The Ballad of Lady Isabel and the False Knight- Kemppinen
[Warning, under construction- some of the texts are unedited. I have edited most of the text to make it readable]
[The Ballad of Lady Isabel and the False Knight by Finnish author Iivar Kemppinen was published in 1954. He studied 1865 variants of this ballad from all over the world. My study of his book will feature excerpts from this 301 page book focusing on English language variants and the origin.
Presented on this page are the CONTENTS and INTRODUCTION. Attached to this page on the left hand column are:
I. English, Scottish, Manx, Irish Variants
I. North America (NA)- Variants
II. Comparative Analysis
III. Theory of the Origin and Source of the Ballad
Some foreign language font characters are not included and Russian font characters will not be added.
R. Matteson 2014]
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CONTENTS
Dedication
Introduction
I. Variant Analysis
Europe
1. Germanic Variants (G)
Flemish-Dutch Variants(GF-D)
German Variants (GG)
Danish Variants (GD)
Swedish Variants (GSw)
Norwegian Variants (GN)
Icelandic Variants (GIc)
English Variants (GE)
Scottish Variants (GSc)
The Manx Variants (GM)
The Irish Variants (GIr)
2. The Breton Variants (BF: Breton-French)
3. The Walloon Variants (W)
4. Romance Variants (R)
French Variants (RF)
Italian Variants (RI)
Spanish Variants (RS)
Portuguese Variants (RP)
The Asturian Variants (RA)
The Roumanian Variants (RR)
5. The Slavic Variants (S)
The Wendic Variants (Sw)
The Czech Variants (SC)
The Slovak Variants (SSl)
The Croat Variants (SK)
Serbian Variants (SSe)
Polish Variants (SP)
Russian Variants (SR)
6. Baltic Variants (B)
7. Finno-Ugrian Variants (F)
Hungarian Variants (FH)
Estonian Variants (FE)
Finnish Variants (FF)
Asia (Aa)
1. Russian Variants (AaR)
North America (NA)
1. Scottish Variants (NAS)
2. The Negro Variants (NAN)
3. The French Variants (NAF)
The West Indies (WI)
1. Spanish Variants (WIS)
South America (SA)
1. Spanish Variants (SAS)
Australia (Au)
1. Scottish Variants (AuS)
II. Comparative Analysis
1. General Survey of the Variant Material
z. The Persons of the Ballad
3. How the Knight Charms the Maid (Motif a)
4. The Scene of the Killing (Motif a)
5. The Cunning of the Maid (Motif b)
6. Killing (Motif c)
7. The Epilogue (Motif d)
8. Summary
9. The Original Content of the Ballad in the Light of Analysis
10. The Oldest Forms of the Ballad
11. The Place of Origin of the Ballad
III. The Theory of the Origin and Source of the Ballad
1. The Origin of Folk Poems in General
2. Various Theories of the Source of the Ballad of the False Knight
3. The Solution of the Problem
Bibliography and Abbreviations
Index of Names and Subjects
Contents
After-words
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INTRODUCTION
The subject of this monograph is the ballad appearing in Francis James Child's collection under the title Lady Isabel and the Etf-Knight[1]. Its initial motif is denoted in Stith Thompson's Motif Index by the figure F 301.2.1 Elf-knight produces loue-longing by blowing on horn[2] The ballad in its various forms and versions is one of the most widely spread products of folk poetry. In Europe it is known throughout the continent, the Balkans excepted and emigrants have taken it to Asia, North and South America and Australia. Its analogous motifs, preserved in the folk poetry of different countries, and which constitute the basis for determining the identity of the various forms of the ballads, make up the following structural whole:
a: A noble- and foreign-looking man (false knight) approaches a young maid (king's daughter), charms her with his music or promises and carries her off in order to kill her.
b: Having discovered his intentions, revealed either by the knight himself or in some other way, the girl, being the cleverer and more shrewd of the two, finds a way to save herself and
c: kills the knight,
d: The final scene tells of what the maid does when the murder is accomplished and how her world reacts to the deed. Subordinate characters are the father and mother or brother and sister of the king's daughter or the knight, or sometimes all of these.
As shown by the variant analysis the principal characters of the ballad, the false knight and the king's daughter, have been given greatly diverse names in the folk poetry of different cultural and linguistic areas. The original high birth and above all the foreign origin of the knight emerge clearly from the background of' the personal names. The name of the maid used in the
title of the present study, Isabel, is based on the popular names of the Spanish form la princesa Isabel and the Scottish form Lady Isabel- The name the false knight is based first and foremost on Scottish forms. For the sake of brevity and clarity, however, >>the maid>> and >>the knight>> are used in the text to describe the principal characters of the ballad even when the wording of
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1 Child No. 4.
2 Thompson III, 40 No. F 301. 2. 1.
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the popular variants would presuppose some other appellation, such simplification cannot mislead as the variant analysis mentions the principal characters of each version by their popular names or, failing this, the principal characters have been identified by other distinguishing epithets used in the popular variants.
Ballad is the term employed to describe the product of folk poetry selected for study here. It must be noted that the concept >ballad> is used in a very narrow sense: ballad refers here to >>a folksong that tells a story with stress on the crucial situation, tells it by letting the action unfold itself in event and speech, and tells it objectively with little comment or intrusion of personal bias>>[1]
The study of a ballad so traveled and of such multiform variety presents certain difficulties in the initial phase of the work. As early as at the stage of collecting material the writer is laced with one of the most exacting tasks and difficult problems in deciding on the ballads to be regarded as belonging to the ballad family or the ballad tree under examination, when a creation
of folk poetry circulates from one country to another across the frontiers of nationality and language, further and further from its birthplace, its original theme and plot become more and more obscure[2] and it continues to take on new traits either from local popular poetry,local events, old stories and tales or through direct and intentional modification. It is adapted in each district to the singer's milieu and in each age the singer modifies it according to the views and beliefs of his own particular time, producing something that differs from the ballad in its country and at its time of origin[3]. But in folk poems these individual features are generally of a more lasting nature than the poetical entity and retain faithfully from century to century and across vast physical distances elements which derive from the original ballad and which, far removed from the original both temporarily and locally, may seem strange and incomprehensible. Indeed they may Seem so foreign that the singer of the poem himself no longer understands the meaning of his song. The migration of a piece of folk poetry beyond its linguistic and cultural borders often causes such thorough changes in both its form and content that in its new shape it can frequently be regarded as re-versified. But from the retained basic features and even from details which have become obscure the scholar
is able to prove the kinship of creations of folk poetry which seem totally
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1 Gerould's definition, quoted by Hodgart 11, for the usage and meaning of the word ballad see also Helen Louise Cohen 1-47; Davidson 73; Entwistle 16-32; Hodgart 9-26.
2 Cf. Taylor, Proverb 22
3 Cf. C. W. von Sydow, Eko Qpbitdning (Nordisk Kultur IX, 207) ; cf. also Sverker Ek, Folk-visehjaltens faruandlingar i traditionen (Ek, Studier 79-111)
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unrelated. This is possible, when he can dispose of a sufficiently extensive comparative material and especially if he sets his subject against the historical cultural background. By this means he can relate the motifs and features of the poem to the historico-cultural conditions of the era: which have affected its origin or development. The folk poem must be studied in relation to the social conditions of the age when the poem was sung, in this case when the ballad of the false knight and the king's daughter was popular. Only then will the basic theme of the ballad gradually become comprehensible and its obscure passages together with the problems they pose for scholars be accounted for.
One of the tasks of comparative ballad study is to prove with true appreciation of reality the types of poem and the ways of singing that are to be regarded as associated in plot or motifs, and are thus qualified for classification in the same ballad family. In other words they must be identified. The examination of the identity of ballads again leads to a study of their structure and
of the different forms or types into which the ballad has been divided in the course of time.
Structurally each ballad, as originally sung by the poet himself, consists of (1) a plot or an entity which is subdivided into (2) motifs or themes, and these again are divided into certain (3) features. When the ballad, sung by the folk poet ( as opposed to the man of letters), begins to live and circulate on the lips of the people and is sung by them it soon enters on a process of narrative change, the result of misinterpretation, forgetfulness, mishearing and other similar reasons, and even, as mentioned above, intentional modification so that only a minor feature may finally remain of the original ballad. A general observation made by collectors and scholars of folklore is that the singer may know a ballad only as far as a specific motif or feature is concerned, but render, clearly that it can be recognised, after a line or two even, as distinctly related to a certain ballad.
Typogically on the other hand the present study distinguishes between the conceptions (1) variant, (2) version and (3) form. Variant is used to mean the product of folk poetry as written down from oral tradition and preserved in manuscripts or printed form, i.e. generally the same as a recording, and it thus constitutes the basic unit of typological analysis. Version means here
a group of variants of the same content and form or very similar in content and form. A version may thus even comprise very many variants or recordings (e.g. GF-D2 contains 20 different variants). On the other hand several versions contain only one variant. Form is the broadest unit of typological analysis; it always contains versions and variants very similar either in their series of events or plot. The form is thus relatively closely connected with the structural plot of the ballad.
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As the singers of folk poetry are generally in the habit of modifying the content or plot of a poem by substituting for its motifs or features altogether new motifs and traits or by omitting them completely we have to decide when two or more folk poems are to be considered identical in their subject matter? Is one joint motif enough? The overall plot of the ballad even varies
in the different ways of singing it in one and the same area (see e.g. the German, Polish, Estonian, Scottish, etc. forms of the ballad of the false knight) and we must from the outset accept that we cannot insist upon identical plots as a criterion. But despite the changes in the overall plot the motifs and features are preserved, at least in so far as the >>new ballad>> formed bv them can be regarded as a relation of the original ballad, and there are primarily perhaps the basic features which illustrate the essential theme, underlying plot of the ballad, its fundamental character. In the ballad of the false knight this refers specifically to the basic characteristics which are coupled with the structural motifs a, b, c and d mentioned at the beginning of the introduction. Only a ballad which comprises in its fundamental character or overall make-up (fragments which only contain some motif or feature are a matter apart) all these motifs, and keeps the spirit of the ballad, can belong to this ballad family. A condition for the identification of ballads is thus the interconnection of the whole series of events within the subject matter of the ballads. In order to form an offshoot of the ballad tree of the false knight and the king's daughter a ballad must consequently have a structure and plot in which the motifs a, b, c and d of the ballad of the false knight can be identified and the story they constitute must correspond to the spirit of the ballad. It is hardly possible to formulate a generally acceptable rule for identification but the scholar must possess a sound sense of reality in the application of his methods and he must at the same time be content to employ as evidential material in his comparisons only variants which derive from oral tradition. Literal modifications cannot be accepted as evidence.
In this study I propose in the first place to solve, from the historico-cultural standpoint, the origin of the ballad sung about the false knight and the king's daughter. The treatment of the subject is divided into the following sections:
I. Variant Analysis,
II. Comparative Analysis,
III. The Theory of the origin and source of the Ballad.
Besides the principal task, in the first section of the study, i.e . variant analysis, shall as it were incidentally throw light upon the limits of the circulation
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1. Concerning the identity of folk poems compare Krohn A 117-125 and Anderson JM 4-5.
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of the ballad over the globe and the transposition of the ballad story in the course of its spread.
In my research work and to fulfill the task I have set myself I have tried to obtain from world literature and the collections of folk poetry in different countries the fullest possible variant material. To understand the general nature of the subject we must inform ourselves of every possible individual case affecting the issue. Indeed this is a necessary prerequisite of empirical
science. The verification or falsification of the final result of the study is possible only on the basis of the individual popular variants of the ballad of the false knight, those variants which can be proved to belong to this ballad tree[1].
When the origin of the ballad, the scientific truth aimed at in the study, has been deduced with the help of every possible individual case, then, by a reverse process each individual case, each separate variant can easily be viewed in relation to the system or to other individual cases and to the general conclusion arrived at in the study [2]. Each variant, version or form of the ballad is a part of the entity to which it belongs and by which it is governed. It is often impossible even to understand an individual variant outside its general setting although the entity does of course consist of its parts, in this case of the individual variants, versions and forms. In order to throw light on the rationality of folk poems it is necessary to form of them a total picture, a setting in which their individual parts can then be examined. Entities which hold a governing position as regards their parts are called in modern philosophy holistic[3] entities (Greek holos: whole). As the starting point of my investigation and its subject of study is the international ballad entity of the false knight (the establishment of its essential features in different cultural and linguistical areas is the purpose of the task set up) and as, finally, my intention is to be able to grasp through
the parts the rationality of the entity or the basic idea of the ballad, my method of study is first and foremost holistic. The ballad entity seems to be closer vis-21-vis the parts and to rule them all the more the earlier the phase of the ballad's development in question, for all development takes place from the entity towards the parts, along the road of continued specialization and obscuration, by analysis and not synthesis.
It is clear, however, that for a subject of this kind it is impossible to collect an absolutely complete material, especially here in the remote North where the literature on the distant areas of the ballad, in particular the southern and western periphery, is hard to come by. But as, to the best of my knowledge, the number of missing variants is very small and since I have on the other
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1 Cf. Kemppinen LE.
2. Cf. Wright reg-r3o; Kaila IT r8r -225.
3 Vide Kaila P 27.
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hand had access to the most noteworthy collections of folk poems of world literature I consider that the variant material used in the present investigation is of considerable value as evidence, should the reader find serious gaps in the variant material used for a particular region, gaps so serious that they affect the result of the study, will he please be kind enough to make good the deficiencies either by informing me about the sources in question or by sending texts of the variants. These texts I shall make available to researchers at the collections of the Institutet for Nordisk Etnologi vid Abo Akademi i Turku together with the texts of all the variants mentioned in this study, which are now in my possession (about 8,000 pages of manuscript and photostat copies).
Because of the exceptional richness of the material (1865 variants) the variant analysis of the research has been presented in as concise a form as possible.[1] From the reader's point of view, it would naturally be ideal if each variant or version could be so introduced that the variant analysis, would make clear the special features characteristic of each variant or version that
necessitate their presentation as an independent version, But as this would mean a disproportionate increase in the length of the work I have found it necessary to restrict each ballad form to one of the most complete versions only and merely to list the other versions of the form together with some of the most important relevant information. This information includes bibliographic data, the place and time of taking down the variants (if possible), the number of lines, the popular names or epithets of the principal characters and an account of the structural motifs (a, b, c, d) contained in the version. This method must of course detract from a full description of the multiplicity of the popular variants of the ballad but the loss is compensated for to some extent by the comparative analysis which every redaction shows how each popular version introduces each motif.
Ballad study has comparatively old roots. Its first pioneer may be considered Joseph Ritson who made a critical survey of Scottish ballads [1] as early as the end of the eighteenth century. Different countries began simultaneously to attach importance to folk poems, and collections, hitherto very rare, began to appear. Moreover, as for example in Finland[2], even academic treatises based on folk poetry were written, dealing with mythological and other questions. But ballad study proper dates from the time when the Scot, William Motherwell, laid down in his book Minstrelsy Ancient and Modern (1927), in
the manner of a modern scholar, the principle that folk poems must be written down and published exactly as they were sung by folk singers. The practice was thus established of noting down who sang which ballad and where and
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1 Ritson, Scottish Songs (1794).
2 See e.g. Liden and Catalogus disputationum.
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when it happened. In Motherwell's footsteps followed the Dane, Svend Grundtvig. In his collection Danmarks gamle Folkeuiser, which began to appear in 1853, he observed the same principles as Motherwell. The American, Francis James Child, also followed Motherwell. His first large collection dates from the years 1857-1859. But Child's really monumental masterpiece is
Engtish and Scottish Popular Ballads, published in 1882-1898. With Grundtvig's work this constitutes the basis of later ballad study. Grundtvig's and Child's studies are the foundation of international ballad study in two senses:
(1) They have proved indisputably the international nature of balladry and laid down the lines for tracing from variant material the migratory routes and areas of circulation of the ballad.
(2) Following their example different countries began to publish extensive collections of folk poems. Increasing attention was paid to the comparative study of the poems. Their international background was reviewed and lists were compiled of the variants of different ballads known at that time.
As the collection and publication of folk poetry progressed and developed ballad study assumed more and more established forms. Two principal lines of research have developed, both served equally by the above-mentioned publications of folk poetry. Meritorious studies have already been made in both lines : (1) general works of' ballad study aimed at surveying balladry,
its origin and development, in general, or attempting to introduce the art of balladry in some country or continent, e.g. Europe, America etc., and (2) ballad monographs or specific studies of the problems of individual ballads. The compilation of competent and reliable general studies brings us up against certain difficulties in the absence of competent ballad monographs. General interpretations are often superficial, even erroneous, despite their importance in elucidating certain conceptions, depending on the specific studies on which the data are based. To illustrate the matter one example only is mentioned here: William J. Entwistle's general work European Balladry (1939) must be considered particularly meritorious in many respects, but when he writes e.g. of the origin of an individual ballad such as Lady Isabel and the Elf-Knighf we can see at once the lack of special study required to support the view he advances (his contention, that the source of this ballad is the story ol Judith and Holo.fernes,is rather outdatedl). Just as the study of a particular ballad is based on its individual and original popular variants the general work must also be based on careful and competent study in order to be adequate.
The trend of research that aims at the careful investigation of' the origin of individual ballads is a product of the last few years. It came in with the
1 Entwistle 84, 259-60.
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abandonment of the old view that folk poems are some sort of collective creation. The new thesis is that each folk poem is originally the creation of an individual and that it reveals its author in some way or other[1].
Although the ballad of the false knight and the king's daughter is one of the most widely spread and although its variants are to be found amply in the collections of folk poetry in various countries the comparative study of the poem has been relatively small, and views concerning its origin are generally based on a few ballad variants, versions or forms only, as will be shown in the later discussion of different theoribs (pp. 224-234). It is only in the light of these theories built upon the basis of a deficient research material that the necessity of the holistic requirements of modern research can be seen clearly. The origin and source of the ballad was first treated critically by the Norwegian, Sophus Bugge, in an article [2] published in I879, and simultaneously
by the Dane, Svend Grundtvig[3]. Of somewhat more recent appearance in the nineteenth century are the articles by the American, Francis James Child[4], the Germans, Franz M. Bohme[5] and Alexander Reifferscheid[6], the Frenchman George Doncieux[7] and the Pole, Jan Karlorvicz[8]. Later still come the articles by the Hungarian, Sendor Solymossy[9], the Czech, Josef St. Kubin[10 and the German, John Meierrl, the critical study by the German, Friedrich Holz[12] on the 120 variants of the Madchenrtiuberballade and the comparison by the Belgian, Marie Ramondt of the Heer Halewijnballad with the Bluebeard story[13]. The narrative change of the ballad story in the ballad of the false knight has been recently investigated by an American of Finnish extraction, Holger Olof Nygird, and the results of this research were produced as an academic
treatise presented at the University of California. However, it appears from the printed summary[14] published by him (I have not seen the original manuscript) that he has compared in his study only certain old Germanic forms, the
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1 See e.g. Tarkiainen KSVK r,loo-lz; Kemppinen sK 2o+- s; also compare Taylor,
Proaerb 34-431' Hodgart r5z*63; \\'ells rg3-5; Christophersen 3-5.
2 Bugge, Bidrag.
3 Grundtvig-Olrik No. rB3.
4 Child No. 4.
5 Erk-B<ihme I Nos. 4r-42.
6 Reifferscheid Nos. B - 9.
7 Milusine IX, 265.
8 Wi.rla III, 535-543; IV, ZgZ*4zS; IX, 645-673.
9 Ethnographia-Nipilet XXXIV, 74-82.
10 Kubin No. z r.
11 .]ohn Meier DV II No. 4r.
12 Holz, Die Mridchenriiuberballade.
13 Miscellanea J. Gessler rg4B II, ro3o-43.
14 Nvgird r-12.
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French Renaud Form and the Scottish Lad2 Isabel Form. The picture given even by all these forms is rather a limited one. It is not until we reach right out to the boundaries of circulation of the folk poem, where the transformation of the ballad must be examined in conjunction with the question of its identity, that the changes pose the problem correctly.
In Finland the ballad theme has been treated by Antti Aarne in two different studies. The first was published in and is concerned with the Finnish formation of the ballad[1] and the second, published in 1922, deals with the Estonian variants[2]. However, Aarne does not seem to have observed in either of his studies the connection between the ballad themes and the international ballad of the false knight.
For valuable assistance received in the collection of variant material over the course of several years, material which I consider actually made it possible for me to solve the problem of the ballad of Lady Isabel and the False Knight over
here in this remote country, far from the birthplace of the ballad, I wish to
express my sincere thanks to the staff of the following libraries and institutions;
they have aclvised and helped me willingly and without sparing themselves
in the search for and collection of variants either during my studies at these
libraries and archives or in my requests by letter for variants:
Biblioteca Central, Barcelona; Biblioteca de la Universidad de Madrid;
Biblioteca Nacional, Lisbon; Biblioteca Nazionale Centrale Vittorio Emanuele
II, Rome; Biblioteka Uniwersytecka w Warszawie; BibliothEque Nationale,
Paris; The Bodleian Library, Oxford; The British Museum, London; Deut-
sches Volksliedarchiv, Freiburg im Breisgau; The Folklore Archive of the
Finnish Literary Society, Helsinki; Harvard College Library, Cambridge,
\Iassachusetts; The Johns Hopkins University Library, Baltimore, Maryland;
Illinois State Historical Library, Springfield; Indiana State Library, India-
napolis; Institut International de Recherches Ethnographiques et Folkloriques,
Paris; Irish Folklore Commission, Dublin; Istituto Universitario Orientale,
Naples;Joint University Libraries, Nashville, Tennessee; Kongel. Bibliothek,
Copenhagen; Kungl. Biblioteket, Stockholm; The Legation of Hungary in
Helsinki; The Legation of Poland in Helsinki; The Library of Congress,
\\'ashington; The Library of Detroit, Michigan; The Library of George
Peabody College for Teachers, Nashville, Tennessee; The Library of the
Uliversity of Edinburgh; The Library of the University of Missouri, Colum-
bia, lvlissouri; The Library the University of Pennsylvania, Philadelphia;
The Library the l-Iniversity of Tennessee, Knoxville; The Library of Trinity
College, Dublin; N6rodni a Universitni Knihovna, Prague; The National
1. Aarne, MN.
2. Aarne ML.
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Library of Scotland, Edinburgh; Openbare Bibliotheek, Antwerp; The public Library of Victoria, Melbourne ; Rhodes House Library, Oxford; Slavonic Department of the University Library, Helsinki; The South Carolina Library,
University of South Carolina, Columbia; Stadsbibliotheek, Antwerp; Towarzystwo Naukowe Warszawskie, Warsaw; The United States Information
Service in Helsinki; Universiteits Bibliotheek van Amsterdam: Universitets
Biblioteket, Lund; The University of Kentucky Libraries, Lexington; The
University Libraries of the State University of Iowa, rowa City; The Uni-
versity Library, Helsinki; The University of North Carolina Library, Chapel
Hill; Uppsala Universitets Bibliotek; Virginia State Library, Richmond;
Yale University Library, New Haven, Connectic:ut; Zentralbibliothek, Zurich;
Osterreichischer Nationalbibliothek, Vienna.
I also wish to extend my thanks to the following persons, who have furthered
the completion of the present study either by sending material personally
or by giving valuable advice:
Otto Andersson, Turku; Jonas Balys, Bloomington, Indiana; IVI. M. Banks,
London; H. M. Belden, Columbia, Missouri; Ralph S. Boggs, Chapel Hill, North
Carolina; Reidar Th. Christiansen, Oslo; Josiah H. Combs, Fredericksburg,
Virginia; Rafaele Corso, Naples; Duncan Emrich, Washington; Nils Erik En-
kvist,Turku; Walter Erko, Helsinki;Jarl Gall6n, Helsinki; Lajos Garam, Helsin-
ki; Arnold van Gennep, Bourg-la-Reine; Wayland D. Hand, Los Angeles; Wil-
helm Heiske, Freiburg im Breisgau; Pekka Katara, Helsinki; L.A. Ke,vr,r,orth,
I{elsinki;Julian Krzy|anowski,War52q' I Arthur LAngfors, Helsinki;John \,Ieier,
Freiburg im Breisgau; vicente T. Mqndoza, Mexico; Ismael \,{oya, Buenos
Ayres; Tauno F. Mustanoja; Helsinki; Eino V. K. Nieminen, Helsinki; Holger
Nyg6rd, Berkeley, California; Paivikki Ojansuu, Helsinki; Se6n O Sriilleabhdin,
Dublin; ole Reuter, Helsinki; N{ilton C. Russell, Richmond; Erich Seemann,
Freiburg im Breisgau; Lauri Simonsuuri, Helsinki Paga To4opoea-Hoesa,
CoQun; Tyyni ruulio, Jiirvenpzizi; K. Robert v. wikman, Turku; \{alter
Wiora, Freiburg im Breisgau; Felix Wortmann, Westfalen; Emil Ohman,
Helsinki.
My research work has been checked for linguistic errors by Mr. Herbert
Lomas, Lecturer in English to Helsinki University. I wish to thank him for
the valuable remarks and corrections he has made.
Helsinki
On Kalevala Day (February 28), 1954
Iiven Kemppenin
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