The Kalevala · 61 of 275 · tr. John Martin Crawford
Rune XIIe
Here the hero, Lemminkainen, Drove along the lowest highway, Through the streets along the border, To a court-yard in the hamlet, Asked one standing in the doorway: "Is there one within this dwelling, That can loose my stallion's breastplate, That can lift his heavy collar, That these shafts can rightly lower?" On the floor a babe was playing, And the young child gave this answer: "There is no one in this dwelling That can loose thy stallion's breastplate, That can lift his heavy collar, That the shafts can rightly lower." Lemminkainen, not discouraged, Whips his racer to a gallop, Rushes forward through the village, On the middle of the highways, To the court-yard in the centre, Asks one standing in the threshold, Leaning on the penthouse door-posts: "Is there any one here dwelling That can slip my stallion's bridle, That can loose his leathern breast-straps, That can tend my royal racer?" From the fire-place spake a wizard, From her bench the witch made answer: "Thou canst find one in this dwelling, That can slip thy courser's bridle, That can loose his heavy breastplate, That can tend thy royal racer.
There are here a thousand heroes That can make thee hasten homeward, That can give thee fleet-foot stallions, That can chase thee to thy country, Reckless rascal and magician, To thy home and fellow minstrels, To the uplands of thy father, To the cabins of thy mother, To the work-bench of thy brother, To the dairy or thy sister, Ere the evening star has risen, Ere the sun retires to slumber." Lemminkainen, little fearing, Gives this answer to the wizard: "I should slay thee for thy pertness, That thy clatter might be silenced." Then he whipped his fiery charger, And the steed flew onward swiftly, On the upper of the highways, To the court-yard on the summit.
When the reckless Lemminkainen Had approached the upper court-yard, Uttered he the words that follow: "O thou Hisi, stuff this watch-dog, Lempo, stuff his throat and nostrils, Close the mouth of this wild barker, Bridle well the vicious canine, That the watcher may be silent While the hero passes by him." Then he stepped within the court-room, With his whip he struck the flooring, From the floor arose a vapor, In the fog appeared a pigmy, Who unhitched the royal racer, From his back removed the harness, Gave the weary steed attention.
Then the hero, Lemminkainen, Carefully advanced and listened.
No one saw the strange magician, No one heard his cautious footsteps; Heard he songs within the dwelling, Through the moss-stuffed chinks heard voices.
Through the walls he beard them singing, Through the doors the peals of laughter.
Then he spied within the court-rooms, Lurking slyly in the hall-ways, Found the court-rooms filled with singers, By the walls were players seated, Near the doors the wise men hovered, Skilful ones upon the benches, Near the fires the wicked wizards; All were singing songs of Lapland, Singing songs of evil Hisi.
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 a world populated by active spirits, wizards, witches, and pigmies inhabiting the household and landscape as embodied divine agents.
Transgressive knowing acquired against divine prohibition — the Watchers' teaching of metallurgy, sorcery, and cosmetics in 1 Enoch, the Gnostic Eve narratives, the Promethean mytheme; explicitly contrasted with gnosis_direct_knowledge, which is salvific.
The presence of 'songs of evil Hisi' suggests transgressive or dangerous magical knowledge being practiced.
Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.
The hero engages in ritual actions and commands to manipulate spiritual forces for practical ends like silencing a dog or unhitching a horse.
The doctrine and practice that spoken or sung word carries causal-magical force — that uttering names, formulas, songs, or incantations alters reality directly rather than merely communicating about it. Vainamoinen's runo-songs that move mountains and command iron, Norse galdr, Vedic mantra, Shinto kotodama, the magician's barbarous names in the Greek Magical Papyri, Iamblichean arcane signatures and inexplicable symbols, biblical creation-by-word. Distinct from sacred_names (the ontological power of names themselves) and prayer (address to the divine); word_power_incantation is the magical-causal efficacy of the spoken word as such.
Lemminkainen uses spoken commands to control spirits, and wizards sing songs that possess magical efficacy over reality.