The Kalevala · 125 of 275 · tr. John Martin Crawford
Rune XXIIb
There and here the homes will differ, Happier thy mother's hearth-stone; Other horns will there be sounded, Other portals there swing open, Other hinges there be creaking; There the doors thou canst not enter Like the daughters of Wainola, Canst not tend the fires and ovens As will please the minds of strangers.
"Didst thou think, my fairest maiden, Thou couldst wed and on the morrow Couldst return, if thou shouldst wish it, To thy father's court and dwelling?
Not for one, nor two, nor three days, Wilt thou leave thy mother's chambers, Leave thy sisters and thy brothers, Leave thy father's hills and lowlands.
Long the time the wife must wander, Many months and years must wander, Work, and struggle, all her life long, Even though the mother liveth.
Great, indeed, must be the changes When thou comest back to Pohya, Changed, thy friends and nearest kindred, Changed, thy father's ancient dwellings, Changed, the valleys and the mountains, Other birds will sing thy praises!" When the mother thus had spoken, Then the daughter spake, departing: "In my early days of childhood Often I intoned these measures: 'Art a virgin, yet no virgin, Guided by an aged mother, In a brother's fields and forests, In the mansion of a father!
Only wilt become a virgin, Only when thou hast a suitor, Only when thou wedst a hero, One foot on the father's threshold, And the other for the snow-sledge That will speed thee and thy husband To his native vales and highlands!' "I have wished thus many summers, Sang it often in my childhood, Hoped for this as for the flowers, Welcome as the birds of spring-time.
Thus fulfilled are all my wishes, Very near is my departure, One foot on my father's threshold, And the, other for the journey With my husband to his people; Cannot understand the reason That has changed my former feelings, Cannot leave thee now with gladness, Cannot go with great rejoicing From my dear, old home and kindred, Where as maiden I have lingered, From the courts where I was nurtured, From my father's band and guidance, From my faithful mother's counsel.
Now I go, a maid of sorrow, Heavy-hearted to the bridegroom, Like the bride of Night in winter, Like the ice upon the rivers.
"Such is not the mind of others, Other brides of Northland heroes; Others do not leave unhappy, Have no tears, nor cares, nor sorrows, I alas!
must weep and murmur, Carry to my grave great sadness, Heart as dark as Death's black river.
"Such the feelings of the happy, Such the minds of merry maidens: Like the early dawn of spring-time, Like the rising Sun in summer No such radiance awaits me, With my young heart filled with terror; Happiness is not my portion, Like the flat-shore of the ocean, Like the dark rift of the storm-cloud, Like the cheerless nights of winter!
Dreary is the day in autumn, Dreary too the autumn evening, Still more dreary is my future!" An industrious old maiden, Ever guarding home and kindred, Spake these words of doubtful comfort: "Dost thou, beauteous bride, remember, Canst thou not recall my counsels?
These the words that I have taught thee: 'Look not joyfully for suitors, Never heed the tongues of wooers, Look not in the eyes of charmers, At their feet let fall thy vision.
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.
Natural phenomena like Night and Death are personified as entities with agency (e.g., 'bride of Night', 'Death's black river'), consistent with a worldview where nature possesses spirit.
Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.
Abstract forces such as Night are attributed human characteristics and roles (e.g., 'bride of Night'), fitting the definition of embodied divine imagery.
Pronoia — the doctrine that the divine actively orders the unfolding of the cosmos and human affairs toward intelligible ends, against pure chance or blind necessity.
The fulfillment of childhood wishes ('Thus fulfilled are all my wishes') suggests an underlying order or fate guiding the unfolding of human affairs.
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.
The daughter recounts intoning measures in childhood that predicted her current fate, reflecting the Kalevala tradition where sung words shape or reveal reality.