Ilmatar

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File:Robert Wilhelm Ekman - Ilmatar - A II 1256 - Finnish National Gallery.jpg
Ilmatar by Robert Wilhelm Ekman, 1860

Ilmatar (Template:IPA) is a virgin spirit and goddess of the air in the Finnish national epic Kalevala.<ref>Lönnrot, Elias, compiler. The Kalevala: Epic of the Finnish People. Translated by Eino Friberg. Otava Publishing Company, Ltd., 4th ed., p. 365. (1998) Template:ISBN</ref>

Origins

The name Ilmatar is derived from the Finnish word ilma, meaning "air," and the female suffix -tar, corresponding to the English "-ess". Thus, her name means Airess. In the Kalevala she was also occasionally called Luonnotar (Template:IPA), which means "Naturess," "female spirit of nature" (Finnish luonto, "nature").<ref>Lönnrot, Elias, compiler. The Kalevala, or Poems of the Kaleva District: A Prose Translation with Foreword and Appendices. Translated with foreword and appendices by Francis Peabody Magoun, Jr. Cambridge, MA: Harvard University Press, 1963.</ref>

She was impregnated by the sea and wind and thus became the mother of Väinämöinen.

Ilmatar does not appear connected to the creation of the world in Finnish mythology.<ref>Template:Cite book</ref> In runic songs, the name only appears in one collected White Karelian poem in reference to the oldest of women. In a rare Ostrobothnian runic song, it is said that the one who gave birth to Väinämöinen was the Maiden of North (Pohjan neito). This is the runic song basis for Lönnrot's Ilmatar as the feminine birther of the world.<ref>Template:Cite book</ref> In Ladoga Karelia, the one who gives birth to Väinämöinen is either Iro (Saint Irene) or Maaria (Virgin Mary).<ref>Template:Cite book</ref>

File:Joseph Alanen - Ilmatar.jpg
Ilmatar by Template:Ill, 1913–1916

Sibelius’s Luonnotar

Template:Main article Template:Inappropriate tone Jean Sibelius composed the Finnish epic tone poem Luonnotar, for soprano and orchestra in 1913. In this work, the mythical origin of the land and sky (recounted in verses from the Kalevala) becomes an intense Sibelian metaphor for the inexorable force of terror of all creation. Considered to be one of the composer's most compelling works, it alternates between two musical themes. As heard at the outset, these are the shimmering stirrings of ever-growing possibility; and, underpinned with dissonant, static, harp strokes, the even more incantatory, distressed cries of the "nature spirit" (Luonnotar) herself, heavy with child.Template:Citation needed

Homage

References

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Template:Deity-stub Template:Kalevala