"The God of the Red Cheeks," so called because of his bloodthirstiness and constant cruelties, is the son and accomplice of this merciless and hideous pair.
Three daughters of Tuoni are mentioned in the runes, the first of whom, a tiny, black maiden, but great in wickedness, once at least showed a touch of human kindness when she vainly urged Wainamoinen not to cross the river of Tuoui, assuring the hero that while many visit Manala, few return, because of their inability to brave her father's wrath. Finally, after much entreaty, she ferried him over the Finnish Styx, like Charon, the son of Erebus and Nox, in the mythology of Greece. The second daughter of Tuoni is Lowyatar, black and blind, and is described as still more malignant and loathsome than the first. Through the East-wind's impregnation she brought forth the spirits of the nine diseases most dreaded by mankind, as described in the 45th Rune of the Kalevala:
"Colic, Pleurisy, and Fever.
Ulcer, Plague, and dread Consumption,
Gout, Sterility, and Cancer."
The third daughter of Tuoni combines the malevolent and repugnant attributes of her two sisters, and is represented as the mother and hostess of the impersonal diseases of mankind. The Finns regarded all human ailments as evil spirits or indwelling devils, some formless, others taking the shapes of the most odious forms of animal life, as worms and mites; the nine, however, described above, were conceived to have human forms.
Where the three arms of the Tuoni river meet a frightful rock arises, called Kipu-Kivi, or Kipuvuori, in a dungeon beneath which the spirits of all diseases are imprisoned. On this rock the third daughter of Tuoui sits, constantly whirling it round like a millstone, grinding her subjects until they escape and go forth to torture and slay the children of men; as in Hindu mythology, Kali (black) sits in judgment on the dead.
Various other spiritual powers than gods and goddesses are held in high reverence by the Finns. Tontu is represented as a kind-hearted house-spirit, a sort of diminutive Cyclops, and offerings of bread and broth are made to him every morning. Putting a mare's collar on one's neck and walking nine times around a church is thought to be a certain means of attracting one to the place desired. Para is a mystical, three-legged being, constructed in many ways, and which, according to Castren, attains life and action when its possessor, cutting the little finger of his left hand, lets three drops of blood fall upon it, and at the same time pronouncing the proper magic word. The possessor, by whatever means, of this mystic being, is always supplied with abundance of milk and cheese. The Maahiset are the dwarfs of Finnish mythology. Their abode is under stumps, trees, blocks, thresholds and hearth-stones. Though exceedingly minute and invisible to man they have human forms. They are irritable and resentful, and they punish with ulcers, tetter, ringworms, pimples, and other cutaneous affections, all those who neglect them at brewings, bakings, and feastings. They punish in a similar manner those who enter new houses without making obeisance to the four corners, and paying them other kindly attentions; those who live in untidy houses are also likewise punished. The Kirkonwaeki (church-folk) are little deformed beings living under the altars of churches. These misshapen things are supposed to be able to aid their sorrowing and suffering worshipers.
Certain beasts, and birds, and trees, are held sacred in Finland. In the Kalevala are evident traces of arctolatry, bear-worship, once very common among the tribes of the north, Otso, the bear, according to Finnish mythology, was born on the shoulders of Otava, in the regions of the sun and moon, and "nursed by a goddess of the woodlands in a cradle swung by bands of gold between the bending branches of budding fir-trees." His nurse would not give him teeth and claws until he had promised never to engage in bloody strife, or deeds of violence. Otso, however, does not always keep his pledge, and accordingly the hunters of Finland find it comparatively easy to reconcile their consciences to his destruction. Otso is called in the runes by many endearing titles as "The Honey-Eater," "Golden Light-Foot," "The Forest-Apple," "Honey-Paw of the Mountains," "ThePride of the Thicket," "The Fur-robed Forest-Friend." Ahava, the West-wind, and Penitar, a blind old witch of Sariola, are the parents of the swift dogs of Finland, just as the horses of Achilles, Xanthos and Belios, sprang from Zephyros and the harpy Podarge.
As to birds, the duck, according to the Kalevala, the eagle, according to other traditions, lays the mundane egg, thus taking part in the creation of the world. Puhuri, the north-wind, the father of Pakkanen (frost) is sometimes personified as a gigantic eagle. The didapper is reverenced because it foretells the approach of rain. Linnunrata (bird-path) is the name given to the Milky-way, due probably to a myth like those of the Swedes and Slavs, in which liberated songs take the form of snow-white dovelets. The cuckoo to this day is sacred, and is believed to have fertilized the earth with his songs. As to insects, honey-bees, called by the Finns, Mehilainen, are especially sacred, as in the mythologies of many other nations. Ukkon-koiva (Ukko's dog) is the Finnish name for the butterfly, and is looked upon as a messenger of the Supreme Deity. It may be interesting to observe here that the Bretons in reverence called butterflies, "feathers from the wings of God."
As to inanimate nature, certain lakes, rivers, springs, and fountains, are held in high reverence. In the Kalevala the oak is called Pun Jumalan (God's tree). The mountain-ash even to this day, and the birch-tree, are held sacred, and peasants plant them by their cottages with reverence.
Respecting the giants of Finnish mythology, Castren is silent, and the following notes are gleaned from the Kalevala, and from Grimm's Teutonic Mythology. "The giants," says Grimm, "are distinguished by their cunning and ferocity from the stupid, good-natured monsters of Germany and Scandinavia." Soini, for example a synonym of Kullervo, the here of the saddest episode of the Kalevala when only three days old, tore his swaddling clothes to tatters. When sold to a forgeman of Karelia, he was ordered to nurse an infant, but he dug out the eyes of the child, killed it, and burned its cradle. Ordered to fence the fields, he built a fence from earth to heaven, using entire pine-trees for fencing materials, and interweaving their branches with venomous serpents. Ordered to tend the herds in the woodlands, he changed the cattle to wolves and bears, and drove them home to destroy his mistress because she had baked a stone in the centre of his oat-loaf, causing him to break his knife, the only keepsake of his people.
Regarding the heroes of the Kalevala, much discussion has arisen as to their place in Finnish mythology. The Finns proper regard the chief heroes of the Suomi epic, Wainamoinen, Ilmarinen, and Lemminkainen, as descendants of the Celestial Virgin, Ilmatar, impregnated by the winds when Ilma (air), Light, and Water were the only material existences. In harmony with this conception we find in the Kalevala, a description of the birth of Wainamoinen, or Vaino, as he is sometimes called in the original, a word probably akin to the Magyar Ven, old. The Esthonians regard these heroes as sons of the Great Spirit, begotten before the earth was created, and dwelling with their Supreme Ruler in Jumala.
The poetry of a people with such an elaborate mythology and with such a keen and appreciative sense of nature and of her various phenomena, was certain, sooner or later, to attract the attention of scholars. And, in fact, as early as the seventeenth century, we meet men of literary tastes who tried to collect and interpret the various national songs of the Finns. Among these were Palmskold and Peter Bang. They collected portions of the national poetry, consisting chiefly of wizard-incantations, and all kinds of 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 1733, and bore the title: De Effectibus Naturalibus. The book contains a quaint collection of Finnish poems in lyric forms, chiefly incantations; but the author was entirely at a loss how to account for them, or how to appreciate them. He failed to see their intimate connection with the religious worship of the Finns in paganism.
The next to study the Finnish poetry and language was Daniel Juslenius, a celebrated bishop, and a highly-gifted scholar. In a dissertation, published as early as 1700, entitled, Aboa vetus et nova, he discussed the origin and nature of the Finnish language; and in another work of his, printed in 1745, he treated of Finnish incantations, displaying withal a thorough understanding of the Finnish
