The Book of the Epic Part 34

_Runes x.x.xIX, XL, and XLI._ To comfort himself, Ilmarinen concludes he would like to have the Sampo, and persuades Wainamoinen and Lemminkainen to accompany him northward to get it. This time they sail in a magic s.h.i.+p, which is stranded on the shoulders of a huge pike.

Wainamoinen kills this fish, and from its bones and sinews fas.h.i.+ons the first harp, an instrument so wonderful that none but he can play it, but, whenever he touches its strings, trees dance about him, wild animals crouch at his feet, and the hearts of men are filled with rapture.

All of Northland stopped and listened.

Every creature in the forest, All the beasts that haunt the woodlands, On their nimble feet came bounding, Came to listen to his playing, Came to hear his songs of joyance.

The music which he makes is so touching that it draws tears even from the player's eyes, tears which drop down into the sea, where they are transformed into pearls, which are brought to him by a duck.

Gathered Wainamoinen's tear-drops From the blue sea's pebbly bottom, From the deep, pellucid waters; Brought them to the great magician, Beautifully formed and colored, Glistening in the silver suns.h.i.+ne, Glimmering in the golden moonlight, Many-colored as the rainbow, Fitting ornaments for heroes, Jewels for the maids of beauty.

This the origin of sea-pearls And the blue-duck's beauteous plumage.

_Runes XLII and XLIII._ Having lulled the Spirits of Evil to sleep with magic music, Wainamoinen and Ilmarinen go in quest of the Sampo, which they find hidden in the bosom of a magic mountain and bear away in triumph. The spell they have laid upon all living creatures is broken only when Louhi discovers her loss and sets out in pursuit of the robbers of her treasure.

In various guises she attacks them, finally transforming herself into a huge eagle and pouncing down upon the Sampo, which she tries to bear away in her talons. But Wainamoinen fights this aggressor to such good purpose that it drops the Sampo into the sea, where it is dashed to pieces! Not only has Wainamoinen lost the Sampo,--whose fragments he collects and buries so that they may bring prosperity to his people,--but his magic harp has also fallen overboard during his fight with Louhi.

_Runes XLIV and XLV._ Wainamoinen therefore proceeds to construct a second harp from the wood of the birch, while Louhi, who has returned northward but who still owes him a grudge, sends down from the north nine fell diseases,--colic, pleurisy, fever, ulcer, plague, consumption, gout, sterility, and cancer,--all of which Wainamoinen routs by means of the vapor baths which he discovers.

_Rune XLVI._ Hearing that Wainamoinen prospers in spite of all she can do, Louhi is so disappointed that she sends a magic bear to devour him and his brother. But, hearing this monster is coming, Wainamoinen directs the blacksmith to make him a wonderful spear, with which he slays the bear, whose skin and flesh prove a boon to his people.

_Runes XLVII and XLVIII._ Still angry, Louhi steals from Wainamoinen the sun, moon, and fire, and thus all the homes in Kalevala are cold, dark, and cheerless. Gazing downward, Ukko, king of the heaven, wonders because he sees no light, and sends down a flash of lightning, which, after striking the earth, drops into the sea and is swallowed by a pike. This fiery mouthful, however, proves so uncomfortable, that the fish swims madly around until swallowed by another. Learning that the fire-ball is now in a pike, Wainamoinen fishes until he secures that greedy denizen of the deep. Opening his quarry, he seizes the lightning, which burns his fingers so badly that he drops it, until he decides to convey it to his people in the wood of an elm.

_Rune XLIX._ Although fire is thus restored to mankind, the sun and the moon are still missing. Ilmarinen therefore forges a magnificent silver moon and golden sun, in the vain hope of replacing the orbs which Louhi has stolen, and which are hidden in the cave where she once treasured the Sampo. Discovering this fact by magic means, Wainamoinen starts out in quest of sun and moon, and, by changing himself into a pike to cross the river, reaches the land of Louhi, defeats her sons, and finds the orbs he is seeking guarded by a mult.i.tude of snakes. Although Wainamoinen slays these keepers, he cannot recover the captive sun or moon until Louhi, who has meantime a.s.sumed the form of an eagle and then of a dove, sends them back to Kalevala, where their return is hailed with joy.

"Greetings to thee, Sun of fortune; Greetings to thee, Moon of good-luck; Welcome suns.h.i.+ne, welcome moonlight; Golden is the dawn of morning!

Free art thou, O Sun of silver, Free again, O Moon beloved, As the sacred cuckoo's singing, As the ring-dove's liquid cooing.

Rise, thou silver Sun, each morning, Source of light and life hereafter, Bring us daily joyful greetings, Fill our homes with peace and plenty, That our sowing, fis.h.i.+ng, hunting, May be prospered by thy coming.

Travel on thy daily journey, Let the Moon be ever with thee; Glide along thy way rejoicing, End thy journeyings in slumber; Rest at evening in the ocean, When thy daily cares have ended, To the good of all thy people, To the pleasure of Wainola, To the joy of Kalevala!"

_Rune L._ Meanwhile there had been dwelling in the Northland a happy maiden named Mariatta, who, wandering on the hillsides, once asked the cuckoo how long she would remain unmarried, and heard a magic voice bid her gather a certain berry. No sooner had she done so than the berry popped into her mouth, and soon after she bore a child, which being the offspring of a berry was to be called Flower. Because her mother indignantly cast her off, she wandered about seeking a place where she could give birth to her child. She was finally compelled to take refuge in the manger of the fiery steed of Hisi, where her infant was charitably warmed by the firesteed's breath. But once, while the mother was slumbering, the child vanished, and the mother vainly sought it until the Sun informed her she would find it sleeping among the reeds and rushes in Swamp-land.

Mariatta, child of beauty, Virgin-mother of the Northland, Straightway seeks her babe in Swamp-land, Finds him in the reeds and rushes; Takes the young child on her bosom To the dwelling of her father.

Mariatta soon discovered him there, growing in grace and beauty, but priests refused to baptize him because he was considered a wizard.

When Wainamoinen sentenced the mother to death, the infant, although only two weeks old, hotly reproached him, declaring that, although guilty of many follies, his people have always forgiven him. Hearing this, Wainamoinen, justly rebuked, baptized the child, who in time grew up to be a hero and became the greatest warrior in the land.

Wainamoinen, having grown feeble with pa.s.sing years, finally built for himself a copper vessel, wherein, after singing a farewell song, he sailed "out into the west," and vanished in the midst of the sunset clouds, leaving behind him as an inheritance to his people his wondrous songs.

Thus the ancient Wainamoinen, In his copper-banded vessel, Left his tribe in Kalevala, Sailing o'er the rolling billows, Sailing through the azure vapors, Sailing through the dusk of evening, Sailing to the fiery sunset, To the higher-landed regions, To the lower verge of heaven; Quickly gained the far horizon, Gained the purple-colored harbor, There his bark he firmly anch.o.r.ed, Rested in his boat of copper; But he left his harp of magic, Left his songs and wisdom-sayings, To the lasting joy of Suomi.

The poem concludes with an epilogue, wherein the bard declares it contains many of the folk-tales of his native country, and that as far as rhythm is concerned--

"Nature was my only teacher, Woods and waters my instructors."

FOOTNOTES:

[Footnote 36: All the quotations in this chapter are from Crawford's translation of the "Kalevala."]

THE EPICS OF CENTRAL EUROPE AND OF THE BALKAN PENINSULA

German being talked in a large part of Switzerland and of Austria, these countries claim a great share in the Teutonic epics, many of whose episodes are located within their borders. Both the Swiss and the Austrian nations are formed, however, of various peoples, so while some of the Swiss boast of German blood and traditions, others are more closely related to the French or to the Italians. To study Swiss literature one must therefore seek its sources in German, French, and Italian books. It is, though, considered very remarkable that there exists no great Swiss epic on the deeds of William Tell, a national hero whose literary fame rests almost exclusively upon folk-tales and upon Schiller's great drama.[37]

No political division boasts of a greater mixture of races and languages than the Austro-Hungarian empire, whose literature is therefore like a many-faceted jewel. Aside from many Germans, there are within the borders of the empire large numbers of Czechs or Bohemians, who in the thirteenth century delighted in translations of the Alexandreis, of Tristram, and of other epic poems and romances, and whose first printed volume in 1468 was a reproduction of the Trojan Cycle.

There are also the Hungarians, whose literary language continued to be Latin until after the Reformation, and whose earliest epics treat of such themes as the "Life of St. Catherine of Alexandria." It was, therefore, only in the seventeenth century that Zrinyi, Gyongyosi, Liszti, and other poets began to compose Magyar epics which roused their countrymen to rebel against their foes, the Turks. In the nineteenth century patriotism was further fostered among this people by the stirring epics of Czuczor, Petofi (whose masterpiece is Janes Vilez), and of Vorosmarty, and then, too, were compiled the first collections of genuine Hungarian folk-tales. Among these the adventures of the national Samson (Toldi) have served as basis for Arany's modern national epic in twelve cantos.

Part of Poland being incorporated in the Austro-Hungarian empire, it cannot be amiss to mention here the fact that its literature is particularly rich in folk-tales, animal epics, apologues, religious legends, and hero tales, although none of the poetical versions of these works seem to be of sufficient weight or importance to require detailed treatment in this volume.

With the exception of ancient Greece,--whose epic literature is so rich and still exerts such an influence as to demand separate treatment,--there do not seem to be any epics of great literary value among the various races now occupying the Balkan Peninsula. Old Rumanian literature, written in the Slavic tongue, boasts a few rhymed chronicles which are sometimes termed epics, while modern Rumanian prides itself upon Joan Delaemi's locally famous Epic of the Gypsies.

In Servia one discovers ancient epic songs celebrating the great feats of national heroes and heroines, and relating particularly to the country's prolonged struggle for independence. After translating the main works of Ta.s.so from the Italian for the benefit of his countrymen, one of their poets--Gundulitch--composed a twenty-canto epic ent.i.tled Osman, wherein he described the war between the Poles and Turks in 1621. The Servian dramatist Palmot.i.tch later composed the Christiad, or life of Christ, and in the nineteenth century Milutinovitch wrote a Servian epic, while Mazuranie and Bogovitch penned similar poems in Croatian. As for the Bulgarians they do not seem to have any epic of note.

Turkish literature having been successively under Persian, Arabic, and French influence, has no characteristic epics, although it possesses wonderful cycles of fairy and folk-tales,--material from which excellent epics could be evolved were it handled by a poet of genius.

The Asiatic part of Turkey being occupied mainly by Arabians, who profess the Mohammedan religion, it is natural that the sayings and doings of Mohammed should form no small part of their literature. The most important of these collections in regard to the Prophet were made by Al-Bukhari, Muslem, and Al-Tirmidhi.

FOOTNOTES:

[Footnote 37: See the author's "Legends of Switzerland."]

HEBREW AND EARLY CHRISTIAN EPICS

JOB

The Book of Job ranks as "one of that group of five or six world poems that stand as universal expressions of the human spirit." For that reason it is considered the representative Hebrew epic, and, as it depicts the conflicts of a human soul, it has also been termed the "epic of the inner life."

Written after the exile,--probably in the latter part of the fourth century B.C.,--it incorporates various older poems, for the theme is thought to antedate the Exodus. In the prologue we have a description of Job, a model sheik of the land of Uz, whose righteousness wins such complete approval from G.o.d that the Almighty proudly quotes his servant before his a.s.sembled council as a perfect man. "The Adversary," Satan, now dramatically presents himself, and, when taunted by G.o.d with Job's virtues, sarcastically retorts it is easy to be good when favored with continual prosperity.

Thus challenged, and feeling sure of his subject, G.o.d allows Satan to do his worst and thus test the real worth of Job. In quick succession we now behold a once happy and prosperous man deprived of children, wealth, and health,--misfortunes so swift and dire that his friends in lengthy speeches insist he has offended G.o.d, for such trials as his can only be sent in punishment for grievous sins. The exhortations of Job's three argumentative friends, as well as of a later-comer, and of his wife, extend over a period of seven days, and cover three whole cycles; but, in spite of all they say, Job steadfastly refuses to curse G.o.d as they advise.

Unaware of the Heavenly council or of the fact that he is being tested, Job, in spite of trials and friends, patiently reiterates "The Lord gave and the Lord hath taken away," and, when his wife bids him curse G.o.d and die, pathetically inquires, "What! shall we receive good at the hand of G.o.d, and shall we not receive evil?"

There are, besides, whole pa.s.sages in this book where Job gives way to his overwhelming grief, these laments being evidently either fragments from another, older version of the story, or tokens that even such fort.i.tude as his gave way under pressure of disease and of his friends' injudicious attempts at consolation. These laments exceed in pathos any other Hebrew poem, while Job's descriptions of G.o.d's power and wisdom attain to a superbly exalted strain.

Having silenced Zopher, Eliphaz, and Bildad, by a.s.suring them he will be vindicated in heaven,--if not sooner,--Job watches them and his last friend depart, and is finally left alone. Then only, and in an epilogue, we are informed that, having thus been tried in the furnace of affliction and proved true gold, Job receives from G.o.d, as reward, a double measure of health, wealth, and descendants, so that all men may know he has not sinned and that his unshaken faith found favor in the eyes of G.o.d.

Some Jewish writers quote Ecclesiastes as their best sample of didactic epic, and others would fain rank as epics the tales of Naomi and Ruth, of Esther and Ahasuerus, and even the idyllic Song of Songs by Solomon. Early Christian writers also see in Revelations, or the Apocalypse, by St. John, the Seer of Patmos, a brilliant example of the mystical or prophetic epic.

ARABIAN AND PERSIAN EPICS