The Kalevala · 212 of 275 · tr. John Martin Crawford
Rune XXXVIIIa
'S FRUITLESS WOOING.
Ilmarinen, the magician, The eternal metal-artist, Lays aside the golden image, Beauteous maid of magic metals; Throws the harness on his courser, Binds him to his sledge of birch-wood, Seats himself upon the cross-bench, Snaps the whip above the racer, Thinking once again to journey To the mansions of Pohyola, There to woo a bride in honor, Second daughter of the Northland.
On he journeyed, restless, northward, Journeyed one day, then a second, So the third from morn till evening, When he reached a Northland-village On the plains of Sariola.
Louhi, hostess of Pohyola, Standing in the open court-yard, Spied the hero, Ilmarinen, Thus addressed the metal-worker: "Tell me how my child is living, How the Bride of Beauty prospers, As a daughter to thy mother." Then the blacksmith, Ilmarinen, Head bent down and brow dejected, Thus addressed the Northland hostess: "O, thou dame of Sariola, Do not ask me of thy daughter, Since, alas I in Tuonela Sleeps the Maiden of the Rainbow, Sleeps in death the Bride, of Beauty, Underneath the fragrant heather, In the kingdom of Manala.
Come I for a second daughter, For the fairest of thy virgins.
Beauteous hostess of Pohyola, Give to me thy youngest maiden, For my former wife's compartments, For the chambers of her sister." Louhi, hostess of the Northland, Spake these words to Ilmarinen: "Foolish was the Northland-hostess, When she gave her fairest virgin, In the bloom of youth and beauty To the blacksmith of Wainola, Only to be led to Mana, Like a lambkin to the slaughter!
I shall never give my daughter, Shall not give my youngest maiden Bride of thine to be hereafter, Life-companion at thy fireside.
Sooner would I give the fair one To the cataract and whirlpool, To the river of Manala, To the waters of Tuoni!" Then the blacksmith, Ilmarinen, Drew away his head, disdainful, Shook his sable locks in anger, Entered to the inner court-room, Where the maiden sat in waiting, Spake these measures to the daughter: "Come with me, thou bright-eyed maiden, To the cottage where thy sister Lived and lingered in contentment, Baked for me the toothsome biscuit, Brewed for me the beer of barley, Kept my dwelling-place in order." On the floor a babe was lying, Thus he sang to Ilmarinen: "Uninvited, leave this mansion, Go, thou stranger, from this dwelling; Once before thou camest hither, Only bringing pain and trouble, Filling all our hearts with sorrow.
Fairest daughter of my mother, Do not give this suitor welcome, Look not on his eyes with pleasure, Nor admire his form and features.
In his mouth are only wolf-teeth, Cunning fox-claws in his mittens, In his shoes art only bear-claws, In his belt a hungry dagger; Weapons these of blood and murder, Only worn by the unworthy." Then the daughter spake as follows To the blacksmith, Ilmarinen: "Follow thee this maid will never, Never heed unworthy suitors; Thou hast slain the Bride of Beauty, Once the Maiden of the Rainbow, Thou wouldst also slay her sister.
Themes
◆Alchemical Workpraxis
The transformation of base substance — outer matter or the inner soul — into a purified, perfected, or 'gold' state; the magnum opus as both laboratory practice and spiritual allegory.
Ilmarinen's identity as the 'eternal metal-artist' invokes the transformative craft of smithing which often parallels spiritual alchemy in myth.
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.
Louhi is depicted as the spirit-hostess of Pohjola, embodying the land and its supernatural agency consistent with animistic worldviews.
Ontological opposition between two primal principles (light/darkness, truth/lie, spirit/matter) as the fundamental structure of reality.
The passage establishes a clear opposition between the Northland (Pohjola/Death/Tuonela) and the hero's home (Wainola/Life), reflecting an ontological divide.