The Kalevala · 110 of 275 · tr. John Martin Crawford
Rune XIXf
"Thus the information reached me, Thus the distant stranger heard it, Heard the virgin had arisen: Once I walked within the court-yard, Stepping near the virgin's chamber, At an early hour of morning, Ere the Sun had broken slumber Whirling rose the soot in cloudlets, Blackened wreaths of smoke came rising From the chamber of the maiden, From thy daughter's lofty chimney; There the maid was busy grinding, Moved the handles of the millstone Making voices like the cuckoo, Like the ducks the side-holes sounded, And the sifter like the goldfinch, Like the sea-pearls sang the grindstones.
"Then a second time I wandered To the border of the meadow In the forest was the maiden Rocking on a fragrant hillock, Dyeing red in iron vessels, And in copper kettles, yellow.
"Then a third time did I wander To the lovely maiden's window; There I saw thy daughter weaving, Heard the flying of her shuttle, Heard the beating of her loom-lathe, Heard the rattling of her treddles, Heard the whirring of her yarn-reel." Spake the hostess of Pohyola: "Now alas!
beloved daughter, I have often taught this lesson: 'Do not sing among the pine-trees, Do not call adown the valleys, Do not hang thy head in walking, Do not bare thine arms, nor shoulders, Keep the secrets of thy bosom, Hide thy beauty and thy power.' "This I told thee in the autumn, Taught thee in the summer season, Sang thee in the budding spring-time, Sang thee when the snows were falling: 'Let us build a place for hiding, Let us build the smallest windows, Where may weave my fairest daughter, Where my maid may ply her shuttle, Where my joy may work unnoticed By the heroes of the Northland, By the suitors of Wainola.'" From the floor the child made answer, Fourteen days the young child numbered; "Easy 'tis to hide a war-horse In the Northland fields and stables; Hard indeed to hide a maiden, Having lovely form and features!
Build of stone a distant castle In the middle of the ocean, Keep within thy lovely maiden, Train thou there thy winsome daughter, Not long hidden canst thou keep her.
Maidens will not grow and flourish, Kept apart from men and heroes, Will not live without their suitors, Will not thrive without their wooers; Thou canst never hide a maiden, Neither on the land nor water." Now the ancient Wainamoinen, Head down-bent and heavy-hearted, Wanders to his native country, To Wainola's peaceful meadows, To the plains of Kalevala, Chanting as he journeys homeward: "I have passed the age for wooing, Woe is me, rejected suitor, Woe is me, a witless minstrel, That I did not woo and marry, When my face was young and winsome, When my hand was warm and welcome!
Youth dethrones my age and station, Wealth is nothing, wisdom worthless, When a hero goes a-wooing With a poor but younger brother.
Fatal error that a hero Does not wed in early manhood, In his youth does not be master Of a worthy wife and household." Thus the ancient Wainamoinen Sends the edict to his people: "Old men must not go a-wooing, Must not swim the sea of anger, Must not row upon a wager, Must not run a race for glory, With the younger sons of Northland."
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 attributes voices and life to inanimate objects (millstones singing like birds) and embeds human labor within a living natural landscape.
The Hermetic axiom that the structure of the cosmos is reflected at every scale — 'as above, so below; as within, so without' — making each level a legible map of the others.
The sounds of the maiden's labor (grinding, weaving) are described as mirroring natural sounds (cuckoo, ducks, goldfinch), suggesting a resonance between human action and nature.