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The Kalevala · 187 of 275 · tr. John Martin Crawford

Rune XXXId

Then the wizard spake as follows: "This the proper work of Lempo, Let dire Hisi fell the forest!" In the birch he sank his hatchet, Made an uproar in the woodlands, Called aloud in tones, of thunder, Whistled to the distant mountains, Till they echoed to his calling, When Kullervo spake as follows: "May the forest, in the circle Where my voice rings, fall and perish, In the earth be lost forever! May no tree remain unlevelled, May no saplings grow in spring-time, Never while the moonlight glimmers, Where Kullervo's voice has echoed, Where the forest hears my calling; Where the ground with seed is planted, And the grain shall sprout and flourish, May it never come to ripeness, Mar the ears of corn be blasted!" When the strong man, Untamoinen, Went to look at early evening, How Kullervo was progressing, In his labors in the forest; Little was the work accomplished, Was not worthy of a here; Untamoinen thus reflected: "Young Kullervo is not fitted For the work of clearing forests, Wastes the best of all the timber, To my lands he brings destruction; I shall set him making fences." Then the youth began the building Of a fence for Untamoinen; Took the trunks of stately fir-trees, Trimmed them with his blade for fence-posts, Cut the tallest in the woodlands, For the railing of his fences; Made the smaller poles and cross-bars From the longest of the lindens; Made the fence without a pass-way, Made no wicket in his fences, And Kullervo spake these measures. "He that does not rise as eagles, Does not sail on wings through ether, Cannot cross Kullervo's pickets, Nor the fences he has builded." Untamoinen left his mansion To inspect the young boy's labors, View the fences of Kullervo; Saw the fence without a pass-way, Not a wicket in his fences; From the earth the fence extended To the highest clouds of heaven. These the words of Untamoinen: "For this work he is not fitted, Useless is the fence thus builded; Is so high that none can cross it, And there is no passage through it: He shall thresh the rye and barley." Young Kullervo, quick preparing Made an oaken flail for threshing, Threshed the rye to finest powder, Threshed the barley into atoms, And the straw to worthless fragments. Untamoinen went at evening, Went to see Kullervo's threshing, View the work of Kullerwoinen; Found the rye was ground to powder, Grains of barley crushed to atoms, And the straw to worthless rubbish. Untamoinen then grew angry, Spake these words in bitter accents: "Kullerwoinen as a workman Is a miserable failure; Whatsoever work he touches Is but ruined by his witchcraft; I shall carry him to Ehstland, In Karyala I shall sell him To the blacksmith, Ilmarinen, There to swing the heavy hammer." Untamoinen sells Kullervo, Trades him off in far Karyala, To the blacksmith, Ilmarinen, To the master of the metals, This the sum received in payment: Seven worn and worthless sickles, Three old caldrons worse than useless, Three old scythes, and hoes, and axes, Recompense, indeed, sufficient For a boy that will not labor For the good of his employer.
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 depicts nature as spiritually responsive (forest hears, mountains echo) and invokes specific spirits like Lempo and Hisi, reflecting a worldview where the landscape is populated by divine agents.

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Anthropomorphismtheology

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

Natural elements are attributed human capacities such as hearing and echoing in response to Kullervo's voice.

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Cosmic Sympathycosmology

The Stoic and Plotinian doctrine that all parts of the cosmos are bound by hidden affinities, so that a movement in one part resonates through the whole; the metaphysical basis for astrology, magic, and divination.

Kullervo's vocalization resonates with distant mountains and the forest, demonstrating a sympathetic connection between speech and landscape that underpins his magic.

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Forbidden Knowledgesoteriology

Transgressive knowing acquired against divine prohibition — the Watchers' teaching of metallurgy, sorcery, and cosmetics in 1 Enoch, the Gnostic Eve narratives, the Promethean mytheme; explicitly contrasted with gnosis_direct_knowledge, which is salvific.

Untamoinen attributes Kullervo's destructive labor to witchcraft, framing his power as transgressive and unnatural arts that ruin work.

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Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

Divine agents like Lempo and Hisi are presented as active forces influencing the physical world alongside human actions.

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Word Power Incantationpraxis

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.

Kullervo's spoken curses directly cause physical destruction of forests and grain, exemplifying the magical efficacy of the spoken word as a central plot mechanism.

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