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The Kalevala · 124 of 275 · tr. John Martin Crawford

Rune XXIIa

BRIDE S FAREWELL. When the marriage was completed, When the many guests had feasted, At the wedding of the Northland, At the Dismal-land carousal, Spake the hostess of Pohyola To the blacksmith, Ilmarinen: "Wherefore, bridegroom, dost thou linger, Why art waiting, Northland hero? Sittest for the father's pleasure, For affection of the mother, For the splendor of the maidens, For the beauty of the daughter? Noble son-in-law and brother, Wait thou longer, having waited Long already for the virgin, Thine affianced is not ready, Not prepared, thy life-companion, Only are her tresses braided. "Chosen bridegroom, pride of Pohya, Wait thou longer, having waited Long already for the virgin, Thy beloved is preparing, Only is one hand made ready. "Famous artist, Ilmarinen, Wait still longer, having waited Long already for the virgin, Thy beloved is not ready, Only is one foot in fur-shoes," Spake again the ancient Louhi: "Chosen suitor of my daughter, Thou hast thrice in kindness waited, Wait no longer for the virgin, Thy beloved now is ready, Well prepared thy life-companion, Fairy Maiden of the Rainbow. "Beauteous daughter, join thy suitor, Follow him, thy chosen husband, Very near is the uniting, Near indeed thy separation. At thy hand the honored bridegroom, Near the door he waits to lead thee, Guide thee to his home and kindred; At the gate his steed is waiting, Restless champs his silver bridle, And the sledge awaits thy presence. "Thou wert anxious for a suitor, Ready to accept his offer, Wert in haste to take his jewels, Place his rings upon thy fingers; Now, fair daughter, keep thy promise; To his sledge, with happy footsteps, Hie in haste to join the bridegroom, Gaily journey to the village With thy chosen life-companion, With thy suitor, Ilmarinen. Little hast thou looked about thee, Hast not raised thine eyes above thee, Beauteous maiden of the Northland, Hast thou made a rueful bargain, Full of wailing thine engagement, And thy marriage full of sorrow, That thy father's ancient cottage Thou art leaving now forever, Leaving also friends and kindred, For the, blacksmith, Ilmarinen? "O how beautiful thy childhood, In thy father's dwelling-places, Nurtured like a tender flower, Like the strawberry in spring-time Soft thy couch and sweet thy slumber, Warm thy fires and rich thy table; From the fields came corn in plenty, From the highlands, milk and berries, Wheat and barley in abundance, Fish, and fowl, and hare, and bacon, From thy father's fields and forests. "Never wert thou, child, in sorrow, Never hadst thou grief nor trouble, All thy cares were left to fir-trees, All thy worry to the copses, All thy weeping to the willows, All thy sighing to the lindens, All thy thinking to the aspens And the birches on the mountains, Light and airy as the leaflet, As a butterfly in summer, Ruddy as a mountain-berry, Beautiful as vernal flowers. "Now thou leavest home and kindred, Wanderest to other firesides, Goest to another mother, Other sisters, other brothers, Goest to a second father, To the servant-folk of strangers, From thy native hills and lowlands.
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.

Nature elements like trees and willows are personified as receptacles for human emotions and cares.

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Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

The supernatural hostess Louhi acts and speaks with human familial characteristics.

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Childlike Innocenceanthropology

The infant or child as symbol of the unfallen, undivided spiritual state; return to primordial simplicity.

The bride's childhood is depicted as a sorrowless, ideal state contrasting with adult life.

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Ritual Puritypraxis

The maintenance of a state of cleanliness—physical, moral, or spiritual—required for encounter with the divine.

The bride's preparation (braiding, shoes) signifies spiritual readiness for the sacred union.

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Separation From Sourcesoteriology

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.

The lament over leaving the father's cottage forever mirrors the affective condition of exile from one's origin.

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Rune XXIIa — The Kalevala — Guru