DOCSLIB.ORG

Scand 444 Kalevala-Autumn10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scand 444 Kalevala-Autumn10 Folklore 347, Littrans 347, Readings: http://tadubois.com Medieval 444, Scand 444 This course looks at the song traditions that became the basis of Autumn 2010 the Finnish national epic Kalevala, Tuesdays and Thursdays 2:30-3:45 a work that helped establish Sterling 1313 Final Exam: Fri. Dec. 17, 2:45 pm Finland in the eyes of the world as a unique culture, a nation. We will survey the artistic and cultural Prof. Thomas A. DuBois products that followed the epic ([email protected]) from its first publication in 1835 (http://tadubois.com) through the establishment of Finnish independence in 1917 and down to the present day. Course Texts 1. Readings from Leea Virtanen and Thomas DuBois Finnish Folklore. Available as pdfs. 2. Saga of the Völsungs. Trans. Jesse Byock. Obtain a copy through purchase or borrowing. 3. Esaias Tegnér. Frithiof’s Saga. Trans. Ida Mauch. Available in copy form. 4. Elias Lönnrot. Kalevala: An Epic Poem after Oral Tradition. Trans. Keith Bosley. Obtain a copy through purchase or borrowing. 5. Additional readings and film showings as listed in syllabus, made available to students in advance of discussion. Mini-Epic. Choose at least five of the Finnish-American songs provided in the class to create your own mini-epic about the Finnish –American experience. If you prefer, you can choose a different set of five thematically-related songs from some other context and create an epic out of these. Present the original texts, your reworked epic, and an essay. In the essay, explain what you sought to achieve in your texts, the difficulties you encountered in amalgamating the songs, and the relationship of your work to the narrative details or underlying themes of the songs themselves. Approximate length: 20 pages total. To be turned in to email address: [email protected] on or before Dec. 20. Course Requirements 1. Midterm exams: October 14 20 November 18 20 2. Non-cumulative final exam, December 14 or December 17 20 3. Singable translations of two Finnish-American songs 20 4. Epic project, due Dec. 20 20 Course Schedule Week 1 (September 2) Course Introduction. Week 2 (Sept. 7, 9) Song Types/History of Collection/Finland’s “Old” vs. “Young” folksong The Sampo song (Read: Virtanen/DuBois 38-51; 131-139) Week 3 (Sept. 14, 16) NO CLASS Sept. 16! Healing (Read: Virtanen/DuBois 89-98, 179-186) Week 4 (Sept. 21, 23) Weddings and Lyric Songs (Read: Virtanen/DuBois 143-155, 165-175) Saga of the Völsungs day 1. Week 5 (Sept. 28, 30) Saga of the Völsungs day 2. Frithiof’s Saga Week 6 (Oct. 5, 7) Kalevala day 1. Väinämöinen Kalevala day 2. Ilmarinen and Lemminkäinen Week 7 (Oct. 12, 14) Kalevala day 3. Kullervo EXAM 1. Oct. 14! Week 8 (Oct. 19, 21) NO CLASS Oct. 21! Kalevala day 4. Female characters: Louhi, Aino, Maiden, Marjatta Week 9 (Oct. 26, 28) Karelianism: Inha, Gallén-Kallela, Sibelius Emblematic Singers: Larin Paraske, Kreeta Haapasalo Week 10 (Nov. 2, 4) Kalevala and the schools; Soviet film Kalevala and Finnish art music: Guest lecture, Mimmi Fulmer Week 11 (Nov. 9,11) Kalevala in wartime Finnish Identity in the New World: Guest lecture, Hilary Virtanen Week 12 (Nov. 16, 18) Kalevala, national dress, and Kalevala-koru EXAM 2. Nov. 18! Week 13 (Nov.23) Paavo Haavikko’s Kalevala revisions: Kullervo THANKSGIVING BREAK! NOTE EXTRA EVENING CLASSES: MON. TUES. NOV. 29 AND 30 TO WATCH HAAVIKKO’S AGE OF IRON! Week 14 (No, 30, Dec. 2) Haavikko’s Age of Iron Week 15 (Dec. 7, 9) [Divisional Committee Thursday] Kalevala in Värttinä and Heavy Metal J. Karjalainen and Finnish America. Guest lecture: Jim Leary Week 16. Dec. 14: OPTIONAL DAY FOR EXAM 3 .
Load more

Recommended publications
  • Arch : Northwestern University Institutional Repository
    NORTHWESTERN UNIVERSITY Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of History By Matthew Kane Sterenberg EVANSTON, ILLINOIS December 2007 2 © Copyright by Matthew Kane Sterenberg 2007 All Rights Reserved 3 ABSTRACT Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain Matthew Sterenberg This dissertation, “Myth and the Modern Problem: Mythic Thinking in Twentieth- Century Britain,” argues that a widespread phenomenon best described as “mythic thinking” emerged in the early twentieth century as way for a variety of thinkers and key cultural groups to frame and articulate their anxieties about, and their responses to, modernity. As such, can be understood in part as a response to what W.H. Auden described as “the modern problem”: a vacuum of meaning caused by the absence of inherited presuppositions and metanarratives that imposed coherence on the flow of experience. At the same time, the dissertation contends that— paradoxically—mythic thinkers’ response to, and critique of, modernity was itself a modern project insofar as it took place within, and depended upon, fundamental institutions, features, and tenets of modernity. Mythic thinking was defined by the belief that myths—timeless rather than time-bound explanatory narratives dealing with ultimate questions—were indispensable frameworks for interpreting experience, and essential tools for coping with and criticizing modernity. Throughout the period 1900 to 1980, it took the form of works of literature, art, philosophy, and theology designed to show that ancient myths had revelatory power for modern life, and that modernity sometimes required creation of new mythic narratives.
    [Show full text]
  • Visits to Tuonela Ne of the Many Mythologies Which Have Had an In
    ne of the many mythologies which have had an in­ fluence on Tolkien's work was the Kalevala, the 22000- line poem recounting the adventures of a group of Fin­ nish heroes. It has many characteristics peculiar to itself and is quite different from, for example, Greek or Germanic mythology. It would take too long to dis­ cuss this difference, but the prominent role of women (particularly mothers) throughout the book may be no­ ted, as well as the fact that the heroes and the style are 'low-brow', as Tolkien described them, as opposed to the 'high-brow' heroes common in other mytholog- les visits to Tuonela (Hades) are fairly frequent; and magic and shape-change- ing play a large part in the epic. Another notable feature which the Kaleva la shares with QS is that it is a collection of separate, but interrelated, tales of heroes, with the central theme of war against Pohjola, the dreary North, running through the whole epic, and individual themes in the separate tales. However, it must be appreciated that QS, despite the many influences clearly traceable behind it, is, as Carpenter reminds us, essentially origin­ al; influences are subtle, and often similar incidents may occur in both books, but be employed in different circumstances, or be used in QS simply as a ba­ sis for a tale which Tolkien would elaborate on and change. Ibis is notice­ able even in the tale of Turin (based on the tale of Kullervo), in which the Finnish influence is strongest. I will give a brief synopsis of the Kullervo tale, to show that although Tolkien used the story, he varied it, added to it, changed its style (which cannot really be appreciated without reading the or­ iginal ), and moulded it to his own use.
    [Show full text]
  • And Estonian Kalev
    Scandinavian Kalf and Estonian Kalev HILDEGARD MUST OLD ICELANDIC SAGAStell us about several prominent :men who bore the name Kalfr, Kalfr, etc.1 The Old Swedish form was written as Kalf or Kalv2 and was a fairly common name in Viking-age Scandinavia. An older form of the same name is probably kaulfR which is found on a runic stone (the Skarby stone). On the basis of this form it is believed that the name developed from an earlier *Kaoulfr which goes back to Proto-Norse *KapwulfaR. It is then a compound as are most of old Scandinavian anthroponyms. The second ele- ment of it is the native word for "wolf," ON"ulfr, OSw. ulv (cf. OE, OS wulf, OHG wolf, Goth. wulfs, from PGmc. *wulfaz). The first component, however, is most likely a name element borrowed from Celtic, cf. Old Irish cath "battle, fight." It is contained in the Old Irish name Cathal which occurred in Iceland also, viz. as Kaoall. The native Germ.anic equivalents of OIr. cath, which go back to PGmc. hapu-, also occurred in personal names (e.g., as a mono- thematic Old Norse divine name Hr;or), and the runic HapuwulfR, ON Hr;lfr and Halfr, OE Heaouwulf, OHG Haduwolf, Hadulf are exact Germanic correspondences of the hybrid Kalfr, Kalfr < *Kaoulfr. However, counterparts of the compound containing the Old Irish stem existed also in other Germanic languages: Oeadwulf in Old English, and Kathwulf in Old High German. 3 1 For the variants see E. H. Lind, Nor8k-i8liind8ka dopnamn och fingerade namn fran medeltiden (Uppsala and Leipzig, 1905-15), e.
    [Show full text]
  • The Transformation of an Oral Poem in Elias Lönnrot's Kalevala
    Oral Tradition, 8/2 (1993): 247-288 From Maria to Marjatta: The Transformation of an Oral Poem in Elias Lönnrot’s Kalevala1 Thomas DuBois The question of Elias Lönnrot’s role in shaping the texts that became his Kalevala has stirred such frequent and vehement debate in international folkloristic circles that even persons with only a passing interest in the subject of Finnish folklore have been drawn to the question. Perhaps the notion of academic fraud in particular intrigues those of us engaged in the profession of scholarship.2 And although anyone who studies Lönnrot’s life and endeavors will discover a man of utmost integrity, it remains difficult to reconcile the extensiveness of Lönnrot’s textual emendations with his stated desire to recover and present the ancient epic traditions of the Finnish people. In part, the enormity of Lönnrot’s project contributes to the failure of scholars writing for an international audience to pursue any analysis beyond broad generalizations about the author’s methods of compilation, 1 Research for this study was funded in part by a grant from the Graduate School Research Fund of the University of Washington, Seattle. 2 Comparetti (1898) made it clear in this early study of Finnish folk poetry that the Kalevala bore only partial resemblance to its source poems, a fact that had become widely acknowledged within Finnish folkoristic circles by that time. The nationalist interests of Lönnrot were examined by a number of international scholars during the following century, although Lönnrot’s fairly conservative views on Finnish nationalism became equated at times with the more strident tone of the turn of the century, when the Kalevala was made an inspiration and catalyst for political change (Mead 1962; Wilson 1976; Cocchiara 1981:268-70; Turunen 1982).
    [Show full text]
  • Cr2016-Program.Pdf
    l Artistic Director’s Note l Welcome to one of our warmest and most popular Christmas Revels, celebrating traditional material from the five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. We cannot wait to introduce you to our little secretive tomtenisse; to the rollicking and intri- cate traditional dances, the exquisitely mesmerizing hardingfele, nyckelharpa, and kantele; to Ilmatar, heaven’s daughter; to wild Louhi, staunch old Väinämöinen, and dashing Ilmarinen. This “journey to the Northlands” beautifully expresses the beating heart of a folk community gathering to share its music, story, dance, and tradition in the deep midwinter darkness. It is interesting that a Christmas Revels can feel both familiar and entirely fresh. Washing- ton Revels has created the Nordic-themed show twice before. The 1996 version was the first show I had the pleasure to direct. It was truly a “folk” show, featuring a community of people from the Northlands meeting together in an annual celebration. In 2005, using much of the same script and material, we married the epic elements of the story with the beauty and mystery of the natural world. The stealing of the sun and moon by witch queen Louhi became a rich metaphor for the waning of the year and our hope for the return of warmth and light. To create this newest telling of our Nordic story, especially in this season when we deeply need the circle of community to bolster us in the darkness, we come back to the town square at a crossroads where families meet at the holiday to sing the old songs, tell the old stories, and step the circling dances to the intricate stringed fiddles.
    [Show full text]
  • The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland
    Nordic Journal of African Studies 1(2): 82–93 (1992) The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland The question has frequently been asked: would Finland exist as a nation state without Lönnrot's Kalevala? There is no need to answer this, but perhaps we may assume that sooner or later someone would have written the books which would have formed the necessary building material for the national identity of the Finns. During the mid 1980s, when the 150th anniversary of the Kalevala was being celebrated in Finland, several international seminars were held and thousands of pages of research and articles were published. At that time some studies appeared in which the birth of the nation state was examined from a pan-European perspective. SMALL NATION STATES "The nation state - an independent political unit whose people share a common language and believe they have a common cultural heritage - is essentially a nineteenth-century invention, based on eighteenth-century philosophy, and which became a reality for the most part in either the late nineteenth or early twentieth century. The circumstances in which this process took place were for the most part marked by the decline of great empires whose centralised sources of power and antiquated methods of administrations prevented an effective response to economic and social change, and better education, with all the aspirations for freedom of thought and political action that accompany such changes." Thus said Professor Michael Branch (University of London) at a conference on the literatures of the Uralic peoples held in Finland in the summer of 1991.
    [Show full text]
  • Semantics of Wainamoinen's Proper Names in Kalevala
    ARTÍCULOS UTOPÍA Y PRAXIS LATINOAMERICANA. AÑO: 25, n° EXTRA 7, 2020, pp. 424-430 REVISTA INTERNACIONAL DE FILOSOFÍA Y TEORÍA SOCIAL CESA-FCES-UNIVERSIDAD DEL ZULIA. MARACAIBO-VENEZUELA ISSN 1316-5216 / ISSN-e: 2477-9555 Semantics of Wainamoinen’s Proper Names in Kalevala Semántica de los nombres propios de Wainamoinen en Kalevala Evgeniya Nicolaevna BULINA https://orcid.org/0000-0002-0296-815X [email protected] Kazan Federal University. Russia Marina Ivanovna SOLNYSHKINA https://orcid.org/0000-0003-1885-3039 [email protected] Kazan Federal University. Russia Marina Georgievna BAHTIOZINA https://orcid.org/0000-0003-4376-3553 [email protected] Moscow State University. Russia Este trabajo está depositado en Zenodo: DOI: http://doi.org/10.5281/zenodo.4009780 RESUMEN ABSTRACT El artículo presenta un análisis semántico de los nombres The article presents semantic analysis of proper names of propios de Wainamoinen, uno de los personajes Wainamoinen, one of the major characters of the Finnish principales del epos finlandés Kalevala. El análisis epos Kalevala. The comparative analysis revealed the comparativo reveló las siguientes capas de información en following layers of information in Wainamoinen’s proper los nombres propios de Wainamoinen: una forma interna names: a transparent inner form of names (Väinämäinen / transparente de los nombres (Väinämäinen / Wainamoinen, Väinö / Waino, Suvantolainen / Wainamoinen, Väinö / Waino, Suvantolainen / Suwantolainen, Uvantolaynen, Osmoynen, Kalevainen, Suwantolainen, Uvantolaynen, Osmoynen, Kalevainen, Kalevalainen) of finnish origin, language and lack of Kalevalainen) de origen finlandés, lenguaje y falta de transparency of Wainamoinen’s names in English, an transparencia de los nombres de Wainamoinen en inglés, additional connotation formed by the morphological una connotación adicional formada por las estructuras structures of the names and a social status, dependent on morfológicas de los nombres y un estatus social, the relationship of the addresser and the addressee.
    [Show full text]
  • Web of Knowledge, Web of Life, Web of Wonder the Kalevala (1), 'Rune II — Wainamoinen's Sowing'
    Web of knowledge, web of life, web of wonder The Kalevala (1), 'Rune II — Wainamoinen's Sowing' Pellerwoinen, thus consenting, Sows with diligence the island, Seeds upon the lands he scatters, Seeds in every swamp and lowland, Forest seeds upon the loose earth, On the firm soil sows the acorns, Spruce-trees sows he on the mountains, Pine trees also on the hilltops, Many shrubs in every valley, Birches sows he in the marshes, In the loose soil sows the alders, In the lowlands sows the lindens, In the moist earth sows the willow, Mountain ash in virgin places, On the banks of streams the hawthorn, Junipers in hilly regions; This the work of Pellerwoinen, Slender Sampsa, in his childhood. Soon the fertile seeds were sprouting, Soon the forest trees were growing, Soon appeared the tops of fir-trees, And the pines were far outspreading; Birches rose from all the marshes, In the loose soil grew the alders, In the mellow soil the lindens; Junipers were also growing, Junipers with clustered berries, Berries on the hawthorn branches. (1) The Kalevala is the national epic poem of Finland compiled by Elias Lönnrot in the nineteenth century from Finnish and Karelian oral folklore. The epic consists of 22 795 verses in fifty cantos. The extract selected to open our story shows a highly developed awareness of forest ecology — an awareness we would expect from a people so dependent on the forest for its livelihood and well-being. 2 Our Natural Europe — making connections It's October, it's late in the of outdoor activities centred on season and it's been a bad the country's forests and lakes.
    [Show full text]
  • Traditional and Literary Epics of the World: Textuality, Authorship, Identity
    International Symposium “Traditional and Literary Epics of the World: Textuality, Authorship, Identity. The Kalevipoeg 150” Tartu, November 29–30, 2011 Venue: University of Tartu History Museum (Toome Hill, Lossi 25) Organisers: The Centre of Excellence in Cultural Theory, the Esto- nian Literary Museum and the Institute for Cultural Research and Fine Arts, the University of Tartu. Tuesday 29.11.2011 10.15 Symposium opening (University of Tartu History Museum, White Hall) 10.30 Plenary lecture: David Elton Gay (Bloomington, IN, USA) The Idea of an Epic: Some Problems of Genre Definition 11.15–11.45 Coffee/tea break 11.45–12.30 Plenary lecture: Dmitry Funk (Moscow, Russia) The Last Shor Epic Singer 12.30–14.00 Lunch 14.00–15.30 Two parallel sessions White Hall: Lotte Tarkka (Helsinki, Finland) The Dialogue of Genres in Kalevala-Metre Oral Epics Tiina Kirss (Tallinn, Estonia) Core and Trunk: The Textuality of the Kalevipoeg in Estonian Culture Frog (Helsinki, Finland) Traditional Epic as Genre: Defini- tion as a Foundation for Comparative Research Conference Hall: Niina Hämäläinen (Turku, Finland) Emotions and Au- thenticity. Reflections on the Epoch in the Kalevala Liina Lukas (Tartu, Estonia) The Baltic-German Sagen- dichtung around the Kalevipoeg Aldis Pūtelis (Riga, Latvia) The Epic Need for an Epic: Latvian Literary Epics of the Late 19th Century 15.30–16.00 Coffee/tea break Kalevipoeg 150 16.00–17.30 Two parallel sessions White Hall: Mari Sarv (Tartu, Estonia) The Success Story of a Verse Form Madis Arukask (Tartu, Estonia) Lamenting
    [Show full text]
  • 1485945431-BIS-9048 Booklet.Pdf
    Disc 1 Playing Time: 80'00 SIBELIUS, Johan [Jean] Christian Julius (1865–1957) Kullervo, Op. 7 (1892) (Breitkopf & Härtel) 79'29 for soloists, male-voice choir and orchestra (text: Kalevala) 1 I. Introduction. Allegro moderato 12'46 2 II. Kullervo’s Youth. Grave 19'05 3 III. Kullervo and his Sister. Allegro vivace 25'55 4 IV. Kullervo Goes to War. Alla marcia [Allegro molto] – Vivace – Presto 9'41 5 V. Kullervo’s Death. Andante 11'19 2 Disc 2 Playing Time: 34'05 KORTEKANGAS, Olli (b. 1955) Migrations (2014) (Fennica Gehrman) 25'22 for mezzo-soprano, male voice choir and orchestra (text: Sheila Packa) Commissioned by the Minnesota Orchestra · Recorded in the presence of the composer 1 I. Two Worlds 3'40 2 II. First Interlude 2'57 3 III. Resurrection 5'10 4 IV. Second Interlude 3'27 5 V. The Man Who Lived in a Tree 2'19 6 VI. Third Interlude 3'29 7 VII. Music That We Breathe 4'20 SIBELIUS, Jean 8 Finlandia, Op. 26 (1899, rev.1900) (Breitkopf & Härtel) 8'19 with choir participation (text: V.A. Koskenniemi) TT: 114'05 YL Male Voice Choir Pasi Hyökki chorus-master Minnesota Orchestra Erin Keefe leader Osmo Vänskä conductor Lilli Paasikivi mezzo-soprano · Tommi Hakala baritone 3 Jean Sibelius: Kullervo · Finlandia The Kalevala, Finland’s national epic in fifty ‘runos’ (‘poems’), was assembled by Elias Lönnrot, a doctor, from Karelian folk originals and published in 1835; a revised edition followed in 1849. It would be difficult to overestimate the impact of this remark able work on Finnish culture at all levels, especially during the years when Finland, a Grand Duchy of the Russian Empire, found its autonomy under increasing threat – a period that broadly coincided with the early part of Sibelius’s active career as a composer.
    [Show full text]
  • A History of Toivola, Michigan by Cynthia Beaudette AALC
    A A Karelian Christmas (play) A Place of Hope: A History of Toivola, Michigan By Cynthia Beaudette AALC- Stony Lake Camp, Minnesota AALC- Summer Camps Aalto, Alvar Aapinen, Suomi: College Reference Accordions in the Cutover (field recording album) Adventure Mining Company, Greenland, MI Aged, The Over 80s Aging Ahla, Mervi Aho genealogy Aho, Eric (artist) Aho, Ilma Ruth Aho, Kalevi, composers Aho, William R. Ahola, genealogy Ahola, Sylvester Ahonen Carriage Works (Sue Ahonen), Makinen, Minn. Ahonen Lumber Co., Ironwood, Michigan Ahonen, Derek (playwrite) Ahonen, Tauno Ahtila, Eija- Liisa (filmmaker) Ahtisaan, Martti (politician) Ahtisarri (President of Finland 1994) Ahvenainen, Veikko (Accordionist) AlA- Hiiro, Juho Wallfried (pilot) Ala genealogy Alabama Finns Aland Island, Finland Alanen, Arnold Alanko genealogy Alaska Alatalo genealogy Alava, Eric J. Alcoholism Alku Finnish Home Building Association, New York, N.Y. Allan Line Alston, Michigan Alston-Brighton, Massachusetts Altonen and Bucci Letters Altonen, Chuck Amasa, Michigan American Association for State and Local History, Nashville, TN American Finn Visit American Finnish Tourist Club, Inc. American Flag made by a Finn American Legion, Alfredo Erickson Post No. 186 American Lutheran Publicity Bureau American Pine, Muonio, Finland American Quaker Workers American-Scandinavian Foundation Amerikan Pojat (Finnish Immigrant Brass Band) Amerikan Suomalainen- Muistelee Merikoskea Amerikan Suometar Amerikan Uutiset Amish Ammala genealogy Anderson , John R. genealogy Anderson genealogy
    [Show full text]
  • Elokuvailta Rauman Taidemuseolla 27.1.2011 Klo 17
    ELOKUVAILTA RAUMAN TAIDEMUSEOLLA 27.1.2011 KLO 17 Tao minulle sampo, niin saat rakkaasi takaisin. Jadesoturi on Kalevalan inspiroima fantasiaa ja kung-fua yhdistävä eeppinen rakkaustarina hyvän ja pahan taistelusta. Elokuva yhdistää suomalaisen ja kiinalaisen mytologian ja tapahtuu kahdessa ajassa ja paikassa - nykypäivän Suomessa sekä muinaisessa Kiinassa. Jadesoturi kertoo tarinan muinaisesta kiinalaisesta soturista Sintaista (Tommi Eronen), seppä Seng-Pun, Sammon takojan, pojasta. Sintai on saanut syntymässään tehtävän taistella demonia, Loviattaren viimeistä poikaa, vastaan; demoni on ryöstänyt Sammon ja on tekemässä siitä porttia helvettiin. Sintai kuitenkin siirtää kohtalon hänelle määräämää tehtävää saadakseen uuden tilaisuuden rakastamansa naisen (Zhang Jingchu) kanssa. Tilaisuus avautuu, usean sielunkierron jälkeen, nykyajan Suomessa. Seppä Kai Pelkonen (Tommi Eronen) on rakentanut pajansa suolle, eristyksiin kaupungista, jossa aikoinaan asui rakkaansa (Krista Kosonen) kanssa. Kalevala-tutkija Olavi Berg (Markku Peltola) löytää muinaisen rautalippaan suohaudasta, joka johdattaa hänet Kain luokse. Lippaan kirjoituksen mukaan sen saa avata vain Seppä Ilmarisen poika, mutta vasta sitten, kun kaikki toivo on mennyt. Kai aukaisee lippaan, jolloin muinaisen kiinalaisen soturin ja nykypäivän suomalaisen sepän elämät nivoutuvat yhteen. Rakkaustarina, joka alkoi tuhansia vuosia sitten, syttyy uudestaan menneisyyden aukaistessa nykyajan arvoitukset. Jotta Kai voi saada rakkaansa takaisin, hänen on kohdattava kohtalonsa, jota hän on niin
    [Show full text]