This documentary covers a whole lot of ground. It deals with every historical and contemporary aspect of hemp usage and cultivation (mainly in the U.S.), which turns out to be a lot. From describing the production of a fibre much more durable and economic than wood, the documentary discusses hemps multilateral uses as e.g. food products, as a non-polluting fuel and as a pharmaceutical product with much less griveous sideeffects than chemical pharmaceutical products. The film also investigates why America went from a country which produced vast quantities of the non-narcotic industrial hemp, to the complete ban on hemp production in 1938. This story in particular is interesting, and it points out that the large oilbased industries actually had a key role in the aforementioned ban. Food for thought! The conclusion of the documentary could be that hemp may prove to be a valid alternative to both oil and wood in the future.
Hemp for Victory is a black-and-white film produced in 1942 by the USDA outlining a plan to distribute 400,000 lbs. of cannabis seeds to American farmers with the goal of producing 350,000 acres of cannabis by 1943 -- all for the war effort. The USDA even went as far as to urge 4-H clubs to grow at least half an acre, but preferably 2 acres of cannabis. All American farmers were required to see the film, sign a paper saying that they had viewed the film, and read a booklet on the matter. Farmers who agreed were waived from serving in the military, and all their family members were also exempt. They received farm equipment at a discounted price, and sometimes for free. However, before and after the war -- the same plant was considered "demon weed" and the killer of the same kids that were pressed into service to grow it during the war. Furthermore, the USDA and Library of Congress denied the creation or existence of such a film until 2 copies were found and sent in to the Library of Congress. Talk about hypocrisy.Hemp for Victory is a black-and-white film produced in 1942 by the USDA outlining a plan to distribute 400,000 lbs. of cannabis seeds to American farmers with the goal of producing 350,000 acres of cannabis by 1943 -- all for the war effort. The USDA even went as far as to urge 4-H clubs to grow at least half an acre, but preferably 2 acres of cannabis. All American farmers were required to see the film, sign a paper saying that they had viewed the film, and read a booklet on the matter. Farmers who agreed were waived from serving in the military, and all their family members were also exempt. They received farm equipment at a discounted price, and sometimes for free. However, before and after the war -- the same plant was considered "demon weed" and the killer of the same kids that were pressed into service to grow it during the war. Furthermore, the USDA and Library of Congress denied the creation or existence of such a film until 2 copies were found and sent in to the Library of Congress. Talk about hy...all »Hemp for Victory is a black-and-white film produced in 1942 by the USDA outlining a plan to distribute 400,000 lbs. of cannabis seeds to American farmers with the goal of producing 350,000 acres of cannabis by 1943 -- all for the war effort. The USDA even went as far as to urge 4-H clubs to grow at least half an acre, but preferably 2 acres of cannabis. All American farmers were required to see the film, sign a paper saying that they had viewed the film, and read a booklet on the matter. Farmers who agreed were waived from serving in the military, and all their family members were also exempt. They received farm equipment at a discounted price, and sometimes for free. However, before and after the war -- the same plant was considered "demon weed" and the killer of the same kids that were pressed into service to grow it during the war. Furthermore, the USDA and Library of Congress denied the creation or existence of such a film until 2 copies were found and sent in to the Library of Congress. Talk about hypocrisy.
The medical use of marijuana is examined from every side of a very complex issue with this documentary that charts the suffering of four chronically ill patients whose reliance on the illegal drug as a pain killer is in jeopardy due to federal anti-narcotic legislation. Reform organizations, prohibitionist groups, politicians, drug war critics, scientists, and celebrities all get their say in this fascinating analysis.
This Brittish documentary traces television and the wider media's reactions to cannabis, from the hysterical vilification of the drug in the 1930s, the punitive measures of the stop and search laws and prison sentences for possession, to the more considered debates now taking place and the real possibility of a change in the law. The story is told through programme clips from the BBC archives, newspaper headlines and interviews. It covers the high profile star busts of the 60s and 70s (when people like Tony Curtis, Mick Jagger and Paul McCartney were taken to court) major drug hauls, science programmes, youth culture and politics. Comments on pot by Chicho Marx, Norman Mailer, Mick Jagger, Dennis Hopper and Shirley MacLaine among many others.
Video Google Secret Societies and Word Meanings - Jordan Maxwell
1:26:07
A Jordan Maxwell lecture "Secret Societies, Word Meanings and Their Influence on World Events." Jordan looks at words & terms in religion, politics and law, and how easily we can be misled if we do not "define our terms." As civilization slowly developed in both Greece and Rome the callings, or forms of work, which required skilled hands and trained minds were more and more placed in the care of organized crafts which the Greeks called hetarai, and the Romans called collegia. Later on they were called gilds. The purpose of such gilds was to serve the people by producing things necessary to everybody. The Dark Ages were so called because during a long and ghastly period of nearly four centuries barbarians invaded Rome and Greece from all directions (except from the south),and in so doing destroyed almost every vestige of the knowledge and skill which had been employed in the old organized crafts. After Charlemagne, who lived in the ninth century, Europe began very slowly to recover the old arts, and when this occurred the skilled workmen once again became organized, and their organizations had a gild-form. But these new gilds were called "mysteries," and it is easy to see why; the skilled craftsmen in them made things needed for use, and since the few literate men in Europe in the period used the Latin language in speaking and writing, these men adopted the Latin word ministerium. In Old French it became mestier, in Modern French, metier, and when introduced into English, during the period of Middle English it became, first, mistere, and later, mistery. VERY FAR BACK IN TIME our remote forefathers used in one form or another the short word mu. It meant "keep your lips closed," "say nothing about it"; and either in the beginning of its use, or not long afterwards, it also meant "keep your eyes closed," "don't be inquisitive about the affairs of others," etc. We ourselves in our own language continue to employ that same ancient word in our "mum," "mumble," "mutter," "mummer" (it is not the root of "mummy," which derived from a Persian word mum, meaning wax, and was applied to bodies preserved in wax and oil).A Jordan Maxwell lecture "Secret Societies, Word Meanings and Their Influence on World Events." Jordan looks at words & terms in religion, politics and law, and how easily we can be misled if we do not "define our terms." As civilization slowly developed in both Greece and Rome the callings, or forms of work, which required skilled hands and trained minds were more and more placed in the care of organized crafts which the Greeks called hetarai, and the Romans called collegia. Later on they were called gilds. The purpose of such gilds was to serve the people by producing things necessary to everybody. The Dark Ages were so called because during a long and ghastly period of nearly four centuries barbarians invaded Rome and Greece from all directions (except from the south),and in so doing destroyed almost every vestige of the knowledge and skill which had been employed in the old organized crafts. After Charlemagne, who lived in the ninth century, Europe began very slowly to recover the old arts, and when th...all »
A Jordan Maxwell lecture "Secret Societies, Word Meanings and Their Influence on World Events." Jordan looks at words & terms in religion, politics and law, and how easily we can be misled if we do not "define our terms." As civilization slowly developed in both Greece and Rome the callings, or forms of work, which required skilled hands and trained minds were more and more placed in the care of organized crafts which the Greeks called hetarai, and the Romans called collegia. Later on they were called gilds. The purpose of such gilds was to serve the people by producing things necessary to everybody. The Dark Ages were so called because during a long and ghastly period of nearly four centuries barbarians invaded Rome and Greece from all directions (except from the south),and in so doing destroyed almost every vestige of the knowledge and skill which had been employed in the old organized crafts. After Charlemagne, who lived in the ninth century, Europe began very slowly to recover the old arts, and when this occurred the skilled workmen once again became organized, and their organizations had a gild-form. But these new gilds were called "mysteries," and it is easy to see why; the skilled craftsmen in them made things needed for use, and since the few literate men in Europe in the period used the Latin language in speaking and writing, these men adopted the Latin word ministerium. In Old French it became mestier, in Modern French, metier, and when introduced into English, during the period of Middle English it became, first, mistere, and later, mistery. VERY FAR BACK IN TIME our remote forefathers used in one form or another the short word mu. It meant "keep your lips closed," "say nothing about it"; and either in the beginning of its use, or not long afterwards, it also meant "keep your eyes closed," "don't be inquisitive about the affairs of others," etc. We ourselves in our own language continue to employ that same ancient word in our "mum," "mumble," "mutter," "mummer" (it is not the root of "mummy," which derived from a Persian word mum, meaning wax, and was applied to bodies preserved in wax and oil).
Jordan exposes so much information hidden in plain site, in churchs, corporate logos, information on the occult aspects of the secret society. Very interesting material.
Video Google Exposing The Illuminati - Jordan Maxwell
3:00:10
WRITE THE TRUTH ON THE MONEY!! Only write on the light border of all your bills, as not to deface them, subsequently keeping them in circulation. Use their own control and tyranny against them. Allow our founding fathers to speak of freedom once again and the paper will leave your hand carrying true value, knowledge. Write things like, “9/11 was an inside job”, etc. anything to get the message out and inspire people to open their eyes. Do not deface the bills as they will be destroyed.
The Kalevala is a 19th century work of epic poetry compiled by Elias Lönnrot from Finnish and Karelian oral folklore and mythology.
It is regarded as the national epic of Finland and is one of the most significant works of Finnish literature. The Kalevala played an instrumental role in the development of the Finnish national identity, the intensification of Finland's language strife and the growing sense of nationality that ultimately led to Finland's independence from Russia in 1917.
The first version of The Kalevala (called The Old Kalevala) was published in 1835. The version most commonly known today was first published in 1849 and consists of 22,795 verses, divided into fifty songs (Finnish: runot). The title can be interpreted as "The land of Kaleva".
PoetryHistory Finnish folk poetry was first written down in the 17th century and collected by hobbyists and scholars through the following centuries. Despite this, the majority of Finnish poetry remained only oral tradition.
Finnish born nationalist and linguist Kaarle Akseli Gottlund (1796–1875) expressed his desire for a Finnish epic in a similar vein to The Iliad, Beowulf and the Nibelungenlied compiled from the various poems and songs spread over most of Finland. He hoped that such an endeavour would incite a sense of nationality and independence in the native Finnish people. In 1820 Reinhold von Becker founded the journal Turun Wiikko-Sanomat (Turku Weekly News) and published three articles entitled Väinämöisestä (Concerning Väinämöinen). These works were an inspiration for Elias Lönnrot in creating his masters thesis at Turku University.
In the 19th century, collecting became more extensive, systematic and organised. Altogether, almost half a million pages of verse have been collected and archived by the Finnish Literature Society and other collectors in Estonia and the Republic of Karelia. The publication Suomen Kansan Vanhat Runot (Ancient Poems of the Finns) published 33 volumes containing 85,000 items of poetry over a period of 40 years. They have also archived 65,000 items of poetry that remain unpublished. By the end of the 19th century this pastime of collecting material relating to Karelia and the developing orientation towards eastern lands had become a fashion called Karelianism, a form of national romanticism.
The chronology of this oral tradition is uncertain. The oldest themes (the origin of Earth) have been interpreted to have their roots in distant, unrecorded history and could be as old as 3000 years. The newest events (e.g. the arrival of Christianity) seem to be from the Iron Age. Finnish folklorist Kaarle Krohn proposes that some 20 poems of The Kalevala could be of Ancient Estonian origin or they at least deal with a motif of Estonian origin.
It is understood that during the Finnish reformation in the 16th century the clergy forbade all telling and singing of pagan rites and stories. In conjunction with the arrival of European poetry and music this caused a significant reduction in the number of traditional folk songs and their singers. Thus the tradition faded somewhat but was never totally eradicated.
Form and structure The poetry was often sung to music built on a pentachord, sometimes assisted by a kantele player. The rhythm could vary but the music was arranged in either two or four lines consisting of five beats each.[citation needed] The poems were often performed by a duo, each person singing alternative verses or groups of verses. This method of performance is called an antiphonic performance, it is a kind of "singing match".
Metre Despite the vast geographical distance and customary spheres separating individual singers, The Kalevala, as well as the folk poetry it is based on were always sung in the same metre.
The Kalevala's metre is a form of trochaic tetrameter that is known as the Kalevala metre. The metre is thought to have originated during the Proto-Finnic period. Its syllables fall into three types: strong, weak, and neutral.
Lönnrot’s contribution to Kalevala Very little is actually known about Elias Lönnrot's personal contributions to The Kalevala. Scholars to this day still argue and hypothesise about how much of The Kalevala is genuine folk poetry and how much is Lönnrot's own work. During the compilation process it is known that he merged poem variants and characters together, left out verses that did not fit and composed lines of his own in order to connect certain passages into a logical plot. Similarly, individual singers used their own words and dialects when reciting their repertoire even going as far as performing different versions of the same song at different times.
The Finnish historian Väinö Kaukonen suggests that 3% of The Kalevala's lines are Lönnrot's own composition, as well as 14% being Lönnrot compositions from variants, 50% verses which Lönnrot kept mostly unchanged except for some minor alterations and 33% original unedited oral poetry. It is fruitless, however, to attempt to extrapolate concrete percentages of how much of The Kalevala is genuine word-for-word oral tradition and how much is fabricated by the compiler. A loose collection of mixed and varied poems all with many possible versions cannot be combined into a single and solid epic without some editing, otherwise The Kalevala would be an anthology and not a national epic.
Of the five complete translations into English, it is only the older translations by John Martin Crawford (1888) and William Forsell Kirby (1907) which attempt to strictly follow the original rhythm (Kalevala meter) of the poems. Eino Friberg's 1988 translation uses it selectively but in general is more tuned to pleasing the ear than being an exact metrical translation also often reducing the length of songs for aesthetic reasons.
A notable partial translation of Franz Anton Schiefner's German translation was made by Prof. John Addison Porter in 1868 and published by Leypoldt & Holt.
Edward Taylor Fletcher, a British-born Canadian literature enthusiast, also translated selections of The Kalevala in 1869. He read them before the Literary and Historical Society of Quebec on the 17 March 1869.
Francis Peabody Magoun published a scholarly translation of the Kalevala in 1963 written entirely in prose. The appendices of this version contain notes on the history of the poem, comparisons between the original Old Kalevala and the current version, and a detailed glossary of terms and names used in the poem. Magoun also translated The Old Kalevala which was published six years later entitled The Old Kalevala and Certain Antecedents.
The two most recent translations were both published in 1989 by Keith Bosley (Oxford University Press) and Eino Friberg (Otava).
So far The Kalevala has been translated into sixty-one languages and is Finland's most translated work of literature.
The Story The Kalevala begins with the traditional Finnish creation myth, leading into stories of the creation of the earth, plants, creatures and the sky. Creation, healing, combat and internal story telling are often accomplished by the character(s) involved singing of their exploits or desires. Many parts of the stories involve a character hunting or requesting lyrics (spells) to acquire some skill, such as boat-building or the mastery of iron making.
As well as magical spell casting and singing there are many stories of lust, romance, kidnapping and seduction. The protagonists of the stories often have to accomplish feats that are unreasonable or impossible which they often fail to achieve leading to tragedy and humiliation.
The Sampo is a pivotal element of the whole work. Many actions and their consequences are caused by the Sampo itself or a character's interaction with the Sampo. It is described as a magical talisman or device that brings its possessor great fortune and prosperity.
There are also similarities with mythology and folklore from other cultures, for example the Kullervo character and his story bearing some likeness to the Greek Oedipus. The similarity of the virginal maiden Marjatta to the Christian Virgin Mary is also striking. The arrival of Marjatta's son in the final song spelling the end of Väinämöinen's reign over Kalevala is similar to the arrival of Christianity bringing about the end of Paganism in Finland and Europe at large.
Synopses The first Väinämöinen cycle Songs 1 and 2: The poem begins with an introduction by the singers. The Earth is created from the shards of a duck egg and the first man (Väinämöinen) is born to the goddess Ilmatar. Väinämöinen brings trees and life to the barren world.
Songs 3 to 5: Väinämöinen encounters the jealous Joukahainen and they do battle. Joukahainen loses and pledges his sister's hand in return for his life, the sister (Aino) drowns herself in the sea.
Songs 6 to 10: Väinämöinen heads to Pohjola to seduce the maiden of the north. Joukahainen attacks Väinämöinen again, he floats for days on the sea until he is carried by an eagle to Pohjola. He makes a deal with Louhi to get Ilmarinen to create The Sampo. Ilmarinen refuses to go to Pohjola so Väinämöinen forces him against his will. The Sampo is forged. Ilmarinen returns without a bride.
The first Lemminkäinen cycle Songs 11 to 15: Lemminkäinen sets out to Saari (English: The Island) in search of a bride. He and the maid Kyllikki make vows to each other but the maiden repudiates hers so Lemminkäinen discards her and sets off to woo the Maiden of the North. He asks Louhi for her daughters hand and she assigns tasks to him. Lemminkäinen is killed while attempting the tasks and thrown into the river of death. His mother goes in search of him and revives him.
The second Väinämöinen cycle Songs 16 to 18: Väinämöinen builds a boat to travel to Pohjola once again in search of a bride. He visits Tuonela (English: The land of Death) and is held prisoner. Väinämöinen uses his magical powers to escape and warns his people of the dangers present in Tuonela. Väinämöinen now sets out to gather the necessary spells from Antero Vipunen. Väinämöinen is swallowed and has to torture Antero Vipunen for the spells and his escape. His boat completed, Väinämöinen sets sail for Pohjola. Ilmarinen learns of this and resolves to go to Pohjola himself to woo the maiden. The Maiden of the North chooses Ilmarinen.
Ilmarinen's wedding Songs 19 to 25: Ilmarinen is assigned dangerous unreasonable tasks in order to win the hand of the Maiden of the North. He accomplishes these tasks with some help from the maiden herself. In preparation for the wedding beer is brewed, a giant steer is slaughtered and invitations are sent out. Lemminkäinen is uninvited. The wedding party begins and all are happy. Väinämöinen sings and lauds the people of Pohjola. The bride and bridegroom are prepared for their roles in matrimony. The couple arrive home and are greeted with drink and viands.
The second Lemminkäinen cycle Songs 26 to 30: Lemminkäinen is resentful for not having been invited to the wedding and sets out immediately for Pohjola. On his arrival he is challenged to and wins a duel with the Master of the North. An army is conjured to enact revenge upon Lemminkäinen and he flees to his mother. She advises him to head to the Island of Refuge. On his return he finds his house burned to the ground. He goes to Pohjola with his companion Tiera to get his revenge, but Louhi freezes the seas and Lemminkäinen has to return home. When he arrives home he is reunited with his mother and vows to build larger better houses to replace the ones burned down.
The Kullervo cycle Songs 31–36: Untamo kills his brother Kalervo’s people, but spares his wife who later begets Kullervo. Kullervo is sold as a slave to Ilmarinen. Ilmarinen's wife torments and bullies Kullervo so he sends a pack of wolves and bears to tear her to pieces. Kullervo escapes from Ilmarinen's homestead and learns from an old lady in the forest that his family is still alive, he is reunited with them. While returning home from paying taxes he meets and seduces a young maiden only to find out that she is his sister, she kills herself and Kullervo returns home distressed. Kullervo decides to wreak revenge upon Untamo and sets out to find him. Kullervo wages war on Untamo and his people laying all to waste, he then returns home to find the farm deserted. Filled with remorse and regret he kills himself in the place where he seduced his sister.
The second Ilmarinen cycle Songs 37–38: Grieving for his lost love, Ilmarinen forges himself a wife out of gold and silver, but finds her to be cold and discards her. He heads for Pohjola and kidnaps the youngest daughter of Louhi. She is outraged and insults him badly so he sings magic and turns her into a bird. He returns to Kalevala and tells Väinämöinen about the prosperity and wealth of Pohjola's citizens because of The Sampo.
The plunder of the Sampo (the third Väinämöinen cycle) Songs 39–44: Väinämöinen, Ilmarinen and Lemminkäinen sail to Pohjola to recover The Sampo. While on their journey they kill a monstrous pike and from its jaw bone the first kantele is made. The heroes arrive in Pohjola and demand a share of The Sampo's wealth or they will take the whole Sampo by force. Louhi musters her army however Väinämöinen lulls to sleep everyone in Pohjola with his music. The Sampo is taken from its vault of stone and the heroes set out for home. Louhi conjures a great army, turns herself into an eagle and fights for The Sampo. In the battle The Sampo is lost to the sea and destroyed.
Louhi's revenge on Kalevala Songs 45–49: Enraged at the loss of The Sampo, Louhi sends the people of Kalevala diseases and a great bear to kill their cattle. She hides the sun and the moon and steals fire from Kalevala. Väinämöinen heals all of the ailments and, with Ilmarinen, restores the fire. Väinämöinen forces Louhi to return the Sun and the Moon to the skies.
The Marjatta cycle Song 50: The shy young virgin Marjatta becomes impregnated from a lingonberry she ate while tending to her flock. She begets a son. Väinämöinen orders the killing of the boy, but the boy begins to speak and reproaches Väinämöinen for ill judgement. The child is then baptised King of Karelia. Väinämöinen sails away leaving only his songs and kantele as legacy.
The poem ends and the singers sing a farewell and thank you to their audience.
Characters Väinämöinen Väinämöinen is the central character of The Kalevala, he is a shamanistic hero with the magical power of song and music similar to Orpheus. He is born already ancient to Ilmatar and contributes to the origin of Earth. Many of his travels resemble shamanistic journeys, most notably one where he visits the belly of a ground-giant, Antero Vipunen, to find the songs of boat building.
Väinämöinen created and plays the kantele, a Finnish stringed instrument that resembles and is played like a zither. The kantele is very important in Finnish folk music and myth.
Väinämöinen's search for a wife is a central element in many stories; although he never finds one. One of his potential brides, Joukahainen's sister Aino, drowns herself instead of marrying him. He is the leading member of the group which steals the Sampo from the people of Pohjola.
Ilmarinen Seppo Ilmarinen, is a heroic artificer (comparable to the Germanic Weyland and the Greek Daedalus). He crafted the dome of the sky, The Sampo and various other magical devices featured in The Kalevala. Ilmarinen is the second member of the group who steal the Sampo.
Ilmarinen, like Väinämöinen, also has many stories told of his search for a wife, reaching the point where he forges one of gold.
Lemminkäinen Lemminkäinen is a handsome, arrogant and reckless ladies-man, he is the son of Lempi (English: lust or favourite). He shares a very close relationship with his mother who revives him after he has been drowned in the river of Tuonela while pursuing the object of his romantic desires. This section of The Kalevala echoes the myth of Osiris. Lemminkäinen is the third member of the group which steals the Sampo from Pohjola.
Ukko Ukko (English: Old man) is the leading deity mentioned within The Kalevala. His character alludes to Thor and Zeus. John Martin Crawford wrote that the name may be related the obsolete Hungarian word for an old man (agg).
Joukahainen Joukahainen is a base, unintelligent young man who arrogantly challenges Väinämöinen to a singing contest which he loses. In exchange for his life Joukahainen promises his young sister Aino to Väinämöinen. Joukahainen attempts to gain his revenge on Väinämöinen by killing him with a crossbow but only succeeds in killing Väinämöinen's horse. Joukahainen's actions lead to Väinämöinen promising to build a Sampo in return for Louhi rescuing him.
Louhi Louhi the Mistress of the North, is the shamanistic matriarch of the people of Pohjola, a people rivalling those of Kalevala. She is the cause of much trouble for Kalevala and its people.
Louhi at one point saves Väinämöinen's life. She has many daughters whom the heroes of Kalevala make many attempts (some successful) at seducing. Louhi plays a major part in the battle to prevent the heroes of Kalevala from stealing back the Sampo which as a result is ultimately destroyed. She is a powerful witch with a skill almost on a par with that of Väinämöinen's.
Kullervo Kullervo is the vengeful, mentally ill and tragic son of Kalervo. He was abused as a child and sold into slavery to Ilmarinen. He is put to work and treated badly by Ilmarinen's wife whom he later kills. Kullervo is a misguided and troubled youth often at odds with himself and his situation. He often goes into berserk rage and in the end commits suicide.
Marjatta Marjatta is the young virgin of Kalevala. She becomes pregnant from eating a lingonberry. When her labour begins she is expelled from her parents' home and leaves to find a place where she can sauna and give birth. She is turned away from numerous places but finally finds a place in the forest and gives birth to a son. Marjatta's nature, impregnation and searching for a place to give birth are in allegory to the Virgin Mary and the Christianisation of Finland. Marjatta's son is later condemned to death by Väinämöinen for being born out of wedlock, the boy in turn chastises Väinämöinen and is later crowned King of Karelia. This angers Väinämöinen who leaves Kalevala leaving his songs and kantele to the people as his legacy.
Influence of The Kalevala The Kalevala is a major part of Finnish culture and history, and has impacted the arts in Finland, and in other cultures around the world.
Daily life The influence of The Kalevala in daily life and business in Finland is tangible. Names and places associated with The Kalevala have been adopted as company and brand names and even as place names.
There are several places within Finland with Kalevala related names, for example: the district of Tapiola in the city of Espoo; the district of Pohjola in the city of Turku, the district of Metsola in the city of Vantaa and the district of Kaleva in the city of Tampere; the historic provinces of Savo and Karjala and the Russian towns of Hiitola and Kalevala are all mentioned within the songs of The Kalevala.
The banking sector of Finland has at least three Kalevala related names: Sampo, Pohjola and Tapiola.
The jewellery company Kalevala Koru was founded in 1935 on the 100th anniversary of the publication of The Old Kalevala. It specialises in the production of unique and culturally important items of jewellery. It is co-owned by the Kalevala Women's League and offers artistic scholarships to a certain number of organisations and individuals every year.
The Finnish dairy company Valio has a brand of ice-cream named Aino, specialising in more exotic flavours than their normal brand.
The construction group Lemminkäinen was formed in 1910 as a roofing and asphalt company, the name was chosen specifically to emphasise that they were a wholly Finnish company. They now operate internationally. Celebration
The Kalevala Day is celebrated in Finland on the 28 February, to match Elias Lönnrot's first version of The Kalevala in 1835.
Several of the names in The Kalevala are also celebrated as Finnish name days. The name days themselves and the dates they fall upon have no direct relationship with The Kalevala itself however the adoption of the names became commonplace after the release of The Kalevala.
Fine art Several artists have been influenced by The Kalevala, most notably Akseli Gallen-Kallela who has painted many pieces relating to The Kalevala.
Iittala group's Arabia brand kilned a series of Kalevala commemorative plates, designed by the late Raija Uosikkinen. The series ran from 1976 to 1999 and are highly sought after collectables.
One of the earliest artists to depict a scene from The Kalevala is Robert Wilhelm Ekman. One of his drawings from 1886 depicts Väinämöinen playing his kantele.
Aarno Karimo was a Finnish artist who illustrated the Kuva Kalevala (Published by Pellervo-Seura in 1953). He died before completing it. Hugo Otava finished it using original sketches as a guide.
In 1989 the fourth full translation of Kalevala into English was published, richly illustrated by Björn Landström.
Literature The Kalevala has been translated over one-hundred and fifty times into over sixty different languages. For more details about the translations into English please see the translations section.
Franz Anton Schiefner's translation of The Kalevala was one inspiration for Longfellow's 1855 poem, The Song of Hiawatha, which is written in a similar trochaic tetrameter.
Friedrich Reinhold Kreutzwald's Estonian national epic Kalevipoeg was inspired by The Kalevala. Both Väinämöinen and Ilmarinen are mentioned in the work and the overall story of Kalevipoeg (Kalev's son) bears similarities with the Kullervo story.
J.R.R. Tolkien claimed The Kalevala as one of his sources for the Silmarillion. For example: Kullervo's story is the basis of Túrin Turambar in Narn i Chîn Húrin, including the sword that speaks when the anti-hero uses it to commit suicide. Echoes of The Kalevala's characters, Väinämöinen in particular, can be found in Tom Bombadil of The Lord of the Rings.
Finnish cartoonist Kristian Huitula illustrated the comic book adaptation of the Kalevala. The Kalevala Graphic Novel contains the storyline of all the 50 chapters in original text form.Finnish cartoonist and children's writer Mauri Kunnas wrote and illustrated Koirien Kalevala (The Canine Kalevala). The story is that of The Kalevala with the characters presented as anthropomorphized dogs, wolves and cats. The story deviates from the full Kalevala, presumably, to make the story more appropriate for children.
The Kalevala also inspired the American Disney cartoonist Don Rosa to draw a Donald Duck story based on The Kalevala, called The Quest for Kalevala. The comic was released in the year of the 150th anniversary of The Kalevala's publication.
The Neustadt Prize-winning poet and playwright Paavo Haavikko who is regarded as one of Finland's finest writers, has also taken influence from The Kalevala.
Emil Petaja was an American science fiction and fantasy author of Finnish descent. His best known works known as the Otava Series make up a series of novels based on The Kalevala. The series brought Petaja readers from around the world; while his mythological approach to science fiction was discussed in scholarly papers presented at academic conferences. He has a further Kalevala based work which is not part of the series, entitled The Time Twister.
The British science fiction writer Ian Watson's Books of Mana duology: Lucky's Harvest and The Fallen Moon both contain references to places and names from the Kalevala.
British fantasy author Michael Moorcock's sword and sorcery anti-hero, Elric of Melniboné is influenced by the character Kullervo.
Egg A world egg or cosmic egg is a mythological motif found in the creation myths of many cultures and civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg.
In the Kalevala, the Finnish national epic, there is a myth of the world being created from the fragments of an egg laid by a diving duck on the knee of Ilmatar, goddess of the air:
One egg's lower half transformed And became the earth below, And its upper half transmuted And became the sky above; From the yolk the sun was made, Light of day to shine upon us; From the white the moon was formed, Light of night to gleam above us; All the colored brighter bits Rose to be the stars of heaven And the darker crumbs changed into Clouds and cloudlets in the sky.
The story of the Sampo, the magical object that produces riches, from a Finnish-Soviet movie from 1959. The story is based on the Finnish national epic, The Kalevala. Notice that almost all the characters have some sort of magic or act as shamans. The women of Kalevala have very strong personality, like Louhi, the sorceress of the Pohyola ('The North-Country'). Pohyola may be thought of as a real place in the north or as a world in a totally different reality.
In 1999, aged 40, I went through a very traumatic spiritual awakening that literally changed my life overnight. I was also labelled a paranoid psychotic by the authorities who failed to understand what was really happening to me. One minute I was an average married working man, struggling to bring up two children, the next I was vigorously taking on authority and trying to awaken the world.
From 1999 onwards I have been able to see things in a very very different light and I have felt spiritually directed in my quest to understand and relay the truth to the masses. Please do not think 'I have found God' or gone through 'a mid-life crisis' because I assure you that is not the case. I am not that sort of bloke. I have simply regained my true awareness, through trauma, and I now believe, nay I now know, that the human race is being duped on a massive scale and it is being totally controlled by forces using esoteric knowledge that is purposely kept from the stupefied masses. I have come to understand that this world is manipulated by a group of Sun Worshippers and their multidimensional idols/masters. I call both masters and worshippers 'The Serpent Cult'.
This Serpent Cult is indeed, as daft as it sounds, composed of multidimensional alien beings and their lackeys on Earth. I call these lackeys simply 'Agents for the Serpent'. These agents are the world's leaders in banking, politics and religion and they assist in carrying out the eventual spiritual enslavement of mankind in return for material wealth and power. Their deceptions hold no boundaries.
The Serpent Cult, in my opinion, continually 'hold' the human race under mass hypnosis and you and I have become nothing but deluded robots as we blindly went through the motions of our perceived lives via the rules laid down by the puppet authorities. It is all based on trickery and deception and the naivety of a dumbed down human race only make things carry on. We are literally living a sham, lifetime after lifetime. We are totally under the influence of very powerful physical and mental control. We are indeed living in an manufactured illusion. It is only our manipulated minds that create the illusion that you are free. 'Mass hypnosis supplies the mass illusion that we are free'. It is time to wake up. It is time to break the trance that enslaves us.
We are under the spell of a deceptive Serpent. It is time to break the Serpent's Spell. Some of you visiting this site will be partially aware that you are on a journey in which your aim is to gain full access to your true awareness, to regain total spiritual freedom and to help put this world back on its true path. In turn you will be put back on your true path too. This journey will not be easy and it will hurt you and it has and will hurt me too.
This website is simply a platform for me to supply my work in some form or another with you and to help bring to the public domain information about the level of control and manipulation the Serpent Cult exercise over the masses.I vow to try and bring information to the public through this site (or other means) without any fear. I have nothing but my heart and spiritual direction.
Never forget that you are a very powerful being that was unplugged from infinite consciousness and spiritual intuition/knowledge by a very deceptive force. It is time to start looking for the socket and get plugged in again!
Topical chat show, recorded live at the Edge Media TV studios in the UK. Franky Ma talks to Matthew Delooze and Garry Cook about their awakenings, and takes viewers calls and questions.
Matthew Delooze - Part 1
Matthew Delooze - Part 2
Matthew Delooze - Part 3
Matthew Delooze - Part 4
Matthew Delooze - Part 5
Matthew Delooze- interviewed by Ben Emlyn-Jones at the UK Probe Conference, Saturday the 28th and Sunday the 29th of March 2009.
"Fool me once ..." is from one of the UK's most active Truth Campaigner's. Recorded live at the Glastonbury Symposium in July 2007 Ian R. Crane, the immediate past Chair of the UK 9/11 Truth Campaign, reflects upon UK Prime Minister Gordon Brown's overt commitment to the agenda of the New World Order and offers a startling prediction of what is being planned to accelerate implementation of the One World Government ... with particular focus on the 2012 London Olympics.
Fool Me Once - Ian R Crane - Part 1 of 7
New World Order.
Fool Me Once - Ian R Crane - Part 2 of 7
New Jerusalem, New London and Zion.
Fool Me Once - Ian R Crane - Part 3 of 7
Fear, Control, Media Conditioning (Television and News), Student Debt, House Loans, Oil Prices, Pension Fraud, and Credit Crunch. Adolf Hitler, Heinrich Himmler, Ahnernerbe, and Wolfram van Sievers.
Fool Me Once - Ian R Crane - Part 4 of 7
German Scientist, Technology, The Secret Brotherhood, Skull & Bones, Phi Beta Kappa, Shriners, Freemasons, and The project for the New American Century.
Fool Me Once - Ian R Crane - Part 5 of 7
Bohemian Groove, North American Union, Amero, 9-11, 16th Tower Tarot Card, The Process of Metanoia, 7/7 Connections, and Palestine.
Fool Me Once - Ian R Crane - Part 6 of 7
Robot Warrior, Alien Threat, Star Wars, False Flag Alien Invasion, London Olympics 2012, and Awaken the Kundalini.
Fool Me Once - Ian R Crane - Part 7 of 7
Thank your Ian!
Grigori Yefimovich Rasputin (22 January 1869 – 29 December 1916) was a Russian mystic who is perceived as having influenced the latter days of the Russian Emperor Nicholas II, his wife Alexandra, and their only son Alexei. Rasputin had often been called the "Mad Monk", while others considered him a "strannik" (or religious pilgrim) and even a starets (ста́рец, "elder", a title usually reserved for monk-confessors), believing him to be a psychic and faith healer.
It has been argued that Rasputin helped to discredit the tsarist government, leading to the fall of the Romanov dynasty, in 1917. Contemporary opinions saw Rasputin variously as a saintly mystic, visionary, healer and prophet or, on the contrary, as a debauched religious charlatan. There has been much uncertainty over Rasputin's life and influence as accounts of his life have often been based on dubious memoirs, hearsay and legend
Early Life Rasputin was born a peasant in the small village of Pokrovskoye, along the Tura River in the Tobolsk guberniya (now Tyumen Oblast) in Siberia. The date of his birth remained in doubt for some time and was estimated sometime between 1863 and 1873.
Not much is known about his childhood and what is known was most likely passed down through his family members. He had two known siblings, a sister called Maria and an older brother named Dmitri. His sister Maria, said to have been epileptic, drowned in a river. One day, when Rasputin was playing with his brother, Dmitri fell into a pond and Rasputin jumped in to save him. They were both pulled out of the water by a passerby but Dmitri eventually died of pneumonia. Both fatalities affected Rasputin and he subsequently named two of his children Maria and Dmitri.
The myths surrounding Rasputin portray him as showing indications of supernatural powers throughout his childhood. One ostensible example of these reputed powers was when Efim Rasputin, Grigori's father, had one of his horses stolen and it was claimed that Rasputin was able to identify the man who had committed the theft.
When he was around the age of eighteen Rasputin spent three months in the Verkhoturye Monastery, possibly as a penance for theft. His experience there, combined with a reported vision of the Mother of God on his return, turned him towards the life of a religious mystic and wanderer. It also appears that he came into contact with the banned Christian sect known as the khlysty (flagellants), whose impassioned services, ending in physical exhaustion, led to rumors that religious and sexual ecstasy were combined in these rituals. Suspicions (which have not generally been accepted by historians) that Rasputin was one of the Khlysts threatened his reputation right to the end of his life. Alexander Guchkov charged him with being a member of this illegal and orgiastic sect. The Tsar perceived the very real threat of a scandal and ordered his own investigations but did not, in the end, remove Rasputin from his position of influence; on the contrary he fired his minister of the interior for a "lack of control over the press" (censorship being a top priority for Nicholas then). He then pronounced the affair to be a private one closed to debate.
Shortly after leaving the monastery, Rasputin visited a holy man named Makariy whose hut was nearby. Makariy had an enormous influence on Rasputin and he modelled himself after him. Rasputin married Praskovia Fyodorovna Dubrovina in 1889 and they had three children; Dmitri, Varvara and Maria. Rasputin also had another child with another woman. In 1901 he left his home in Pokrovskoye as a strannik (or pilgrim) and, during the time of his journeying, travelled to Greece and Jerusalem. In 1903 he arrived in Saint Petersburg where he gradually gained a reputation as a starets (or holy man) with healing and prophetic powers.
Healer to Alexei Rasputin was wandering as a pilgrim in Siberia when he heard reports of Tsarevich Alexei's illness. It was not publicly known in 1904 that Alexei had haemophilia, a disease that was widespread among European royalty descended from the British Queen Victoria, who was Alexei's great-grandmother. When doctors could not help Alexei, the Tsaritsa looked everywhere for help, ultimately turning to her best friend, Anna Vyrubova, to secure the help of the charismatic peasant healer Rasputin in 1905. He was said to possess the ability to heal through prayer and was indeed able to give the boy some relief, in spite of the doctors' prediction that he would die. Every time the boy had an injury which caused him internal or external bleeding, the Tsaritsa called on Rasputin, and the Tsarevich subsequently got better. This made it appear that Rasputin was effectively healing him.
Skeptics have claimed that he did so by hypnosis, which, in one study, actually has proven to relieve symptoms because it lowers stress levels and therefore diminishes the symptomatology of haemophilia. However, during a particularly grave crisis at Spala in Poland in 1912, Rasputin sent a telegram from his home in Siberia, which is believed to have eased the suffering. His pragmatic advice include suggestions such as "Don't let the doctors bother him too much; let him rest." This was thought to have helped Alexei to relax and allow the child's own natural healing process some headroom. Others have made the less likely suggestion that he used leeches to attempt to treat the boy. As leech saliva contains anticoagulants such as hirudin, this treatment would most likely have exacerbated his haemophilia instead of providing relief. Diarmuid Jeffreys has pointed out that Rasputin's healing suggestions included halting the administration of aspirin, a then newly-available (since 1899) pain-relieving (analgesic) "wonder drug". As aspirin is also an anticoagulant, this intervention would have helped to mitigate the hemarthrosis causing Alexei's joints' swelling and pain.
The Tsar referred to Rasputin as "our friend" and a "holy man," a sign of the trust that the family had placed in him. Rasputin had a considerable personal and political influence on Alexandra, and the Tsar and Tsaritsa considered him a man of God and a religious prophet. Alexandra came to believe that God spoke to her through Rasputin. Of course, this relationship can also be viewed in the context of the very strong, traditional, age-old bond between the Russian Orthodox Church and the Russian leadership. Another important factor was probably the Tsaritsa's German-Protestant origin: she was definitely highly fascinated by her new Orthodox outlook — the Orthodox religion puts a great deal of faith in the healing powers of prayer.
Controversy Rasputin soon became a controversial figure, becoming involved in a paradigm of sharp political struggle involving monarchist, anti-monarchist, revolutionary and other political forces and interests. He was accused by many eminent persons of various misdeeds, ranging from an unrestricted sexual life (including raping a nun) to undue political domination over the royal family. Some of these allegations of sexual misconduct were no doubt encouraged by his frequently embarrassing drunken behavior, on one occasion documented by a History Channel documentary he is said to have opened his pants and waved his penis in front of shocked diners at a Saint Petersburg restaurant whilst inebriated.
While fascinated by him, the Saint Petersburg elite did not widely accept Rasputin: he did not fit in with the royal family, and he and the Russian Orthodox Church had a very tense relationship. The Holy Synod frequently attacked Rasputin, accusing him of a variety of immoral or evil practices. Because Rasputin was a court official, though, he and his apartment were under 24-hour surveillance, and, accordingly, there exists some credible evidence about his lifestyle in the form of the famous "staircase notes" — reports from police spies which were not given only to the Tsar but also published in newspapers.
According to Rasputin's daughter, Maria, Rasputin did "look into" the Khlysty sect but rejected it. One Khlyst practice was known as "rejoicing", a ritual which sought to overcome human sexual urges by engaging in group sexual activities so that, in consciously sinning together, the sin's power over the human was nullified. Rasputin is said to have been particularly appalled by the belief that grace is found through self-flagellation.
Like many spiritually minded Russians, Rasputin spoke of salvation as depending less on the clergy and the church than on seeking the spirit of God within. He also maintained that sin and repentance were interdependent and necessary to salvation. Thus, he claimed that yielding to temptation (and, for him personally, this meant sex and alcohol), even for the purposes of humiliation (so as to dispel the sin of vanity), was needed to proceed to repentance and salvation. Rasputin was deeply opposed to war, both from a moral point of view and as something which was likely to lead to political catastrophe. During the years of World War I, Rasputin's increasing drunkenness, sexual promiscuity and willingness to accept bribes (in return for helping petitioners who flocked to his apartment), as well as his efforts to have his critics dismissed from their posts, made him appear increasingly cynical. Attaining divine grace through sin seems to have been one of the central secret doctrines which Rasputin preached to (and practiced with) his inner circle of society ladies.
During World War I, Rasputin became the focus of accusations of unpatriotic influence at court; the unpopular Tsaritsa, meanwhile, was of German descent, and she came to be accused of acting as a spy in German employ.
When Rasputin expressed an interest in going to the front to bless the troops early in the war, the Commander-in-Chief, Grand Duke Nicholas, promised to hang him if he dared to show up there. Rasputin then claimed that he had a revelation that the Russian armies would not be successful until the Tsar personally took command. With this, the ill-prepared Tsar Nicholas proceeded to take personal command of the Russian army, with dire consequences for himself as well as for Russia.
While Tsar Nicholas II was away at the front, Rasputin's influence over Tsaritsa Alexandra increased immensely. He soon became her confidant and personal adviser, and also convinced her to fill some governmental offices with his own handpicked candidates. To further the advance of his power, Rasputin cohabited with upper-class women in exchange for granting political favours. Because of World War I and the ossifying effects of feudalism and a meddling government bureaucracy, Russia's economy was declining at a very rapid rate. Many at the time laid the blame with Alexandra and with Rasputin, because of his influence over her. Here is an example:
Vladimir Purishkevich was an outspoken member of the Duma. On November 19, 1916, Purishkevich made a rousing speech in the Duma, in which he stated, "The tsar's ministers who have been turned into marionettes, marionettes whose threads have been taken firmly in hand by Rasputin and the Empress Alexandra Fyodorovna — the evil genius of Russia and the tsaritsa ... who has remained a German on the Russian throne and alien to the country and its people." Felix Yusupov attended the speech and afterwards contacted Purishkevich, who quickly agreed to participate in the murder of Rasputin.
Rasputin's influence over the royal family was used against him and the Romanovs by politicians and journalists who wanted to weaken the integrity of the dynasty, force the Tsar to give up his absolute political power and separate the Russian Orthodox Church from the state. Rasputin unintentionally contributed to their propaganda by having public disputes with clergy members, bragging about his ability to influence both the Tsar and Tsaritsa, and also by his dissolute and very public lifestyle. Nobles in influential positions around the Tsar, as well as some parties of the Duma, clamored for Rasputin's removal from the court. Perhaps inadvertently, Rasputin had added to the Tsar's subjects' diminishing respect for him.
The murder of Rasputin has become legend, some of it invented by the very men who killed him, which is why it becomes difficult to discern exactly what happened. It is, however, generally agreed that, on December 16, 1916, having decided that Rasputin's influence over the Tsaritsa had made him a far-too-dangerous threat to the empire, a group of nobles, led by Prince Felix Yusupov and the Grand Duke Dmitri Pavlovich (one of the few Romanov family members to escape the annihilation of the family during the Red Terror), apparently lured Rasputin to the Yusupovs' Moika Palace, where they served him cakes and red wine laced with a massive amount of cyanide. According to legend, Rasputin was unaffected, although Vasily Maklakov had supplied enough poison to kill five men. Conversely, Maria's account asserts that, if her father did eat or drink poison, it was not in the cakes or wine, because, after the attack by Guseva, he had hyperacidity, and avoided anything with sugar. In fact, she expressed doubt that he was poisoned at all.
Determined to finish the job, Yusupov became anxious about the possibility that Rasputin might live until the morning, which would leave the conspirators with no time to conceal his body. Yusupov ran upstairs to consult the others and then came back down to shoot Rasputin through the back with a revolver. Rasputin fell, and the company left the palace for a while. Yusupov, who had left without a coat, decided to return to grab one, and, while at the palace, he went to check up on the body. Suddenly, Rasputin opened his eyes and lunged at Prince Yusupov. When he grabbed Prince Yusupov he ominously whispered in Yusupovs ear "you bad boy" and attempted to strangle him. As he made his bid to kill Yusupov, however, the other conspirators arrived and fired at him. After being hit three times in the back, Rasputin fell once more. As they neared his body, the party found that, remarkably, he was still alive, struggling to get up. They clubbed him into submission and, after wrapping his body in a sheet, threw him into an icy river, and he finally met his end there — as had both his siblings before him.
Three days later, the body of Rasputin, poisoned, shot four times and badly beaten, was recovered from the Neva River. An autopsy established that the cause of death was hypothermia. His arms were found in an upright position, as if he had tried to claw his way out from under the ice. In the autopsy, it was found that he had indeed been poisoned, and that the poison alone should have been enough to kill him. Yet another report, also supporting the idea that he was still alive after submerging through the ice into the Neva River, is that after his body was pulled from the river, water was found in the lungs, showing that he didn't die until he was submerged.
Subsequently, the Tsaritsa Alexandra buried Rasputin's body in the grounds of Tsarskoye Selo, but after the February Revolution, a group of workers from Saint Petersburg uncovered the remains, carried them into the nearby woods, and burned them. As the body was being burned, Rasputin appeared to sit up in the fire. His apparent attempts to move and get up thoroughly horrified bystanders. The effect can probably be attributed to improper cremation; since the body was in inexperienced hands, the tendons were probably not cut before burning. Consequently, when the body was heated, the tendons shrank, forcing the legs to bend and the body to bend at the waist, resulting in its appearing to sit up. This final happenstance only further fueled the legends and mysteries surrounding Rasputin. The official report of his autopsy disappeared during the Joseph Stalin era, as did several research assistants who had seen it.
The Assassination of Grigori Rasputin
The storyline of the film follows the final months of 1916 up to the murder of Rasputin; some events have been telescoped into this time though they actually happened earlier, during the war. Rasputin's effect on people around him is shown as almost hypnotic, and the film avoids taking a moral stance towards him—breaking not only with Soviet history but also with how he was regarded by people near the court at the time, some of whom regarded him as a debilitating figure who disgraced the monarchy and hampered the war effort.
Grigory Rasputin "The Agony" - Part 1 of 14
The movie chronicles the events of history's "man of mystery," Rasputin. Although not quite historically accurate and little emphasis is put on the politics of the day, Rasputin's rise to power and eventual assassination are depicted in an attempt to explain his extraordinary power and influence. Written by Mark J. Popp
Rasputin - Dark Servant of Destiny (1996) - Part 1
