The Kalevala · 137 of 275 · tr. John Martin Crawford
Rune XXIII-h
From his couch I leaped impulsive, In the coldest night of winter, But the husband fleetly followed, Caught me at the outer portals, Grasped me by my streaming tresses, Tore my ringlets from my forehead, Cast in curls upon the night-winds To the freezing winds of winter.
What the aid that I could ask for, Who could free me from my torment?
Made I shoes of magic metals, Made the straps of steel and copper, Waited long without the dwelling, Long I listened at the portals, Hoping he would end his ravings, Hoping he would sink to slumber, But he did not seek for resting, Did not wish to still his fury.
Finally the cold benumbed me; As an outcast from his cabin, I was forced to walk and wander, When I, freezing, well reflected, This the substance of my thinking: 'I will not endure this torture, Will not bear this thing forever, Will not bear this cruel treatment, Such contempt I will not suffer In the wicked tribe of Hisi, In this nest of evil Piru.' "Then I said, 'Farewell forever!' To my husband's home and kindred, To my much-loved home and husband; Started forth upon a journey To my father's distant hamlet, Over swamps and over snow-fields, Wandered over towering mountains, Over hills and through the valleys, To my brother's welcome meadows, To my sister's home and birthplace.
"There were rustling withered pine-trees.
Finely-feathered firs were fading, Countless ravens there were cawing, All the jackdaws harshly singing, This the chorus of the ravens: 'Thou hast here a home no longer, This is not the happy homestead Of thy merry days of childhood.' "Heeding not this woodland chorus, Straight I journeyed to the dwelling Of my childhood's friend and brother, Where the portals spake in concord, And the hills and valleys answered, This their saddened song and echo: 'Wherefore dost thou journey hither, Comest thou for joy or sorrow, To thy father's old dominions?
Here unhappiness awaits thee, Long departed is thy father, Dead and gone to visit Ukko, Dead and gone thy faithful mother, And thy brother is a stranger, While his wife is chill and heartless!' "Heeding not these many warnings, Straightway to my brother's cottage Were my weary feet directed, Laid my hand upon the door-latch Of my brother's dismal cottage, But the latch was cold and lifeless.
When I wandered to the chamber, When I waited at the doorway, There I saw the heartless hostess, But she did not give me greeting, Did not give her hand in welcome; Proud, alas!
was I unhappy, Did not make the first advances, Did not offer her my friendship, And my hand I did not proffer; Laid my hand upon the oven, All its former warmth departed!
On the coal I laid my fingers, All the latent heat had left it.
On the rest-bench lay my brother, Lay outstretched before the fire-place, Heaps of soot upon his shoulders, Heaps of ashes on his forehead.
Thus the brother asked the stranger, Questioned thus his guest politely: 'Tell me what thy name and station, Whence thou comest o'er the waters!' This the answer that I gave him: Hast thou then forgot thy sister, Does my brother not remember, Not recall his mother's daughter We are children of one mother, Of one bird were we the fledgelings, In one nest were hatched and nurtured.' "Then the brother fell to weeping, From his eyes great tear-drops flowing, To his wife the brother whispered, Whispered thus unto the housewife.
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 natural elements like trees, ravens, hills, and portals as possessing voice, agency, and the ability to speak or sing warnings to the protagonist.
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 passage implies a worldview where speech and sound carry power, as seen in the 'chorus of the ravens' and the hills answering with song.