The Kalevala · 225 of 275 · tr. John Martin Crawford
Rune XLIa
'S HARP-SONGS.
Wainamoinen, ancient minstrel, The eternal wisdom-singer, Laves his hands to snowy whiteness, Sits upon the rock of joyance, On the stone of song be settles, On the mount of silver clearness, On the summit, golden colored; Takes the harp by him created, In his hands the harp of fish-bone, With his knee the arch supporting, Takes the harp-strings in his fingers, Speaks these words to those assembled: "Hither come, ye Northland people, Come and listen to my playing, To the harp's entrancing measures, To my songs of joy and gladness." Then the singer of Wainola Took the harp of his creation, Quick adjusting, sweetly tuning, Deftly plied his skillful fingers To the strings that he had fashioned.
Now was gladness rolled on gladness, And the harmony of pleasure Echoed from the hills and mountains: Added singing to his playing, Out of joy did joy come welling, Now resounded marvelous music, All of Northland stopped and listened.
Every creature in the forest, All the beasts that haunt the woodlands, On their nimble feet came bounding, Came to listen to his playing, Came to hear his songs of joyance.
Leaped the squirrels from the branches, Merrily from birch to aspen; Climbed the ermines on the fences, O'er the plains the elk-deer bounded, And the lynxes purred with pleasure; Wolves awoke in far-off swamp-lands, Bounded o'er the marsh and heather, And the bear his den deserted, Left his lair within the pine-wood, Settled by a fence to listen, Leaned against the listening gate-posts, But the gate-posts yield beneath him; Now he climbs the fir-tree branches That he may enjoy and wonder, Climbs and listens to the music Of the harp of Wainamoinen.
Tapiola's wisest senior, Metsola's most noble landlord, And of Tapio, the people, Young and aged, men and maidens, Flew like red-deer up the mountains There to listen to the playing, To the harp, of Wainamoinen.
Tapiola's wisest mistress, Hostess of the glen and forest, Robed herself in blue and scarlet, Bound her limbs with silken ribbons, Sat upon the woodland summit, On the branches of a birch-tree, There to listen to the playing, To the high-born hero's harping, To the songs of Wainamoinen.
All the birds that fly in mid-air Fell like snow-flakes from the heavens, Flew to hear the minstrel's playing, Hear the harp of Wainamoinen.
Eagles in their lofty eyrie Heard the songs of the enchanter; Swift they left their unfledged young ones, Flew and perched around the minstrel.
From the heights the hawks descended, From the clouds down swooped the falcon, Ducks arose from inland waters, Swans came gliding from the marshes; Tiny finches, green and golden, Flew in flocks that darkened sunlight, Came in myriads to listen; Perched upon the head and shoulders Of the charming Wainamoinen, Sweetly singing to the playing Of the ancient bard and minstrel.
And the daughters of the welkin, Nature's well-beloved daughters, Listened all in rapt attention; Some were seated on the rainbow, Some upon the crimson cloudlets, Some upon the dome of heaven.
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 a cosmos populated by numerous local spirits inhabiting forests, animals, and the sky who respond personally to the music.
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.
The music resonates through the entire landscape, causing a unified reaction across all levels of nature from beasts to birds.
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.
Vainamoinen's harp-playing and singing exert magical causal force that compels all creatures of nature to gather and listen.