Finnish Mythology

Finnish Mythology

Historically, Finnish mythology is composed of layers from multiple eras, even dating back to Stone Age shamanism. The Kalevala is one of the most famous works compiled from Finnish mythology and Karelian mythology.

As Finnish ancient religion was closely linked to mythology, it is difficult to distinguish between religious and mythological beliefs. Pagan religion was not clearly separated from Christianity, for example, which replaced it. It was possible, for example, to worship, pray, and propitiate the householder of the fable, the ancient hero, and the king of the sky, the god Ukko.

The most significant heroes of mythological poetry were the scientist and sorcerer Väinämöinen, as well as the blacksmith Ilmarinen. There are a number of historical events and individuals that have also been accurately depicted in mythological narratives or poems.

In accordance with the stylistic period theory developed by Matti Kuunen in the 1950s, it is possible to divide the estimated birth dates of the myths into vague periods based on the style and content of narrative poetry that has preserved them over time. Shamanist myths developed during the early Kalevian period of the Stone Age and Bronze Age, which may have contributed to the world’s creation myth. In the medieval period, from the time of the Crusades to the Reformation, many of the most significant myths were thought to have been inspired by the Heart of Kalevala, which occurred during the Iron Age. Local legends and folk tales became common during this period, including Elina’s death hymn. The late Kalevian period occurred between the Reformation and the 19th century. (Leppälahti, 2019)

Astuvansalmi prehistoric rock paintings – Photo by Ohto Kokko, 2000s

According to ancient thought, the world is a place ruled by invisible forces whose ultimate soul essence can be reached through symbols, words and ritualistic actions. By ensuring that human actions were in balance with the ultimate essence of the world, the community achieved happiness and success. Happiness was needed to facilitate the achievement of one’s goals and the successful survival of life’s critical moments. The primary objective was to ensure the happiness of an individual and of their community both in their livelihood and at life’s pivotal moments. Luck was also called “lykky” and in Karelia “säästi“. (Alhonen, 2020)

The birth of the world and the water of chaos

There are two cosmogonic myths that explain how the world or earth is formed. Another one, the diver myth, has been around for a long time among the Karelian Orthodox. The first tells about a bird that dived into the primordial ocean and brought the land to the surface. The second is based on southern cultural connections of the early Iron Age and states that the world was formed from an egg.

Both stories have in common the presence of water and a bird. It is believed that birds, especially waterfowl, have the ability to unite worlds and realities. It is fitting that a water bird played a central role in the birth of the world. Water also has its meaning. In many myths, there is the symbolism of the “water of chaos”, which describes both formless cosmic matter and the world of the dead – everything that comes from life or precedes it. This chaotic water lies between the unborn and born worlds of the beginning, at the intersection of the world and Tuonela (the realm of the underworld).

Symbolizing the ‘water of chaos’ and unformed cosmic matter, the primordial sea symbolizes the transition between life and death, formlessness and chaos at the beginning of the universe. Using his movements, Väinämöinen (a demigod, hero and the central character in Finnish folklore and the main character in the national epic Kalevala by Elias Lönnrot) creates a world from initial chaos, a world that arises from nothing at all. The myths of the beginning come true again and again. The birth of every person is the birth of the world: the fetus drifts in the “primordial sea” of the womb, takes shape and is born into life, into this world. When a person dies, he enters primal chaos again when his body disintegrates. Water is present in folklore images of death. The deceased crosses the dark Tuone stream, signifying his transition back to the state before the world. In many beliefs, the dead are placed on islands, surrounded by water, or at the bottom of a lake. Perhaps the soul has been thought to move to the other side the same way it was born into this world: through a woman’s back to the womb, that is, to the primal sea, to the mother. (Alhonen, 2020)

Characters and creatures in Finnish folklore

Here is a collection of characters and creatures from Finnish folklore I have chosen to use for my 3D visualisations. Vetehinen will become the theme of the 3D printed sculpture and the rest 3D character portraits.

Vetehinen – Water God

An ancient belief held that there were water gods in the water, who were controlled or manifested by a water lord Ahti. The relationship between the fisherman and the water god was friendly. The fisherman addressed the god of the water with a variety of respectful expressions such as “The Lord of the Water, the Merciful, the Golden King of the Water” or “The Lord of the Water, the Mistress of the Water”. The fisherman appeased the water gods, provided them with offerings, and was rewarded with favourable fishing luck. The water gods were thanked for the catch by giving them either money or silver as a gift.

Water god could be angered by breaking taboos related to fishing. One such taboo was keeping people apart: the water gods were “contaminated” by the influence of the forest gods. Because of this, fishing was avoided on hunting trips, and the game and fish caught were not placed on the ground at the same spot. In many other ancient Baltic Finnish beliefs, the idea is emphasized that opposite forces, such as the force of man and woman, and especially the objects that reflect them, should be kept apart.

The water gods were used to expel Kalma (the Finnish goddess of death and decay), so water represents a counterforce to death. It was also believed that the first person to drown in a body of water became an evil water god Vetehinen, who would then attempt to lure the living to drown. It could rise to the surface of the land and draw its inhabitants to the water. In these respects, Vetehinen resembles a Näkki (a type of demonic jinn that appears as a floating tree trunk, a large black horse, a hound, a silvery fish, a beautiful woman with three breasts, or an unsightly fisherman) and may be the native predecessor of the non-näkki character in Finland.

According to a folk tale, Vetehinen harassed fishermen on the lake. It followed the boat for a long time and finally caught hold of its side. At this point, the men on the boat used an axe to cut off the pulling hand. Vetehinen promised to leave the people alone if it could get its hand back. That happened, and since then Vetehinen has not come out of the depths to bother people. (Alhonen, 2020)

Kuutar – Goddess of the Moon

The brightly shining sun and the magical moon are part of mythologies around the world. Solar myths are intertwined with the annual cycle in Finland, as well as with shamanic imagery, the moon, luck, fate, and nature’s cycles. It is perhaps a bit surprising how much the importance of the moon is emphasized in folklore in relation to the sun.

In the light of information recorded in folklore, the moon and its phases have been a significantly more influential celestial body than the sun for Baltic Finns. The phases of the moon are believed to affect the outcome of human actions. By scheduling the work at the right time, they get the optimal end result. Beliefs reflect ancient people’s understanding of the rhythms of nature and their impact on life. The moon, like other natural phenomena, has taken on a living form in folklore. The moon, like the year, has had a birth and a death, a beginning and an end. The phases of the moon’s life were read from the sky and rune sticks.

Kuutar, the goddess of the moon, seems to have something to do with the fate of people. In the myth of the big oak tree (Ison Tammen Myytti), at the beginning of the story, three or four maidens go out to mow hay.

According to the Estonian researcher Aado Lintrop, the poems imply that these four maidens are heavenly beings in the Seulasten star group at the top of the world tree. The weaver maidens seem to have a connection with predicting the future and thus with the fate of people. It is therefore not surprising that, according to Lintrop, folklore researchers have compared the maidens of Seulasten to the fates of Greek and Scandinavian mythology. This is because their task was to spin and cut the thread of human life. According to Lintrop, in one recorded version of the poem, the heavenly weaver maiden is directly connected to human destiny and the idea of ​​the thread of life. In the poem, instead of four maidens, only one maiden is mentioned, who is said to be “weaving cloth of gold” and “glittering silver” under the rainbow cover. One of the threads the girl was weaving breaks and the girl bursts into tears.

The poem continues with a description of how the girl’s tears run down her cheeks and land on the brooch sitting on her chest. In some versions of the poem, three rivers are born from the girl’s tears, which form two or three hills. There are three birches growing on the hill and three cuckoos sitting on the top of the birch. According to the poem, the cuckoo sings to the person whose fate awaits. The connection between the breaking of the thread and the fate of man is therefore quite obvious.

Religious scholar Mircea Eliade discovered that for ancient people, the moon had not only an invaluable practical meaning as an aid in counting time but also a significant symbolic meaning as a reflection of the cycle of life. This is because during its cycle the moon experiences an eternal cycle of life: birth, death and rebirth. An ancient man noticed that earthly things reflected the moon’s cycle of birth and death. This is exactly what the belief tradition about the phases of the moon as “increasing” or “decreasing” things is based on. In addition, Eliade points out that the moon is associated with the symbolism of weaving, fate, and the thread of life and death in the world’s belief traditions. It is therefore quite natural that the “maiden of fate” of the Baltic Finnish tradition is the daughter of the moon. People’s destinies are woven in the heavens under the canopy, at the top of the world pillar or the world tree. Here, the maiden weaves the silver threads of life into a golden cloth. As a result, the silver threads create a picture of all life, the whole of people’s interwoven destinies. When the maiden accidentally cuts the thread of life, her tears flow into three rivers, three hills and three birches growing on top of them. On the top of the birch, three cuckoos sing as a sign of fate for a person whose silver thread has broken. (Alhonen, 2020)

Ukko-Ilmarinen – God of Sky and Thunder

As the god of the skies, Ukko-Ilmarinen rules the elements of the air: clouds, thunder, lightning, wind, storm, calm, rain and snow. Additionally, he forged the firmament and world pillar (Sampo, a magical device that brought riches and good fortune to its holder) that supported the cosmos and set the stars in their proper places. As the god of fire and rain, he was the god of slash-and-burn farmers. He helped seafarers and fishermen as the wind god. As the ruler of the secrets of fire and wind, Ukko-Ilmarinen was the god of blacksmiths. Also, he could have been a fatherly god who was asked for advice on many occasions.

In South West of Finland, at the mouth of river Paimio, Ilmarinsaari is located, where the Roman Iron Age jewellery found has been interpreted as offerings to Ilmarinen. In addition to jewellery found on the coast of Finland that cannot be explained as cemeteries, it has been suggested that the offerings in Ilmarinsaari were sacrificial gifts made by women to the ruler of the seas while the men were at sea.

Ilmarinen is often depicted as a blacksmith hero in folk poetry. In addition to forging the firmament, Sampo and the golden maiden, he also contributes to the robbery of Sampo by his godbrothers. Ilmarinen’s evolution from hammer-wielding God of the Sky and Winds to a blacksmith hero is understandable since Ilmarinen’s elements (fire and air) play a significant role in iron ore manufacturing.

As the god of rain, Ukko controlled the fertility of the earth. Furthermore, he has the characteristics of a heavenly supreme god, a father god, and even a creator god (“Father Supreme Creator”). The latter role, however, is probably influenced by Christianity. A particular example of this is when the word ‘Lord’ is used when addressing Ukko. There is, however, the possibility that Ukko has some paternal characteristics since the Indo-European sky and thunder gods are archetypal paternal.

Thunder seems to describe his place of residence as free, heavenly, behind the heavens, wearing clouds’ clothes. Despite this, there is no evidence that Ukko ruled the divine family or was at the top of some sort of god hierarchy. In contrast, Ukko is the pole of the sky, and as such, his residence is located in the middle of the sky, near the North Star. The name Ukko refers to an old man. In the past, Ukko was used by the community to honour elders, wise people, and those with a great deal of experience and wisdom. Additionally, Ukko is an indirect expression used to avoid expressing the Thunder God’s real name. During a thunderstorm, the Sámi would not mention the name of the thunder.

The colour blue is associated with thunder, and even the Sámi believe Ukko wears blue robes. Indo-European sky gods wore blue robes as well. Capes were used in coastal regions from the end of the Bronze Age to the present day. According to folk beliefs, the most common weapon of Ukko was “Ukon Vaaja”. In a thunderstorm, the Vaaja wedge struck deep into the ground, where it could be dug out. Over time, the Vaaja was believed to rise toward the surface of the earth. Due to their divine origin, thunderbolts were powerful objects from which parts were carved for use in folk healing.

As the weapon of the god who created fire, Vaaja was also effective against flames. The slash-and-burn farmers of Hämeenkyrö also believed that if you circled around the slash-and-burn field three times, the fire would not cause damage outside of it. In addition to protecting houses from fire, Vaaja was often used for good luck. (Alhonen, 2020)

Ajattara – Forest God

An ancient Finn lived in the middle of the forest. The wilderness was a source of food and work tools, a place of protection against the bloodhounds of the foe, and a place of sanctity and silence for the people of that time. Finns still experience a unique mental peace in the middle of the forest. Folklore often distinguishes the uncultivated land surrounding the courtyard from the water gods and forest gods. An anthill, a forest castle, is the resting place of the forest gods, acting as a channel connecting them with normal people.

In folk beliefs, one can talk to the forest god by offering silver, wine, or blood to an anthill. If you do the right kind of magic first, the forest god may even appear in your dreams. It was believed that one could not address a forest god with a greeting; rather, one had to let it start on its own. Respecting otherworldly forces is always a smart idea. A person’s perception of god depends on how the forest, as a living being, reacts to their intentions. If the god appeared in modest clothes without jewellery and with a sly attitude, the huntsmen weren’t in for a successful hunt. Most likely, he would meet with an accident that could have been prevented if he offered sacrifice to the forest god. Conversely, when the god appeared in decorative clothes and spoke in a woman’s voice to the forester, a prosperous catch was expected. Successful hunters sacrificed their first catch to the forest gods. In this case, too, the anthill served as a bridge between the human world and the forest gods. After catching the animal, the forester put the intestines under the anthill to please the forest god.

In addition to expressing human goodwill, remembering the forest god also served a practical purpose: avoiding the god’s wrath. To avoid angering the god, hunters didn’t remove rabbits or birds from traps without wiping the trap with pine needles. According to hunting magic spells, Mielikki represents the benevolent forest god, while Ajattara represents the evil forest god, who leads people astray. In 1815, Carl Axel Gottlund, a Finnish explorer, encountered two woodsmen in Puumala. After killing a fox caught in a trap, they placed its body on top of the pine needles. They each kneeled on their own side and, hatless, offered up prayers and thanksgiving offerings to the forest mistress.

Forest gods who had been left without sacrifice, or who felt insulted, took revenge on their offender by confusing their sense of direction. It was said that someone who lost their way had become “wooded” or “overgrown”. It is also possible for an angry god to hide a man-made object in the forest. A malicious person could take advantage of the god’s ability to hide objects. In response to something another person dropped on the ground, the evil one chanted; Earth cover, rough to disappear, My second to discover! It wasn’t always an insult that led to getting lost in the forest. Even if they walked in the forest without harming anything, if they followed the path of the forest god, they were unable to return home. In addition, the forest path was believed to be unfit for sleeping because forest gods walked along it. Before lying down, the earth was greeted with a spell. Thus, the forest god’s wrath was avoided. A short greeting spell reads: Hail earth and forest gods, grant me health! (Alhonen, 2020)

Swan of Tuonela

According to Uralic belief, migratory waterfowl (swans, geese, ducks) are flying messengers of the heavenly gods. Along the Milky Way, birds travel between the universe and the earth. In the middle world, water birds fulfill the tasks of the gods and symbolize human and animal souls. The element of water also works to connect worlds; the world river flowing down from Ylisne connects all three worlds. Water birds also bring spring to the world every year. In the night sky, the Milky Way reflects the world river, a passageway for magicians and dead souls.

There are two bird-themed constellations in the Milky Way: the Swan (Cygnus) and the Eagle (Aquila). The Milky Way rotates in such a way that the Sun and nearby stars move towards the Swan. Watching the stars in the sky, it is easy to imagine the Swan nesting in the Milky Way. It has been thought that water birds, such as larks and geese, carry souls moving through the Milky Way. In the eyes of ancient people, the swan may have been such an escort for the dead as well.

A number of cultures regard the Milky Way as a sacred path. The belief that the Milky Way represents a passageway for souls is at least in support of the theory that the Finnish people of the Baltic Sea have associated stars with people’s birth and death for thousands of years. The world river connects all levels of the world, but the spruce tree with its roots in the ground is the sacrificial tree of wise men and people. The tree symbolizes the connection between the living and the dead. The diving birds in this world are also related to the dead. When magicians visit the underworld, they act as helper spirits.

According to folk poetry, there are slight variations in the tale of the mythical early days. The events can be summarized somewhat as follows. Väinämöinen sets out to propose to a girl from Pohjola. As Anni washes clothes on the beach, she sees the “Kalaize cattle”. Anni recognizes the fish as Väinämöinen, who has changed his shape. Anni asks where he intends to go. Väinämöinen replies that he intends to hunt for swans on the Tuonela river. Anni accuses him of being a liar and says that her father and his great-grandparents travelled to Tuonela’s black river to catch swans. Her father had brought a large dog and a big bow with him. The former may mean that both Ann’s father and her great-grandparents are dead. He was buried with a dog and a bow, so he went on to hunt swans in Tuonela. On the other hand, Väinämöinen is not the deceased, so he has no business being on the Tuonela river. Väinämöinen claims he came to catch salmon on the Tuonela river. Anni points out that Väinämöinen is lying again. In reality, her father and great-grandparents had set out to catch salmon in the Tuonela River. (Alhonen, 2020)

References

Alhonen, A. (2020) Perinnetietoa, Taivaannaula. Available at: https://www.taivaannaula.org/perinne/tietoa/ (Accessed: November 9, 2022). PDF Esivanhempien puu – Kirjoituksia itämerensuomalaisesta uskomusperinteestä

Leppälahti, M. (2019) Uskomuksia ja Spekulaatiota suomalaisesta mytologiasta, Agricola. Available at: https://agricolaverkko.fi/review/uskomuksia-ja-spekulaatiota-suomalaisesta-mytologiasta/ (Accessed: November 10, 2022).