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The Kalevala · 238 of 275 · tr. John Martin Crawford

Rune XLIVa

OF THE SECOND HARP. Wainamoinen, ancient minstrel, Long reflecting, sang these measures: "It is now the time befitting To awaken joy and gladness, Time for me to touch the harp-strings, Time to sing the songs primeval, In these spacious halls and mansions, In these homes of Kalevala; But, alas! my harp lies hidden, Sunk upon the deep-sea's bottom, To the salmon's hiding-places, To the dwellings of the whiting, To the people of Wellamo, Where the Northland-pike assemble. Nevermore will I regain it, Ahto never will return it, Joy and music gone forever! "O thou blacksmith, Ilmarinen, Forge for me a rake of iron, Thickly set the teeth of copper, Many fathoms long the handle; Make a rake to search the waters, Search the broad-sea to the bottom, Rake the weeds and reeds together, Rake them to the curving sea-shore, That I may regain my treasure, May regain my harp of fish-bow From the whiting's place of resting, From the caverns of the salmon, From the castles of Wellamo." Thereupon young Ilmarinen, The eternal metal-worker, Forges well a rake of iron, Teeth in length a hundred fathoms, And a thousand long the handle, Thickly sets the teeth of copper. Straightway ancient Wainamoinen Takes the rake of magic metals, Travels but a little distance, To the cylinders of oak-wood, To the copper-banded rollers, Where he finds two ships awaiting, One was new, the other ancient. Wainamoinen, old and faithful, Thus addressed the new-made vessel: "Go, thou boat of master-magic, Hasten to the willing waters, Speed away upon the blue-sea, And without the hand to move thee; Let my will impel thee seaward." Quick the boat rolled to the billows On the cylinders of oak-wood, Quick descended to the waters, Willingly obeyed his master. Wainamoinen, the magician, Then began to rake the sea-beds, Raked up all the water-flowers, Bits of broken reeds and rushes, Deep-sea shells and colored pebbles, Did not find his harp of fish-bone, Lost forever to Wainola! Thereupon the ancient minstrel Left the waters, homeward hastened, Cap pulled clown upon his forehead, Sang this song with sorrow laden: "Nevermore shall I awaken With my harp-strings, joy and gladness! Nevermore will Wainamoinen Charm the people of the Northland With the harp of his creation! Nevermore my songs will echo O'er the hills of Kalevala!" Thereupon the ancient singer Went lamenting through the forest, Wandered through the sighing pine-woods, Heard the wailing of a birch-tree, Heard a juniper complaining; Drawing nearer, waits and listens, Thus the birch-tree he addresses: "Wherefore, brother, art thou weeping, Merry birch enrobed in silver, Silver-leaved and silver-tasselled? Art thou shedding tears of sorrow, Since thou art not led to battle, Not enforced to war with wizards? Wisely does the birch make answer: "This the language of the many, Others speak as thou, unjustly, That I only live in pleasure, That my silver leaves and tassels Only whisper my rejoicings; That I have no cares, no sorrows, That I have no hours unhappy, Knowing neither pain nor trouble.
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 natural phenomena (trees, sea) as possessing inherent spirit and personality, with a birch tree speaking and the sea inhabited by deities like Wellamo.

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Anthropomorphismtheology

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

Divine and natural entities are attributed human characteristics, such as the birch tree weeping and speaking, and sea deities having dwellings.

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Living Godtheology

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

The deities and spirits (Ilmarinen, Wellamo, the birch) are portrayed as active, personal, and responsive realities rather than abstract principles.

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Theurgypraxis

Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.

The forging of the magical rake and the command of the boat through will represent ritual actions engaging divine or magical power through material symbols.

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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.

Wainamoinen's songs and will are shown to have causal-magical force, commanding the boat to move and creating joy or sorrow through music.

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Related passages · 1 parallel
sufism|The Masnavi, Book I (Rumi)|STORY VIIIa
The Harper. In the time of the Khalifa 'Omar there lived a harper, whose voice was as sweet as that of the angel Israfil, and who was in great request at all feasts. But he grew old, and his voice broke, and no one would employ him any lo…”
Both passages explore the theme of loss and the search for spiritual renewal. The harper in each tradition loses their instrument and seeks a deeper connection with the divine, highlighting the mystical journey and the transcendence of worldly attachments.