FOOTNOTES: [1] This is specially noticeable in the manner in which the story of the Great Oak Tree is scattered in disjointed fragments through three cantos; and in the unsuccessful result of the Kalevide's voyage, when he reaches his goal after his return by a land journey. [2] Kirby in "Papers and Transactions of International Folk-lore Congress of 1891," p. 429. [3] Further information on most of the subjects discussed in the Introduction will be found in the Notes and Index. [4] The names of the others are not mentioned, but later in the poem we meet with three heroes, the sons of Alev, Olev, and Sulev respectively, associated with the son of Kalev, and spoken of as his cousins. Alev and Sulev may have been the brothers of Kalev. [5] The Prince of Hades, literally Hornie. [6] Hades or Hell. [7] Linda's Bosom, the Kalevide's capital, named in honour of his mother; now Revel. [8] Ukko, the principal god of the Finns and Esthonians, is frequently called Taara in the _Kalevipoeg_. This name is not used in Finnish; but Tora is the name of God among the Chuvash of Kasan. [9] In the Finnish _Kalevala_, Väinämöinen is represented as a culture-hero, and as the father of his people; in Esthonia Vanemuine is usually a demi-god. He is always the inventor and patron of music and the harp. He plays no part in the _Kalevipoeg_, where his name is only mentioned once or twice. [10] If this is a Scriptural allusion, it is almost the only one in the book. The _Kalevipoeg_ is essentially a pre-Christian poem, and nowhere exhibits the curious mixture of pre-Christian and Christian ideas that we meet with in many parts of the Kalevala, and notably in Runo 50. [11] In the _Kalevala_ (= the country of Kaleva), the hero himself does not appear in person, though we constantly read of his sons and daughters. Some critics, however, identify him with the dead giant, Antero Vipunen, in Runo 17 of the _Kalevala_.