Once to swim I sought the sea-side,There to sport among the billows;With the stone of many colorsSank poor Aino to the bottomOf the deep and boundless blue-sea,Like a pretty son-bird, perished.Never come a-fishing, father,To the borders of these waters,Never during all thy life-time,As thou lovest daughter Aino.Mother dear, I sought the sea-side,There to sport among the billows;With the stone of many colors,Sank poor Aino to the bottomOf the deep and boundless blue-sea,Like a pretty song-bird perished.Never mix thy bread, dear mother,With the blue-sea's foam and waters,Never during all thy life-time,As thou lovest daughter Aino.Brother dear, I sought the sea-side,There to sport among the billows;With the stone of many colorsSank poor Aino to the bottomOf the deep and boundless blue-sea,Like a pretty song-bird perished.Never bring thy prancing war-horse,Never bring thy royal racer,Never bring thy steeds to water,To the borders of the blue-sea,Never during all thy life-time,As thou lovest sister Aino.Sister dear, I sought the sea-side,There to sport among the billows;With the stone of many colorsSank poor Aino to the bottomOf the deep and boundless blue-sea,Like a pretty song-bird perished.Never come to lave thine eyelidsIn this rolling wave and sea-foam,Never during all thy life-time,As thou lovest sister Aino.All the waters in the blue-seaShall be blood of Aino's body;All the fish that swim these watersShall be Aino's flesh forever;All the willows on the sea-sideShall be Aino's ribs hereafter;All the sea-grass on the marginWill have grown from Aino's tresses.
The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.