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The Kalevala · 127 of 275 · tr. John Martin Crawford

Rune XXIId

Not to sleep art thou conducted, Not to happiness, nor joyance, Wakefulness, thy night-companion, And thy day-attendant, trouble; Often thou wilt drink of sorrow, Often long for vanished pleasures. "When at home thou hadst no head-gear, Thou hadst also little sadness; When thy couch was not of linen, No unhappiness came nigh thee; Head-gear brings but pain and sorrow, Linen breeds bad dispositions, Linen brings but deeps of anguish, And the flax untimely mourning. "Happy in her home, the maiden, Happy at her father's fireside, Like the master in his mansion, Happy with her bows and arrows. 'Tis not thus with married women; Brides of heroes may be likened To the prisoners of Moskva, Held in bondage by their masters. "As a wife, must weep and labor, Carry trouble on both shoulders; When the next hour passes over, Thou must tend the fire and oven, Must prepare thy husband's dinner, Must direct thy master's servants. When thine evening meal is ready, Thou must search for bidden wisdom In the brain of perch and salmon, In the mouths of ocean whiting, Gather wisdom from the cuckoo, Canst not learn it from thy mother, Mother dear of seven daughters; Cannot find among her treasures Where were born the human instincts, Where were born the minds of heroes, Whence arose the maiden's beauty, Whence the beauty of her tresses, Why all life revives in spring-time. "Weep, O weep, my pretty young bride. When thou weepest, weep sincerely, Weep great rivers from thine eyelids, Floods of tears in field and fallow, Lakelets in thy father's dwelling; Weep thy rooms to overflowing, Shed thy tears in great abundance, Lest thou weepest on returning To thy native hills and valleys, When thou visitest thy father In the smoke of waning glory, On his arm a withered tassel. "Weep, O weep, my lovely maiden, When thou weepest, weep in earnest, Weep great rivers from thine eyelids; If thou dost not weep sincerely, Thou wilt weep on thy returning To thy Northland home and kindred, When thou visitest thy mother Old and breathless near the hurdles, In her arms a barley-bundle. "Weep, O weep, sweet bride of beauty, When thou weepest, weep profusely; If thou dost not weep in earnest, Thou wilt weep on thy returning To thy native vales and highlands, When thou visitest thy brother Lying wounded by the way-side, In his hand but empty honors. "Weep, O weep, my sister's daughter, Weep great rivers from thine eyelids; If thou dost not weep sufficient, Thou wilt weep on thy returning To the scenes of happy childhood, When thou visitest thy sister Lying, prostrate in the meadow, In her hand a birch-wood mallet." When the ancient maid had ended, Then the young bride sighed in anguish, Straightway fell to bitter weeping, Spake these words in deeps of sorrow: "O, ye sisters, my beloved, Ye companions of my childhood, Playmates of my early summers, Listen to your sister's counsel: Cannot comprehend the reason, Why my mind is so dejected, Why this weariness and sadness, This untold and unseen torture, Cannot understand the meaning Of this mighty weight of sorrow!
Themes
Ancestor Venerationpraxis

Ritual maintenance of relationship with the dead as ongoing presences whose favour is cultivated and whose offence is propitiated. Shinto uji-gami and obon, Norse disir and the alfablot, Celtic samhain and the feast for the deceased, Roman lares and parentalia, Chinese ancestor rites, Vedic śrāddha. Practice-coded rather than belief-coded: distinct from soul_migration (cosmological doctrine of soul-transmigration) and theosis_deification (deification trajectory); ancestor_veneration centres the living's ongoing ritual obligation to the dead.

The passage warns of visiting family members who have died ('Old and breathless', 'Lying wounded'), implying an ongoing relationship or duty to the dead.

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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 text suggests gathering wisdom from natural entities like the cuckoo and fish, implying inherent knowledge or spirit within nature.

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Childlike Innocenceanthropology

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

The text contrasts the happiness and freedom of maidenhood ('Playmates of my early summers') with the sorrowful bondage of marriage, valorizing the earlier state of innocence.

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Emotional Epistemologysoteriology

The doctrine that emotions constitute a valid and necessary mode of knowing reality, complementing or surpassing intellectual cognition.

Sorrow and weeping are presented as necessary modes of understanding and preparing for the future, with the instruction to 'weep sincerely' to avoid greater sorrow later.

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Paradox As Teachingethics

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

The instruction to weep now in order to avoid weeping later presents a counter-intuitive or paradoxical path to emotional resolution.

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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 bride experiences deep dejection upon leaving her father's fireside and native hills, mirroring the felt condition of exile from one's origin.

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Related passages · 2 parallels
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|First Dialoguee
What power or spell of herb or magic art Can tear thee from the centre of my heart, Since he, who with an ever-growing zest, Tormenting most, yet most does make me blest? How can I of this weight unburdened be, If pain the cure, and joy th…”
Both passages explore the themes of sorrow, love, and the complexities of human emotions within relationships. They highlight the pain and joy that coexist in love, though they come from different cultural and literary traditions.
sufism|The Masnavi, Book I (Rumi)|STORY VIIb
What matters it if it be heathen or true? Why hast thou forsaken thy Beloved? What matters it if she be fair or ugly?" 4 Let me then, I say, make complaint Of the severity of That Fickle Fair One. I cry, and my cries sound sweet in His e…”
Both passages explore themes of suffering, love, and the divine. They share a mystical perspective where pain and sorrow are transformed into spiritual growth and union with the beloved or divine.