The Kalevala · 162 of 275 · tr. John Martin Crawford
Rune XXVIIa
UNWELCOME GUEST.
I have brought young Kaukomieli, Brought the Islander and hero, Also known as Lemminkainen, Through the jaws of death and ruin, Through the darkling deeps of Kalma, To the homesteads of Pohyola, To the dismal courts of Louhi; Now must I relate his doings, Must relate to all my bearers, How the merry Lemminkainen, Handsome hero, Kaukomieli, Wandered through Pohyola's chambers, Through the halls of Sariola, How the hero went unbidden To the feasting and carousal, Uninvited to the banquet.
Lemminkainen full of courage, Full of life, and strength, and magic.
Stepped across the ancient threshold, To the centre of the court-room, And the floors of linwood trembled, Walls and ceilings creaked and murmured.
Spake the reckless Lemminkainen, These the words that Ahti uttered: "Be ye greeted on my coming, Ye that greet, be likewise greeted!
Listen, all ye hosts of Pohya; Is there food about this homestead, Barley for my hungry courser, Beer to give a thirsty stranger?
Sat the host of Sariola At the east end of the table, Gave this answer to the questions: "Surely is there in this homestead, For thy steed an open stable, Never will this host refuse thee, Shouldst thou act a part becoming, Worthy, coming to these portals, Waiting near the birchen rafters, In the spaces by the kettles, By the triple hooks of iron." Then the reckless Lemminkainen Shook his sable locks and answered: "Lempo may perchance come hither, Let him fill this lowly station, Let him stand between the kettles, That with soot he may be blackened.
Never has my ancient father, Never has the dear old hero, Stood upon a spot unworthy, At the portals near the rafters; For his steed the best of stables, Food and shelter gladly furnished, And a room for his attendants, Corners furnished for his mittens, Hooks provided for his snow-shoes, Halls in waiting for his helmet.
Wherefore then should I not find here What my father found before me?" To the centre walked the hero, Walked around the dining table, Sat upon a bench and waited, On a bench of polished fir-wood, And the kettle creaked beneath him.
Spake the reckless Lemminkainen: "As a guest am I unwelcome, Since the waiters bring no viands, Bring no dishes to the stranger?" Ilpotar, the Northland hostess, Then addressed the words that follow: "Lemminkainen, thou art evil, Thou art here, but not invited, Thou hast not the look of kindness, Thou wilt give me throbbing temples, Thou art bringing pain and sorrow.
All our beer is in the barley, All the malt is in the kernel, All our grain is still ungarnered, And our dinner has been eaten; Yesterday thou shouldst have been here, Come again some future season." Whereupon wild Lemminkainen Pulled his mouth awry in anger, Shook his coal-black locks and answered: "All the tables here are empty, And the feasting-time is over; All the beer has left the goblets, Empty too are all the pitchers, Empty are the larger vessels.
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 is set within a worldview where places like Pohyola and Kalma are inhabited by active spiritual agents (Louhi, Ilpotar) rather than abstract forces, reflecting the pluralistic, landscape-embodied divine character of Finnish mythology.
Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.
The supernatural beings (Ilpotar, Ahti) are depicted engaging in distinctly human social behaviors such as dining, hosting, and seating arrangements within a court-room.
The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.
The divine or preternatural figures (Louhi, Ilpotar) are portrayed as active, responsive agents who interact directly with the hero rather than as distant or abstract principles.