Runo are translated, slightly modified, from those in the original.
The religion of the poem is peculiar; it is a Shamanistic animism, overlaid with Christianity.
The Kalevala relates the history of four principal heroes: Väinämöinen, the Son of the Wind, and of the Virgin of the Air; a great culture-hero, patriarch, and minstrel, always described as a vigorous old man. The Esthonians call him Vanemuine, and make him the God of Music.
His “brother” Ilmarinen appears to be the son of a human mother, though he is also said to have been “born upon a hill of charcoal.” He is a great smith and craftsman, and is described as a handsome young man.
The third hero, Lemminkainen, is a jovial, reckless personage, always getting into serious scrapes, from which he escapes either by his own skill in magic, or by his mother’s. His love for his mother is the redeeming feature in his character. One of his names is Kaukomieli, and he is, in part, the original of Longfellow’s “Pau-Puk-Keewis.”
The fourth hero is Kullervo, a morose and wicked slave of gigantic strength, which he always misuses. His history is a terrible tragedy, which has been compared to that of Œdipus. He is, in part, the prototype of Longfellow’s “Kwasind.” He is the principal hero of the Esthonian ballads, in which he is called Kalevipoeg, the son of Kalev (Kaleva in Finnish), the mythical ancestor of the heroes, who does not appear in person in the ​Kalevala. The history of the Kalevipoeg will be found in my work entitled The Hero of Esthonia, published by Nimmo in 1895, in two volumes. However, the Esthonians make him not a slave, but a king. In the Kalevala we meet with no kings, but only patriarchs, or chiefs of clans.
The principal heroines of the Kalevala are Ilmatar, the Daughter of the Air, the Creatrix of the world, in the first Runo, whose counterpart is Marjatta, the mother of the successor of Väinämöinen, in the last Runo; Aino, a young Lapp girl beloved of Väinämöinen, whose sad fate forms one of the most pathetic episodes in the Kalevala; Louhi, the Mistress of Pohjola, or the North Country; and her daughter, afterwards the wife of Ilmarinen. The character of the daughter of Louhi presents three phases, which illustrate more than anything else the composite character of the poem, for it is impossible that any two can have been drawn by the same hand.
Firstly, we find her as the beautiful and accomplished daughter of the witch, playing the part of a Medea, without her cruelty.
Secondly, we find her as a timid and shrinking bride, in fact almost a child-bride.
Thirdly, when married, she appears as a wicked and heartless peasant-woman of the worst type.
The heroes are all skilled in magic, and to some extent are able to command or propitiate even the gods. A peculiarity of Finnish magic is what is called “the word of origin.”
To control or banish an evil power, it is sufficient to know and to repeat to it its proper name, and to relate the history of its creation.
Before concluding the Introduction, it may be well to give a brief summary of the principal contents of the fifty Runos of the poem.
Runo I. After a preamble by the bard, he proceeds to relate how the Virgin of the Air descended into the sea, was tossed about by the winds and waves, modelled the earth, and brought forth the culture-hero Väinämöinen, who swims to shore.
Runo II. Väinämöinen clears and plants the country, and sows barley.
Runo III. The Laplander Joukahainen presumes to contend with Väinämöinen in singing, but is plunged by him into a ​swamp, till he pledges to him his sister Aino; after which he is released, and returns home discomfited. But Aino is much distressed at the idea of being obliged to marry an old man.
Runo IV. Väinämöinen makes love to Aino in the forest; but she returns home in grief and anger, and finally wanders away again, and is drowned while trying to swim out to some water-nymphs in a lake. Her mother weeps for her incessantly.
Runo V. Väinämöinen fishes up Aino in the form of a salmon; but she escapes him, and his mother advises him to seek a bride in Pohjola, the North Country, sometimes identified with Lapland, but apparently still further north.
Runo VI. While Väinämöinen is riding over the water on his magic steed, Joukahainen shoots the horse under him. Väinämöinen falls into the water, and is driven onwards by a tempest, while Joukahainen returns to his mother, who upbraids him for shooting at the minstrel.
Runo VII. Väinämöinen is carried by an eagle to the neighbourhood of the Castle of Pohjola, where the chatelaine, Louhi, receives him hospitably, and offers him her beautiful daughter if he will forge for her the talisman called the Sampo. He replies that he cannot do so himself, but will send his brother Ilmarinen, so Louhi gives him a sledge in which to return home.
Runo VIII. Väinämöinen, on his journey, finds the daughter of Louhi sitting on a rainbow weaving, and makes love to her. In trying to accomplish the tasks she sets him, he wounds himself severely, and drives away till he finds an old man who promises to stanch the blood.
Runo IX. The old man heals Väinämöinen by relating the origin of Iron, and by salving his wounds.
Runo X. Väinämöinen returns home, and as Ilmarinen declines to go to Pohjola to forge the Sampo, he causes a whirlwind to carry him to the castle. Ilmarinen forges the Sampo, but the maiden declines to marry him at present, and he returns home disconsolate.
Runos XI.—XV. These Runos relate the early adventures of Lemminkainen. He carries off and marries the beautiful Kyllikki, but quarrels with her, and starts off to Pohjola to woo the daughter of Louhi. Louhi sets him various tasks, and at ​ength he is slain, cast into the river of Tuoni, the death-god, and is hewed to pieces; but is rescued and resuscitated by his mother.
Runos XVI.—XVII. Väinämöinen regrets having renounced the daughter of Louhi in favour of Ilmarinen, and begins to build a boat, but cannot complete it without three magic words, which he seeks for in vain in Tuonela, the death-kingdom, but afterwards jumps down the throat of the dead giant, Antero Vipunen, and compels him to sing to him all his wisdom.
Runos XVIII.—XIX. Väinämöinen and Ilmarinen travel to Pohjola, one by water and the other by land, and agree that the maiden shall make her choice between them. She prefers Ilmarinen, who is aided by his bride to perform all the tasks set him by Louhi.
Runos XX.—XXV. The wedding is celebrated at Pohjola, an immense ox being slaughtered for the feast; after which ale is brewed by Osmotar, “Kaleva’s most beauteous daughter.” Every one is invited, except Lemminkainen, who is passed over as too quarrelsome and ill-mannered. Before the bride and bridegroom leave, they have to listen to long lectures about their future conduct.
Runos XXVI.—XXX. Lemminkainen is enraged at not being invited to the wedding, forces his way into the Castle of Pohjola through the magical obstacles in his path, and slays the lord of the castle in a duel. He flies home, and his mother sends him to hide in a distant island where all the warriors are absent, and where he lives with the women till the return of the men, when he is again obliged to fly. He returns home, and finds the whole country laid waste, and only his mother in hiding. Against her advice, he persuades his old comrade Tiera to join him in another expedition against Pohjola, but Louhi sends the Frost against them, and they are driven back in great distress.
Runos XXXI.—XXXVI. A chief named Untamo lays waste the territory of his brother Kalervo, and carries off his wife. She gives birth to Kullervo, who vows vengeance against Untamo in his cradle. Untamo brings Kullervo up as a slave, but as he spoils everything he touches, sells him to Ilmarinen. ​Ilmarinen’s wife ill-treats him, and he revenges himself by giving her over to be devoured by wolves and bears, and escapes to the forests, where he rejoins his family. One of his sisters has been lost, and meeting her accidentally and without knowing her, he carries her off. She throws herself into a torrent, and he returns home. His mother advises him to go into hiding, but first he makes war on Untamo, destroys him and his clan, and again returns home. Here he finds all his people dead, and everything desolate; so he wanders off into the forest, and falls on his own sword.
Runos XXXVII.—XLIX. Ilmarinen forges himself a new wife of gold and silver, but cannot give her life or warmth, so he carries off another daughter of Louhi; but she angers him so much that he changes her into a seagull. Ilmarinen and Väinämöinen, who are afterwards joined by Lemminkainen, now undertake another expedition to Pohjola to carry off the Sampo. On the way, Väinämöinen constructs a kantele or harp of pike-bone, and lulls Louhi and her people to sleep; but she pursues the robbers, and first the kantele is lost overboard, and then the Sampo is broken to pieces and lost in the sea. Väinämöinen saves enough to secure the prosperity of Kalevala, but Louhi only carries home a small and almost useless fragment. Väinämöinen then makes a new kantele of birchwood. Louhi brings pestilence on Kalevala, then sends a bear against the country, and lastly, steals away the sun and moon, hiding them in the stone mountain of Pohjola. Väinämöinen drives away the plagues, kills the bear, and renews fire from a conflagration caused by a spark sent down from heaven by the god Ukko. Ilmarinen then prepares chains for Louhi, and terrifies her into restoring the sun and moon to their original places.
Runo L. The virgin Marjatta swallows a cranberry, and brings forth a son, who is proclaimed King of Carelia. Väinämöinen in great anger quits the country in his boat, but leaves the kantele and his songs behind him for the pleasure of the people.
As a specimen of the Finnish language, I quote the original text of a few lines from the charming passage at the commencement of Runo VIII (lines 1–16):—
Tuo oli kaunis Pohjan neiti, Maan kuulu, ve’en valio, Istui ilman wempelellä, Taivon kaarella kajotti Pukehissa puhtaissa, Walkeissa vaattehissa; Kultakangasta kutovi, Hopeista huolittavi Kullaisesta sukkulasta, Pirralla hopeisella. Suihki sukkula piossa, Käämi käessä kääperöitsi, Niiet vaskiset vatisi, Hopeinen pirta piukki Neien kangasta kutoissa, Hopeista huolittaissa.
The Kalevala is very unlike any poem familiar to general readers, but it contains much that is extremely curious and interesting; and many beautiful passages and episodes which are by no means inferior to those we find in the ballad-literature of better-known countries than Finland.
W. F. KIRBY.
    Chiswick, May 1907