Analytical program notes for a study of four symphonic pieces by Jean Sibelius based on the “Kalevala”: “The Swan of Tuonela”, “Lemminkäinen’s Homeward Journey”, “Pohjola’s Daughter” and “Tapiola”

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ANALYTICAL PROGRAM NOTES FOR A STUDY OF FOUR SYMPHONIC PIECES BY JEAN SIBELIUS BASED.ON THE KALEVALA: THE SWAN OF TUONELA, LEMMINKAINEN*S HOMEWARD JOURNEY, POHJOLA'S DAUGHTER AND TAPIOLA,

A Thesis Presented to the Faculty of the School of Music The University of.Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Music'

by Faith Ann Searle January 1950

UMI Number: EP61868

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i TABLE OF CONTENTS CHAPTER

PAGE

I.

THE P R O B L E M ................ .. Statement of the problem

1

...........

1

Importance of the s t u d y .................

2

Definitions of terms u s e d ...............

3

Source of material

4

• • • • •

Plan of the t h e s i s ..................... .. II. III.

SIBELIUS* LIFE AND W O R K S ................. THE KALEVALA: THE EPIC POEM OF

FINLAND

...

5 7 20

Historical development and brief analysis of the Kalevala..................... . * A resum6 of the Kalevala by IV.

runes

. . . .

35

ANALYSES OF FOUR SYMPHONIC COMPOSITIONS BY SIBELIUS INSPIRED AND BASED ON THE KALEVALA

69

The Swan of T u o n e l a .....................

70

Lemminkainen*s Homeward Journey

76

.........

Pohjola*s Daughter .......................

85

T a p i o l a ..................................

97

V.THE USE OF THIS STUDY IN S C H O O L S ............. VI.

22

SUMMARY AND C O N C L U S I O N S ..................

BIBLIOGRAPHY

......................................

105 112 116

CHAPTER I THE PROBLEM The writer has long been interested in the music of the Finnish composer Jean Sibelius.

In her readings she

discovered a few references, very meager in content, to the Kalevala, the Finnish epic poem, in relation to certain com­ positions of Sibelius, and this prompted her to further reading and investigation.

Though quite a number of books

and articles have been written on these two subjects, Sibel­ ius and the Kalevala, they are usually always separate and rarely combined.

It is believed that this important point,

overlooked by most writers on music, has significance for the music students, since In certain works of Sibelius the correlation with the literary epic is close and definite. In addition to research,establishing the relationship b e ­ tween the two, the writer has formulated some ideas and suggestions for the use of this study in schools. STATEMENT OF THE PROBLEM t■

The problem involved in this thesis was (1) to ascer­ tain (a) the extent to which Jean Sibelius was interested In and inspired by the Kalevala. (b) the means by which he used several legends and Ideas from the Kalevala in the symphonic poems, The Swan of Tuonela. Lemminkainen1s Homeward Journey, Poh.jolafs Daughter and Tapiola,

(2) to provide analytical

2

notes and material for teachers and students for use In classrooms and study groups. IMPORTANCE OP THE STUDY While Sibelius is universally recognized as one of the foremost composers of our time, information in the English language concerning him is somewhat limited.

Par­

ticularly is this true concerning his compositions which he himself refuses to discuss or analyse.

Thus, research

in this field is of value to teachers and students who want to understand him better and impart this knowledge to others. Although the Kalevala is known to scholars, it is little read by the general public.

The handful of books

(translations and studies) pertaining to the epic and other Finnish literature and mythology were all published about 1900, while the articles are usually short, frag­ mentary, and somewhat difficult to locate.

Though very

little new information may be accumulated, an up-to-date work would be a definite contribution to this field. In addition to its importance as research in Finnish music and literature, this study has some educa­ tive values.

Teachers can instill a few thoughts on

peace, democracy and nationalism In their students through

3 a study of Sibelius.

Erroneous, preconceived ideas which

young people and adults have concerning symphonic music and composers can be at least in part refuted if the subject is properly presented.

In any study of music

and literature some background information in such allied fields as history, geography, and government is desirable for a better understanding and appreciation of the work. If not actually incorporated in the thesis, this material has been consulted by the writer as shown in the bibliog­ raphy . DEFINITIONS OF TERMS USED The Kalevala is the epic poem of Finland.

In Its

present form of fifty runes with 22,793 lines, it consists of a large collection of popular and ancient ballads, re­ lating various adventures of several Finnish heroes and heroines.

Gathered from the peasantry in the nineteenth

century and arranged by folklorists, of whom Dr. Lonnrot was the most prominent, this two-volume collection was en­ titled the Kalevala, that is, the Land of Heroes. A rune is a part or division of the Kalevala. may also mean a Finnish poem, verse or ballad.

Though

not used in this thesis, a rune is commonly defined as any character of the earliest written alphabet of the

It

4 Teutonic people of Europe, Other terms used in connection with the discussion of the Kalevala and the analyses of the four symphonic compositions will be defined in their appropriate chapters, SOURCE OP MATERIAL When the writer commenced to read and accumulate material pertaining to Sibelius and the Kalevala, she soon discovered that material in English on these two subjects is somewhat limited.

It includes seven books on Sibelius,

of which three, those by Cecil Gray, Karl Ekman, and ElliottArnold are good biographies.

Shorter biographies,

usually in a single chapter, are to be found in some books on contemporary music and modern composers.

While period­

ical coverage is fairly extensive, even the better articles for the most part are of a popular nature and are based on the above-mentioned works. Some of Sibelius* works have been analysed and these analyses are found in the few volumes pertaining to his music.

The four symphonic poems selected have been

rather briefly analysed in the books by Cecil Gray, Donald Francis Tovey, Gerald Abraham, and in the pamphlets accompanying the Victor Records, all of which were drawn on to a certain extent for this paper.

As the writer de­

sired to make a much more detailed and complete analysis,

5 and also of a different style, scores and recordings were used as the chief sources. Of the Kalevala we find two English translations, those by John M. Crawford and W. P. Kirby,^ the former of which was used almost exclusively in this study.

There

are, in addition, a handful of old books and a few arti­ cles discussing the Kalevala, Finnish literature, and mythology.

2

All of the above mentioned material in addition to various references concerning Finland, its history, people and geography, has been consulted for this study.

Obvious

ly, however, the chief sources have been scores and recordings of the compositions which have been analysed musically and compared with the text of the poem. PLAN OF THE THESIS The treatment of the study is as follows: Chapter *>

,

XI outlines Sibelius1 life and works, Chapter III presents the historical development, analysis, and story resume of the Kalevala« Chapter IV gives a musical analysis of The

Crawford, John Martin, The Kalevala, Vols. I-II, (New York: John B. Alden, London: G. P. Putnam*s Sons, 1889) Kirby, W. F . , Kalevala * The Land of Heroes. Vols. I-II, (London: J. M. Dent & Sons, 1907) 2 See Bibliography

6 ir Swan of Tuonela » Lemminkainen1a Homeward Journey, Pohjola1a Daughter and Tapiola, Chapter V suggests the use or application of this study in schools, and Chapter VI gives a summary of the conclusions derived from the study.

CHAPTER II SIBELIUS» LIFE AND WORKS The following list comprises the chief hooks on the subject of Sibelius, his life or work.

Full titles and

publication information of those in English are given in the bibliography for this thesis.

In Swedish, there are

three, two of which are by Erik Furuhjelm (1916), and the other by C. Nyblom (1916).

In German, there is one by

Walter Niemann (1917), and in Finnish, there are about six, those by S. Frosterus (1932), Walter von Konow (1925), Otto Kotilainen (1925), Leevi Madetoja (1925), Werner Soderhjelm (1923), and Including a recent Jubilee book in honor of Sibelius1 eightieth birthday.

In English, there are seven,

by Cecil Gray (1931), Bengt de Torne (1937), Karl Ekman (1938), Mrs. Rosa Newmarch (1906 & 1939), Elliott Arnold (1941), and Gerald Abraham (1947).

There are also shorter

biographies in a few books devoted to contemporary music and modern composers, such as those by David Ewen (1934, 1937,

1940, 1942), Cecil Gray (1927), and Oscar Thompson

(1941, 1943). Only those in English were available to the writer for this paper, and of these, Jean Sibelius, an intimate portrait by Karl Ekman, a friend of the composer, was used

almost exclusively.’*' The author draws upon his many con­ versations with Sibelius and also quotes freely from numerous letters, giving us a readable and enjoyable nar­ rative which gives much first-hand and otherwise inacces­ sible information and helps to confirm or discredit the impressions that many have received of Sibelius through his music.

One criticism of the book is that it mentions

most of his works but fails to analyse them.

However, Mr.

Ekman states in the Preface that it was not his intention to analyse and describe the compositions, but Sibelius1 personality; hence, those wishing a classification and analysis are referred to those by Cecil Gray2 and Gerald Abraham.3 The biography by Mr. Gray is not as interesting and requires more concentration than the one by Ekman, but Cecil Gray1s critical analysis, which constitutes the greater part of the book, is one of the few sources, and truly indispensable for any scholarly study of Sibelius1 compositions, published or unpublished.

The analyses are

not always complete or in as much detail as one might wish,

1 Ekman, Karl, Jean Sibelius, (New York: Alfred A. Knopf, 1938) 2 Gray, Cecil, Sibelius. (London: Oxford Univ. Press 1931) 3 Abraham, Gerald (ed.), The Music of Sibelius. (Hew York: W. w. Norton Co., 1947)

9 but they are a good basis and beginning for further analytical study. The newest book is one edited by Abraham, with con­ tributions by seven musicians of England.

The very short

first chapter, "Sibelius the Man,ft gives a few quotations and references from the books reviewed here, but says little that cannot be found in most articles.

The chapters

following discuss in detail the various classifications of his works: the symphonies, miscellaneous orchestral and theatre music, chamber music, piano music, songs, and choral music.

The general plan of the book is somewhat

similar to that of Mr. Gray, but the discussions and analy­ ses are more complete.

The final chapter, "Special Charac­

teristics of Sibelius* s Style" by David Chemiavsky, is an excellent 36-page essay covering all his music.

Some of

the material used in the book has previously been published in periodicals.

Also included is a complete list of

Sibelius* compositions and 28 pages of musical examples. 4 Another recent book is that by Elliott Arnold. This is easily read, but several sections at the beginning are written in such a style as to suggest that it was in­ tended for juvenile readers.

4

There is also considerable

Arnold, Elliott, Finlandia: the Story of Sibelius» (New York: Henry Holt and Co., 1941)

10 unnecessary repetition*

Two minor points in its

favor are its more recent publication than some of the others, and its inclusion of some interesting and rather modernistic ink drawings (black-white) for each chapter by Lolita Granahan. There are three other shorter studies; one by Mrs. Rosa Newmarch5 was read before the Concert Goer*s Club in London, February 22, 1906, and discusses the young compos­ er and his music which was practically unknown in England at that time.

Later in 1939 she published another book,®

subtitled, a short story of a long friendship.

Bengt de

Torne*s book^ is a result of an acquaintanceship and les­ sons in orchestration with Sibelius.

These last two*are

more like a series of notes, impressions; and reminiscences of the composer by two of his friends than biographical. In viewing Sibelius* life, we can readily discern various influences which have affected him, the style of writing, and his choice of music subjects.

There are nine

5 Newmarch, Rosa, Jgan Sibelius: A Flnnlsh Composer. (Leipzig: Breitkopf & Hartel, 1906) 6 Newmarch, Rosa, Jean Sibelius. (Boston: C. C. Birchard Co., 1939) ^ Torne, Bengt de, Sibelius: A Close-up. (Boston: Houghton Mifflin Company, 1937)

11 influences, which are listed below and not necessarily in order of importance. geographical),

They are (1) Environment (home-

(2) Nature,

(3) Education (general-musical),

(4) Literature (classical-modern), (5) Wegelius and Busoni (his teachers),

(6) Government pension,

(7) Kalevalat

(8) Scandinavian theatre, and (9) KaJanus and K. Plodin (conductor-critic).

It is somewhat difficult to state

which of these are more important for they are hardly measurable, but perhaps, numbers 1, 2, 4, and 5 have exerted more influence on his personality and music than the others. I.

Home, family, and early environment A. Jean Sibelius was born in Tavastehus, Finland, on December 8, 1865. B. His ancestry is both Finnish and Swedish. C. His father was a surgeon, and his mother, the descendant of a family of soldiers, clergymen, and government officials. D. Since his father died when he was two and a half years old, he was brought up largely by his mother and grandmother.

II.

Education A. Schools 1. Sibelius attended the Hameen Lyseo, one of the finest schools of Finnish culture. 2. In 1885 he enrolled at the University of Helsingfors as a law student.

12 II.

Education A.

Schools (continued) 3.

B.

At the same time he was a special student at the musical academy and later devoted himself entirely to music.

Musical training 1.

At five he used to experiment with the keyboard, but did not begin regular piano lessons until the age of nine.

2.

At ten he composed two descriptive pieces, Drops of Rain for violin and cello piz­ zicato, and ”Aunt Evelina fs life In music.”

3.

Sibelius started to study the violin at fifteen and for some ten years his greatest ambition was to become an out­ standing violinist.

4.

He played chamber music extensively at home and elsewhere.

5.

In 1881 he acquired Marx*s Komnosltionlehre and learned its contents thor­ oughly .

6.

He made practical use of his increasing knowledge of theory by composing several pieces of chamber music, including a trio in A minor and a piano quartet in E minor.

7.

Sibelius spent four years (1885-1889) at the musical academy in Helsingfors studying violin with the Hungarian, H. Csillag, and becoming In 1887 the sec­ ond violinist of the string quartet. He also studied theory under Martin Wegelius.

8.

He spent the year of 1889-1890 in Berlin studying theory with Albert Becker.

15 II*

Education B.

Musical training (continued) 9* The following winter he studied orches­ tration with Robert Fuchs and Karl Goldmark in Vienna*

G*

Teachers 1* He probably studied piano under his mother and aunt, both of whom played the instru­ ment well. 2* His violin teachers were Gustaf Levander and H. Osillag. 5* His theory teachers were Martin Wegelius, Albert Becker, Robert Fuchs and Karl Goldmark.

D.

Literary influences 1. Sibelius grew up in a home of Swedish cul­ ture and learned to love the Scandinavian poets who wrote in Swedish: Lenngren, Tegn^r, Atterbom, Runeberg, Topelius, Rydberg. 2. He also read books for boys, others by good authors, and later developed a keen inter­ est in historical works and descriptions, especially those dealing with the period of King Gustav III and the war with Russia in 1808. 3. Though he had a passion for Ossian*s roman­ tic ancient world, and though Homer and Horace were significant in his develop­ ment, Sibelius became interested, during his last years at school, in Bjornson, Strindberg, and the modern Scandinavian literature* 4. During his stay in Vienna, Sibelius drew inspiration not from his immediate envi-

14 II.

Education D. Literary influences (continued) ronment but from Runeberg and tbe Kalevala. which resulted in his first song cycle and the first drafts of Kullervo. a symphonic poem.

III.

5.

Sibelius was an active member of an enthusi­ astic group of young authors and artists who proclaimed and discussed controversial literary, cultural and political problems through their newspaper, the P&lvalehtl.

6.

He found great spiritual encouragement among the standard-bearers of the young FinnishSwedish literature in Tavaststjerna, Lybeck and Procop^.

7.

In 1894 and 1895 words by Kivi and verses from the Kanteletar were first used by Sibelius for some of his songs and choruses.

Finnish Nationalism and the Kalevala A.

The well-known Jarnefelt family, Into which he later married, was one of the few families in the 1880!s where Finnish nationalistic sympathies were combined with refinement and culture, and the young student was Introduced to an environment rather foreign to his background.

B.

He first met Robert Kajanus, the Finnish conduc­ tor, and heard his Alno symphony in Berlin, and became aware of the wonderful oppor­ tunities the Kalevala offered for musical expression.

C.

Though raised in a family of Swedish culture and language, he associated himself during per­ iods of strong patriotic revivals with the national Finnish movement.

D.

About 1899 Finland was again repressed by Russia

15 III*

Finnish Nationalism and the Kalevala D.

(continued) and Sibelius * contribution to the patriotic cause was the stirring Song of the Athenians (Rydberg?s classic verses). Later he con­ tributed another outstanding work, Finlandia» to help strengthen the national selfconfidence and political resistance.

IV,

V.

The pension A,

In 1889 Sibelius was awarded a scholarship of 1500 marks (about 290 dollars) by a student corporation of Nyland to help him continue his studies abroad,

B,

About 1898 the Finnish government, in response to public demand, gave him an annual grant of 2000 marks (400 dollars),

C,

In 1925, on his sixtieth birthday, he was award­ ed the largest State pension that had ever been granted to a private Finnish citizen.

Travels A,

His first trip abroad was to Berlin in 1889. Returning to Finland the following summer, he then started for Vienna in October of 1890.

B.

He returned to Finland In the summer of 1891 and remained there until 1894 when he made his first trip to Italy, later going to Bayreuth and Munich.

G.

In 1898 Sibelius and his wife traveled to Berlin to hear new music and to sign a contract with Breitkopf & Hartel in Leipzig.

D.

In the summer of 1900 he accompanied the Phil­ harmonic Orchestra of Helsingfors on its tour through Scandinavia, Germany, Netherlands, Belgium, and France for the two concerts at the Paris Exhibition.

16 V*

Travels (continued) E« Two months later he and his family spent several months in Berlin, Italy, and returned home in May, with Sibelius departing again to conduct at a musical festival in Heidelberg, June 1-4, 1901* F. Sibelius was summoned to Berlin in January 1905 by Busoni to conduct a performance of his sec­ ond symphony at one of the concerts in the 1Mod­ erns Musik* series, which proved a complete suc­ cess . G. In November 1905 he made his first visit to Eng­ land; two years later, his second trip, and in 1909 his third to conduct some of his works. H. He went on a concert tour of Goteborg, Riga and Berlin in 1911, and later in the year, he spent two months in Berlin and Paris listening to a vast amount of both old and new music. I. The following year he again journeyed to England to appear in five cities and present his fourth symphony. J. In May and June of 1914 he made his first and only visit to America, where he conducted an entire Sibelius concert at the Norfolk festival, and two weeks later received a degree of Doctor of Music from Yale University. K. During 1915 and 1916 he made two tours through Scandinavia. L. In 1921 he conducted a concert in London with Busoni, while two years later he was engaged for concerts in Norway and Sweden, Rome and Helsing­ fors— the last time he conducted.

VI.

Important works and their performances A. Sibelius* first monumental, revolutionary and en­ thusiastically received work was Kullervo. a symphonic poem in five movements for large orchestra, soloists and choir, based on the

17 VI*

Important works and their performances A. (continued) Kalevala legend and performed on April 28, 1892 in Helsinki with the composer conducting* B. Robert Kajanus, conductor of the Philharmonic Society Orchestra, commissioned Sibelius to compose a composition* Result: the tone-poem En Saga * The Lemminkainen suite was completed and first performed in April 1896. Revised twice by 1900, the No. 3 The Sw&n of Tuonela and No. 4 The Return of Lemminkainen are the only parts now published and recorded. D. Sibelius* first symphony in E minor was first performed before a Finnish audience on April 26, 1899. E. In the same year the "Tableaux from the Past" was staged In the Swedish theatre in Helsinki and for this Sibelius composed Incidental music to accompany the action. The finale (VI Finland Awakes) was later revised as the stirring Finlandia. F. His second symphony in D major was performed at a concert of his own compositions on March 8, 1902. Q. In October 1905 his violin concerto In Its re­ vised and final form was first played by Carl Halir in Berlin with Richard Strauss conducting the orchestra. H* The fourth symphony in A minor was performed for the first time at a concert in Helsinki on April 3, 1911 together with four of his short pieces. I. The fifth symphony In Eb major was first given in public at a concert on Sibelius* fiftieth birth­ day (1915). It was revised the following year and performed, and revised again drastically four years later.

18 Sibelius was fortunate to be brought up in a promi­ nent and well-to-do family, where in an atmosphere of culture, financial security, good relationship and under­ standing he was able to develop to his fullest.

Pew com­

posers have had the advantages, such as an ideal environ­ ment, excellent general and musical education, good teach­ ers, a government pension, extensive travel, and a compar­ atively peaceful life that Sibelius has enjoyed.

Though

he often traveled to foreign cities to hear and study new music and to conduct his own, he always longed quickly to return to his native Finland.

The country, and not the

city, has been a continual source of inspiration to him, and his productivity was greatest when he was surrounded with the everlasting beauties of nature, solitude, trees and lakes.

Nature has been a strong influence throughout

his life. The music of Sibelius shows very few outside in­ fluences.

In his travels and study abroad he absorbed a

great deal but wisely did not attempt to imitate any com­ poser or national school.

Sibelius1 dislike for Wagner was

probably due in part to their contrasting personalities, and it is fortunate that he was strong enough in his youth to resist the enduring beauty and powerfulness of Wagner1s music and not become another of the many worshippers and imitators at the Bayreuth shrine.

He has admitted admira­

19 tion for Grieg, Tschaikowsky, and Beethoven, but there is surely no similarity between their music and his* founded no school, nor has he imitators. in his art, style, and orchestration.

He has

He stands unique

The small, cold

northern country has helped to develop a strong personal­ ity, and the composer’s style and instrumentation is in part probably a tonal picture of Finland’s climate and scenery.

The importance of environment to an individual,

especially a creative artist, cannot be over-emphasized. He stands like a solitary giant, still interested in the contemporary music scene, but almost like some mytholog­ ical character out of this troublesome world.

CHAPTER III THE KALEVALA: THE EPIC POEM OP FINLAND The material In this chapter, unless otherwise indi­ cated, has been almost exclusively taken from John Martin Crawford*s translation of the Kalevala, Volumes I and II.*** This was the first complete English translation.

Crawford

was a student and teacher of Latin, medicine and mathemat­ ics and though most of his writings were scientific, he was sufficiently interested in the Kalevala to accomplish the monumental task of translating two large volumes of Finnish poetry into English.

The 44-page Preface in Volume I is a

rather complete source of information concerning the Finnish people, language, mythology, and the development and general analysis of the Kalevala. W. F. Kirby*s Kalevala. The Land of Heroes2 has been published in the popular Everyman*s edition and Is more readily available than Crawford*s. not seem to read as easily.

This translation does

Kirby*s choice of words and

phrases at times requires footnotes and explanations.

These

Crawford, Join Martin, The Kalevala. Vols. I-II, (New York: John B. Alden, London: G. P. Putnam*s Sons, 1889) I-XX*

^Kirby, W. F., Kalevala> The Land of Heroes. Vols. (London: J. M. Dent & Sons, 1907)

21 footnotes, however, are most helpful and informative, even aside from the actual reading and understanding of the poem, and this factor may be a strong point in its favor. There are slight differences between the two translations in the spelling of names, rune headings, and in the narra­ tive, but the poem, with its division into fifty runes, is basically the same. The Traditional Poetry of the Finns by Comparettl^ is, in the writer’s opinion, one of the most complete and analytical studies of Finnish poetry that has been trans­ lated into English.

A large and comprehensive volume, it

discusses minutely the history and development of the national poetry of Finland, with its various phases and characteristics, including those of alliteration, rhyme, and parallelism.

There is a rather detailed summary of

the Kalevala. while in the last chapter Comparetti demon­ strated his knowledge of comparative literature by his scholarly analysis and comparison of the Kalevala with the other great epic poems of the world.

Though published in

1898 and apparently not superseded by any other more recent publication, it remains one of the few reference books in English on this subject.

3Comparetti, Domenico, The Traditional Poetry of the Finns, (London: Longmans, Green & Co., 1898)

22 C.

Billson's small book, The Popular Poetry of the

Firms^ is nothing more than a short summary of the same material found in the volumes mentioned above. J. Abercrombyfs two large volumes on the Pre-and Proto-historic Finns^ does not deal with the Kalevala. but gives a wealth of information on the Finns from the archeological and anthropological standpoint, discusses their mythology and general beliefs, and the geological periods and geography of Finland and northwest Russia. Volume two includes six hundred and thirty-nine (639) Mag­ ic Songs which the author translated from the Finnish work, Bygone Magic Songs of the Finns (1880) by Dr. Lonnrot. HISTORICAL DEVELOPMENT AND BRIEF ANALYSIS' OF THE KALEVALA As early as the seventeenth century Palmskold and Peter Bang collected portions of the national poetry of the Finns, consisting chiefly of wizard-incantations and pagan folk-lore.

Gabriel Maxenius, however, was the first to

publish a work on Finnish national poetry which brought to light the beauties of the Kalevala.

It appeared in 1773 and

was titled De Effectibus Naturalibus.

Finns,

The book contained a

4Billson, Charles J., The Popular Poetry of the (Londons David Nutt, 1900)

^Abercromby, John, The Pre-and Proto-historic Finns, Vols• I-II, (London: David Nutt, 1898)

23 collections of Finnish poems in lyric forms.

The next

man to study the Finnish poetry and language was Daniel Juslenius, who wrote two books and began a collection of Finnish songs, but this precious collection was burned.

Henry Gabriel Porthan, a Finnish scholar of

great attainments, continued the work of Julenius and founded the Society of the Fennophiles, which still forms the literary centre of Finland.

Assisted by his

pupils and other scholars they searched for more and more fragments of what evidently was a great epic of the Finns.

The -material they collected ©entered

around two or three chief heroes, Wainamoinen, Lemminkainen and Ilmarinen, but mainly around the former. The Kalevala proper was collected by two great Finnish scholars and physicians, Zacharias Topelius and Elias Lonnrot. of the Kalevala.

Topelius collected eighty fragments The last eleven years of his life he

spent in bed, but he remained enthusiastic and contin­ ued to collect.

He invited merchants, singers, and

peasants to his bedside, and asked them to sing their various heroic poems, which he copied down as they were recited.

In 1822 he published his first collection,

and in 1831, his last. Elias Lonnrot, who brought the whole work to a

24 completion, was b o m in 1802; entered the University of Abo in 1822, and received the Doctor of Medicine degree from the University of Helsingfors (Helsinki) in 1832* After the death of Alexander Castren in 1853, Lonnrot was appointed professor of the Finnish language and liter­ ature at the University.

He remained there nine years and

then resigned to devote himself exclusively to the study of his native language and folklore.

Previous to this Dr.

Lonnrot had published a treatise in 1827 on Wainamoinen, the chief hero of the Kalevala.

After a year of travel,

he published another book titled: Kantele taikka Suomee Kansan sek vazho.1a etta nykvsem-pia Runo.ja ja Lauluja (Lyre, or Old and New Songs and Lays of the Finnish Na­ tion).

In another work edited in 1832, written in Swed­

ish, entitled: 0m Finnarues Magiska Medicin (On the Magic Medicine of the Finns), he dwells on the incantations so frequent in Finnish poetry, notably in the Kalevala.

A

few years later he journeyed in the province of Archangel through wild forests, marshes and ice-fields on horse­ back, in canoes, and in sledges drawn by reindeers to meet simple peasants and country folk of Finland and ob­ tain from them obscure and ancient runes or Finnish poetry. After his travels Dr. Lonnrot began to arrange his material around the central idea of an epic poem, called

25 the Kalevala*

In 1835 he sent the manuscript to the

Finnish Literary Society which had it published in two parts.

Dr. Lonnrot continued to search and collect and in

1840 brought together more than one thousand fragments of epical poetry, national ballads and proverbs.

These he

published in two works, Kanteletar (Lyre-charm) and The Proverbs of the Suomi People. His example was followed by many of his countrymen, among whom were Castren, Europaeus, Polen and Reniholm. Through the collections of these scholars so much addition­ al material was made public that a new edition of the Kalevala was necessary.

The task of sifting, arranging

and organizing the extensive material was again given to Dr. Lonnrot, and in its second edition, which appeared in 1849 and included fifty runes and 22,793 lines, the Kalevala reached its final and mature form.

It consists, however,

of only a small portion of about 600,000 collected Finnish folk tales and legends. The Kalevala was no sooner published than it attract­ ed the attention of the outstanding scholars and philolo­ gists of Europe, among them Jacob Grimm, Heymann Steinthal, Johann Ludwig Uhland, Moritz Carri^re, and Max Muller, all of whom acknowledged Its great value and intrinsic beauty. Muller placed the Kalevala on a level with the greatest

26 ©pics of the world, the Iliad. Ionian Songs, Mahabharata, Shahnameth and the Nib©lungenlied. while Steinthal recog­ nized but four great national epics, the Iliad. Kalevala* Nibelungenlied and the Song of Roland.

After the Kalevala

was published it was translated into Swedish by Alex. CastrSn, in 1844; into French by Leouzon LeDuc, in 1845 and 1868; into German by Anton Schiefner, in 1852; into Hungarian by Ferdinand Barna, in 1871; a very small portion of It into English (the legend of Aino) by John A. Porter of Yale College, in 1868; into English in its entirety by John Martin Crawford, in 1887, and by W. F. Kirby of Eng­ land, In 1907. There are many interesting facts concerning the Kalevala which will be mentioned briefly in this chapter. The poem relates the frequent contests between the Finns and the Lapps.

A deeper meaning, perhaps, is the fact that

these contests may be a contention between Light and Dark­ ness, Good and Evil; the Finns representing the Light and Good, and the Lapps, the Darkness and Evil.

Like the

Nibelungs, the heroes of the Finns woo for their brides the beautiful maidens of the North.

The heroes also make

frequent journeys into the Northland to try to capture the envied treasure of the Lapps, the mysterious Sampo, a magic jewel which gives success to the possessor.

27 The Kalevala describes Finnish nature very minutely and beautifully.

The ancient Finns were acutely aware of

the trees, forests, lakes, sun, moon, and wild animals ^and they proudly and accurately sang of these In their songs. Jacob Grimm once remarked that no epic poem could be com­ pared with the Kalevala in this respect, unless it were some of the epics of India.

Following are two quotations

from the Kalevala (Crawford) describing the glories of Nature: Thus created were the islands, Rocks were fastened in the ocean, Pillars of the sky were planted, Fields and forests were created, Checkered stones of many colors,. Gleaming in the silver sunlight, All the rocks stood well established;

(p. 10)

Groves arose in varied beauty, Beautifully grew the forests, And again, the vines and flowers, Birds again sang in the tree-tops, Noisily the merry thrushes, And the cuckoos in the birch-trees; On the mountains grew the berries, Golden flowers in the meadows, And the herbs of many colors, Many kinds of vegetation; But the barley is not growing* (p. 21) The whole poem is replete with the fascinating folk­ lore about the mysteries of nature and the origin of vari­ ous things.

Like a true national epic, It represents not

28 only the poetry hut the entire wisdom and accumulated ex­ perience of a nation.

Whenever one of the heroes wishes

to overcome some evil force, heal a wound, or cure a dis­ ease, he achieves his purpose by chanting the origin of the particular evil.

The thought underlying this idea is

that evil could probably be obviated if one knew when and how it came.

The numerous myths are full of significance,

beauty and symbolism, and the Kalevala should be read be­ tween the lines in order that the full meaning of this epic may be comprehended. The power of magic is an outstanding feature of the poem.

The main characters of the Kalevala. Wainamoinen,

the ancient and trustworthy singer, Ilmarinen, his brother and the eternal forgeman, Lemminkainen, another brother and a reckless wizard, and Louhi, the powerful sorceress and hostess of Pohjola (Lapland or the Northland) are mostly superhuman, magic beings, and are conceived as being of divine origin.

The heroes and demi-gods accomplish nearly

everything by magic.

The songs of Wainamoinen disarm his

opponents; they quiet the angry sea; they give warmth to the new sun and moon which Ilmarinen forged from the magic metals.

Birds, beasts, fishes, serpents, as well as the

Sun, the Moon, the Great Bear, and the stars are either kind or unkind.

Ships, trees and waters have magic powers.

The men and maidens transform themselves into other shapes

29 and resume their native forms again at will.

In short,

all nature speaks in human tongues, Kalevala is considered to be Very ancient.

One

reason for believing this is that the poem mentions only once or twice Finlandfs neighbors, the Russians and the Swedes, and therefore, the poem must have originated at a time when these nations had little or no intercourse with the Finns.

The Finnish people are of Mongolian origin and

appear to have originated from the Ural Mountains and Caspian Sea regions about 2000-1000 B. C.

Because of

pressure from Gothic tribes, they moved to the Great and Little Volga regions, and while many remained there, others moved westward to the Altai Mountains and finally to Fin­ land.

A second reason for believing the Kalevala is very

old is that the ipcantations, witch-songs, and other mate­ rial of the Finns bear a great similarity to that of the Hungarians, and the Finns and Hungarians were still a united people over 3000 years ago.

The poem is also a

thoroughly pagan epic, and shows no important signs of foreign or Christian influence except very slightly in the fiftieth rune. Another feature of the originality of the Kalevala ia ’ to be found in its metre.

All genuine poetry must have

its peculiar verse,-and in the Finnish epic it is the ”eight-syllabled trochaic, with the part-line echo,” which

30 is the characteristic verse of the Finns. Quick he starts upon his journey To the eastern fields and forests, Hunts throughout the Northland mountain, To a second mountain wanders. (p. 9.2 4 ) More clearly defined, there are eight syllables with the accented syllable followed by the unaccented one in each line of verse.

One may correctly say there are four

trochaic feet (/'•O in each line.

The ”part-line echo”

or parallelism refers to the many lines which are repeat ed exactly or in part, or which convey the same idea as if to give emphasis. This the time to sing of Ahti,

Son of Lempo, Kaukomieli, Also known as Lemminkainen.

(p. 143)

Asked one standing in the doorway:

”Is there one within this dwelling, That can loose my stallion’s breastplate, That can lift his heavy collar, That these shafts can rightly lower?” On the floor a babe was playing, And the"youhg child gave this answer: ”There is no one in this dwelling That can loose thy stallion’s breastplate, That can lift his heavy collar, That the shafts can rightly lower.” (p. 168) In addition, we find frequent examples of alliteration. The first and most stable law of alliteration is that each

31 line must contain at least two words beginning with the same letter, either consonant or vowel, but there are many lines in the English translation (Crawford) of the Kalevala which do not follow this rule.

In old German,

Anglo-Saxon, and Scandinavian poetry, alliteration took the place of rime.

Following are a few scattered examples:

11Straightway I began my singing, Sang the archers with their arrows, Sang the spearmen with their weapons, Sang the experts with their poniards, Sang the singers with their singing, The enchanters with their magic, To the rapids of the rivers, To the highest fall of waters, To the all-devouring whirlpool, To the deepest depths of ocean, (p. 163)

Fleetly ra n through fen and forest,

(p. 179)

Fleetly followed Lemminkainen, Followed fast, and followed faster,

(p. 179)

Considering its development and the manner in which it was accumulated and assembled, the Kalevala is a won9

derful continuous whole, though it contains several almost independent parts such as the contest of Youkahainen, the Kullervo episode, and the legend of Mariatta.

Unwritten

from the mythical and pre-historic age down to the present

32 day

and kept alive from generation to generation by min­

strels, rune-singers and peasants, the modern restoration of the Kalevala is regarded by some scholars as one of the most precious contributions to the literature of the world since the time of Milton and the German classics. It is interesting to note the manner in which the Kalevala and other legends were recited in olden times. The singers seated themselves upon low benches or stools, faced each other with outstretched arms and took hold of hands.

As they swayed their bodies to and fro in see-saw

fashion, first one sang and then the other.

If one fin­

ished or was unable to continue, another in the room took his place.

The singing was accompanied by the playing of

the kantele, an ancient Finnish instrument with five copper wire strings and similar in appearance to the dulcimer or harp.

The music was in a minor key and more

nearly resembled a chant than a melodious air.

Probably

a popular recreation during the long and cold days and nights in Finland, these activities were often in the form a

of memory and endurance contests. Becau&fc more.people have read or are acquainted

6Van Cleef, Eugene* "Finnish Poetry— Naturefs Mirror," (Scientific Monthly . July 1922)

33 with Longfellow's Song of Hiawatha than the Kalevala, and upon reading the Finnish poem for the first time they observe the similarity of metre and legends, it seems ap­ propriate at this point to discuss more fully the relation­ ship of these two poems. .Longfellow was more European than American in his writings, no doubt because of his travels, and study of European languages and literatures.

In 1854 he terminated

his professorship at Harvard and later happened to discover the Finnish epic, the Kalevala.

He read it with great

pleasure, relishing the eight-syllabled trochaic verse with its echoing parallelism.

An old idea began to develop

wherein he would write a long poem based on Indian myths and use the interesting metre of the Kalevala.

Longfellow,

long interested in Indians, had read a number of books on the subject, but particularly used Henry Rowe Schoolcraft's two books, Algic Researches and History of the Indian Tribes of the United States for his source of information preliminary to the writing of Hiawatha.

Longfellow used

the real Indian legends, but rearranged, unified, and changed them to fit into the poem.

The criticisms that

Henry Longfellow lacked originality is justified, for he relied on dozens of books for information preliminary to his writing of Evangeline, Hiawatha, Tales of a Wayside Inn, etc.

34 Hiawatha was finished on March 29, 1855 and pub­ lished on November 10th of that year.

It had wide popu­

larity and was subjected to violent criticisms.

Longfellow

felt keenly the unreasonableness of the attack upon his honesty in the charge that he borrowed both metre and inci­ dents from the Kalevala.

Even as late as 1907, W. F. Kirby

in his translation of the Finnish poem, states that "the Song of Hiawatha is only a rather poor imitation of Schiefn e r ’s version (German) of the Kalevala. some of the lines being almost Identical and several of the characters and incidents being more or less distinctly borrowed from those of the Kalevala. • The Incidents, however, are generally considered altered, and not always for the better.” And Freiligrath, Longfellow1s German translator had this to say: "The characteristic feature, which shows that you have fetched the metre from the Finns, is the parallelism adopted so skillfully and so gracefully in Hiawatha." Longfellow commented in his diary: "He does not seem to be aware that the parallelism, or repetition, is as much the characteristic of Indian as'of Finnish song."

Longfellow

made no secret of the suggestion of the metre,--he had used an acknowledged form, which was not exclusively Finnish;

7 Kirby, W. F. (trans.) Kalevala: The Land of Heroes. p. viii

35 and as for legends, he openly confessed his indebtedness Q

to Schoolcraft in the notes to the poem. Prom its inception, the Kalevala has had a tremen­ dous influence on the people of Finland.

It marked the

beginning of an intensive spirit of nationalism which has continued to the present day.

Their literature also

shows exceptional merit, and in most cases reflects nature and portrays Finnish character, life and environment. Almost everywhere in Finland today one can observe the great influence of the Kalevala in the creative efforts of their writers, composers, painters and sculptors. A RESUME OF THE KALEVALA BY RUNES The Kalevala. which consists of various hero tales and episodes, is divided into fifty runes or parts.

These

tales have been arranged into a rather unified epic poem. The principal theme is somewhat obscured though it is probably the capture of the Sampo or the wooing of the beautiful maidens of the Northland by the heroes of the Kalevala.

The connecting link between the parts is weak,

for there are several Finnish legends, such as the birth of Wainamoinen, the fate of Aino, the adventures of Kullervo, and the story of Marlatta, which have little or

Q

Gorman, Herbert S., A Victorian American, Henry Wadsworth Longfellow. (New York: George H. Doran Co., 1926)

36

no connection with the poem.

But Dr. Lonnrot desired to

include these legends, some of which are great favorites, and as a result the Kalevala has increased in interest if not in coherency. The four principal heroes are Wainamoinen, an old and trustworthy minstrel, his brother Ilmarinen, a young, handsome blacksmith and craftsman, Lemminkainen, another brother and a reckless hero, and Kullervo, a son of evil and a most unhappy youth.

The heroes are a great deal

more prominent than the women, and their adventures, trag­ edies, and evil doings make-up the legends in the Kalevala. The first three heroes are to be found more or less through­ out the poem, while KullervoTs adventures are confined to Runes XXXI to XXXVI.

With the exceptions of Louhi, the

wicked hostess of Pohjola, and possibly, Lemminkainen1s mother, the women are subordinate characters.

There are

just brief glimpses of Aino, Kyllikki, Maiden of the Rain­ bow (Maid of Beauty) and Mariatta. RUNE I

THE BIRTH OF WAINAMOINEN

After an introduction by the minstrel-poet, he begins to relate how Ilmatar, Daughter of the Ether or Virgin of the Air descends into the ocean and is tossed about by the winds and waves for seven hundred years.

A duck descends upon

her and lays seven eggs, each hatching and creating a part

37 of the universe.

Wainamoinen, the old and trusty hero

who had lingered in his dungeon for thirty years, frees himself from his mother Ilmatar, to examine the new earth. On his knees he leaves the ocean, On the land he plants his right foot, On the solid ground his left foot, Quickly turns his hands about him, Stands erect to see the sunshine, Stands to see. the golden moonlight, That he may behold the Great Bear, That he may the stars consider* Thus our hero, Wainamoinen, Thus the wbnderful enchanter, Was delivered from his mother, , Ilmatar, the Ether’s daughter. ® (pp. 12-13) RUNE II

WAINAMOINEN*S SOWING

Wainamoinen and Pellerwoinen plant forests and sow barley. RUNE III

WAINAMOINEN AND YOUKAHAINEN

Wainamoinen and Youkahainen have a singing contest. Through Wainamoinen,s wondrous and magic singing, the young and reckless minstrel of the Northland is plunged Into a swamp.

In desperation he pleads for mercy and

promises rich gifts, but not until he promises his sister, Aino, young and fairest daughter of Lapland, to Wainamoinen,

Q

Crawford, John Martin, The Kalevala; The Epic Poem Of Finland, Vol. I, (New York: John B. Alden; London: G. P Putnam’s Sons, 1889)

38 is he released.

Youkahainen returns home heavy-hearted

where his mother receives the news joyfully, while Aino falls to bitter weeping. RUNE IV

THE FATE OF AINO

Wainamoinen meets Aino in the forest, but she re­ turns home in grief and anger while her family attempt to console her.

Still In great sorrow she later wanders away

again and Is drowned while swimming out to sea to join four water-maidens.

Upon hearing the sad news, the mother weeps

incessantly. RUNE V

WAINAMOINEN*S LAMENTATION

Wainamoinen fishes up Aino in the form of a salmon, but she escapes him.

He becomes discouraged as he fails to

find her again, and his mother advises him to seek a bride among the beautiful maidens In the Northland. RUNE VI

WAINAMOINEN*S HAPLESS JOURNEY

The evil Youkahainen prepares a cross-bow and some arrows, and lies in wait and watches for Wainamoinen.

At

last he appears riding over the water on his magic steed, and the evil minstrel, missing twice, succeeds the third time in shooting the horse from under him.

Wainamoinen

plunges into the rolling billows and is driven far away by

39 a tempest.

Youkahainen, believing him dead, utters boast­

ful words while his mother upbraids him for shooting at the wise and good Wainamoinen. RUNE VII

WAINAMOINEN1S RESCUE

After eight days in the deep sea waters, Wainamoinen is rescued by an eagle from Pohjola and is returned to the Northland.

Louhi hears his weeping, and takes him to her

dwelling where she offers him her beautiful daughter if he will forge the Sampo for her.'

(The Sampo is the jewel that

Ilmarinen forges from the magic metal, and which is a talis­ man of success to the possessor.)

He replies that he cannot

do so himself, but will send his brother Ilmarinen, so Louhi gives him a sledge in which to return home. RUNE VIII

MAIDEN OF THE RAINBOW

Wainamoinen, on his journey southward, finds the daughter of Louhi sitting on a rainbow weaving. to propose to her. "Come, fair maiden, to my snow-sledge, By my side I wish thee seated.” Thus the Maid of Beauty answers: ”Tell me what thou wishest of me, Should I join thee In the snow-sledge." Speaks the ancient Wainamoinen, Answers thus the Maid of Beauty: "This the reason for thy coming: Thou shalt bake me honey-biscuit,

He stops

40 Shalt prepare me barley-water, Thou shalt fill my foaming beer-cups, Thou shalt sing beside my table, Shalt rejoice within my portals, Walk a queen within my dwelling, In the chambers of Wainola, In the courts of Kalevala.” (p. 90) Before consenting, she commands him to perform several tasks sueh as splitting a golden hair with a blunt knife, snaring a b i r d ’s egg with a snare that cannot be seen, and cutting a whip-stick from ice and making no splinters.

He

successfully completes the first two tests, but during the third, his hatchet slips and severely cuts his knee. Wainamoinen tries in vain to stop the flow of blood. RUNE IX

THE ORIGIN OP IRON

Wainamoinen relates the origin of iron to the old man, who then heals the wounds with magic balsam. RUNE X

ILMARINEN FORGES THE SAMPO

Wainamoinen returns, home, and as his brother Ilmar­ inen declines to go to Pohjola to forge the Sampo, he causes a storm wind to carry him there. he succeeds in forging the Sampo.

On the third niglfc

He asks the lovely maid­

en of the Northland to marry him, but she declines and he returns home disappointed.

41 RUNE XI

LEMMINKAINEN1S LAMENT

Lemminkainen travels to distant Sahri to woo the lovely maiden, Kyllikki.

The women receive the stranger

scornfully, and not until he becomes a shepherd and joins in their games and dances, do they treat him as a friend. Only Kyllikki is cold and refuses him.

A month later,

Lemminkainen quickly snatches the weeping maiden and car­ ries her to his distant home, where his mother receives them joyfully.

He vows never to go to battle again, and

she, never to go to dances. RUNE XII

KYLLIKKI1S BROKEN VOW

Years roll onward, and one evening Lemminkainen is late in returning home from fishing, and so Kyllikki goes to the village dance.

His sister, Ainikki, tells him the

sad tidings, and Lemminkainen, broken-hearted and angry, prepares to go North to battle.

His mother and Kyllikki

try to prevent him from going, but the reckless hero heeds not their entreaties and warnings.

In the Northland,

n

Lemminkainen enters the court-rooms where the wicked wiz­ ards are singing.

Quickly he begins his incantations,

banishing the sorcerers, wizards, heroes, and leaving only a poor, old, blind shepherd called Nasshut, who Is condemned for his earlier actions against Lemminkainen1s family.

42 Nasshut becomes angry, and plans vengeance by waiting for Lemminkainen at Tuoni, the river of death. RUNE XIII

LEMMINKllNEN*S SECOND WOOING

Lemminkainen asks Louhi for her lovely daughter, but she refuses as he already has a wife.

Later, Louhi tells

him that he may woo the maiden when he brings the wild moose from the Hisi fields and forests.

Lemminkainen

quickly prepares his bow and arrows, and then goes in search of Lylikki, the snow shoe maker.

When the magic snow shoes

are finished, the reckless hero is soon speeding over Lap­ land's hills and valleys after the moose of wicked Hisi. He captures the animal but it quickly escapes.

Lemminkainen

becomes angry and disheartened, and proceeds to follow it, but his snow shoes, runners, javelins and snow-staff break into fragment s . RUNE XIV

THE DEATH OF LEMMINKAINEN

Lemminkainen calls on Ukko, the Creator, and other gods to help him in his third attempt to capture the moose. He goes to Pohjola victorious and asks for the fair maiden, but Louhi gives him a second test to accomplish, that of putting a bridle on the flaming and rapid horse of Hisi. LemminkSinen returns successful.

Louhi*s third test for

the hero is to kill the swan of Tuonela with but one arrow.

43 As he nears the river of Tuoni, Nasshut, the blind and crippled shepherd who has waited for him, shoots Lemminklinen and throws him into the river where Tuoni1s son chops him into five parts. ■RUNE XV

LEMMINKXlNEN1S RESTORATION

Lemminkainen’s mother becomes anxious about her son* She journeys to Pohjola to attempt to discover where he is, but Louhi speaks falsely, though the third time she says that he may have perished in Manala.

The mother seeks a

long time for her son, asking the forest, pathways, and Moon, but they cannot help her* formation.

The Sun gives her the in­

Ilmarinen forges a large magic rake with which

she rakes the river of Tuoni, searching for her lost son. She rakes for a long time in deep, muddy, rushing water, when at last she finds some of his clothing, and his body In various pieces.

Through her magic and with the help of

several gods, she restores his body to Its former likeness. Though life returns, he is speechless, deaf and blind, and so the mother tries to obtain the magic honey, the balsam of the Creator, with which to anoint her son.

He awakens

from his deep slumber, and now Lemminkfiinen, wiser and more handsome, with his faithful mother hasten to their distant home in Wainola•

44 Lemminkainen> filled with wisdom With his fond and faithful mother, Hastened straightway on his journey To his distant home and kindred, To Wainola*s fragrant meadows, To the plains of Kalevala. (p. 223) RUNE XVI

WAINAMOINEN1S BOAT-BUILDING

Wainamoinen begins to build a boat, but cannot com­ plete it without three magic words.

He seeks it, but in

vain, among the many swans, ducks, swallows, reindeers and squirrels.

Wainamoinen goes to Tuonela where he attempts

to find the magic words, but Tuonetar, hostess of the death-land, puts him into a deep slumber.

He awakens, and

sensing danger, quickly changes into a serpent and escapes from Tuonela. RUNE XVII

WAINAMOINEN FINDS THE LOST-WORD

While he long considers where to find the magic say­ ings, a shepherd comes and tells him that they may be found in the mouth and body of wise Wipunen, an old song-giant. Wainamoinen journeys three days in the forests to the sleep­ ing Wipunen. he tumbles in.

While trying to pry open the giant1s mouth, He remains for days in Wipunen*s abdomen,

making him more and more uncomfortable until the monster begs, then threatens the hero to leave.

Wainamoinen remains

until he has learned the magic lost-words, and then he re­ turns to complete his boat.

45 RUNE XVIII

THE RIVAL SUITORS

Wainamoinen decides to sail to Pohjola in his magic vessel to woo the Maid of Beauty.

Annikki, Ilmarinen*s

sister, attempts to find out where Wainamoinen Is going, but he tells her three falsehoods before giving the truth­ ful answer.

She hastens to her brother with the story, and

asks him to forge many silver and gold ornaments for her while she is making preparations for his journey. bathes and dresses himself in his finest garments.

He Ilmari­

nen travels swiftly in his sleigh until the third day when he overtakes Wainamoinen. ”0 thou ancient Wainamoinen, Let us woo in peace the maiden, Fairest daughter of the Northland, Sitting on the bow of heaven, Let each labor long to win her, Let her wed the one she chooses, Him selecting, let her follow.” Wainamoinen thus makes answers 111 agree to thy proposal, Let us woo in peace the maiden, Not by force, nor faithless measures, Shall we woo the Maid of Beauty, Let her follow him she chooses; Let the unsuccessful suitor Harbor neither wrath nor envy For the hero that she follows.” (p. 272) The watch-dogs of Pohjola give the warning long in advance of the coming of the suitors.

Wainamoinen arrives and

proposes to the maiden, but he is rejected.

46 RUNE XIX

ILMARINEN*S WOOING

The maiden prefers Ilmarinen, hut Louhi gives him three tests to accomplish before they can marry.

Through

magic and with her help, he is successful in plowing the fields of hissing serpents, capturing Mana*s bear from the Death-land forests, and catching the pike in the river ; of Tuoni, RUNE XX

THE BREWING OF BEER

Wedding preparations on a gigantic scale are com­ menced,

A huge ox is captured, but no butcher is able to

kill it until a hero or sea-god arises from the waters and performs the task,

Louhi learns from an old man how beer

is made and the origin of brewing,

Osmotar brews barley,

hops and water together, but seeks for a long time the right ingredient, honey of the islands, to make the liquor foam and sparkle.

When the beer is ready, Louhi prepares

the dishes, bakes loaves, and then sends her trusted maidenservant out to invite all the people of the Northland except Lemmink&inen to her daughter1s wedding. RUNE XXI

ILMARINEN»S WEDDING-FEAST

Louhi gives Ilmarinen and his body-guard of heroes a royal welcome.

She serves her guests all the dainties

47 and varied food of Pohjola.

After the feast Wainamoinen

entertains with his magic singing of ancient songs and legends. RUNE XXXI

THE BRIDE'S FAREWELL

Louhi gives a lecture to the bride and bridegroom. The maiden, once happy, becomes sad and commences weeping over the prospect of leaving her family, friends and possessions in Pohjola and journeying with her new husband to his distant home. RUNE XXIII

OSMOTAR THE BRIDE-ADVISOR

Osmotar gives the bride a very long lecture on how to live and reign in pleasure and glory with her husband and his family. RUNE XXIV

THE BRIDE1S FAREWELL

Osmotar proceeds to give advice to the bridegroom. Then the couple leave on their three-day journey to Ilmarinen1s home in the village of Wainola. RUNE XXV

WAINAMOINEN'S WEDDING-SONGS

Lakko, hostess of Wainola and mother of Ilmarinen, gives a hearty welcome to the bride and bridegroom.

The

guests receive the choicest food while Wainamoinen sings

48 his songs, praising the various guests assembled.

As he

journeys home, his magic sledge is broken and he goes to Manala for Tuonifs auger with which to mend the sledge, Wainamoinen mends his sledge and returns home safely, RUNE XXVI

ORIGIN OF THE SERPENT

Lemminkainen is plowing his fields of rye and barley when he hears a commotion in the village, and quickly sur­ mises it to be Pohjola*s wedding to which he wasn*t invited. In disappointment and anger he rushes home and prepares to travel to Pohjola,

His mother and wife attempt to dissuade

him but to no avail.

On his journey he meets and success­

fully combats the six obstacles that his mother predicted he would meet.

At the portals of Pohjola is the sixth ob­

stacle, a monster serpent, which Lemminkainen banishes by quickly singing ancient words of knowledge and the origin of the serpent, RUNE XXVII

THE UNWELCOME GUEST

Uninvited, Lemminkainen enters the banquet room. asks for food and drink, but the tables are empty and the feasting time is over.

Later, he is given some poor food

and a pitcher of beer with worms and serpents in it.

The

landlord of Pohjola attempts to drive the evil hero from the banquet, and there follows a fight with broadswords

He

49 wherein the landlord is killed.

Lemminkainen prepares to

leave as Ilpotar, Northland hostess, threatens vengeance. RUNE XXVIII

THE MOTHER'S COUNSEL

The reckless hero hastens away from his crimes.

As

the warriors of Louhi appear, he quickly changes himself into a mighty eagle and sqars to his Island-home.

His

mother runs to meet him and questions him regarding his journey.

He tells her of his misfortune and the necessity

to leave immediately for a secure place of refuge from the warriors of the northland.

The mother names a distant,

small island where her son may live in safety. "Go thou, take thy father's vessel, Go and hide thyself in safety, Travel far across nine oceans; In the tenth, sail to the centre, To the Island, forest-covered, To the cliffs above the waters, Where thy father went before thee, Where he hid from his pursuers, In the times of summer conquests.. In the darksome days of battle;nlo(pp. 459-460) RUNE XXIX

THE ISLE OP REFUGE

LemminkSinen takes an abundance of provisions, and In his boat of copper, he sails for three months across ten seas to the Isle of Refuge.

As he lands on the sandy shore,

•^Crawford, John Martin, The Kalevala: The Epic Poem of Finland. V. II.

50

island maidens question and welcome the handsome stranger* He begins to sing, and as he conjures numerous things which did not exist on the island before, the maidens stand entranced at his wisdom and magic power.

Lemminkai­

nen roams throughout the island hamlets to the delight of the maidens.

When three summers have passed, he prepares

to leave, but alas, he discovers his boat in ashes.

This

is the revengeful act of the one slighted maiden. Lemminkainen builds another magic sailing vessel, and as he leaves the island without saying farewell, the maidens weep and ask why he is departing.

Lemminkainen sails for

days and days, is shipwrecked, but finally lands on his island, only to discover his people had perished or scat­ tered, and that his mother is hiding from the warriors of the Northland. RUNE XXX

THE FROST FIEND

Lemminkainen, with his companion Tiera, sail to the Northland to seek revenge.

Louhi sends Frost to freeze all

the land and ocean on which they are sailing.

The angry

hero hurls Frost into a fiery furnace, and then addresses him, chanting his evil origin.

Lemminkainen and Tiera leave

the frozen vessel and walk for three days across the ice when they suddenly arrive at a castle, but there is no food to refresh the weary men.

As they wander onward, Lemminkai-

51 nen begins to recall happier days.

He successfully makes

racers from his sorrows, reins from evil days, saddles from pains, and quickly gallops away to his dear and aged mother• RUNE XXXI

KULLERWOINEN SON OF EVIL

A magic infant, Kullervo, is born of the virgin, ♦

f.

♦

*

Uhtamala, and when only three days old, he demonstrates such power that his mother believes he will become a hero. When three months old, the boy speaks: "When my form is full of stature, When these arms grow strong and hardy, Then will I avenge the murder Of Kalervo and his people!" (p. 499) Hhtaino and his tribe attempt to kill this magic infant by drowning, fire, crucifixion, but he survives each ordeal without a blemish.

In despair Untarno asks the boy if he

will live and conduct himself properly.

When Kullervo is

older, he Is given four occupations, that of tending an infant, felling the forests, making fences, and threshing rye and barley, but in each task he Is a failure and brings destruction.

Untamo finally sells Kullervo to the

blacksmith, Ilmarinen.

52 RUNE XXXII

KULLERVO AS A SHEPHERD

Ilmarinen1s wife, long debating, decides to make Kullervo a shepherd and the keeper of her pastures*

She

bakes a loaf of oatmeal and barley with a flint stone in the center*

She gives it to the youth, saying:

"Do not eat the bread in hunger, Till the herd is in the woodlands 1” (p. 509) Then follows long entreaties and prayers to the gods for their protection over the shepherd and the herd.

When she

finishes, Ilmarinen*s wife opens all her yards and stables, and leads her herd across the meadow into Kullervofs care. RIME XXXIII

KULLERVO AND THE CHEAT CAKE

While Kullervo wanders carelessly over hills, through valleys and woodlands, he chants of his misfortune of being a poor lad, a watch dog for the cattle, and receiving only hard bread crusts while elsewhere Ilmarinen*s people eat the best of wheaten biscuits and honey cakes*

Later, he sits

upon a grassy hill and proceeds to cut the hard and arid loaf given him.

His magic knife cuts against the stone im­

bedded in the center and is broken.

He weeps as his ancient

knife, the one sacred relic of his mother*s people, is bro­ ken into pieces.

He plans revenge.

A raven tells him what

to do, and he quickly follows the suggestion.

As he leads

53

the cattle home, he changes them into wolves and bears in disguise.

When Ilmarinen's wife proceeds to milk her herd,

they quickly attack her, and thus Kullervo, the cruel wiz­ ard, repays the hostess for her evil act against him. RUNE XXXIV

KULLERVO FINDS HIS TRIBE FOLK

Quickly Kullervo leaves the home of Ilmarinen and wanders forth upon his journey.

He blows his magic bugle,

and the music is heard throughout the district.

The black­

smith learns the sad story that his wife had perished in the court-yard, and he weeps through the dreary night. Kullervo also heavy-hearted, murmurs: "Why was I, alasJ created, Why was I so ill-begotten, Since for months and years I wander, Lost among the ether-spaces?" (p. 533) Kullervo, the orphan, decides to return to the village of Untamo and avenge his parents1 murder and the tortures of his tribe folk.

An aged woman meets him on the highway and

tells him:

*.

"Surely thou does rest in error, And thy tribe has never perished, And thy mother still is living With thy father in the Northland, Living with the old Kalervo." (pp. 535-536)

She gives him explicit directions, and a few days later he

54

spies a fisherman’s cottage and enters as a stranger. An­ nouncing himself, his mother joyfully receives him as one of her long lost sons. RUNE XXXV

KULLERVO »S EVIL DEEDS

Kullervo lingers with his parents and tries to do his work faithfully, hut he continues to he unsuccessful in’his labors.

On his journey homeward he flirts with

three maidens.

The third one drowns herself in the river

when she learns that Kullervo is her brother. and again laments over his evil nature.

He weeps,

Returning home,

he confesses his evil deed to his mother. RUNE XXXVI

KULLERWOINEN’S VICTORY AND DEATH

Kullervo, with no concern for the safety of his family, prepares to leave for battle.

He questions his

father, brother and sister if they would weep when he has perished, but they reply negatively. would mourn.

Only his mother,

As he journeys a messenger appears four

times, and on each occasion he informs Kullervo of the death of one member of his family, but the evil wizard is not concerned and continues his journey.

Granting a re­

quest, Ukko gives the youth a magic broadsword with which to slay the people of Untamo.

He returns home but there

is no one to greet him except his dog.

He wanders again to

55

the place where his long lost sister had drowned, and falling upon his broadsword, he seeks destruction in pref­ erence to a life of sin, indiscretion and dishonor. RUNE XXXVII

ILMARINEN*S BRIDE OP GOLD

Ilmarinen weeps for three months over the death of his wife.

Long, cold and dreary are the days and nights

for him, and there are no pleasures since his life compan­ ion has departed.

Later, he gathers gold and silver and

works unceasingly at his forging to mould a bride of gold. A lambkin, a colt, and finally a beautiful virgin arise from the magic fire within the furnace.

Ilmarinen works

over her, but she remains a cold, lifeless, golden image. He takes her to his brother, Wainamoinen, but the latter does not wish a golden Image as a companion in his declin­ ing years. RUNE XXXVIII

ILMARINEN*S FRUITLESS WOOING

Ilmarinen travels again to the Northland to seek another bride, but Louhi refuses to give him her second beautiful daughter.

In anger he asks the maiden to become

his wife, but she refuses.

Ilmarinen quickly seizes the

trembling maiden, hastens to his sledge, and gallops home­ ward.

The maiden weeps and threatens four times to escape,

but is unable to.

The next morning he decides to conjure

56

her to a sea-gull*

His brother, Wainamoinen, meets him on

the highway, and questions him about the beautiful maiden who is missing*

Ilmarinen answers:

"I have changed the hateful virgin To a sea-gull on the ocean; Now she calls above the waters, Screeches from the ocean-islands; On the rocks she calls and murmurs, Vainly calling for a suitor." (p. 580) RUNE XXXIX

WAINAMOINENTS SAILING

Wainamoinen suggests to his brother that they go to the Northland to try to capture the magic Sampo.

He wishes

to travel by water, while Ilmarinen believes it safer by land.

They agree to do the latter, and Ilmarinen forges a

mighty firesword for his brother to slay the wild beasts and frighten all the Northland people.

They journey along

the coast until they hear someone wailing and lamenting, which they soon discover Is a lonely vessel on the shore. The vessel gives a sad tale of wanting to be a warship and sail upon the rolling waters, but Instead, stands Idle and decaying in the harbor.

Wainamoinen takes the vessel,

sings it upon the broad sea, sings youth and maidens to row, but only the magic hero, Ilmarinen, can speed it across the billows.

In the Northland village the wild

Lemminkainen sees a magic vessel In the distance, and over the water in tones of thunder he asks:

57

"Whence this vessel on the waters, Whose the warship sailing hither?" (p. 591) When Wainamoinen answers that they are sailing to the North­ land to gain the magic Sampo, Lemminkainen hegs to join them, and is accepted. RUNE XL

BIRTH OP THE HARP

As Wainamoinen steers his vessel toward Pohjola, Lemminkainen chants prayers and they pass through the rocky channels, whirlpool and rapids in safety.

Suddenly the boat

is '.stuck, and investigating, Lemminkainen discovers the boat is on the back and shoulders of a mighty pike. Ilmarinen both attempt to slay It but fail. easily slays the monster.

He and

Wainamoinen

When they land at a village, the

old and trusty hero slices the fish, the maidens eagerly cook it, and all participate in a feast.

On the rocks are

left the fish bones, the only relics of their feasting. Wainamoinen gazes upon the fragments and ponders if some wondrous thing might not be constructed from the relics. Quickly he fashions a harp of beauty, and all the people on the islands come to view It.

Many touch the harp strings,

*>ut only sounds of discord are heard.

The harp answers that

it will sing and play only for its creator, so the instru­ ment is carried to the feet of Wainamoinen.

58 RUNE XLI

WAINAMOINENfS HARP SONGS

Wainamoinen sits upon a rock, and saying 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." (p. 605) he commences to play his magic harp of fish bone. creature in the forest is enchanted.

Every

Wainamoinen plays

for three days, and there is neither man nor hero, maiden nor ancient dame who does not weep at his wondrous harp music. RUNE XLII

CAPTURE OP THE SAMPO

The three heroes arrive at Pohjola and inquire about the Sampo.

Louhi will not share it, and becomes angry when

Wainamoinen threatens to take it.

He begins his magic play­

ing on the harp, and plays young and old into a deep slum­ ber.

Then, at his wondrous singing, the rocky portals and

iron-banded pillars at the mountain stronghold fall and crumble, and Ilmarinen opens the locks and gates as if by magic.

Lemminkainen finds the Sampo in the mountain, and

though he labors with heroic strength, the treasure remains buried with strong roots surrounding it.

The reckless hero

harnesses a mighty ox and plows the roots about the Sampo.

59

Wainamoinen takes the treasure, hides it in his vessel, and they sail homeward joyfully.

Three days later, dis­

obeying Wainamoinen1s command, Lemminkainen begins to sing in loud and harsh tones which are heard beyond the seven oceans.

A crane hears his singing, and screeching and

screaming he flies over Pohjolafs hills and hamlets to awaken the people from their slumbers*

Louhi hastens to

inspect her treasures, and discovers the Sampo is gone. She asks the sea-fog virgin to send a thick fog enshroud­ ing the vessel; Iku-Turso to raise his ugly head above the billows and destroy Wainolafs heroes; and TJkko to send heavy storm clouds and winds upon the- sea.

Wainamoinen

successfully combats these obstacles, but when the winds roar andthe waves lash against the vessel, his is swept

away.

magic harp

The heroes repair their sinking ship and

Wainamoinen steers his boat through the roughest seas of the Northland. RUNE XLIII Louhi1s

THE SAMPO LOST IN THE SEA

army sail in a mighty warship to retake the

wondrous Sampo from the heroes of Wainola.

Wainamoinen

asks Lemminkainen to mount the highest topmast and see if warships from Pohjola are pursuing them.

Then he utters;

"From the north a boat pursues us, Driven by a hundred rowers, Carrying a thousand heroes 1” (p. 630)

60 The heroes row with all their might but the boat does not speed ahead.

Wainamoinen quickly casts some fragments on

the waters, and speaking a few magic words, a mountain springs up in the sea against which Louhi!s warship is wrecked.

Louhi quickly changes herself into a monster

eagle, swoops down upon the vessel and grasps the Sampo in her talons.

Paring Lemminkfiinen thrusts his broadsword in­

to the eaglefs talons, and mighty Wainamoinen "Thinking he had met destruction, Snatched the rudder from the waters, With it smote the monster eagle, Smote the eagle!s iron talons, Smote her countless feathered heroes."

(p. 655)

The eagle again grasps the Sampo but the treasure drops in­ to the sea and only fragments are floating on the rolling billows.

Wainamoinen rejoices for he believes this is the

beginning of good

fortune in sowing of grain on the fertile

plains of Suomi (Finland).

Louhi threatens destruction,

and then taking a few worthless fragments of the Sampo, she departs, weeping and wailing, for her cold and dark North­ land. RUNE XLIV

BIRTH OF THE SECOND HARP

Wainamoinen asks his brother, Ilmarinen, to forge a huge rake of iron

with which

fishbone from the

sea.

he may regain hisharp

With the magic rake,

of

61 "Teeth in length a hundred fathoms, And a thousand long the handle." (p. 642) the hero rakes the ocean, hut does not find his harp.

He

fashions a harp from a lamenting and sacred hirch tree, and the harp strings from a maiden’s golden ringlets. Wainamoinen plays for three days, and as his beautiful music is heard throughout the land, young and old stop in wonderment at its beauty, and speak in unison: "Never have we heard such playing, Uever heard such strains of music Never since the earth was fashioned, As the songs of this magician, This sweet singer, Wainamoinen!" (p. 648) RUNE XLV

BIRTH OF THE NINE DISEASES

Louhi becomes envious and angry as she hears that Wainola prospers, and she long considers what destruction to send the people of Kalevala.

lowyatar, the blind, ugly,

and wicked daughter of Tuoni, travels to the ancient halls of Pohjola to bear her nine evil children.

She names her

offspring Colic, Pleurisy, Fever, Ulcer, Plague, Consumption, Gout, Sterility and Cancer.

Louhi and Lowyatar quickly ban­

ish them to the people of Wainola.

Wainamoinen hastens to

his peoples1 rescue with prayers to Ukko, vapor baths, sac­ red waters, and as he applies balsams and honey to his suf­ ferers, Wainamoinen expels the nine diseases and saves his people from destruction.

62 RUNE XLVI

OTSO THE HONEY-EATER

Louhi, hearing that Wainola had recovered from her troubles and misfortunes, drives Otso, the mighty bear of Finland, to Wainolafs pastures.

With a magic spear and

his dog, Wainamoinen finds the bear waiting in the forest, and brings him back to the village as his guest.

When the

people hear the hero sing, they wonder, but the mighty Otso is made welcome and lead to the dining hall.

A great

feast is held during which Wainamoinen relates the origin of Otso.

Later,.the bear is taken away, and the ancient

minstrel plays his harp and sweetly sings through the long and dreary evening. RUNE XLVII

LOUHI STEALS SUN, MOON, AND FIRE

Louhi makes the Sun, Moon and fire her captives, and all the cabins and mansions in Wrainola and the Northland be­ come cold and cheerless.

Darkness rules in Kalevala.

Ukko

wonders why the Sun and Moon do not shine, Then great Ukko walked the heavens, To the border of the cloudlets, In his purple-colored vestments, In his silver-tinselled sandals, Seeking for the golden moonlight, Looking for the silver sunshine, (pp. 680-681) Fire

shoots from his sword, and Ukko hides a little flame

In a

gold and silver box and gives It to the

ether maiden

63

to rock, That it might become a new moon, That a second sun might follow, (p. 681) The maiden tends the Fire-child, but in an unguarded moment it escapes her and shoots "through nine starry vaults of ether."

Wainamoinen and Ilmarinen gaze at the flashing

ball of fire, and decide to find the sacred Fire-child. Building a boat, they sail to the head of Nawa river where Ilmatar, the ether daughter, meets them and questions their destination.

In reply to Wainamoinen, Ilmatar speaks,

"Hard the flame is to discover, Hard indeed to find the Fire-chiId; Has committed many mischiefs, Nothing good has he accomplished;" (p. 684) and she continues to relate the history of the Fire-chiId. After burning the fields and forests, it falls into the Alue lake where the waters hiss, sputter, roll and tumble in anger.

A daring whiting swallows the wicked Fire-child,

but shortly the fish is seized with "burning pain and writhing tortures."

After three days he addresses the oth­

er fish and begs one to swallow him In his agonies.

A

trout comes to the rescue, experiences the same torments, as does also the gray-pike.

The brothers weave a mighty

fish-net to capture the pike, but they are unsuccessful.

64 RIME XLVIII

CAPTURE OF THE FIRE.-FISH

Wainamoinen plans to weave a net of flax-yarn with which to catch the Fire-pike.

They search for the flax­

seed, sow It near the Alue lake, and in a single summer night the flax grows and ripens.

Maidens quickly spin the

flaxen threads, and the brothers weave it into a fish-net a hundred fathoms in length.

The young men drag the magic

net lengthwise and sidewise, but do not catch the Firefish.

Wainamoinen and Ilmarinen try fishing alone, but are

unsuccessful.

They increase the size of the net many fath­

oms, but are still unable to catch the pike.

Wainamoinen

prays to Ahto, king of all the waters, to drive the pike from their resting places to the magic fish-net.

A pigmy

arises from the waters and helps to frighten the fish into Wainamoinen^ net, and the Fire-pike is among them.

Quickly

the hero carves the pike, and therein finds the lake-trout, and inside this, the whiting.

Within the whiting is the

ball of fire which had fallen from the heavens.

The fire­

ball singes Wainamoinen1s beard and burns the brow and fin­ gers of Ilmarinen before it rolls along the shore and through the forests.

The ancient hero finds the Fire-child

sleeping in an elm tree, and returns him to the hearths of his people in Wainola.

Ilmarinen hastens to the sea, wash­

es his burns, addresses the evil Panu (Fire-child), offers

65

a prayer to Ukko, and thus, is relieved from his agonies and tortures. RUNE XLIX

RESTORATION OP THE SUN AND MOON

Fire returns to the Northland, but neither the Sun nor Moon is shining and the crops, cattle, and people be­ come sick and perish in the cold and darkness.

A maiden

asks Ilmarinen to forge a new Moon and Sun from his metals, and as he labors, Wainamoinen speaks, "Senseless blacksmith of the ages, Vainly does thou swing thy hammer, Vainly rings thy mighty anvil % Silver will not gleam as sunshine, Not of gold is born the moonlightJM (p. 703) Ilmarinen hurls his Moon to the pine-tree branches and the silver Sun he stations in an elm-tree on the mountain, but neither the Sun nor Moon shine.

In answer to Wainamoinen1s

question, the alder tells him that the Sun and Moon lie hidden within the portals of the copper mountain in Pohjola, and so the ancient magician hastens on his journey to the Northland.

He comes to the river of Pohjola, but there is

no ferry-maiden with a boat, so he changes into a pike and swims across.

On the other side he resumes his native form

and walks like a mighty hero.

The evil sons of Pohjolafs

court Invite him, and as he enters they stand ready with swords, axes, and bows and arrows.

When the old hero is

66 told the Sun and Moon are hidden and will never shine, he challenges them to a test of spear or broadsword, but As the house-maid slice the turnips, As they lop the heads of cabbage, As the stalks of flax are broken, So the heads of Louhi1s heroes Fall before the magic broadsword Of the ancient Wainamoinen. (p. 709) Wainamoinen goes to the copper mountain, chips the pillar, peers through the crevice and observes inside serpents drinking beer and alders eating spices.

He unsuccessfully

attempts to open wide the portals, and returns to his native land to ask his brother to forge a magic trident, steel rings, master keys, and iron bars and hammers. Ilmarinen forges,

Louhi appears in the form of

andquestions him

regarding his work.

As

an eagle

His answer makes

Louhi see misfortune and destruction approaching, so she quickly flies home and unlocks the massive portals where the Sun and Moon are hidden.

Louhi changes into a dove of

good-luck and flies to Ilmarinen1s smithy to tell the joy­ ful tidings that the Sun and Moon have left their prison in the copper mountain.

The brothers scan the distant

horizon and again see the silver sunshine and golden moon­ light bringing peace, joy, and plenty to the land of Wainola.

67 RUNE L

MARI ATT A---- WAINAMOINEN *S DEPARTURE

Mariatta, a child of beauty and a virgin shepherdess, plucks a mountain berry and shortly thereafter becomes preg­ nant.

Her mother and father condemn her as an evil child of

HIsi, and she Is forced to leave and seek another place In which to bear her child.

With her servant, Piltti, they

wander to Ruotus1 cabin in the village, but are not welcomed. An outcast from her father*s dwelling, Marietta goes to the stable in the forest, near Hisi*s flaming steed, and bears her babe in a woodland-manger.

She wraps him in swaddling

clothes, lays-him in^ robe s.of linen, and carefully guards her golden child of beauty. Mariatta slumbers.

But alas, the child vanishes while

Weeping, she hastens to look everywhere

for him, on the mountain and in the vale, examining every tree and thicket.

When the star of the Northland and the

Moon fail to tell her where the babe is hidden, Mariatta questions the silver Sun, who answers: Yonder is There thy Hidden to Hidden in

thy golden infant, holy babe lies sleeping, his belt in water, the reeds and rushes, (p. 729)

She takes the infant to her father’s dwelling where he grows in strength and wisdom.

The priest does not baptize

the child for he fears he Is unworthy and a son of witch­ craft.

Wainamoinen also believes this, until the child of

68 Mariatta, only two weeks old, answers the old hero with such, intelligence arid wisdom that he blesses the wonderbabe and gives him the rights to become a mighty ruler. Wainamoinen recognizes his waning powers, so he sings himself a boat of copper and sails westward singing a farewell song to the Northland and to the people of Wainola.

CHAPTER IV ANALYSES OP POUR SYMPHONIC COMPOSITIONS BY SIBELIUS INSPIRED AND BASED ON THE KALEVALA The four Kalevala*compositions of Sibelius which have been published and recorded are The Swan of Tuonela, Lemminkainen1s Homeward Journey, Pohjola1s Daughter and Tapiola. It might be of interest to mention here that Sibelius has written about nine other works based on the Kalevala.

The four in manuscript are (1) Kullervo, Op, 7,

a symphonic poem for orchestra, soli and chorus,

(2) Lem-

mink&inen and the Maidens and (3) Lemminkainen in Tuonela, Op, 22, from the Four Legends for Orchestra, and (4) The Song of Vaino, Op. 110, for chorus and orchestra.

Those

published by Breitkopf & Hartel are (5) Terve kuu and (6) Venematka, Op. 18, part-songs for male voices a cappel la,

(7) The Origin of Fire, Op. 32, for baritone, male

chorus and orchestra,

(8) Kyllikki, Op. 41, three lyric

pieces for piano, and (9) Luonnotar, Op. 70, for soprano and orchestra.

As far as can be determined, four of these

works were performed only on one or two occasions. others have been totally neglected.

The

For a more detailed

though limited discussion in English on some of the works mentioned above the reader is referred to Cecil Grayfs

70 Sibelius and Gerald Abraham1s The Music of Sibelius. THE SWAN OP TUONELA The Swan of Tuonela» (op. 22) was composed by Sibelius in 1893 as a prelude to an opera, "The Building of the Boat."

The opera was never written,.but the prel­

ude later became the third number of the Lemminkainen suite, titled Four Legends for Orchestra.

The Legends

are based on the adventures of Lemminkainen, one of the main heroes of the Kalevala.

In the case of The Swan of

Tuonela, the music suggests a certain mood and atmosphere, and does not depict specific events or episodes.

The in­

scription on the score is as follows: "Tuonela, the King­ dom of Death, is surrounded by a broad river of black water and rapid current in which a swan glides along majes­ tically and sings."

Vivid and detailed descriptions of

Tuonela are to be found in Runes XIV, XV, XVI, AND XIX. Sibelius could have been inspired by any one or several of these descriptions.

Following are two quotations from

Rune XIV of the Kalevala: Then the reckless Lemminkainen, Handsome hero, Kaukomieli, Braved the third test of the hero, Started out to hunt the wild-swan, Hunt the long-necked, graceful swimmer, In TuoniTs coal-black river, In Manalafs lower regions.

71 Quick the daring hunter journeyed, Hastened off with fearless footsteps, To the river of Tuoni, To the sacred stream and whirlpool, With his how upon his shoulder, With his quiver and one arrow. Northlandfs old and wretched shepherd, Nasshut, the despised protector Of the flocks of Sariola^ Throws the dying Lemminkainen, Throws the hero of the islands, Into Tuonelafs river, To the blackest stream of death-land, To the worst of fatal whirlpools. Lemminkainen, wild and daring, Helpless falls upon the waters, Floating down the coal-black current, Through the cataract and rapids To the tombs of Tuonela. The Swan of Tuonela is a beautiful masterpiece of 102 measures in the form of a symphonic poem.

While the

feeling of the piece is one of continuous flow, it may be divided into two parts.

Part A extends from the beginning

(Andante molto sostenuto) to approximately the middle (Meno moderato, measure 58), and Part B is from measure 58 to the end.

The meter is 9/4, and the tempo is slow throughout

except for a middle section (measures 65-70) which is slightly faster. A strong melodic line dominates the music - a beau­ tiful flowing melody representing the swan gliding down the dark river.

This is carried throughout by the English horn,

thus preserving the mood continuously.

72 Coloring of a most individual kind is the result of the instrumentation.

The high brilliant instruments are

conspicuous by their absence.

The violins are divided into

sight parts, violas two, and celli two parts.

The only

other remaining instruments are the oboe, bass clarinet in Bb, bassoon, four French horns, three trombones, tympani, bass drum, harp, and string bass.

T h i s ‘unusual orchestra,

with its sustained chords, tremolo and pizzicato, gives an ideal accompaniment to the solo English horn and readily depicts the broad, silent and black river, which surrounds Tuonela.

While the English horn is heard practically

throughout, it occasionally is silent for a few measures, and during the pauses the violas and celli have melodic as­ cending passages.

From measures 75-84 the strings in unison

sing their only solo in this composition. On first hearing the piece seems to be of'rather vague tonality, but examination shows that it stays very close to the key of A minor. Sibelius has certain favorite chord formations of which the most common are minor sevenths. augmented and major chords may be found. See example on following page.

Also diminished,

73

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76 LEMMINKAINEN1S HOMEWARD JOURNEY Lemminkainen1s Homeward Journey (op. 22) was com­ posed In 1895 and is the fourth of the Four Legends for Orchestra.

This composition is also called Lemminkainen

Journeys Homeward and The Return of Lemmink&inen. Lemminkainen is the warrior-hero of Finnish mythol­ ogy.

In all his many adventures he successfully escapes

or is rescued by magical powers.

After each exploit he

returns home, and by actual count there are five such homecomings described in the Kalevala.

Lemminkainen In

each instance Is joyful over the prospect of returning home to his dear, aged mother, and where the scenes are full of childhood memories.

The music does not describe

specific incidents, but rather reflects Lemminkainen1s emotions on returning home.

As erroneously printed in the

pamphlet accompanying the Victor recording of this compo­ sition, the music is not specifically based on certain lines in Rune XXX of the Kalevala (Kirby translation), for there is nothing in the score to indicate this, nor does Sibelius make any definite statement or reference on this point.

It is wisest, perhaps, to feel that the music re­

fers to any one of the five homecomings, or to all five in general which are described in the poem. Following are quotations from five different runes

77 describing Lemminkainen returning home.

In Rune XI, titled

“Lemminkainen1s Lament,” the hero goes North to the village of Sahri to woo the lovely maiden, Kyllikki, but she scorns his attentions.

Later he snatches her and carries her off

to his distant home. Quick the racer galloped homeward, Galloped on along the highway, Toward the meadows of Wainola, To the plains of Kalevala. As they neared the Ahti-dwelling, Thus Kyllikki spake in sorrow: ”Cold and dreary is thy cottage, Seeming like a place deserted; Who may own this dismal cabin, Who the one so little honored?” Spake the hero, Lemminkainen, These the words that Ahti uttered: ”Do not grieve about my cottage, Have no care about my chambers; I shall build thee other dwellings, I shall fashion them much better, Beams, and posts, and sills, and rafters, Fashioned from the sacred birch-tree.” Now Jjhey reach the home of Ahti, Lemminkainen1s home and birthplace, Enter they his motherfs cottage; There they meet his aged mother, These the words the mother uses: ”Long indeed hast thou-been absent, Long In foreign lands hast wandered, Long In Sahri thou hast lingered\" In Rune XV, titled ”Lemminkainen*s Restoration,” he was thrown into the river of death, Tuoni, and his mother rescued him and restored him to life. Lemminkainen, filled with wisdom, With his fond and faithful mother,

78 Hastened straightway on his journey To his distant home and kindred, To Wainola!s fragrant meadows, To the plains of Kalevala. In Rime XXVIII, titled t!The Mother’s Counsel,” Lemminkainen is hurrying away from enemies and trouble in the Northland, and returns home in the form of an eagle. Then the Ahti-eagle hastened Straightway to his mother*s cottage, In his face the look of trouble, In his heart the pangs of sorrow. Ahti*s mother ran to meet him, When she spied him in the pathway, Walking toward her island-dwelling; These the words the mother uttered: l!0f my sons thou art the bravest, Art the strongest of my children; Wherefore then comes thine annoyance, On returning from Pohjola?” -In Rune XXIX, ’’The Isle of Refuge,” Lemminkainen sails to this Isle for greater security from his enemies, and remains there three years.

He later returns to his

island home, but doesn’t find it, nor his father or mother for many days. Travelled far and travelled farther, Still a greater distance travelled, To a dense and hidden glenwood, In the middle of the Island; Pound therein a sheltered cabin, Pound a small and darksome dwelling Built between the rocky ledges, In the midst of triple pine trees; And within he spied his mother, Found his gray-haired mother weeping.

79 Lemminkainen loud rejoices, Cries in tones of joyful greetings, These the words that Ahti utters: "Faithful mother, well-beloved, Thou that gavest me existence, Happy I, that thou art living, That thou hast not yet departed To the kingdom of Tuoni, To the islands of the blessed, I had thought that thou hadst perished, Hadst been murdered by my foemen, Hadst been slain with bows and arrows. Heavy are mine eyes from weeping, And my cheeks are white with sorrow, Since I thought my mother slaughtered For the sins I had committedI” Lemmink&inen* s mother answered: "Long, indeed, hast thou been absent, Long, my son, hast thou been living In thy fatherfs Isle of Refuge, Roaming on the secret island, Living at the doors of strangers, Living in a nameless country, Refuge from the Northland foemen.ri In Rune XXX, "The Frost Fiend," wicked Frost freezes everything before him and sends the fiercest cold in the Northland.

He attempts to freeze Lemminkainen and his com­

panion, Tiera, but through magic they escape.

This Is the

fifth and last homecoming of the reckless hero. Then the hero Lemminkainen, Made from cares the fleetest racers, Sable racers from his sorrows, Reins he made from days of evil, From his sacred pains made saddles. To the saddle, quickly springing, Galloped he away from trouble, To his dear and aged mother; And his comrade, faithful Tiera, Galloped to his Island-dwelling.

80

Lemminkainen1s Homeward Journey is one of Sibelius1 lesser known orchestral compositions, but upon analysis and repeated hearings, one discovers the music possesses vigor, excitement, and general programmatic interest. is filled with orchestral color and contrast.

It

The 481-

measure composition is in the form of a free fantasy. There are no formal divisions in this work; however, one may readily discern a coda or finale section (Quasi Presto, measure 597) because of the introduction of two new short themes, an accelerando of the tempo, and a slight change in the style suggesting an immediate and brilliant closing. On first hearing, the notable feature of Lemminkai­ n e n 1s Homeward Journey is its rapidity of tempo.

It re­

quires no imagination, whatsoever, to know that the music describes something or someone who is traveling with a Pegasus-like speed, and In this case, Lemminkainen who is swiftly journeying homeward. The impressions of speed and the racing of Lemmin­ kainen 1s horses are further accentuated by the sustained notes, trills, and figurative passages in the violas, celli and string basses. See example on next page.

81

Later, at D, (measure 140) the celli, sometimes re­ inforced by the violas and double basses, are in dialogue with the bassoons.

*f5ass

/

.THEME, A Measures 28-30

First introduced by oboes, developed by oboes

Accompaniment shown in Example 3b in analysis •

Measure 34

Clarinets in octaves, de­ veloped by winds

Wainamoinen trav­ elling South

Measures 171-176

English Horn, Bass Clari­ net, Bassoons, French Horns, and Cellos

Same accompani­ ment

Measures 182-183

Cornets and trumpets, de­ veloped by these instru­ ments, later by others

Measures 203-204

Bass Clarinet, French Horns, and cellos

Wainamoinen trav­ eling in search of a cure for his wound

89 .THEMES B and C These are closely associated Measures 57-58

Introduced by oboe Theme B

Accompaniment shown at Example 6 in analysis

Measure 59

Answered by English Horn

Measure 60

Flutes in octaves and First Clarinet

Theme C# Conversation be­ tween Wainamoinen and the maiden

Measure 61

Oboe

Theme B

Measure 62

Flutes and Clari­ nets

Theme C-«- Theme C in sequence on F#, G and A scale degrees

Measure 63

Oboe

Theme B

Measure 64

Flutes and Clarinets

Theme C*

Measure 66

Flutes

Theme C

Measures 91-92

Bassoons and English Horn

Theme B

Similar accompani­ ment

Measure 96

Engli sh Horn and Bass Clarinet

Theme.B

Pizzicato in strings

Measure 97

Flutes, Oboes, Clarinets in oc­ taves

Theme C-& Similar sequence In B, C, D scale degrees

Measure 98

English Horn and Bass Clarinet

Theme B

Measure 99

Second flute, oboes Theme C-* in8va., 2nd clarinet

Measure 101

Flutes

Theme C-*

Drops a fifth to E

90 THEMES B and C (Continued) Measures 232-235

Flutes, Oboes, English Horn, Violins I and II, and Viola

Theme C

Measures 236-239

Flutes, Oboes, English Horn, French Horns, and Cornets

Theme C

Accompaniment - triplets in strings Accompaniment - pizzicato in strings. Wain­ amoinen reflects upon happier days

& Indicates Theme C in sequence

Other themes and fragments simply appear and are de­ veloped in the course of the story.

The thematic unity Is

rather loose. Instrumentally the work begins with deep, somber G minor chords from the bassoons, French horns, cellos, with a solo cello playing a slow, melodic passage for six meas­ ures.

(Example No. 1 on p. 3 S )•

From measures 7-14 the

bassoon and later the bass clarinet join in a figurative passage.

This beginning in Pohjola1s Daughter seems to In­

troduce the old and truthful hero, Wainamoinen.

At A (meas­

ure 15) the English horn and clarinet alternate with short passages (Example No. 2) while the French horns, harp, and cellos play a pedal point on G.

Later, the strings enter

with a rhythmic passage depicting Wainamoinen riding home­ ward from the North. (Example No. 3a).

This works into a

rather simple but Interesting accompaniment for divided strings (8 parts) which continues, except for six measures, for twenty-three measures.

(Example No. 3b).

Above this

91 accompaniment the ohoes introduce the first principal melody, Theme A, at measure 28 (Example No. 4) which is taken and developed by all the woodwinds.

The music be­

comes louder and more agitated, with the trumpets piercing through with short fanfare figures (measures 42-49).

The

brasses enter with an interesting dynamic outburst (meas­ ures 50-56) so often heard in Sibelius1 music.

(Example

No. 5). At Tranquillo molto (measure 57) the music suddenly changes in character and to a new key, that of C# minor. The oboe introduces the second principal melody, Theme B, and Example No. 6 on p. 96

shows the construction of the

music which so uniquely portrays P o h j o l a ^ daughter seated on the rainbow weaving.

Two measures later the English

horn answers, and then, in the next measure, two flutes in octaves with clarinet play the third principal melody. (Example No. 7).

These two motives in the woodwinds alter­

nate, and could easily represent the dialogue between Wainamoinen and the maiden.

The winds, muted strings and

harp paint a picture in soft colors. continues to remain light.

The instrumentation

Wainamoinen quickly and easily

completes the task that she set for him.

At E (measure 89)

we again hear the weaving motive, this time played by the woodwinds, and know that he has returned to the maiden and they are engaged in conversation as portrayed by the wood­

92 winds, in alternating Themes B and C.

This continues to

the Allegro (measure 114) at which point the music changes and we know that Wainamoinen is commencing his last and most difficult task, that of making a boat from the frag­ ments of her spindle.

With tremolo, runs, and short

fragments, the music begins soft and gradually increases in volume with short, sharp chords in the brasses.

Sudden­

ly the weaving motive (Example No. 6) is heard for seven measures (145-151).

The maiden spins a few strands of

golden thread to show her indifference, perhaps, and laughs at the old man's struggles.

The music becomes frenzied.

Wainamoinen1s hatchet slips and severely wounds his knee. As we again hear the interesting accompaniment (Example No. 3b) and Theme A, at measure 171, in the English horn, bass clarinet, bassoons, French horns and cellos, and later at measure 182 in the cornets and trumpets, we know that he is journeying in search of a cure for his wound.

This sec­

tion is similar to that in the first part of the composition except that it is about twenty measures longer, and the in­ strumentation is slightly changed. In the closing section, Un pochissimo con moto (meas­ ure 222), Wainamoinen seems to reflect upon happier days as we again hear Theme C for eight measures at measure 232. As his wound is cured and he gives praise to the Creator, the music closes with peace and serenity.

93

Th© whole introduction through twenty-two measures is dominated by a low pedal point in the “bass and tenor instruments and in the harp on the chord of G- minor.

To

this point the music is diatonic, the only chromatic toeing the E natural in measures 10 and 11 of the bassoon and bass clarinet parts which actually belongs in the melodic form of the G minor scale.

At measure 28 the theme which

was introduced earlier becomes accompaniment background. After two measures on the minor dominant it again is based on the tonic chord of G minor.

This prevails with no

change in key or in diatonic character until the sudden modulation to the key of C# minor, entered through a melo­ dy on the supertonic chord at measure 57. For the next ten measures the music is in -0# minor followed by three measures of suggested keys (B minor and A major) leading to a section of nineteen measures largely unison, sometimes chromatic, sometimes suggestive of the original G minor.

From measures 89 to 113 there is a re­

turn to the weaving motive, this time in the key of C minor instead of C# minor.

From measures 114 to 144 the

music is chromatic, a transition passage of short frag­ ments, scales, and faint thematic references moving toward the original G minor again which it reaches at measure 137. At measure 145 we again have the weaving motive for seven measures and this time it seems to be in the key of

94 E minor.

There follows a section of chromaticism, and

then, at measure 161 the music becomes similar to that in the first part of the piece, about measure 15.

At

measure 165 there is a change of key signature to two flats, G minor, and this key remains for the next ninetyfive measures to the end of the composition with a pedal point in the basses on Bb in measures 188-200.

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97 TAPIOLA Tapiola (op. 112) is a magnificentn*:wprk

for orches­

tra by Sibelius which has been recorded but is seldom per­ formed on concert programs.

It was published in 1926 and

dedicated to Dr. Walter Damrosch. The name Tapiola comes from Tapio, the ancient forest god of Finnish mythology, and refers to Tapiofs abode, the dark and sombre forests.

In the score there is a descrip­

tive four-line verse as follows: Wide-spread they stand, the Northlandfs dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forestfs mighty God, And wood-sprites in the gloom weave magic secrets. Tapiola is a tone poem of 634 measures In length. It is a work of a continuous whole with no formal or defi­ nite divisions.

Unity is also achieved by the composerfs

remarkable ability to create a composition out of one short thematic fragment.

Though the theme undergoes many differ­

ent transformations, what might be called variations, it retains its original character. The melody is introduced by the strings immediately after a drum roll on the first beat.

(Example No. 1).

This

Is repeated, then the woodwinds play a slight variation for seven measures.

Changing from Largamente to Allegro moder-

ato (measure 21) the strings give out a rapid figure for

98 only five measures that is another variation of Ho. 1. (Example Ho. 2).

Then Ho. 1 is heard again in its original

form (measure 26) and is repeated eighteen times with no change except that it is built upon several scale degrees. Eleven of the theme repetitions are played by the violas divided into four parts.

Underneath all this, the bassoons

and muted cellos play an interesting, swaying, restless bass that seems to go on and on.

(Example Ho. 3).

In this

section one finds another characteristic device of Sibelius: a pedal point on B played by the string basses for some thirty-five measures. At C (measure 106) there emerges another of those heaving and swaying accompaniments, though this is very in­ distinct and serves mostly as a background for two addition­ al variations of the principal theme.

Introduced by muted

violins one measure before C, the accompaniment continues for seventy-eight measures.

Each string section is divided

into four parts except the string basses, making a total of eighteen different parts.1which are dissonant in appear­ ance but not in sound, and which are perpetually crossing. (Example Ho. 4).

The main interest In this section Is in

the woodwinds which play two variations of $o.l (Examples Hos. 5 and 7).

Between the two variations there are twelve

measures in which there is still another variation, played twice by the clarinets and doubled the first time with the

99

violas and the second time with the cellos. ately repeated by a solo bassoon,

This is immedi­

(Example No, 6),

This

section is brought to a close with a new version of No, 1 in hushed tones, and dark colors with the woodwinds and horns in low registers and the violas, cellos, and basses added a few measures later,

(Measures 182-207),

The next section (measure 208) begins like a scherzo with some light, aerial passages interchanged higher woodwinds and the divided strings,

between the

(Example No, 8),

For all its different appearance, the melodic line is still that of No. 1,

Through this are heard solemn horn calls.

Variations of No. 5 are played by the bassoon (measure 223), the clarinet (measure 225), followed two measures later by the bass clarinet.

Next^ the strings, in octaves, play an

augmentation of No. 5. From measures 242-268 the strings, with the timpani for a few measures, have a rhythmic figure similar to No. 2, while the woodwinds and horns give a var­ iation of No. 5 which is similar to that found between measures 223-229. . Other instruments have long sustained chords• Beginning at measure 274 three flutes with bassoons added later give another version of the theme with a rather peculiar and bleak harmony, though certainly not unlike other passages of Sibelius.

At measure 290 the colour

changes completely, all Instruments disappearing save the

100 muted strings which are divided into several parts.

They

give out various modifications of the basic theme which are filled wlthia k3nd *of melancholy characteristic of Sibelius. The section comes to a close (measures 353-358) with one of those decisive, dictatorial outbursts from the heavy brass which one finds often in his music.

(Example No. 9).

The tempo now changes to Allegro (measure 359); the basic theme, though distributed over the whole orchestra, is most clearly heard in the strings.

At measure 397 the

music becomes more insistent and threatening and a still dif­ ferent figure is repeated four times.

(Example No. 10).

At

measure 417 the theme appears in a new shape with woodwinds carrying the melody over a pattering accompaniment in the plucked strings.

(Example No. 11).

variations is repeated eleven times.

This melody with slight With a change to Alle­

gro moderato the theme is now heard in double octaves in the strings over rich chords in the brasses.

The passage follow­

ing (measures 471-512) is similar to that at C (measure 106) except for being a few measures shorter. At measure 513 (Allegro) there comes a type of pas­ sage of which Sibelius seems to be quite fond: a long piling up of ascending and descending chromatic triplets, sounding like tremolo, in the divided strings.

It gives the effect

of a rushing and wailing wind through the giant fir trees of the northern forests.

Forty measures later (Measure

101 552, Q) we hear a short three-measure savage outburst from the brasses, similar to Nos. 9 and 11, and this is repeated four measures later.

Again the brass play the commanding

figure of No. 11, though this time augmentsted from the original six -to eleven measures.

The strings descend chro­

matically to a piano, allowing the flutes, second clarinet, and bassoons to echo the theme just played by the brass. After a rush in the woodwinds and strings, the latter gives out broadly a variant of No. 1 while a few woodwinds are heard here and there and one can feel that the music is draw ing to a close. Tapiola is in the key of B minor.

Introduced at the

beginning by the chords of E major seventh and A# minor small seventh, there Is a temporary feeling of a G# minor tonality.

A few measures later the chords of C diminished,

P diminished, B minor, G# diminished small seventh, D major, C# minor and again B minor appear in that order.

Near B

(measure 69) a pedal point on B In the string basses begins and continues almost to C (measure 106) and this section Is still definitely In B minor.

At F (measure 182) the chords

of G augmented, F# minor seventh and B diminished appear. With several repetitions of these harmonies, the passage closes in G minor with a pedal point on D for the last seven and a half measures before G (measure 208). U n iv e rs ity o f S o u th e rn G a tffem ta Llferfcty

102 The above chords, repeated innumerable times, con­ stitute the prevailing and dominant harmonies in this sym­ phonic poem, Tapiola.

About measure 605 (before S) the

feeling of a major tonality is felt and heard for the first time in the closing passage through the E major chord (sub­ dominant), followed by the lovely, sustained chord of B major for the last eleven measures.

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XV, XXVIII,

XXVIX, XXX). 3.

Play a recording of Lemminkainen1s Homeward Journey, (playing time 5 minutes)

4.

Have students comment on the piece. a. mood and style (fast, exciting, vigorous). b. form (free fantasy with coda or finale section). c. instrumentation (1) full orchestra, no solo instruments. (2) sustained notes, trills, figurative pas­ sages, pedal points.

5.

Indicate the theme on the blackboard, and play the piece

again. Discuss quit© fully the Kalevala. a. what it is, development, characteristics, influ­ ences, etc. b. compare it with Longfellow^ Song: of Hiawatha. c. show a copy of the Kalevala and encourage the students interested to read it sometime. LESSON THREE

(50 minute period)

Review the discussion on the Kalevala. Discuss the setting of Poh.iola1s Daughter and read ex­ cerpts from Runes VIII and IX. Play the recording.

(playing time 12 minutes)

Point out instrumentation and special devices used to depict the story episodes. a. solo instruments (cello, oboe, other woodwinds). b. low register instruments introduce Wainamoinen. c. figurative passages in strings represents Waina­ moinen returning home. d. harp and strings in weaving motive (maiden on rainbow weaving). e. dialogue between instruments represents their conversations•

110 5.

Write down the seven sections of the story and indi­ cate each as the music is played again.,

6.

Play Pohjola 1s Daughter again. LESSON FOUR

1.

(50 minute period)

Comment on Tapiola and read the descriptive four-line verse in the score.

2.

Play the recording,

(playing time 18 minutes)

3.

Show theme motive with its variations or transformations.

4.

Show interesting orchestral devices. a. heaving and swaying accompaniment in bassoons and celli. b. divided violas (4) play theme motive eleven times. c. sudden savage outbursts in brasses. d. divided strings in chromatic triplets, giving a tremolo, rustling effect.

5.

Re-read the verse and play the composition again.

6.

Have students express opinions on the four works dis­ cussed and played in this Unit.

Answer questions.

It is optional to include one or two other composir: tions of Sibelius in another lesson.

Mention can be made

Ill of Selim Palmgren, Armas Jarnefelt, Oskar Merikanto, Erikki Melartin, Uuno Klami, Frederick Pacius, Robert Kajanus, George Schneevoigt’• and others with some musical examples, if possible, in order to give a more complete picture of Finnish music. This plan, used in its entirety or in part, can be adapted for special music study groups and for music survey, music appreciation, music history and modern music courses offered on the college level.

CHAPTER VI SUMMARY AND CONCLUSIONS 1.

The study of the Kalevala * together with that of back­

grounds of Finnish national literature, is of definite value to students and teachers who wish to understand the music of Jean Sibelius. 2.

The four works discussed and analysed in this paper

were closely inspired by the Kalevala.

They are, moreover,

well known because of publication and recording.

Others,

related to the same sources, are (1) Kullervo (op. 7, a symphonic poem for orchestra, soli, chorus; 1892, Ms.), (2) Terve kuu and (3) Venematka (op. 18, part-songs for male voices a cappella; 1901, 1893, Breitkopf & Hartel), (4) Lemminkainen and the Maidens and (5) Lemminkainen in Tuonela (op. 22, numbers 1-2 from Four Legends for Orches­ tra : 1895, Ms.), (6) The Origin of Fire (op. 32, for bari­ tone, male chorus, orchestra; 1902, Breitkopf & Hartel), (7) Kyllikki (op. 41, three lyric pieces for piano; 1904, Breitkopf & Hartel),

(8) Luonnotar (op. 70, tone-poem for

soprano and orchestra; 1913, Breitkopf & Hartel), and (9) The Song of Vaino (op. 110, for chorus and orchestra; 1926, Ms.). 3.

In a study of Sibelius1 work, printed material Is common

113 In so far as the composer’s life and more familiar music are concerned, but the Kalevala sources are more difficult of access and are, on the whole, older.

The time spent in

their assemblage for practical use by the music teacher has, thus, been more than justified by the writer. i

4.

Aside from its direct value in the study of these

specific works, a knowledge of the Kalevala is worthwhile to teachers and students from purely cultural and literary standpoints.

The modern restoration of the Kalevala is

regarded by some scholars as one of the greatest literary contributions since Milton and the German classics.

Jacob

Grimm and Heymann Steinthal placed the poem on a level with other great epics such as the Iliad, Nibelungenlled, Song of Roland and Mahabharata.

Its influence on the Finnish

people has been tremendous and this is especially apparent in the creative works of many of their artists and writers. Because of its high literary merit, the epic poem became known early throughout the civilized countries and many Americans and Europeans made translations, wrote critical essays, and used it In other ways. 5.

In addition to the direct influence on the musical works

discussed in these pages, we find the epic to have had a broader relationship to the life of Sibelius.

Other influ­

ences on his life and compositions are (1) environment,

114 (2)

nature,

pension,

(3) education,

(4) literature,

(6) Scandinavian theatre,

(5) government

(7) his teachers,

Wegelius and Busoni, and (9) Kajanus and K. Flodin, con­ ductor and critic. 6.

The material herein assembled is practical for presen­

tation in school in either long or short units of study. It may be used, as has been done here, in a music appreci­ ation class for high school students, or in a literature class with reference to the music, or even as a section of study in a college or music club course on Sibelius or on Finnish life and culture.

1X5 SUGGESTIONS FOR FURTHER RESEARCH FOR SIBELIUS LITERARY BACKGROUNDS 1.

Study and analyse other Kalevala compositions as listed

at #2 above.

At the present time there does not appear to

be any foreign or domestic recordings or publications of these works available here, though this may be remedied somewhat in the future. 2.

Study and analyse some of the plays for which Sibelius

composed much incidental music. Lizard) by Mikael Lybeck;

They are (1) Odlan (The

(2) King Christian II and (3) The

Language of the Birds by Adolf Paul; Arvid Jarnefelt;

(5) Belshazar1s Feast by Hjalmar Procop£;

(6) Swanwhlte by August Strindberg; tomine) by Poul Khudsen; Maeterlinck;

(4) Kuolema (Death) by

(7) Scaramouche (a pan-

(8) Pelleas et Melisande by Maurice

(9) Jedermann (Everyman) by Hugo von Hofmann­

sthal; and (10) The Tempest by William Shakespeare. 3.

Investigate other Finnish composers, musicians, musical

organizations, schools, etc. and write a short history or survey on Finnish music. 4*

Read Finnish and Swedish poetry and make a survey of its

use in songs and choral works by Sibelius and other compos­ ers.

BIBLIOGRAPHY

117 BIBLIOGRAPHY This bibliography is divided under subject matter headings. A.

POPULAR STUDIES OF FINLAND

DeWindt, Harry, Finland As It JCs. & Co., 1910. 316 pp.

New York: E. P. Dutton

Finnish Section- of the New York World’s' Fair, editor, Sketches of Finland. Helsinki: Oy F. Tilgmann Ltd., 1939. 135 pp. Fox, Frank, Finland Today. 1926. 188 pp.

London: A. & C. Black Ltd.,

Franck, Harry A., A Scandinavian Summer (pp. 77-131). York: London: The Century Co., 1939. 397 pp. Jackson, John Hampden, Finland. 1940. 243 pp. McBride, Robert, Finland and Its M. McBride & Co., 1926. 118

New York: MacMillan Co., People. pp.

Reade, Arthur, Finland and the Finns. Meade & Co., 1915. 310 pp. Renwick, George, Finland Today. Son, 1911. 337 pp.

New

New York:

Robert

New York: Dodd,

New York: Chas.Scribner’s

Rosvall, Toivo, Finland. Land of Heroes. Dutton & Co., 1940. 272 pp.

New York: E. P.

Rothery, Agnes, Finland, the New Nation. Press, 1936. 239 pp.

New York: Viking

Strode, Hudson. Finland Forever. & Co., 1941. 443 pp.

New York: Harcourt, Brace

118 B.

THE KALEVALA, FINNISH POETRY AND MYTHOLOGY

Abercromby, John, The Pre-and Proto-historlo Finns. Vols. I-II. London: David Nutt, 1898* Billson, Charles J., The Popular Poetry of the Finns. London: David Nutt, 1900. 37 pp. Blankner, F. (comp.-ed.), History of Scandinavian Litera­ ture, (Chap. on Finnish Literature, pp. 291-3187T New York: Dial Press, 1938* Comparetti, Domenico, The Traditional Poetry of the Finns* London: Longmans, Green & Co., 1898. 359 pp. Crawford, John Martin (trans.), The Kalevala. Vols. I-II. New York: John B. Alden; London: G. P. Putnam!s Sons, 1889. Kirby, W. F. (trans.), Kalevala, The Land of Heroes. Vols. I-II. London: J. M. Dent & Sons, 1907 Lang, Andrew, Custom and M yth, (pp. 156-179). Longmans, Green & Co., 1904. 312 pp.

London:

Tolman, Albert H . , The Views About Hamlet and Other Essays. (Chap. on The Finnish Kalevala and the Epic Question, pp. 175-187). New York: Houghton, Mifflin 8c Co., 1906. 403 p p . PUBLICATIONS OF LEARNED ORGANIZATIONS Holmberg, Uno, "Finno-Ugric, Siberian Mythology” , Vol. IV of The Mythology of All Races. Canon J. A. MacCulloch, ed.). Boston: Archaeological Institute of America, Marshall Jones Co., 1927. 587 pp. ENCYCLOPEDIA ARTICLES Billson, Chas., article on prayer of the Finns and Lapps, Encyclopedia of Religion and Ethics. Vol. x, pp. 181182.

119 Krohn, K. Wm. Beveridge, two articles on the ancient Finns, Encyclopedia of Religion and Ethics, Vol. vi, pp. 22-26. two articles on Kalevala. Encyclopedia of Religion and Ethics, Vol. vii, Pp. 639-642* C.

HENRY WADSWORTH LONGFELLOW

Gorman, Herbert S., A Victorian Americans Henry Wadsworth Longfellow. New""York: George H. Doran Co., 1926. 363 pp. D.

JEAN SIBELIUS

Abraham, Gerald (editor), The Music of Sibelius. York: W. W. Norton Co. Inc., 1947. 218 pp* Arnold, Elliot^ Finlandia. The Story of Sibelius. York: Henry Holt & Co., 1941. 241 pp.

New New

Is Illustrated by Lolita Granahan* Ekman, Karl, Jean Sibelius, His Life and Personality,. York: A. A. Knopf, 1938. 270 pp*

New

Foreword by E. Newman. Gray, Cecil, Sibelius. London: Oxford University Press, H. Milford, 1931. 224 pp. Newmarch, Mrs. Rosa Harriet, Jean Sibelius, a Finnish Com­ poser. Leipzig: New York: Breitkopf & Hartel, 1906. 24 pp. . . . . . . , Jean Sibelius. Boston: C. C. Birchard Co., 1939. 131 pp. tf T o m e i Bengt d e , Sibelius. a, Close-up. Boston: HoughtonMifflin Co., 1937. 117 pp. ESSAYS Ewen, David, ,fSibelius.n The Book on Modern Composers. New York:.A. A. Knopf, 1942. Pp, 23-45.

120 Ewen, David, "Sibelius•” Twentieth Century Composers. New York: Thomas Y. Crowell Co., 1937. Pp. 79-96. Gray, Cecil, ffSibelius." A Survey of Contemporary Music. London: Oxford University Press, H. Milford, 1927* Thompson, Oscar (editor), ’’Sibelius.” Great Modern Com­ posers . New York: Dodd, Mead & Co., 1941. Pp. 303-326. • • • • • • (editor), 11Jean Sibelius,” by Olin Downes. The Internationa1 Cyclopedia of Music and Musicians. New York: Dodd, Mead & Co., 1943. Pp. 1715-1723. E*

PERIODICAL ARTICLES CONCERNING THE KALEVALA, FINNISH POETRY, LITERATURE, MYTHOLOGY AND NATIONALISM

Boas, Dr. Franz, ”Development of Folk Tales and Myths.” Scientific Monthly. (October, 1916.) Clark, Chas. Upson, ”The Kalevala.” 1898.)

The Forum. (April

’’Collection of Folk-lore in the Literary Society of Fin­ land." Journal of American Folk-lore. (January, 1892.) C. T‘. H . , (a Swedish journalist). "Finlandfs Last RuneSinger," Living Age. (August 23, 1924.) "Finland: Populace Celebrates Centenary of Its 'Kalevala1." Newsweek. (March 9, 1935.) Harboe, Paul, "Representative Finnish Writers.” m a n . (March, 1906,)

The Book­

Jenness, Eileen, "A Background to Finnish Renaissance," Canadian Geographical Journal. (March, 1940.) Mieler, Maria 0., "The National Quality of the Music of Finland.” Craftsman. (November, 1909.) "Poetry and Politics In Finland." views . (June, 1925.)

American Review of Re­

Ramsden, Hermione, "The Literature of Finland." Living Age. (December 31, 1904.)

121 Saari, John, ’’Finnish Nationalism Justifying Independence.” Annals of the American Academy» (March, 1944.) Strode, Hudson, "Torches Awaiting Fire.” of Literature. (March 8, 1941.)

Saturday Review

’’The Genius of^ Poetry as Manifested in Finland Yesterday and Today.” American Review of Reviews. (April, 1925.) Tietiens, Eunice, ’’Attitude Toward the Poet.” (November, 1939.)

Poetry.

Van Cleef, Eugene, "Finnish Poetry--Naturefs Mirror.” Scientific Monthly. (July, 1922.) F.

PERIODICAL ARTICLES CONCERNING JEAN SIBELIUS

Askeli, Henry, ”A Sketch of Sibelius the Man.” Quarterly. (January, 1940.)

The Musical

Beecham, Sir Thomas, ’’Sibelius the Craftsman.” (February, 1939.)

Living Age,

Bakeless, Katherine L., ’’Jean Sibelius.” (December 2, 1940.)

Scholastic.

Brant, LeRoy V., ’’Sibelius Today.”

Etude. (December, 1948.)

Downes, Olin, ”Symphonic Prophet.” (December 8, 1940.)

New York Tim.es Magazine,

’’Finlandfs King.” Time. (December 6, 1937.) Gilman, Lawrence, ’’Sibelius.” Catholic World. (February, 1939.) * • • • * . , ’’From Stravinsky-to Sibelius.” The North American Review. (January, 1922.) Grabel, Victor, ’’The Tone-Poem 1Finlandia1.” 1928)

Etude. (April,

Graves, Norma R., ”A Visit to the Home of Sibelius.” (March, 1937.) Haubiel, Charles, ’’The All-Sibelius Program.” (October, 1939.)

Etude.

The Musician,

122 "Jean Sibelius,"

Rotarian, (September, 1948.)

Kerochan, Marshall, "Concerts of the Week-Sibelius1 Fourth Symphony." The Outlook, (January 20, 1922.) Lyle, Watson, "The 'Nationalism1 of Sibelius." Quarterly, (October, 1927.)

Musical

Mackelean, Fred R., "An All-Sibelius Programme.” Quarterly, (Autumn, 1936.) Meyer, Alfred H., "Sibelius: Symphonist." ly# (January, 1936.)

Queen1s

Musical Quarter­

Peyser, Ethel, "Jan Sibelius-Tonal Patriot." (December 7, 1935.)

Scholastic,

Price, Lucien, "Portrait of Sibelius at Jarvenpaa.” Yale Review, (December, 1934.) * . . . . , "Sibelius at Seventy-Five." Atlantic Monthly, (January, 1941.) Robinson, Edward, "Jean Sibelius." (February, 1932.)

The American Mercury,

Rosenfeld, Paul, "The Beethoven of the North." New Re-pub­ lic, (April 21, 1941.) "Sibelius." New Republic, (December 14, 1918.) Sjoblom, Paul, "A Master as Seen by His Wife.” (October, 1938.)

Etude,

Smith, Carleton, "Sibelius: a Close-up of a Genius." American Mercury, (February, 1941.) "The Composer of 'Finlandia'." 19, 1925.)

Literary Digest,

(December

Tryon, Winthrop, "Sibelius Speaks for Finland.” Christian Science Monitor Magazine, (November 30, 1940) .Ybarra, T. R., "Music Maker." Collier's.

(April 17, 1937.)

Unfversfty o f S o u th e rn O alffornfa L!t>w%