The Kalevala · 53 of 275 · tr. John Martin Crawford
Rune XIc
Is there here a hall for pleasure, Where the Sahri-maidens linger, Merry maids with braided tresses?" Thereupon the Sahri-maidens Answered from their promontory., "Room enough is there in Sahri, Room upon the Sahri-pastures, Room for pleasure-halls and dances; Sing and dance upon our meadows, Be a shepherd on the mountains, Shepherd-boys have room for dancing; Indolent the Sahri-children, But the colts are fat and frisky." Little caring, Lemminkainen Entered service there as shepherd, In the daytime on the pastures, In the evening, making merry At the games of lively maidens, At the dances with the virgins, With the maids with braided tresses.
Thus it was that Lemminkainen, Thus the shepherd, Kaukomieli, Quickly hushed the women's laughter, Quickly quenched the taunts of maidens, Quickly silenced their derision.
All the dames and Sahri-daughters Soon were feasting Lemminkainen, At his side they danced and lingered.
Only was there one among them, One among the Sahri-virgins, Harbored neither love nor wooers, Favored neither gods nor heroes, This the lovely maid Kyllikki, This the Sahri's fairest flower.
Lemminkainen, full of pleasure, Handsome hero, Kaukomieli, Rowed a hundred boats in pieces, Pulled a thousand oars to fragments, While he wooed the Maid of Beauty, Tried to win the fair Kyllikki.
Finally the lovely maiden, Fairest daughter of the Northland, Thus addresses Lemminkainen: "Why dost linger here, thou weak one, Why dost murmur on these borders, Why come wooing at my fireside, Wooing me in belt of copper?
Have no time to waste upon thee, Rather give this stone its polish, Rather would I turn the pestle In the heavy sandstone mortar; Rather sit beside my mother In the dwellings of my father.
Never shall I heed thy wooing, Neither wights nor whisks I care for, Sooner have a slender husband Since I have a slender body; Wish to have him fine of figure, Since perchance I am well-shapen; Wish to have him tall and stately, Since my form perchance is queenly; Never waste thy time in wooing Saliri's maid and favored flower." Time had gone but little distance, Scarcely had a month passed over, When upon a merry evening, Where the maidens meet for dancing, In the glen beyond the meadow, On a level patch of verdure, Came too soon the maid Kyllikki, Sahri's pride, the Maid of Beauty; Quickly followed Lemminkainen, With his stallion proudly prancing, Fleetest racer of the Northland, Fleetly drives beyond the meadow, Where the maidens meet for dancing, Snatches quick the maid Kyllikki, On the settle seats the maiden, Quickly draws the leathern cover, And adjusts the brichen cross-bar, Whips his courser to a gallop.
With a rush, and roar, and rattle, Speeds he homeward like the storm-wind, Speaks these words to those that listen: "Never, never, anxious maidens, Must ye give the information, That I carried off Kyllikki To my distant home and kindred.
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 the Sahri-maidens as spirits inhabiting specific natural locations like pastures and promontories, reflecting a worldview where the landscape is populated by plural, embodied divine agents.
Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.
The supernatural beings are described with distinctly human characteristics, including braided tresses, laughter, dancing, feasting, and social interactions.
The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.
The divine entities in Sahri are portrayed as active and responsive realities who answer questions, engage in feasting, and interact personally with the hero rather than existing as abstract principles.