Kalevala (Kirby 1907)/Notes 2
NOTES TO RUNOS XXVI—L
(These are by the translator, when not otherwise stated. K. K. indicates Prof. Kaarle Krohn, and A. M. Madame Aino Malmberg. For proper names, refer to the Glossary at page 281.)
RUNO XXVI
29. Literally, “his teeth.”
230. In the Völuspá, we read of a Hall of Serpents in Naströnd, one of the Icelandic hells, composed of serpents wattled together, with their heads turned inwards, vomiting floods of venom in which wade murderers, perjurers, and adulterers.
271. Literally, “the toads.”
“Seven monarchs’ wealth in that castle lies stowed;
The foul fiends brood o’er them like raven and toad.”(Scott.)
A diabolical creature, half dragon and half frog, is described in a well-known Esthonian story.
427. Tetrao tetrix, known as the Black-cock and Grey-hen.
555. Virsta, a Russian word naturalized in Finnish.
617. This description recalls the serpents of Indian mythology, such as those described in the first book of the Mahabharata.
619. Such a passage might have suggested to Longfellow the following:
“Bigger than the Big-Sea-Water,
Broader than the Gitche Gumee.”
Hiawatha, xxi.
RUNO XXVII
208. Here commences a magical contest somewhat resembling the transformation scenes in the stories of the Second Calendar, and of Nooreddin and Bedreddin, in the 1001 Nights.
326. “I don’t want to have a mess made upon my floor here, or any noise or shooting.” (Tanta Coetzee, in Rider Haggard’s Jess.)
RUNO XXVIII.
15, 16. His horse and sledge seem to have been transformed, like those of Joukahainen in Runo III.
195. In Finnish and Esthonian tales we often find persons transformed into trees and flowers; sometimes for purposes of concealment.
RUNO XXIX
242. “Grass-widows” are probably intended.
253-268. Even this old woman did not appeal to him in vain. We might compare with this passage Byron’s Don Juan, VIII., cxxxi., cxxxii.
RUNO XXX
175, 187. Literally, “nails.”
185. Pakkanen, Puhurin poika. Frost, the son of the North Wind.
389. The unmanly lamentations of the heroes over a fate that has not befallen them may remind us of Grimm’s story of “Die kluge Else.” It will also be noticed that the heroes are only concerned about their mothers; and Tiera has as little thought for his virgin bride as Lemminkainen has for Kyllikki.
RUNO XXXI
1. The tragedy of Kullervo is the favourite episode of the Kalevala in Finland, next to that of Aino. The preamble (lines 1-10) is the same as the opening of the Esthonian Kalevipoeg. The story of the Esthonian hero, though he was a king and not a slave, resembles that of Kullervo in so many respects that he must have been the same character originally.
19. I think the change of style, indicative of different authorship, in this episode is sufficiently obvious even in a translation. Many words used here do not occur earlier in the poem.
91-96. The same story is told of the infant Kalevipoeg.
107. Esthonians call dwarfs “Ox-knee people”; i. e. people as high as an ox’s knee.
137. Like Simple Simon.
337. It is obvious that some of the youthful exploits of Kwasind (slightly varied, after Longfellow’s manner) are imitated from those of Kullervo. (Compare also Runo XXXV., 11-68.)
RUNO XXXII
24. The rye-bread, on which the Finnish peasants largely subsist, is described as baked in very hard round loaves, like quoits, which are strung on a pole. But Kullervo’s cake seems to have been prepared to look nice on the outside.
156-162. Does this refer to stories of witches milking cattle?
206. Of juniper wood.
498. Literally, an apple-berry. Probably a small crab-apple is intended.
513. I think wolves are here intended, not dogs.
533. In the Esthonian story of the Northern Frog, the monster is secured by an iron stake driven through the jaws. (Kirby’s Hero of Esthonia, II., 253, 256.)
542. These elaborate and ineffectual prayers and incantations may be compared with the prayers of Achilles for the safety of Patroclus, in Iliad, XVI.
RUNO XXXIII
40. Wheat is used in the folk-songs as a term of endearment. (K. K.)
61, 62. The Esthonian Kalevipoeg was constantly instructed by the voice of birds.
285-290. In Esthonia this episode occurs in the story of the Royal Herdboy. (Hero of Esthonia, I., pp. 279-305.)
RUNO XXXV
2. Are blue stockings supposed to be an emblem of strength? Ukko is also represented as wearing them.
29.None daring to appear antagonist.”(Milton.)
65. As Kalervo appears to have been a chief in his own right, it not very clear why, or to whom, he had to pay taxes.
107, 108. The lake of course was frozen.
153. As in several other instances in the Kalevala, this does not appear to be abduction in the modern sense, but merely marriage by capture.
214. There is another celebrated poem written by a Finn, but in Swedish, Runeberg’s Kong (King) Fjalar, in which a similar chance meeting between a brother and sister forms the principal subject.
343. Sea-beasts are very rarely mentioned in the Kalevala, for nearly all aquatic animals referred to are lake- or river-fish. Here the allusion is probably to the story of Jonah.
RUNO XXXVI
80. Literally “the rest of his flesh.” Having regard to the supposed powers of Finnish magicians, this passage is not to be taken merely as an impudent rejoinder, but as asserting powers which Kullervo actually claimed to be able to exert.
307. In an old English romance we read concerning the suicide of a sorcerer, “The ground whereon he died was ever afterwards unfortunate, and to this present time it is called in that country, ‘a vale of walking spirits.’” (Seven Champions of Christendom, Part I., chap. xix. )
327. This reminds us of Sir Peter’s “Sword of Vengeance.” (Prior’s Danish Ballads, I., pp. 269-275.)
341. The Esthonian Kalevipoeg was also slain, like Kullervo, by his own sword. (Hero of Esthonia, I., pp. 140, 141.)
RUNO XXXVII
56. Literally, their hatless shoulders.
61. Compare the account of the forging of the Sampo in Runo X.
RUNO XXXVIII
94. This might allude to the Viking practice of carving the Blood-Eagle on the backs of enemies; but Prof. Krohn remarks that this was unknown in Finland.
255. Here it seems that the mere fact of Ilmarinen having carried off the girl, even against her will, was enough to constitute her his lawful wife.
273. Ilmarinen’s sword was less bloodthirsty than that of Kullervo; but it will be noticed that there is as little real chivalry in the Kalevala generally as in old Scandinavian literature.
RUNO XL
274. Literally, “at the tips of my ten nails.”
RUNO XLI
238. Similar incidents are common in folktales. The reader will recollect the decoration of Mama, the Woodpecker. (Hiawatha, IX.)
RUNO XLII
1-3. Here again we notice a difference of expression, indicating a different authorship.
52. “Mistress of the mighty spell.” (Southey.)
146. Compare Runo XX., lines 17-118.
295. Literally, his finger-bones.
403. Perhaps the cap had ear-flaps to be worn in bad weather.
RUNO XLIII
37, 38. This seems to be meant ironically.
115-120. This, or something similar, is a common device for impeding a pursuer in European fairy tales.
177. Pohjan eukko. Another epithet for Louhi.
383, 384. The Sampo being not only an unfailing corn, salt, and money-mill, but a palladium of general prosperity, Pohjola would naturally fall into famine and misery when nothing remained but an almost worthless fragment of the cover. It is possible that the story may refer to some great and permanent change for the worse of the climate of the North; either during the storms and earthquakes of the fourteenth century, which would connect it with the plague described in Runo XLV.; or perhaps to a much earlier period, when, as old Persian books tell us, the climate of some part of Asia (?) was changed from nine months summer and three months winter, to nine months winter and three months summer.
RUNO XLV
41. Loviatar represents the evil and destructive powers of Nature, as opposed to the beneficent powers, represented in the Kalevala under the twin aspects of Ilmatar and Marjatta.
117. This speech or invocation is not addressed to Loviatar, but apparently to some goddess similar to the Roman Lucina.
168. Dr. Russell says that the itch was more dreaded than the plague in Aleppo in the eighteenth century.
181. Pestilence has often been attributed to the anger of gods or demons; and Finland suffered severely from plague till well into the eighteenth century. But I am inclined to regard the plague described here as the Black Death, which must have ravaged Finland about 1350.
269, 282, 283. All these names have nearly the same significance, and might be rendered by “Dolores, our Lady of Pain.”
RUNO XLVI
13, 14. The pestilence having abated at the approach of winter, the wild beasts naturally overran the devastated country. So I would interpret this passage.
25. Literally, three feathers, but the commentary gives the meaning adopted above.
8l. For an account of bear-hunting in Finland, compare Acerbi’s Voyage to the North Cape, I., pp. 288, 289.
168. Tapio is the lord of the forest here alluded to, according to the commentary.
246. The word here rendered “charge” literally means “bundle” or “package.”
313. Probably the Danish Sound.
377. A honeyed forest perhaps means a forest abounding in honey-dew.
565, 566. These lines are rather musical:
Kuuluvilla karjan kellon,
Luona tiukujen tirinän.
RUNO XLVII
15, 16. There is a Finnish ballad relating how the sun and moon were stolen by German and Esthonian sorcerers, and recovered by the son of Jumala. (Kanteletar, III., 2; translated by Mr. C. J. Billson, Folklore, VI., 343, 344.)
37. Compare the story of Maui stealing the fire in New Zealand legends.
128. Lake Ladoga seems to be intended.
233. Does this refer to tides? Tides can hardly be known in Finland, except by hearsay; the Baltic itself is almost tideless.
RUNO XLVIII
137, 138. Neptune’s trident?
169. Here a different epithet is applied to Väinämöinen.
283. Probably Polyporus igniarius or P. fomentarius, both of which are much used for tinder.
302. He appears to have thought that Panu was in league with the Fire.
RUNO XLIX
83. This is Rhabdomancy, or divination by rods.
417. Literally, at the end of our thumbs.
RUNO L
1. Marjatta korea kuopus.
Literally, Marjatta the elegant darling; an expression occurring nowhere else in the Kalevala. The story in the present Runo seems to exhibit a veneer of Christianity over Shaman legends. Even the name Marjatta, notwithstanding its resemblance to Maria, seems to be really derived from the word marja, a berry. An old writer says that the favourite deities of the Finns in his time were Väinämöinen and the Virgin Mary.
188. That is, a criminal who deserves to be burnt at the stake.
199, 200. She already recognizes her unborn son as an Avatar.
289. The word here rendered “hapless” properly means “little.”
465. This is the only passage in the Kalevala, in which Väinämöinen is spoken of as ever having been young; though he is occasionally called young in variants.
465-468. This passage apparently alludes to Väinämöinen having sent Ilmarinen to Pohjola by a trick.
471-474. This must allude either to the fate of Aino, or to some story not included in the Kalevala.
501. In Esthonian legends, Vanemuine is not an Avatar and culture-hero, but the God of Music, who withdrew from men on account of the ribaldry with which some of his hearers received his divine songs. (Hero of Esthonia, II., pp. 80-85.) Longfellow also makes Hiawatha depart in a boat after the conclusion of his mission.
613, 614. These expressions remind us of the Buddha “breaking down the rafters and the roof-tree” preparatory to reaching Nirvano.