Collected Works of Johan Ludvig Runeberg
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LIST OF POEMS IN CHRONOLOGICAL ORDER
CANTO FIRST. OUR LAND.
I. OUR LAND.
CANTO SECOND. ENSIGN STAL.
II. ENSIGN STAL.
CANTO THIRD. THE CLOUD’S BROTHER.
III. THE CLOUD’S BROTHER.
CANTO FOURTH. THE VETERAN.
IV. THE VETERAN.
CANTO FIFTH. LIEUTENANT ZIDEN.
V. LIEUTENANT ZIDEN.
CANTO SIXTH. THE COTTAGE MAIDEN.
VI. THE COTTAGE MAIDEN.
CANTO SEVENTH. SVEN DUFVA.
VII. SVEN DUFVA.
CANTO EIGHTH. VON KONOW AND HIS CORPORAL.
VIII. VON KONOW AND HIS CORPORAL.
CANTO NINTH. THE DYING WARRIOR.
IX. THE DYING WARRIOR.
CANTO TENTH. OTTO VON FIEANDT.
X. OTTO VON FIEANDT.
CANTO ELEVENTH. SANDELS.
XI. SANDELS.
CANTO TWELFTH. THE TWO DRAGOONS.
XII. THE TWO DRAGOONS.
CANTO THIRTEENTH. OLD MAN HURTIG.
XIII. OLD MAN HURTIG.
CANTO FOURTEENTH. KULNEFF.
XIV. KULNEFF.
CANTO FIFTEENTH. THE KING.
XV. THE KING.
CANTO SIXTEENTH. THE FIELD MARSHAL.
XVI. THE FIELD MARSHAL.
CANTO SEVENTEENTH. SVEABORG.
XVII. SVEABORG.
CANTO EIGHTEENTH. DOBELN AT JUUTAS.
XVIII. DOBELN AT JUUTAS.
LATER COLLECTION: 1860
CANTO NINETEENTH. THE SOLDIER BOY.
XIX. THE SOLDIER BOY.
CANTO TWENTIETH. THE MARCH OF THE MEN OF BJORNEBORG.
XX. THE MARCH OF THE MEN OF BJORNEBORG.
CANTO TWENTY FIRST. THE ENSIGN AT THE FAIR.
XXI. THE ENSIGN AT THE FAIR.
CANTO TWENTY SECOND. LOTTA SVARD.
XXII. LOTTA SVARD.
CANTO TWENTY THIRD. THE AGED LODE.
XXIII. THE AGED LODE.
CANTO TWENTY FOURTH. THE STRANGER’S VISION.
XXIV. THE STRANGERS VISION.
CANTO TWENTY FIFTH. THE ENSIGN’S GREETING.
XXV. THE ENSIGN’S GREETING
CANTO TWENTY SIXTH. VON TORNE.
XXVI. VON TORNE.
CANTO TWENTY SEVENTH. THE FIFTH OF JULY.
XXVII. THE FIFTH OF JULY.
CANTO TWENTY EIGHTH. MUNTER.
XXVIII. MUNTER.
CANTO TWENTY NINTH. VON ESSEN.
XXIX. VON ESSEN.
CANTO THIRTIETH. THE BAGGAGE DRIVER.
XXX. THE BAGGAGE DRIVER.
CANTO THIRTY-FIRST. WILHELM VON SCHWERIN.
XXXI. WILHELM VON SCHWERIN.
CANTO THIRTY SECOND. NUMBER FIFTEEN STOLT.
XXXII. NUMBER FIFTEEN STOLT.
CANTO THIRTY THIRD. THE BROTHERS.
XXXIII. THE BROTHERS.
CANTO THIRTY FOURTH. THE GOVERNOR.
XXXIV. THE GOVERNOR.
CANTO THIRTY FIFTH. ADLERCREUTZ.
XXXV. ADLERCREUTZ.
PREFACE
KING FILIAR. SONG I
KING FILIAR. SONG II
KING FILIAR. SONG III
KING FILIAR. SONG IV
KING FILIAR. SONG V
PREFACE.
BIOGRAPHICAL NOTICE.
TO FRANZEN.
THE OLD MAN’S RETURN.
THE NOBLE VICTORIOUS.
THE LARK.
MAY-SONG.
BIRDS OF PASSAGE.
THE SHEPHERD.
MY DAYS.
TO A BIRD.
THE SPRING MORNING.
TO A FLOWER.
THE BIRD’S NEST BY THE HIGHWAY.
A SUMMER NIGHT.
THE SWAN.
THE COTTAGER’S DAUGHTER.
AUTUMN EVENING.
CONSOLATION.
LOVE’S BLINDING.
THE GIRL’S LAMENT.
TO UNREST.
THE LOVER.
TO MY SPARROW.
THE BURIAL.
TO FRIGGA.
YOUTH.
WAITING.
JOURNEY FROM ABO.
HOW BLEST AM I!
THE MEETING.
TO A MAIDEN.
THE CONVALESCENT.
LULLABY FOR MY HEART.
MEMORIES OF CHILDHOOD.
ON A FRIEND’S DEATH.
ON A SLEEPING CHILD.
ON A CHILD’S GRAVE.
LIFE AND DEATH.
OLD AGE.
THE BARD.
TO YEARNING.
THE WORK-GIRL.
THE PEASANT YOUTH.
THE ROWER.
THE PINE-THRUSH.
THE YOUNG HUNTSMAN.
THE MORNING.
THE KISS.
REGRET.
THAT WAS THEN.
THE SAILOR’S GIRL.
GREETING.
MIND — FOR THEN THE GOD APPEARETH.
SERENADE.
DISSIMULATION.
BUTTERFLY AND ROSE.
THE BIRD-CATCHER.
TO THE EVENING STAR.
THE DYING MAN.
THE YOUTH.
TO A ROSE.
THE BELLE.
BY A FOUNTAIN.
THE MAID OF SEVENTEEN.
THE REVENGE.
THE FLOWER’S LOT.
WHO HITHER STEERED THY WAY?
THE BRIDE.
REGRET.
SPRING DITTY.
TO FORTUNE.
THE HEART’S MORNING.
THE DOUBTER.
THE BRIDE.
THE SUNDAY HARVEST.
THE OLD MAN.
THE FLOWER.
AUTUMN SONG.
COMING HOME.
MY LIFE.
THOUGHT.
THE FORSAKEN.
AUTUMN EVENING.
WAITING.
MEMORY.
THE PAINTER.
THE TWO.
THE VAIN WISH.
IN A YOUNG GIRL’S ALBUM.
TO THE LADIES.
IDYLLS AND EPIGRAMS.
LIST OF POEMS IN ALPHABETICAL ORDER
A SUMMER NIGHT.
AUTUMN EVENING.
AUTUMN EVENING.
AUTUMN SONG.
BIRDS OF PASSAGE.
BUTTERFLY AND ROSE.
BY A FOUNTAIN.
CANTO EIGHTEENTH. DOBELN AT JUUTAS.
CANTO EIGHTH. VON KONOW AND HIS CORPORAL.
CANTO ELEVENTH. SANDELS.
CANTO FIFTEENTH. THE KING.
CANTO FIFTH. LIEUTENANT ZIDEN.
CANTO FIRST. OUR LAND.
CANTO FOURTEENTH. KULNEFF.
CANTO FOURTH. THE VETERAN.
CANTO NINETEENTH. THE SOLDIER BOY.
CANTO NINTH. THE DYING WARRIOR.
CANTO SECOND. ENSIGN STAL.
CANTO SEVENTEENTH. SVEABORG.
CANTO SEVENTH. SVEN DUFVA.
CANTO SIXTEENTH. THE FIELD MARSHAL.
CANTO SIXTH. THE COTTAGE MAIDEN.
CANTO TENTH. OTTO VON FIEANDT.
CANTO THIRD. THE CLOUD’S BROTHER.
CANTO THIRTEENTH. OLD MAN HURTIG.
CANTO THIRTIETH. THE BAGGAGE DRIVER.
CANTO THIRTY FIFTH. ADLERCREUTZ.
CANTO THIRTY FOURTH. THE GOVERNOR.
CANTO THIRTY SECOND. NUMBER FIFTEEN STOLT.
CANTO THIRTY THIRD. THE BROTHERS.
CANTO THIRTY-FIRST. WILHELM VON SCHWERIN.
CANTO TWELFTH. THE TWO DRAGOONS.
CANTO TWENTIETH. THE MARCH OF THE MEN OF BJORNEBORG.
CANTO TWENTY EIGHTH. MUNTER.
CANTO TWENTY FIFTH. THE ENSIGN’S GREETING.
CANTO TWENTY FIRST. THE ENSIGN AT THE FAIR.
CANTO TWENTY FOURTH. THE STRANGER’S VISION.
CANTO TWENTY NINTH. VON ESSEN.
CANTO TWENTY SECOND. LOTTA SVARD.
CANTO TWENTY SEVENTH. THE FIFTH OF JULY.
CANTO TWENTY SIXTH. VON TORNE.
CANTO TWENTY THIRD. THE AGED LODE.
COMING HOME
.
CONSOLATION.
DISSIMULATION.
EARLIER COLLECTION: 1848
GREETING.
HOW BLEST AM I!
I. OUR LAND.
IDYLLS AND EPIGRAMS.
II. ENSIGN STAL.
III. THE CLOUD’S BROTHER.
IN A YOUNG GIRL’S ALBUM.
IV. THE VETERAN.
IX. THE DYING WARRIOR.
JOURNEY FROM ABO.
KING FILIAR. SONG I
KING FILIAR. SONG II
KING FILIAR. SONG III
KING FILIAR. SONG IV
KING FILIAR. SONG V
LATER COLLECTION: 1860
LIFE AND DEATH.
LOVE’S BLINDING.
LULLABY FOR MY HEART.
MAY-SONG.
MEMORIES OF CHILDHOOD.
MEMORY.
MIND — FOR THEN THE GOD APPEARETH.
MY DAYS.
MY LIFE.
OLD AGE.
ON A CHILD’S GRAVE.
ON A FRIEND’S DEATH.
ON A SLEEPING CHILD.
REGRET.
REGRET.
SERENADE.
SPRING DITTY.
THAT WAS THEN.
THE BARD.
THE BELLE.
THE BIRD’S NEST BY THE HIGHWAY.
THE BIRD-CATCHER.
THE BRIDE.
THE BRIDE.
THE BURIAL.
THE CONVALESCENT.
THE COTTAGER’S DAUGHTER.
THE DOUBTER.
THE DYING MAN.
THE FLOWER.
THE FLOWER’S LOT.
THE FORSAKEN.
THE GIRL’S LAMENT.
THE HEART’S MORNING.
THE KISS.
THE LARK.
THE LOVER.
THE MAID OF SEVENTEEN.
THE MEETING.
THE MORNING.
THE NOBLE VICTORIOUS.
THE OLD MAN.
THE OLD MAN’S RETURN.
THE PAINTER.
THE PEASANT YOUTH.
THE PINE-THRUSH.
THE REVENGE.
THE ROWER.
THE SAILOR’S GIRL.
THE SHEPHERD.
THE SPRING MORNING.
THE SUNDAY HARVEST.
THE SWAN.
THE TWO.
THE VAIN WISH.
THE WORK-GIRL.
THE YOUNG HUNTSMAN.
THE YOUTH.
THOUGHT.
TO A BIRD.
TO A FLOWER.
TO A MAIDEN.
TO A ROSE.
TO FORTUNE.
TO FRANZEN.
TO FRIGGA.
TO MY SPARROW.
TO THE EVENING STAR.
TO THE LADIES.
TO UNREST.
TO YEARNING.
V. LIEUTENANT ZIDEN.
VI. THE COTTAGE MAIDEN.
VII. SVEN DUFVA.
VIII. VON KONOW AND HIS CORPORAL.
WAITING.
WAITING.
WHO HITHER STEERED THY WAY?
X. OTTO VON FIEANDT.
XI. SANDELS.
XII. THE TWO DRAGOONS.
XIII. OLD MAN HURTIG.
XIV. KULNEFF.
XIX. THE SOLDIER BOY.
XV. THE KING.
XVI. THE FIELD MARSHAL.
XVII. SVEABORG.
XVIII. DOBELN AT JUUTAS.
XX. THE MARCH OF THE MEN OF BJORNEBORG.
XXI. THE ENSIGN AT THE FAIR.
XXII. LOTTA SVARD.
XXIII. THE AGED LODE.
XXIV. THE STRANGERS VISION.
XXIX. VON ESSEN.
XXV. THE ENSIGN’S GREETING
XXVI. VON TORNE.
XXVII. THE FIFTH OF JULY.
XXVIII. MUNTER.
XXX. THE BAGGAGE DRIVER.
XXXI. WILHELM VON SCHWERIN.
XXXII. NUMBER FIFTEEN STOLT.
XXXIII. THE BROTHERS.
XXXIV. THE GOVERNOR.
XXXV. ADLERCREUTZ.
YOUTH.
The Biography
Runeberg’s long-term home in Porvoo, a city situated on the southern coast of Finland, where from 1837 onwards he served as professor of Latin literature in the Gymnasium of Porvoo. The house is now open as a museum dedicated to the famous poet.
Porvoo is approximately thirty miles east of Helsinki
JOHAN LUDVIG RUNEBERG by William Morton Payne
CRITICAL AND BIOGRAPHICAL INTRODUCTION
THE GRAND DUCHY of Finland, “torn like a bloody shield from the heart of Sweden” in 1809, by the ruthless despot who was then all-powerful in Europe, and who now, by the irony of fate, lies buried in Paris beneath a sarcophagus of Finnish porphyry, has not become Russianized to any considerable extent, and still looks to the old mother-country for its social and intellectual ideals. This fact is due in part to the force of historical association upon the mind of a simple and conservative race, and in part to the fact that the Russian treatment of the conquered province has been fairly lenient, and most strikingly contrasted with the repressive policy pursued toward Russian Poland. It is not, then, as surprising as might at first sight appear, that the greatest name in Swedish literature should belong to a native of Finland, who was but five years of age at the time of the Russian annexation.
Johan Ludvig Runeberg was born February 5th, 1804, at Jakobsstad, a small seaport town on the Gulf of Bothnia. He was the oldest of the six children of a merchant captain in reduced circumstances. He went to school at Vasa, and in 1822 to the university at Åbo, supporting himself in part by tutoring. He was so poor that he literally lived on potatoes for months at a time. He took his doctor’s degree in 1827, and soon thereafter was betrothed to Fredrika Tengström, a woman who afterwards attained some celebrity as a writer on her own account. The year that Runeberg left the university was also the year of the great fire that destroyed the greater part of the capital, and led to the transfer of both university and seat of government to Helsingfors. The years immediately following were decisive for the poet’s development, since they took him to Sarkijarvi, a town far to the north in the heart of Finland, where he came into close contact with the purest type of the Finnish peasantry. In this poverty-stricken wilderness, where men toiled incessantly for a subsistence so precarious that those were deemed fortunate who did not have to live upon bread made in large part from the bark of trees, the young scholar learned really to know his fellow-countrymen, to enter intimately into their humble lives, and to collect a wealth of first-hand impressions that were afterwards to be turned to literary account. The years at Sarkijarvi were devoted to earnest study, and to the composition of poems that showed his powers to be steadily ripening; so that when, in 1830, he received a university appointment at Helsingfors, he was able to bring back with him to civilization the material for the volume of poems that saw the light in that year.
The publication of this volume was coincident with a stirring of the Finnish national consciousness that promised much for the future. The Russian yoke turned out to be no very heavy burden, since Finland was left a considerable degree of autonomy, and since the Russian censorship was disposed to deal very leniently with the literary expressions of national aspiration, and even with the most passionate assertions of spiritual allegiance to the Swedish tradition. This was also the time when the consciousness of Finland was quickened by the restoration of the ‘Kalevala.’ Dr. Lönnrot, a physician and professor at the university, had been traveling through the country for the purpose of collecting fragments of folk-song and popular tradition, and had made the great discovery that there still existed on the lips of the people a popular epic that had been transmitted from generation to generation through the centuries, — an epic which was comparable with, let us say, the ‘Nibelungenlied,’ and which the discoverer pieced together and reconstructed into substantial unity.
This was clearly an opportune time for the appearance of a national poet; and in Runeberg the man of the hour was found. Fort
unately for the history of culture, he realized that the aspirations of Finland were best to be furthered by an adherence to the Swedish tongue, and so it came about that Sweden as well as Finland gained a new poet of the first rank. The influence of Runeberg’s appearance upon Swedish literature in the narrower sense was also of the utmost importance. Swedish poetry up to this time had been divided into the two camps of Phosphorists and Gothics. The former were the torch-bearers of the German romantic movement; and had, if anything, made its mysticism more exaggerated and its extravagance more unreal. If they had lived in New England, they would have been called transcendentalists. The Gothics, on the other hand, had sought to bring about a more strictly national revival of letters; and as represented by Geijer and Tegnér, had endeavored to reproduce the spirit of the past. But even Tegnér, great and true poet as he was, could not escape from the prevailing artificiality of an essentially rhetorical age; and so the work of Runeberg, with its vivid realism, its direct simplicity, and its fidelity to the facts of nature and human life, came into Swedish poetry with a new note, and helped to accomplish a sort of Wordsworthian revolution in literary standards.
The ‘Poems’ of 1830 were well received, and were followed in the same year by a collection of Serbian folk-songs, translated from Goetze’s German version. A certain kinship between the popular poetry of Finland and Serbia has been more than once pointed out. In both cases the utterance of races that failed to reach the front in the struggle for existence, the resemblance of the two bodies of folk-song is noticeable when we consider their spirit alone, and is made still more noticeable by their common employment of an unrhymed trochaic verse. This work in Serbian poetry is also significant because it was the direct inspiration of Runeberg’s ‘Idyll och Epigram,’ a collection of short original pieces in the same manner. In 1831 the poet received a prize from the Swedish Academy for an epic composition called ‘Grafven i Perrho’ (The Grave in Perrho), and in the same year married the woman to whom he had so long been engaged. A university promotion also came to him, and he felt himself to be on the high-road to success. He soon became editor of a newspaper as well; and for it he wrote most of the critical essays and prose tales that occupy an honorable place among his collected writings. His stay in Helsingfors lasted until 1837; and during this period he published, besides the works already mentioned, ‘Elgskyttarne’ (The Elk Hunters), — a beautiful epic in hexameters, which more than once suggests Goethe’s ‘Hermann and Dorothea’; a second collection of ‘Poems’; a comedy in verse entitled ‘Friaren från Landet’ (The Country Suitor); and the village idyl ‘Hanna,’ a love story in hexameters, with an exquisitely beautiful dedication to “the first love.” In 1837, Runeberg’s friends obtained for him a professorial appointment at the gymnasium of Borgå, a quiet country town on the Gulf of Finland, about thirty miles from Helsingfors. Here he remained for the last forty years of his life, and his biography from this time on is little more than an account of his successive publications. Externally, there is almost nothing to record beyond the promotions which finally gave to him the rectorship of the gymnasium (followed after a few years of service by a pension for life), and the trip to Sweden in 1851, which was the only occasion upon which the poet ever left his native Finland. He died May 6th, 1877, after having been in precarious health for several years.