The Kalevala · 32 of 275 · tr. John Martin Crawford
Rune VIIc
Thereupon she hastens homeward, Hastens to her mother's dwelling, These the words the maiden utters: "I have heard a wail from ocean, Heard a weeping from the sea-coast, On the shore some one lamenting." Louhi, hostess of Pohyola, Ancient, toothless dame of Northland, Hastens from her door and court-yard, Through the meadow to the sea-shore, Listens well for sounds of weeping, For the wail of one in sorrow; Hears the voice of one in trouble, Hears a hero-cry of anguish.
Thus the ancient Louhi answers: "This is not the wail of children, These are not the tears of women, In this way weep bearded heroes; This the hero-cry of anguish." Quick she pushed her boat to water, To the floods her goodly vessel, Straightway rows with lightning swiftness, To the weeping Wainamoinen; Gives the hero consolation, Comfort gives she to the minstrel Wailing in a grove of willows, In his piteous condition, Mid the alder-trees and aspens, On the border of the salt-sea, Visage trembling, locks dishevelled.
Ears, and eyes, and lips of sadness.
Louhi, hostess of Pohyola, Thus addresses Wainamoinen: "Tell me what has been thy folly, That thou art in this condition." Old and truthful Wainamoinen Lifts aloft his bead and answers: "Well I know that it is folly That has brought me all this trouble, Brought me to this land of strangers, To these regions unbefitting Happy was I with my kindred, In my distant home and country, There my name was named in honor." Louhi, hostess of Pohyola, Thus replied to Wainamoinen: "I would gain the information, Should I be allowed to ask thee, Who thou art of ancient heroes, Who of all the host of heroes?
This is Wainamoinen's answer: "Formerly my name was mentioned, Often was I heard and honored, As a minstrel and magician, In the long and dreary winters, Called the 'Singer of the Northland, In the valleys of Wainola, On the plains of Kalevala; No one thought that such misfortune Could befall wise Wainamoinen." Louhi, hostess of Pohyola, Thus replied in cheering accents "Rise, O hero, from discomfort, From thy bed among the willows; Enter now upon the new-way, Come with me to yonder dwelling, There relate thy strange adventures, Tell the tale of thy misfortunes." Now she takes the hapless hero, Lifts him from his bed of sorrow, In her boat she safely seats him, And begins at once her rowing, Rows with steady hand and mighty To her home upon the sea-shore, To the dwellings of Pohyola.
There she feeds the starving hero, Rests the ancient Wainamoinen, Gives him warmth, and food, and shelter, And the hero soon recovers.
Then the hostess of Pohyola Questioned thus the ancient singer: "Wherefore didst thou, Wainamoinen, Friend and fellow of the waters, Weep in sad and bitter accents, On the border of the ocean, Mid the aspens and the willows?" This is Wainamoinen's answer: Had good reason for my weeping, Cause enough for all my sorrow; Long indeed had I been swimming, Had been buffeting the billows, In the far outstretching waters.
Themes
◆Animismcosmology
The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.
The passage depicts natural phenomena like the ocean and sea-coast as possessing agency and emotion, wailing and weeping with inherent spirit.
Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.
Divine or spiritual beings like Louhi and Wainamoinen are described with human physical traits (toothless dame, dishevelled locks) and engage in human activities like eating and rowing.
The felt condition of exile from one's divine origin — Rumi's reed flute torn from its bed, Plotinus's 'we have forgotten,' the Gnostic forgetfulness; the affective wound that complements return_to_source and gives the return its motive.
Wainamoinen explicitly laments his exile from his honored home and kindred to a land of strangers, expressing the affective wound of displacement.