ABSTRACT
The long interval between first and final transcriptions, too, means that the texts range from the performances of a young man in his twenties to those of a wizened man in his sixties, a period long enough for changes in the style related to different stages of life to become apparent. Finally, the fact that Luka lived and performed during the last half of the nineteenth and early decades of the twentieth centuries means that he represents a different period of Finnish folk poetry than Arhippa. The narrative songs of Luka’s repertoire are overshadowed, however, by the great wealth of loitsut performed for Krohn during the same visit. The nineteen incantations, often noted along with the instructions for their use, reflect Luka’s broad range of the knowledge in an area which Arhippa (and many other nineteenth-century Karelians) regarded as sinful.
