Collecting, editing, publishing, and re-writing folklore and “folk” into literature was an essential part of Romanticism and Romantic Nationalism. The invention of folklore and oral poetry was based on the aim of creating elite cultures and literatures. In this process, the usefulness of oral poetry was at its anonymous and spiritual author even though Romanticism celebrated the Poet Self (see Leerssen 2012). Following Herder’s idea of oral poetry as the natural language of the folk, Elias Lönnrot (1802–1884) defined oral poetry, particularly the folk lyric, as a sacred language containing knowledge that is unrecognizable in ordinary language. Oral lyric poetry originated from mind and imagination without work and thinking, and it belonged to the subconscious. Further, Lönnrot emphasized that mythical knowledge and, therefore, poetic language, contained explanations and philosophy of the world and human society. By analyzing lyrical elements as romantic and emancipatory tools embedded in the Kalevala (1849), this chapter focuses on Lönnrot’s ideals of the “other” language and knowledge of oral poetry in creating the epic. I ask to what extent the Romantic genre of the lyric was linked to the knowledge production of modern messages into the national narrative.