Fredmans epistlar - Knowledge

1388: 1456:. Fredman, who is the poet himself, introduces his readers to an intimate circle of friends: to Movitz, to Mollberg, to Amaryllis, to Ulla Vinblad, and the rest. With them we witness the life of Stockholm : the world awakening at daybreak after rain, a funeral, a concert, a visit to a sick friend, and various idyllic excursions into the neighboring parks and villages. The little world lives and we live in it. Considering this phase of Bellman's genius, the critic will pronounce him a realist of the first order. But when one notes his dazzling mastery of form, his prodigal variety of meter and stanza, his ease and spontaneity, one is equally tempted to call him a virtuoso of lyric style." 896: 708: 3361: 1545: 1215:") was "surely tantamount to the production of new melodies." Borrowing was accepted, even encouraged at the time, but that does not explain why Bellman would have done it so consistently. The "poetic possibility", Massengale suggests, is that Bellman wished to exploit the humorous contrast between a melody of one type and a story of another, or between an existing image associated with the melody, and a fresh one presented in an Epistle. In addition, Bellman was able to use what his audience knew to be borrowed music to reinforce the historical flavour of the Epistles, introducing exactly the kind of ambiguity that he was seeking. 654: 487: 394: 1079:, painting pictures of moments of low life in Bellman's contemporary Stockholm. Bellman himself provided a list of descriptions of his characters, giving a brief pen-portrait of each one, like "Anders Wingmark, a former clothier in Urvädersgränd, very cheerful and full of commonsense". Different characters appear in different Epistles, making them realistically episodic. There is a fire in Epistle 34; a funeral is busily prepared in Epistles 46 and 47; and a fight breaks out in Epistle 53. Many of the songs are about the effects of strong drink, from the damage to the Gröna Lund Tavern in 1243:(repeating a word at the starts of neighbouring clauses) in verse 4, "häll den på hjärtat, häll man fyra!" (pour ... pour out four!), and again in verse 5. Massengale observes that good musical poetry, like this Epistle, is always a compromise, as it has both to fit its music or be no good as a musical setting, and to contrast with its music, or be no good as poetry. The final verse, containing all three metrical devices, is not, argues Massengale, an example of "decay", but shows Bellman's freedom, change of focus (from lament to acceptance), and the closure of the Epistle. 621: 1131:

nightfall. He comments "Never mind. It is a beautiful scene, even if its chronology calls for much poetic license." Or in Epistle 80, "Liksom en herdinna", the farmer is for some reason going to or coming from market on a Sunday, when the market would be closed; and his cart "heavy on staggering wheel" must have been absurdly full if it contained chickens, lambs, and calves all at once. But it had to be a Sunday to allow Ulla Winblad to step out of her swaying chaise, on an outing from the city. Britten Austin remarks that "until such

676: 1111: 554:(Rest by this spring), is both pastoral and Rococo, depicting a "little breakfast" in the Stockholm countryside. Red wine flows; there is roast chicken, and an almond tart. Flowers "of a thousand kinds" are all around; a stallion parades in a field "with his mare and foal"; a bull roars; a cockerel hops on the roof, and a magpie chatters. Meanwhile, the musicians are exhorted to blow along with the wind god Eol, small love-sprites are asked to sing, and Ulla is called a nymph. The final chorus asks everyone to drink their 42: 690: 1095:

a moment in the peaceful journey, from the wind stirring the fallen sails, the skipper's daughter coming out of her cabin, the cockerel crowing, the church clock striking four in the morning, the sun glimmering on the calm water. The effects may seem to be haphazard, but "each stanza is a little picture, framed by its melody. We remember it all, seem to have lived through it, like a morning in our own lives." Britten Austin calls it "a new vision of the natural and urban scene. Fresh as

642: 1177: 731: 285: 1379:

mind the amoral attitude: "indeed he shared it". But an Epistle like No. 28 traversed all moods, "from lyrical to humorous, tragic, descriptive and dramatic." It was too much for critics such as Kellgren. By the time of publication however, Kellgren had changed his mind, and helped in the publication of the epistles and wrote a foreword praising Bellman's verse.

1199:, in his introduction to the first edition, found that the songs could not be known fully only as poems. Never before, he stated, had the art of poetry and the art of music been more fraternally united. They were not, Kellgren argued, verse that had been set to music; not music, set to verse; but the two were so thoroughly melted together into 1851:(music), in particular Hillbom's introduction, "Fredmans epistlar 1790 och 1990", in vol. 2, pages 111–152 (which covers Åhlström's and Kellgren's collaboration with Bellman on the first edition and its prehistory). The background of the collection is covered by Hillbom in "Sångerna som blev Fredmans", vol. 2, pages 95–134. Original editions: 1580:

because "Bellman's colloquialisms which offended his contemporaries still strike Swedish ears as the language of everyday speech. My renderings, therefore, may seem a trifle too antique in flavour; but to have jumbled up, as Bellman brilliantly does, modern-sounding slang with the graces of Rococo diction, would have produced a horrid effect.

592:(Bacchi Orden): to become a member, one must be seen lying in a drunken stupor in a Stockholm gutter at least twice. Among the more minor characters is the brandy-distiller Lundholm. Another is Norström, Ulla Winblad's husband; the real Eric Nordström did in fact marry the "real Ulla Winblad", Maria Kristina Kiellström, a silk-spinner and 1439:

Bellman is unique among great poets, I think, in that virtually his entire opus is conceived to music. Other poets, of course, notably our Elizabethans, have written songs. But song was only one branch of their art. They did not leave behind, as Bellman did, a great musical-literary work nor paint in

1130:

Britten Austin tempers his praise for Bellman's realism with the observation that the effects are chosen to work in song, rather than to be strictly correct or even possible. Thus in Epistle 72, "Glimmande Nymf", the memorable rainbow with its glowing colours "of purple, gold and green" is seen after

1094:

The pastoral Epistles, too, give the impression of being in real places, with flesh-and-blood people, at specific times of day. Epistle 48 tells how the friends return to Stockholm by boat after a night out on Lake Mälaren, one summer morning in 1769. Each of its twenty-one verses paints a picture of

322:

style. As a result, listeners are confronted with both striking realism and classical imagery. Within these general themes, the Epistles follow no discernible pattern, and do not join together to tell any single story. Their tunes, too, are borrowed from a variety of sources, often French. The words

1206:

Massengale argues that, given that music is so important in the Epistles, and that Bellman had more than enough musical skill to write a tune, it is remarkable that all or almost all the tunes are borrowed. He suggests that this "seems to indicate that Bellman wanted to preserve some vestige of the

482:

on a lovely spring morning, after a night of carousing. The boatmen call to each other, apparently haphazardly, but each detail helps to create a pastoral vision as "Gradually the wind blows up / In the fallen sails; / The pennant stretches, and with an oar / Olle stands on a hayboat;". The song is

436:

of Swedish literature", tells, in realist style, the story of a drunk who wakes in a Stockholm gutter outside the Crawl-In Tavern. He curses his parents for conceiving him "perhaps upon a table" as he looks at his torn clothes. Then the tavern door opens, and he goes in and has his first drink. The

1575:

The corpus of published Epistles did not change after Bellman's death. Many minor selections from the Epistles have been published, sometimes with illustrations and introductions. The Epistles have been translated, at least partially, into Danish, German, French, English, Russian, Polish, Finnish,

568:

The lyrics of the Epistles describe a gallery of fictional and semi-fictional characters who take part in more or less real events in and around the Stockholm of Bellman's time. This cast includes some 44 named personages, many of whom appear only once or twice. Some, like the principal characters

503:

calls this "an impressive group, containing several of the popular Bellman favorites of all time, as well as some of his most complex and intriguing works of art". He adds that the sources of their melodies are mostly unknown, leading some to suggest that Bellman composed the melodies rather than

1837:

Kellgren wrote: Säkert känner man ännu ej mer än til hälften dessa Poemers värde, om man blott känner dem som Poemer. Aldrig ännu voro Skaldekonst och Tonkonst mera systerligt förente. Det är icke Vers, som äro gjorde til denna Musik; icke Musik, som är satt til dessa Vers: de hafva så iklädt sig

1378:

In other words, Bellman was a "tavern rhymester", admittedly with a wonderful gift of improvisation, who wildly ignored the rules of literary genres. For example, within the classical tradition odes and satires were supposed to have different metres and different use of language. Kellgren did not

1135:

are actually pointed out, one does not even notice them." It is the same with the meals, which would cause "terrible indigestion" if the listener actually had to eat them, but "as a feast for mind, eye and ear they are highly satisfactory", the imagination filled with "all the poetic wealth" that

1579:

The English edition by Britten Austin is a selection of the Epistles, and is in rhyming verse in the original metre. Britten Austin describes the challenge of translation as difficult or impossible, and admits that in one way his translations are inevitably "a little faint." He explains this is

370:

describes Bellman's sensibility as if he had been a painter: "An unusual swiftness of apprehension, both optical and aural, must have distinguished him." Britten Austin agrees with this, noting that "When words and music have faded into silence it is the visual image which remains." Jan Sjåvik

1147:

Warme credits Bellman with a good knowledge of a literary craftsman's tools, using rhetoric and classical knowledge "to provide a theatrical backdrop for his tavern folk." The result is an "astonishing mixture of realism and wild mythological fantasy", set to complicated musical structures:

375:

that "Bellman's achievement consists in taking this humble and unrecognized literary form and raising it to a genre that became impossible to ignore, while in the process creating songs and characters that have become an indispensable part of Sweden's literary and cultural heritage."

1820:, and strawberries in a bowl of milk and wine; while in Epistle 43, "Värm mer öl och bröd", Ulla is to be provided with hot beer and bread, flavoured with cumin, as well as Rhenish wine, milk, mead, sugar, and ginger. In Epistle 82, the "little breakfast" consists of "red wine with 251:, most likely to exploit the humour of contrasting the associations of well-known tunes with the meanings he gave them. This may also have been intended to provide historical depth to his work; he sometimes devoted considerable energy to adapting melodies to fit an Epistle's needs. 1275:, a metrical phrase for a particular idea, as the hallmark of improvised, orally composed, poetry; and that Bellman certainly had "regular usages" in the Epistles. These include hundreds of repetitions of phrases like "Kära syster" (among other occurrences, the title of 545:'s French guide to the construction of pastoral verse, starting with "As a Shepherdess splendidly dressed / By the spring one day in June / gathers from the grass's rosy bed / adornments and accents for her dress". The effect is of an "almost religious invocation". 1407:

treated Bellman as an inspired genius, whereas later he was admired more for his artistic skill and literary innovation. Research into Bellman's work began in the 19th century; the Bellman Society formalised Bellman studies with their standard edition and their

310:, starting in 1768. The overall theme of the Epistles is, on the surface, drinking, and its effects, but the Epistles are very far from being drinking songs. Instead, they are a diverse collection of songs, often telling stories. They are sometimes romantically 1415:

Many of the songs have remained culturally significant in Scandinavia, especially in Sweden, where Bellman remains "widely popular to this day". In 1989, the Swedish government subsided an edition of Bellman's Epistles and Songs, with illustrations by

498:

Bellman had stopped composing Epistles by 1781; he started again by the end of the decade, composing seven of his finest works around 1789 to 1790: Epistles 70, 71, 77, 80, 81, 82, and revising Epistle 72 which he had written in 1772. The musicologist

1447:

commented in his 1917 anthology of Swedish verse that "The anthologist finds little to pause over until he comes to the poetry of Karl Mikael Bellman (1740–1795), but here he must linger long." Describing him as a "master of improvisation", he wrote:

314:, sometimes serious, even mournful, but always dramatic, full of life. Together, they "paint in words and music a canvas of their age". They are populated by a lengthy cast of characters, and set firmly in Bellman's time and place, eighteenth century 443:(Yesterday I saw thy child, my Freya), tells the tale of an attempt to arrest the "nymph" Ulla Winblad, based on a real event. Bellman here combines realism – Ulla wearing a black embroidered bodice, and losing her watch in a named street ( 531:. It describes in erotic detail the "nymph" asleep in her bed. To create the desired mood of rising excitement, Bellman creates a rainbow — after sunset. Britten Austin comments that the audience "does not even notice". Meanwhile, No. 80, 1556:, by royal privilege; he held a monopoly on the printing of sheet music in Sweden. Åhlström arranged the songs for piano, and Kellgren edited the song texts and wrote an introduction, but the extent of their influence on the shape of 468:(Make room in the wedding-hall, you dog!), as some unruly soldiers interfere in a chaotic wedding, mixing roughly with the musicians and the wedding-party. Shouts of "Shoulder arms!" and panic at a chimney fire combine with a complex 1478:

largely made their name in the 1960s singing Bellman, while accompanying themselves in Bellmanesque style with a guitar. They were the members of the "Storks" artistic community ("Vispråmen Storken") in Stockholm, and they include

1349:

Bellman is said to have had an "enormous reputation" in his lifetime. The critic Kellgren had earlier objected both to Bellman's fame and to his flouting of the rules of good literary taste. Kellgren put his objections into verse:

342:, putting on different voices, and imitating the sounds made by a crowd of people. He is unusual, even unique, among major poets in that almost all of his work was "conceived to music". His achievement has been compared to 1207:

borrowing." That the borrowing was not just about saving effort or making up for absent skill, Massengale argues, is demonstrated by the fact that the amount of work Bellman had to put into the melodies for Epistles 12 ("

764:, is peopled with billowing waves, thunder, Venus, Neptune, tritons, postillions, angels, dolphins, zephyrs "and Paphos's whole might", as well as water-nymphs splashing about the "nymph" – in other words, Ulla Winblad. 513:(Ulla! My Ulla! Say, may I offer thee) is another of the best-loved pastoral Epistles, and the melody may well be by Bellman himself. It imagines how Fredman, sitting on horseback outside Ulla's window at 1431:

The comparison with Hogarth was no accident. Like the English portrait painter, Bellman drew detailed pictures of his time in his songs, not so much of life at court as of ordinary people's everyday.

1203:

beauty that it was impossible to see which would most miss the other for its fulfilment. Quoting this in the final paragraph of his thesis, Massengale commented "That is how it ought to be said!"

1235:(repeating the last word of a clause at the start of the next) in verse 3 with "...skaffa jag barnet; barnet det dog,..." (...got I the child; the child died...) and again in verse 4. He uses 581:

former watchmaker, and is the central character and fictional narrator. He is thus supposedly present in all the Epistles, but is only named in a few of them. The backdrop of many of the

585:, Stockholm's taverns, is also frequented by musicians including Christian Wingmark on flute, Father Berg on various instruments, Father Movitz, and the dance master Corporal Mollberg. 362:, suggests that the comparison with Hogarth is closer to the mark. Bellman had a gift for using elegant classical references in comic contrast to the sordid realities of drinking and 1838:

hvarandras behag, så sammansmält til En Skönhet, at man föga kan se hvilken mäst skulle sakna den andra för sin fullkomlighet: Verserne, at rätt fattas; eller Musiken, at rätt höras.

1139:

The literary historian Lars Warme observes that Bellman's sharp eye for detail has brought him praise for being the first Swedish realist, but at once balances this by saying that

1471:(Orpheus's farmhands) are a choir named for a phrase in Epistle 14, and set up to perform Bellman's works; they give concerts (of music by many composers) around the world. 3419: 1313:(Epistle 80) is evidently a "highly conscious literary composition" with "longer lines and a more relaxed rhyme pattern" which permits more complex content, in that case a 366:. The way he does this, at once regretting and celebrating these excesses in song, achieves something of what Hogarth achieved in engravings and paint. The art historian 767:

The principal figures, given that the Epistles focus on drinking and its effects, along with "nymphs", are Bacchus and Venus / Fröja, but the cast is wider, including:

1452:

Like all great masters, Bellman reconciles the opposing elements of style and substance, of form and fire. His content reminds one somewhat of the pictures of Rome in

2630: 653: 1525:, used the less authentic accompaniment of an ensemble; Clauson was also the first to release a recording of Bellman in English, alongside his Swedish recordings. 1336:'s "poised rococo consciousness". In her view, the early Epistles are close to the improvisatory tradition, while the later ones are undoubtedly more literary. 1267:

writes that while many of the Epistles give the impression of having been improvised during performance, there is plentiful evidence to the contrary. She notes

660: 1412:

publications in the 20th century. Towards the end of the 20th century, an increasing number of doctoral theses have been written on Bellman's life and work.

1303:

and phrases from Epistles 4, 13, 17, 21, and 64. She writes that the early Epistles have the rough-and-ready, but also quick and verbally clever, quality of

1239:(repeating the first word of a clause at its end) in verse 3, with "Men, min Anna Greta, men!" (But, my Anna Greta, but!), and again in verse 5. And he uses 1143:

his particular brand of 'realism' carries with it a heaping measure of pure fantasy, grotesque humor, and—not least—an elegant veneer of classical mythology.

254:

Many of the Epistles have remained culturally significant in Scandinavia, especially in Sweden. They are widely sung and recorded: by choirs such as the

472:

to create a humorous picture of the disastrous event. The story ends with the priest pocketing some of the collection money. A later Epistle, No. 48,

3488: 1507: 3526: 483:"one of Bellman's greatest", creating "an incomparable panorama of that eighteenth-century Stockholm which meets us in Elias Martin's canvasses." 425:

remain popular in Sweden. Their diverse styles and themes may be illustrated with examples of some of the best-known songs. To begin with No. 23,

3145: 983: 626: 1387: 3092: 1318: 490:

A drinking session descends into a brawl. Illustration for Fredman's Epistle no. 64 ("On the last ball at Fröman's tavern on Horns-Kroken") by

3432: 1167:. The result is related to a drinking song only by derivation. As an artistic achievement it stands alone in the history of Swedish poetry. 3511: 3059: 3247: 2734: 1847:

For a recent treatment and a summary of earlier research, see the 1990 critical edition of the Epistles by Gunnar Hillbom (text) &

1043: 509: 163:

18th century song. Though first published in 1790, it was created over a period of twenty years from 1768 onwards. A companion volume,

3187: 1218:

Massengale points out that in the Epistles, Bellman employs a variety of methods to make the poetry work. For example, in Epistle 35,

995: 478:(The sun gleams smooth and round), narrates the relaxed and peaceful journey of a boat bringing Ulla Winblad home to Stockholm across 439: 3157: 987: 517:

on a summer's day, invites her to come and dine with him on "reddest strawberries in milk and wine". The following Epistle, No. 72,

3151: 3674: 3265: 1309: 943: 533: 3298: 3223: 1063: 2979: 2949: 2916: 2890: 2864: 2744: 2720: 2428: 2047: 1592: 464: 3205: 3211: 2671: 1059: 1055: 3199: 2685: 1220: 17: 3085: 2776: 2119: 3034: 2835: 3328: 935: 3304: 216:, a description of Fredman lying drunk in the gutter and then recovering in the Crawl-In Tavern, was described by 327:

contrast to their original themes, very likely achieving humorous effects on their eighteenth-century audiences.

3463: 1497: 247:

and music fit so well together. Bellman chose not to compose the tunes, instead borrowing and adapting existing

2795: 276:. The Epistles have been translated into German, French, English, Russian, Polish, Finnish, Italian and Dutch. 1583:

Editions and selections of the Epistles, some with illustrations, some with music, some printed together with

3229: 3123: 3078: 1051: 963: 955: 895: 620: 474: 419: 411: 388: 152: 3139: 577:, are based on real people, and in Fredman's case his real name was used. The Fredman of the Epistles is an 3026: 3394: 3217: 3163: 1208: 1080: 1035: 542: 3592: 3316: 3235: 2827: 1023: 3659: 1403:

Bellman was sung "with delight" by students and schoolchildren from the start of the 19th century. The

1328:'s identification of 1772 as the turning point, from Bellman's early years in the relaxed 18th century 974:– 9 Lokatten tavern (Ep. 11, Ep. 59, Ep. 77), Bruna Dörren tavern ( 1544: 3360: 675: 2941: 1770:

Sterven van liefde en leven van wijn : een bloemlezing uit de Epistels & Zangen van Fredman

3271: 1700:, Stockholm: Norstedt. (In French) 28 Epistles trans. Nils Afzelius and Pierre Volboudt. Illus. by 1475: 920: 486: 3277: 1259:" (The master improviser). Scholars have debated the question of how far the Epistles are in fact 1027: 707: 665: 550: 3664: 3582: 3003: 1529: 351: 1465:

The Epistles are widely sung and recorded by amateur choirs and professional singers alike. The

393: 3679: 3455: 2578: 1491: 1369: 3020: 2418: 3597: 2989: 2263: 2103: 2037: 1723: 1444: 1196: 909: 437:

song ends with loud thanks to the drunk's mother and father. In contrast, the Rococo No. 28,

358:. Bellman, however, was no great playwright, nor a major classical composer. His biographer, 332: 92: 2391: 1423:

Bellman has been compared with poets and musicians as diverse as Shakespeare and Beethoven.

3447: 3259: 3101: 2681: 2667: 2104:"The Note that was Worth a Ducat: The Search for the Source Melody to Bellman's Epistel 81" 1569: 1485: 1453: 1391:

19th century illustration for "Ulla Winblad kära syster. Du är eldig, qvick och yster...".

1279:), "Kära bror", "Kära vänner" and so forth for various persons. She notes, too, that while 1252: 999: 900: 835: 689: 398: 347: 338:

Bellman was a skilful and entertaining performer of his songs, accompanying himself on the

156: 62: 51: 3621: 8: 3669: 3547: 3440: 3011: 2846: 2730: 2708: 2570: 2111: 1734: 1565: 1480: 1417: 1240: 1123: 841: 829: 753: 735: 641: 433: 359: 343: 261: 221: 181: 47: 3133: 711: 596:

made pregnant by a passing nobleman. In the Epistles, Ulla Winblad is the chief of the "

3559: 3481: 2804: 2759: 2273: 2267: 1553: 1552:

The 1790 edition was the only one to appear in Bellman's lifetime. It was published by

1502: 1185: 915: 869: 816:– one of the three fates, spinning the thread of human life (which is suddenly cut off) 793: 265: 212:

former watchmaker, is the central character and fictional narrator. The "soliloquy" of

103: 3288: 3241: 165: 3476: 3030: 2993: 2975: 2955: 2945: 2912: 2886: 2860: 2831: 2772: 2740: 2716: 2424: 2115: 2043: 1821: 1561: 1518: 1427:

notes that he has been called "Swedish poetry's Mozart, and Hogarth", observing that

1404: 875: 863: 269: 3181: 2509: 1765:, Rome: Istituti editoriali e poligrafici internazionali. (In Italian). A selection. 1662: 1467: 1019: 757: 723: 256: 200:

Sweden, describe a gallery of fictional and semi-fictional characters and events in

3587: 3519: 3375: 3169: 2967: 2099: 1848: 1528:

Singers from other traditions sometimes sing Bellman; for example, the folk singer

1229: 1110: 1084: 1076: 991: 951: 883: 631: 500: 427: 213: 3567: 2927: 1424: 528: 3574: 3496: 3425: 3385: 3064: 2931: 2786: 2768: 2108:

Fin(s) de Siècle in Scandinavian Perspective: Studies in Honor of Harald S. Naess

1522: 1513: 1323: 1264: 1100: 524: 469: 355: 293: 273: 41: 1228:

of metrical devices to counteract the "metrically plodding melody". He uses the

1011: 479: 444: 406: 3399: 3310: 3253: 1644: 1272: 1088: 519: 217: 3175: 1276: 1212: 975: 3653: 3636: 3616: 3552: 3345: 2754: 1813: 1648: 1333: 1260: 1047: 807: 613: 491: 197: 193: 2959: 2871:(contains the most popular Epistles and Songs, in Swedish, with sheet music) 1031: 1015: 761: 3471: 3390: 3380: 3193: 3050: 1825: 1817: 1701: 1396: 1268: 1176: 1096: 1039: 1007: 730: 681: 593: 574: 570: 514: 402: 367: 363: 225: 205: 967: 3626: 3504: 3322: 2897:(contains the remaining Epistles and Songs, in Swedish, with sheet music) 1533: 1236: 1232: 1156: 971: 947: 939: 555: 2808: 2713:

The Life and Songs of Carl Michael Bellman: Genius of the Swedish Rococo

318:, but are simultaneously decorated, for romantic or humorous effect, in 185: 3070: 2159: 1003: 979: 931: 578: 448: 335:

stated that Bellman's songs "had no model and can have no successors".

209: 959: 826:– god of desire and erotic love, Astrild being a late Nordic invention 1791: 1189: 904: 853: 749: 601: 538: 456: 315: 233: 201: 177: 84: 2056: 1440:

words and music a canvas of their age. Nor are their songs dramatic.

1291:, in keeping with Fredman's program, is rarely mentioned apart from 228:, based on one of Bellman's friends, is the chief of the fictional " 1354: 1132: 780: 771: 311: 298: 2923:(with facsimiles of sheet music from first editions in 1790, 1791) 2902: 2876: 2850: 2817: 1126:'s translation "Drain off thy glass, see death upon thee waiting") 504:

following his usual habit of modifying well-known existing tunes.

2573:[Bellman's Glittering Nymph interpreted by Kajsa Grytt]. 2394:[Carl Michael Bellman's life and work. A minibiography]. 1363: 1225: 1160: 1104: 823: 803: 787: 695: 339: 844:– god of the sea, accompanying the birth of Venus from the waves 232:". She is half goddess, half prostitute, a key figure among the 196:. The lyrics, based on the lives of Bellman's contemporaries in 1884: 1882: 1560:

cannot be fully determined. The edition was illustrated with a

1314: 1164: 1152: 879: 859: 813: 775: 743: 719: 452: 324: 319: 248: 244: 189: 173: 160: 124: 88: 80: 1083:

to the masterly portrait of a drunkard lying in the gutter of

847: 819: 797: 597: 229: 2715:. New York: Allhem, Malmö American-Scandinavian Foundation. 2340: 2338: 2336: 2334: 2039:

Historical Dictionary of Scandinavian Literature and Theater

1879: 1795:, ("will be celebrated in poetry in the whole world"), from 1772:, 's-Hertogenbosch : Voltaire. (In Dutch). A selection. 373:

Historical Dictionary of Scandinavian Literature and Theater

3420:

Fredmans Epistlar & Sånger Sjungna Av Sven-Bertil Taube

2607:] (PhD) (in Swedish). Stockholm University. p. 46. 2243: 2241: 2239: 2237: 1796: 284: 91:, drinking: it 'had no model and can have no successors' ( 2611: 2331: 748:

Many of the Epistles have a Rococo theme, especially the

600:". She is half goddess, half prostitute, chief among the 432:(Alas, thou my mother), which has been described as "the 2234: 1576:

Norwegian, Italian, Spanish, and Dutch, as shown below.

810:– the nymph or goddess of springtime, flowers and growth 1763:

Ulla, mia Ulla: antologia poetica in italiano cantabile

2601:

Kring Fredmans epistlar. Deras tillkomst och utgivning

2504: 2423:. Lanham, MD: Rowman & Littlefield. p. 174. 2392:"Carl Michael Bellmans liv och verk. En minibiografi" 1674:, Stockholm: Bellmanssällskapet. ("Standard Edition") 2938:

Lovely Carnival!: about Carl Michael Bellman's Verse

2736:

Fredman's Epistles and Songs: A Selection in English

2350: 1733:, Stockholm: Reuter and Reuter. (In English) trans. 1672:

Carl Michael Bellmans skrifter. 1. Fredmans Epistlar

169:(Fredman's Songs) was published the following year. 2974:. Stockholm: Almqvist & Wiksell International. 1751:, Kraków: Polskie Wydawnictwo Muzyczne. (In Polish) 1622:, Copenhagen: Jaeger. With 24 coloured lithographs. 1091:as "the to-be-or-not-to-be of Swedish literature". 832:– king of the gods on Mount Olympus, god of thunder 659:Ep. 45: Mollberg is beaten, his harp broken in the 172:The Epistles vary widely in style and effect, from 2933:Ljuva karneval!: om Carl Michael Bellmans diktning 1548:Pastoral head-piece engraving in the first edition 451:– with images from classical mythology, such as a 3489:Spring mot Ulla, spring! Cornelis sjunger Bellman 2998:. New York: The American-Scandinavian Foundation. 2972:The Musical-Poetic Method of Carl Michael Bellman 2901:Kleveland, Åse; Ehrén, Svenolov (illus.) (1984). 2605:Catch Fredman's epistles. Their entry and release 2106:. In Ingwersen, Faith; Norseng, Mary Kay (eds.). 760:", a short crossing of the Stockholm waterway to 3651: 2410: 2276:. pages 2 verso–3 recto – via Bellman.net. 1685:Translations of the Epistles similarly include: 1058:tavern ( 925:Travels into Poland, Russia, Sweden, and Denmark 243:The Epistles are admired for the way that their 2571:"Bellmans Glimmande Nymf tolkad av Kajsa Grytt" 2092: 2042:. Lanham, MD: Scarecrow Press. pp. 11–12. 1636:, Stockholm: Bonniers. Arranged for piano solo. 1597:, Stockholm: Olof Åhlström, by Royal Privilege. 2900: 2875:Hassler, Göran; Dahl, Peter (illus.) (1989b). 2729: 2707: 2651: 2542: 2437: 2375: 2325: 2228: 2207: 2134: 2018: 1972: 1960: 1941: 1900: 1888: 1816:", the breakfast consists of a freshly caught 523:(Gleaming nymph), is a night-piece, set to an 3086: 3067:, 1836 edition, on Google books (free access) 2995:Anthology of Swedish lyrics from 1750 to 1915 2598: 2321: 2319: 2304: 1460: 1307:(tavern verse). In contrast, a late one like 752:pieces with a cast of gods and demigods from 537:(Like a shepherdess in her best dress), is a 2701:Bellman at the crossroads: and other studies 2416: 2031: 2029: 2027: 942:– 3 Första Torpet ( 872:– messenger of the sea, accompanying Neptune 331:are thus not easy to categorise; the critic 2844: 2530: 2467: 2443: 2258: 2256: 2192: 2014: 2012: 2010: 2008: 2006: 2004: 1995: 1828:", along with "dinner wine" and hot coffee. 1062:) 19 Rostock tavern ( 1038:, Ep. 62) – 15 Bellman's birthplace – 16 3093: 3079: 2966: 2697:Bellman vid skiljovägen: och andra studier 2316: 2310: 2298: 2286: 2146: 2098: 2086: 1120:Drick ur ditt glas, se Döden på dig väntar 323:that are fitted to the tunes are often in 40: 2417:Elgán, Elisabeth; Scobbie, Irene (2015). 2386: 2384: 2269:Fredmans Epistlar: Företal (Introduction) 2024: 1991: 1989: 1987: 1985: 1983: 1981: 1789:The open book at lower left is inscribed 1641:Fredmans epistlar af Carl Michael Bellman 1474:Several professional solo singers in the 1435:Britten Austin says instead simply that: 1420:, to bring the texts to a wide audience. 800:, carrying souls to the place of the dead 462:Quite a different tone is set in No. 40, 3100: 2926: 2911:]. Stockholm: Informationsförlaget. 2554: 2371: 2369: 2367: 2365: 2262: 2253: 2224: 2222: 2220: 2218: 2216: 2203: 2201: 2073: 2071: 2062: 2001: 1758:, Helsinki: Yliopistopaino. (In Finnish) 1543: 1386: 1361:Whose wit, with drunken sallies pleas'd, 1344: 1175: 1109: 894: 729: 706: 485: 392: 283: 2680: 2666: 1956: 1954: 1952: 1950: 1860: 1852: 1604:--- facsimile reprint, 1976: Uddevalla. 856:– god of wildness and rough countryside 260:, by professional solo singers such as 14: 3652: 2785: 2753: 2694: 2617: 2381: 2356: 2344: 2035: 1978: 1295:", giving instances like Epistle 24's 180:with a cast of gods and demigods from 3317:Träd fram du Nattens Gud (Aftonkväde) 3248:Ulla! min Ulla! Säj får jag dig bjuda 3146:Käre bröder, så låtom oss supa i frid 3074: 3018: 2988: 2491: 2479: 2362: 2247: 2213: 2198: 2128: 2068: 1937: 1935: 1933: 1931: 1929: 1722:, Munich: Desch. (In German). trans. 563: 510:Ulla! min Ulla! säj får jag dig bjuda 455:crown and an allusion to the goddess 153:a collection of 82 poems set to music 46:Frontispiece to the first edition by 27:Book of songs by Carl Michael Bellman 3152:Fram med basfiolen, knäpp och skruva 2815: 2455: 1947: 1927: 1925: 1923: 1921: 1919: 1917: 1915: 1913: 1911: 1909: 1711:--- reprinted, 1984: La Ferté-Milon. 1693:, Copenhagen: J. Erslev. (In Danish) 1629:, Stockholm: Elkan and Schildknecht. 1071:Alongside the frankly mythological, 2885:]. Stockholm: En bok för alla. 2859:]. Stockholm: En bok för alla. 850:– a (beautiful) female nature deity 774:– a nymph of the countryside (from 734:"A noisy company". Wash drawing by 288:Bellman's artistry in the songs of 24: 3224:Tjenare Mollberg, hur är det fatt? 3188:I går såg jag ditt barn, min Fröja 3051:Bellman lyrics and reference index 2497: 2152: 1744:, Leningrad: Khudozh. (In Russian) 1742:Pesni Fredmana; Poslaniia Fredmana 1658:, Jena: E. Diederichs. (In German) 1374:And full as rich his learnéd vein. 1359:Thy lyre another's hand has seized 1171: 440:I går såg jag ditt barn, min Fröja 268:, and by ensemble singers such as 25: 3691: 3158:Käraste Bröder Systrar och Vänner 3044: 2909:The songs and Epistles of Fredman 1906: 1691:Fredmans epistlar, Text och musik 1382: 1310:Liksom en Herdinna, högtids klädd 534:Liksom en Herdinna, högtids klädd 296:'s work as a painter, as here in 3359: 2690:. Stockholm: By Royal Privilege. 2676:. Stockholm: By Royal Privilege. 1664:Fredmans epistlar, Ord och musik 1246: 688: 674: 652: 640: 619: 465:Ge rum i Bröllops-gåln din hund! 409:to Stockholm in Epistle No. 48, 3212:Ge rum i Bröllopsgåln din hund! 3022:A History of Swedish Literature 2940:] (in Swedish). Stockholm: 2819:Den svenska litteraturhistorien 2767:] (in Swedish). Stockholm: 2645: 2623: 2592: 2563: 2548: 2536: 2524: 2485: 2473: 2461: 2449: 2420:Historical Dictionary of Sweden 2292: 2280: 2186: 2174: 2140: 2080: 2077:Britten Austin, 1967, page 125. 1841: 1831: 1806: 1726:, Felix Niedner, Georg Schwarz. 1301:Sjungom om kärlek, ropa på vin 718:, the model for the humorously 702: 379: 3299:Hör klockorna med ängsligt dån 3200:Bröderna fara väl vilse ibland 2904:Fredmans epistlar & sånger 2824:The Swedish literature history 1966: 1894: 1783: 1564:by the leading Swedish artist 1297:Sjung om kärlek, vin och lycka 1221:Bröderna fara väl vilse ibland 758:Blåsen nu alla (All blow now!) 724:Blåsen nu alla (All blow now!) 184:to laments for the effects of 13: 1: 3675:Works by Carl Michael Bellman 3527:Music of Carl Michael Bellman 3512:Songs of Carl Michael Bellman 3230:Solen glimmar blank och trind 3206:Vår Ulla låg i sängen och sov 3006:; Castagnetta, Grace (1939). 1873: 1812:For example, in Epistle 71, " 1643:, Stockholm: Ljus. Intro. by 1283:(wine) often appears without 907:, places of interest for his 475:Solen glimmar blank och trind 412:Solen glimmar blank och trind 3433:sjunger Carl Michael Bellman 3027:University of Nebraska Press 2065:, pp. 187–216, 297–333. 1749:Fredmanowe posłania i pieśni 1731:Fredman's Epistles and Songs 1627:Fredmans epistlar och sånger 1483:(1937–1985) with his albums 306:Bellman wrote a total of 82 7: 3329:Fjäriln vingad syns på Haga 3008:The Last of the Troubadours 1539: 548:The final Epistle, No. 82, 279: 10: 3696: 3140:Fader Berg i hornet stöter 2789:(1972). "Improvisation in 2703:] (in Swedish). Geber. 2660: 2326:Kleveland & Ehrén 1984 2019:Kleveland & Ehrén 1984 1461:Performance and recordings 1366:' court delights; the same 1103:'s. Frail and ethereal as 890: 790:– god of wine and drinking 741: 588:A particular group is the 401:of a scene reminiscent of 389:List of Fredman's Epistles 386: 3606: 3538: 3408: 3395:Maria Kristina Kiellström 3368: 3357: 3337: 3286: 3164:Gråt Fader Berg och spela 3115: 3108: 2828:Wahlström & Widstrand 2272:(in Swedish). Stockholm: 1368:Grows wild apace as e'er 1339: 1271:'s identification of the 1209:Gråt Fader Berg och spela 1046:) – 17 Lilla Sjötullen ( 866:of divine law and justice 543:Nicolas Boileau-Despréaux 397:Detail of watercolour by 130: 120: 110: 99: 76: 68: 58: 39: 3305:Så lunka vi så småningom 3236:Movitz blåste en konsert 3004:Van Loon, Hendrik Willem 2878:Bellman II – en antologi 2555:Karlsson, Sofia (2007). 2170:– via Bellman.net. 1776: 1508:Spring mot Ulla, spring! 1476:Swedish ballad tradition 1188:" (As a shepherdess), a 224:of Swedish literature". 3583:Hendrik Willem van Loon 3019:Warme, Lars G. (1996). 2739:. Stockholm: Proprius. 2531:Hassler & Dahl 1989 2468:Hassler & Dahl 1989 2444:Hassler & Dahl 1989 2193:Hassler & Dahl 1989 1996:Hassler & Dahl 1989 1517:Other singers, such as 1299:alongside Epistle 11's 1257:Il signor improvisatore 1114:An 1825 broadside with 292:has been compared with 3060:Facsimile of 1790 book 2990:Stork, Charles Wharton 2968:Massengale, James Rhea 2942:Albert Bonniers Förlag 2883:Bellman – an anthology 2857:Bellman – an anthology 2765:Bellman. The Biography 2695:Blanck, Anton (1941). 2599:Byström, Olof (1945). 2579:Stockholm Municipality 2505:"About Orphei Drängar" 2264:Kellgren, Johan Henric 1756:Lauluja ja epistoloita 1698:Les Épîtres de Fredman 1681:, Stockholm: Proprius. 1667:, Stockholm: Bonniers. 1615:, Stockholm: Rumstedt. 1549: 1532:and the rock musician 1458: 1442: 1433: 1400: 1376: 1192: 1169: 1145: 1127: 1068: 756:. Thus, Epistle 25, " 739: 727: 541:, almost paraphrasing 495: 415: 303: 192:-scenes, and apparent 3598:Charles Wharton Stork 3278:Hvila vid denna källa 3025:. Lincoln, Nebraska: 2852:Bellman – en antologi 2682:Bellman, Carl Michael 2668:Bellman, Carl Michael 1724:Hanns von Gumppenberg 1547: 1450: 1445:Charles Wharton Stork 1437: 1429: 1390: 1352: 1345:In Bellman's lifetime 1317:pastorale. She notes 1197:Johan Henric Kellgren 1179: 1150: 1141: 1113: 898: 742:Further information: 733: 710: 551:Hvila vid denna källa 527:melody from a French 489: 405:'s journey back from 396: 333:Johan Henric Kellgren 287: 3464:Vila vid denna källa 3448:Fred sjunger Bellman 3260:Charon i Luren tutar 3218:Värm mer Öl och Bröd 3102:Carl Michael Bellman 3012:Simon & Schuster 2847:Dahl, Peter (illus.) 2816:Hägg, Göran (1996). 2796:Scandinavian Studies 2731:Britten Austin, Paul 2709:Britten Austin, Paul 2112:Boydell & Brewer 2036:Sjåvik, Jan (2006). 1792:toto cantabitur orbe 1570:Johan Fredrik Martin 1498:Vila vid denna källa 1486:Fred sjunger Bellman 1357:! Where is thy fame? 399:Johan Fredrik Martin 159:, a major figure in 157:Carl Michael Bellman 106:, by Royal Privilege 63:Carl Michael Bellman 52:Johan Fredrik Martin 3548:Paul Britten Austin 3272:Märk hur vår skugga 2652:Britten Austin 1967 2631:"Fredmans epistlar" 2620:, pp. 451–459. 2559:. Amigo. AMCD 759D. 2543:Britten Austin 1967 2396:Bellmanssällskapet 2376:Britten Austin 1967 2347:, pp. 310–335. 2250:, pp. 124–127. 2229:Britten Austin 1967 2208:Britten Austin 1967 2160:"Fredmans epistlar" 2135:Britten Austin 1967 1973:Britten Austin 1999 1961:Britten Austin 1967 1942:Britten Austin 1967 1901:Britten Austin 1967 1889:Britten Austin 1967 1824:, and a newly-shot 1735:Paul Britten Austin 1566:Johan Tobias Sergel 1124:Paul Britten Austin 886:– goddesses of love 884:Aphrodite at Paphos 754:classical mythology 736:Johan Tobias Sergel 360:Paul Britten Austin 182:classical antiquity 48:Johan Tobias Sergel 36: 18:Epistles of Fredman 3560:Bellman. Biografin 3482:Cornelis Vreeswijk 3266:Liksom en herdinna 2826:]. Stockholm: 2760:Bellman. Biografin 2533:, pp. 284–285 2378:, pp. 120–123 2313:, pp. 147–148 2266:(6 October 1790). 2210:, pp. 103–105 2137:, pp. 155–156 2114:. pp. 28–41. 2089:, pp. 112–116 1558:Fredman's Epistles 1550: 1503:Cornelis Vreeswijk 1401: 1193: 1186:Liksom en herdinna 1136:Bellman provides. 1128: 1075:have a convincing 1073:Fredman's Epistles 1069: 910:Fredman's Epistles 796:– the ferryman of 740: 728: 604:characters of the 564:Cast of characters 496: 434:to-be-or-not-to-be 422:Fredman's Epistles 416: 329:Fredman's Epistles 308:Fredman's Epistles 304: 290:Fredman's Epistles 266:Cornelis Vreeswijk 238:Fredman's Epistles 222:to-be-or-not-to-be 148:Fredman's Epistles 32: 3660:Fredmans epistlar 3647: 3646: 3622:Bellmansällskapet 3477:Sven-Bertil Taube 3355: 3354: 3118:Fredmans epistlar 3065:Fredmans Epistlar 2981:978-91-554-0849-7 2951:978-91-0-057245-7 2918:978-91-7736-059-9 2892:978-91-7448-742-8 2866:978-91-7448-512-7 2791:Fredmans Epistlar 2746:978-9-231-03608-8 2722:978-3-932759-00-0 2673:Fredmans epistlar 2654:, pp. p11–12 2557:Visor Från Vinden 2430:978-1-4422-5071-0 2181:Fredman's Epistle 2100:Massengale, James 2049:978-0-8108-6501-3 1857:Fredmans epistlar 1720:Das trunkene Lied 1679:Fredmans epistlar 1656:Fredmans Episteln 1634:Fredmans epistlar 1620:Fredmans epistlar 1613:Fredmans epistlar 1594:Fredmans epistlar 1519:Sven-Bertil Taube 1454:Horace's Epistles 1405:Romantic movement 1393:Fredman's Epistle 1230:rhetorical figure 1224:, Bellman uses a 1182:Fredman's Epistle 1116:Fredman's Epistle 1067: 714:'s 1740 painting 612:Illustrations by 447:) in Stockholm's 270:Sven-Bertil Taube 142:Fredmans epistlar 138: 137: 121:Publication place 34:Fredmans epistlar 16:(Redirected from 3687: 3588:James Massengale 3520:Mikael Samuelson 3417:1960, 1963 3376:Barbara Ekenberg 3363: 3170:Ack du min moder 3134:Nå skruva Fiolen 3113: 3112: 3095: 3088: 3081: 3072: 3071: 3056: 3040: 3015: 2999: 2985: 2963: 2922: 2896: 2870: 2845:Hassler, Göran; 2841: 2812: 2787:Clover, Carol J. 2782: 2750: 2726: 2704: 2691: 2677: 2655: 2649: 2643: 2642: 2640: 2638: 2627: 2621: 2615: 2609: 2608: 2596: 2590: 2589: 2587: 2585: 2575:Stockholmskällan 2567: 2561: 2560: 2552: 2546: 2540: 2534: 2528: 2522: 2521: 2519: 2517: 2501: 2495: 2489: 2483: 2477: 2471: 2465: 2459: 2453: 2447: 2441: 2435: 2434: 2414: 2408: 2407: 2405: 2403: 2388: 2379: 2373: 2360: 2354: 2348: 2342: 2329: 2323: 2314: 2308: 2302: 2301:, pp. 78–79 2296: 2290: 2284: 2278: 2277: 2260: 2251: 2245: 2232: 2226: 2211: 2205: 2196: 2195:, pp. 12–14 2190: 2184: 2178: 2172: 2171: 2169: 2167: 2156: 2150: 2144: 2138: 2132: 2126: 2125: 2096: 2090: 2084: 2078: 2075: 2066: 2060: 2054: 2053: 2033: 2022: 2021:, pp. 92–93 2016: 1999: 1998:, pp. 15–16 1993: 1976: 1970: 1964: 1958: 1945: 1944:, pp. 60–93 1939: 1904: 1898: 1892: 1886: 1867: 1849:James Massengale 1845: 1839: 1835: 1829: 1810: 1804: 1787: 1505:with his albums 1327: 1255:called Bellman " 1180:Sheet music for 929: 716:Triumph of Venus 712:François Boucher 692: 678: 669: 656: 644: 635: 623: 590:Order of Bacchus 501:James Massengale 428:Ack du min Moder 371:comments in the 112:Publication date 44: 37: 31: 21: 3695: 3694: 3690: 3689: 3688: 3686: 3685: 3684: 3650: 3649: 3648: 3643: 3602: 3593:Michael Roberts 3575:Ljuva karneval! 3540: 3534: 3497:Movitz! Movitz! 3426:William Clauson 3410: 3404: 3386:Lovisa von Plat 3364: 3351: 3333: 3289:Fredmans sånger 3282: 3242:Fader Bergström 3121: 3104: 3099: 3054: 3047: 3037: 3002: 2982: 2952: 2919: 2893: 2874: 2867: 2838: 2779: 2769:Albert Bonniers 2747: 2723: 2687:Fredmans sånger 2663: 2658: 2650: 2646: 2636: 2634: 2629: 2628: 2624: 2616: 2612: 2597: 2593: 2583: 2581: 2569: 2568: 2564: 2553: 2549: 2541: 2537: 2529: 2525: 2515: 2513: 2503: 2502: 2498: 2490: 2486: 2478: 2474: 2466: 2462: 2454: 2450: 2442: 2438: 2431: 2415: 2411: 2401: 2399: 2390: 2389: 2382: 2374: 2363: 2355: 2351: 2343: 2332: 2324: 2317: 2311:Massengale 1979 2309: 2305: 2299:Massengale 1979 2297: 2293: 2287:Massengale 1979 2285: 2281: 2261: 2254: 2246: 2235: 2227: 2214: 2206: 2199: 2191: 2187: 2179: 2175: 2165: 2163: 2158: 2157: 2153: 2147:Massengale 1979 2145: 2141: 2133: 2129: 2122: 2097: 2093: 2087:Massengale 1979 2085: 2081: 2076: 2069: 2061: 2057: 2050: 2034: 2025: 2017: 2002: 1994: 1979: 1971: 1967: 1959: 1948: 1940: 1907: 1899: 1895: 1887: 1880: 1876: 1871: 1870: 1865:Fredmans sånger 1846: 1842: 1836: 1832: 1811: 1807: 1788: 1784: 1779: 1585:Fredman's Songs 1542: 1523:William Clauson 1514:Movitz! Movitz! 1463: 1410:Bellmansstudier 1385: 1373: 1367: 1362: 1360: 1358: 1347: 1342: 1321: 1265:Carol J. Clover 1249: 1174: 1172:Fitted to music 1163:, and graceful 1087:, described by 1016:Djurgården Park 1004:Skeppsbron Quay 978:, Ep. 38) – 10 928: 893: 746: 705: 698: 693: 684: 679: 670: 663: 657: 648: 645: 636: 629: 624: 566: 470:rhyming pattern 391: 385: 294:William Hogarth 282: 274:William Clauson 166:Fredmans sånger 113: 54: 28: 23: 22: 15: 12: 11: 5: 3693: 3683: 3682: 3677: 3672: 3667: 3665:Swedish poetry 3662: 3645: 3644: 3642: 3641: 3640: 3639: 3631: 3630: 3629: 3624: 3619: 3610: 3608: 3604: 3603: 3601: 3600: 3595: 3590: 3585: 3580: 3579: 3578: 3565: 3564: 3563: 3550: 3544: 3542: 3536: 3535: 3533: 3532: 3531: 3530: 3517: 3516: 3515: 3502: 3501: 3500: 3492: 3479: 3474: 3469: 3468: 3467: 3459: 3456:Glimmande nymf 3451: 3441:Fred Åkerström 3438: 3437: 3436: 3423: 3414: 3412: 3406: 3405: 3403: 3402: 3400:Helena Quiding 3397: 3388: 3383: 3378: 3372: 3370: 3366: 3365: 3358: 3356: 3353: 3352: 3350: 3349: 3341: 3339: 3335: 3334: 3332: 3331: 3325: 3319: 3313: 3311:Opp Amaryllis! 3307: 3301: 3294: 3292: 3284: 3283: 3281: 3280: 3274: 3268: 3262: 3256: 3254:Glimmande nymf 3250: 3244: 3238: 3232: 3226: 3220: 3214: 3208: 3202: 3196: 3190: 3184: 3182:Blåsen nu alla 3178: 3172: 3166: 3160: 3154: 3148: 3142: 3136: 3129: 3127: 3110: 3106: 3105: 3098: 3097: 3090: 3083: 3075: 3069: 3068: 3062: 3057: 3046: 3045:External links 3043: 3042: 3041: 3035: 3016: 3000: 2986: 2980: 2964: 2950: 2928:Lönnroth, Lars 2924: 2917: 2898: 2891: 2872: 2865: 2842: 2836: 2813: 2803:(3): 310–335. 2783: 2778:978-9100141790 2777: 2755:Burman, Carina 2751: 2745: 2727: 2721: 2705: 2692: 2678: 2662: 2659: 2657: 2656: 2644: 2622: 2610: 2591: 2577:(in Swedish). 2562: 2547: 2535: 2523: 2510:Orphei Drängar 2496: 2484: 2482:, p. xvii 2472: 2460: 2448: 2436: 2429: 2409: 2380: 2361: 2349: 2330: 2315: 2303: 2291: 2279: 2252: 2233: 2212: 2197: 2185: 2173: 2151: 2139: 2127: 2121:978-1879751248 2120: 2091: 2079: 2067: 2055: 2048: 2023: 2000: 1977: 1975:, Introduction 1965: 1946: 1905: 1893: 1877: 1875: 1872: 1869: 1868: 1840: 1830: 1805: 1781: 1780: 1778: 1775: 1774: 1773: 1766: 1759: 1752: 1745: 1738: 1727: 1715: 1714: 1713: 1712: 1706: 1705: 1694: 1683: 1682: 1675: 1668: 1659: 1652: 1645:Oscar Levertin 1637: 1630: 1623: 1616: 1608: 1607: 1606: 1605: 1599: 1598: 1568:, engraved by 1541: 1538: 1530:Sofia Karlsson 1492:Glimmande nymf 1481:Fred Åkerström 1468:Orphei Drängar 1462: 1459: 1384: 1383:In later times 1381: 1346: 1343: 1341: 1338: 1273:poetic formula 1261:improvisations 1248: 1245: 1173: 1170: 1099:. Detailed as 1089:Oscar Levertin 892: 889: 888: 887: 873: 867: 857: 851: 845: 839: 838:– god of sleep 833: 827: 817: 811: 801: 791: 785: 704: 701: 700: 699: 694: 687: 685: 680: 673: 671: 661:Rostock tavern 658: 651: 649: 646: 639: 637: 625: 618: 616: 565: 562: 520:Glimmande nymf 387:Main article: 384: 378: 281: 278: 262:Fred Åkerström 257:Orphei Drängar 236:characters of 218:Oscar Levertin 194:improvisations 136: 135: 132: 128: 127: 122: 118: 117: 114: 111: 108: 107: 101: 97: 96: 78: 74: 73: 70: 66: 65: 60: 56: 55: 50:, engraved by 45: 26: 9: 6: 4: 3: 2: 3692: 3681: 3680:Swedish songs 3678: 3676: 3673: 3671: 3668: 3666: 3663: 3661: 3658: 3657: 3655: 3638: 3637:Elis Chiewitz 3635: 3634: 3633:Illustrators 3632: 3628: 3625: 3623: 3620: 3618: 3617:Bellmanmuseet 3615: 3614: 3613:Institutions 3612: 3611: 3609: 3605: 3599: 3596: 3594: 3591: 3589: 3586: 3584: 3581: 3577: 3576: 3571: 3570: 3569: 3568:Lars Lönnroth 3566: 3562: 3561: 3556: 3555: 3554: 3553:Carina Burman 3551: 3549: 3546: 3545: 3543: 3537: 3529: 3528: 3523: 3522: 3521: 3518: 3514: 3513: 3508: 3507: 3506: 3503: 3499: 3498: 3493: 3491: 3490: 3485: 3484: 3483: 3480: 3478: 3475: 3473: 3470: 3466: 3465: 3460: 3458: 3457: 3452: 3450: 3449: 3444: 3443: 3442: 3439: 3435: 3434: 3429: 3428: 3427: 3424: 3422: 3421: 3416: 3415: 3413: 3409:Interpreters, 3407: 3401: 3398: 3396: 3392: 3389: 3387: 3384: 3382: 3379: 3377: 3374: 3373: 3371: 3367: 3362: 3348: 3347: 3346:Bacchi Tempel 3343: 3342: 3340: 3336: 3330: 3326: 3324: 3320: 3318: 3314: 3312: 3308: 3306: 3302: 3300: 3296: 3295: 3293: 3291: 3290: 3285: 3279: 3275: 3273: 3269: 3267: 3263: 3261: 3257: 3255: 3251: 3249: 3245: 3243: 3239: 3237: 3233: 3231: 3227: 3225: 3221: 3219: 3215: 3213: 3209: 3207: 3203: 3201: 3197: 3195: 3191: 3189: 3185: 3183: 3179: 3177: 3173: 3171: 3167: 3165: 3161: 3159: 3155: 3153: 3149: 3147: 3143: 3141: 3137: 3135: 3131: 3130: 3128: 3125: 3120: 3119: 3114: 3111: 3107: 3103: 3096: 3091: 3089: 3084: 3082: 3077: 3076: 3073: 3066: 3063: 3061: 3058: 3052: 3049: 3048: 3038: 3036:0-8032-4750-8 3032: 3028: 3024: 3023: 3017: 3013: 3009: 3005: 3001: 2997: 2996: 2991: 2987: 2983: 2977: 2973: 2969: 2965: 2961: 2957: 2953: 2947: 2943: 2939: 2935: 2934: 2929: 2925: 2920: 2914: 2910: 2906: 2905: 2899: 2894: 2888: 2884: 2880: 2879: 2873: 2868: 2862: 2858: 2854: 2853: 2848: 2843: 2839: 2837:91-46-17629-2 2833: 2829: 2825: 2821: 2820: 2814: 2810: 2806: 2802: 2798: 2797: 2792: 2788: 2784: 2780: 2774: 2770: 2766: 2762: 2761: 2756: 2752: 2748: 2742: 2738: 2737: 2732: 2728: 2724: 2718: 2714: 2710: 2706: 2702: 2698: 2693: 2689: 2688: 2683: 2679: 2675: 2674: 2669: 2665: 2664: 2653: 2648: 2632: 2626: 2619: 2614: 2606: 2602: 2595: 2580: 2576: 2572: 2566: 2558: 2551: 2545:, p. 180 2544: 2539: 2532: 2527: 2512: 2511: 2506: 2500: 2494:, p. xix 2493: 2488: 2481: 2476: 2469: 2464: 2458:, p. 149 2457: 2452: 2445: 2440: 2432: 2426: 2422: 2421: 2413: 2397: 2393: 2387: 2385: 2377: 2372: 2370: 2368: 2366: 2359:, p. 46. 2358: 2353: 2346: 2341: 2339: 2337: 2335: 2327: 2322: 2320: 2312: 2307: 2300: 2295: 2289:, p. 150 2288: 2283: 2275: 2274:Olof Åhlström 2271: 2270: 2265: 2259: 2257: 2249: 2244: 2242: 2240: 2238: 2231:, p. 132 2230: 2225: 2223: 2221: 2219: 2217: 2209: 2204: 2202: 2194: 2189: 2182: 2177: 2161: 2155: 2149:, p. 100 2148: 2143: 2136: 2131: 2123: 2117: 2113: 2109: 2105: 2101: 2095: 2088: 2083: 2074: 2072: 2064: 2063:Lönnroth 2005 2059: 2051: 2045: 2041: 2040: 2032: 2030: 2028: 2020: 2015: 2013: 2011: 2009: 2007: 2005: 1997: 1992: 1990: 1988: 1986: 1984: 1982: 1974: 1969: 1962: 1957: 1955: 1953: 1951: 1943: 1938: 1936: 1934: 1932: 1930: 1928: 1926: 1924: 1922: 1920: 1918: 1916: 1914: 1912: 1910: 1902: 1897: 1890: 1885: 1883: 1878: 1866: 1862: 1858: 1854: 1850: 1844: 1834: 1827: 1823: 1819: 1815: 1814:Ulla min Ulla 1809: 1802: 1798: 1794: 1793: 1786: 1782: 1771: 1767: 1764: 1760: 1757: 1753: 1750: 1746: 1743: 1739: 1736: 1732: 1728: 1725: 1721: 1717: 1716: 1710: 1709: 1708: 1707: 1703: 1699: 1695: 1692: 1688: 1687: 1686: 1680: 1676: 1673: 1669: 1666: 1665: 1660: 1657: 1653: 1650: 1649:Alf Wallander 1646: 1642: 1638: 1635: 1631: 1628: 1624: 1621: 1617: 1614: 1610: 1609: 1603: 1602: 1601: 1600: 1596: 1595: 1590: 1589: 1588: 1586: 1581: 1577: 1573: 1571: 1567: 1563: 1559: 1555: 1554:Olof Åhlström 1546: 1537: 1535: 1531: 1526: 1524: 1520: 1516: 1515: 1510: 1509: 1504: 1500: 1499: 1494: 1493: 1488: 1487: 1482: 1477: 1472: 1470: 1469: 1457: 1455: 1449: 1446: 1441: 1436: 1432: 1428: 1426: 1425:Åse Kleveland 1421: 1419: 1413: 1411: 1406: 1398: 1394: 1389: 1380: 1375: 1371: 1365: 1356: 1351: 1337: 1335: 1334:Gustavian era 1331: 1325: 1320: 1316: 1312: 1311: 1306: 1302: 1298: 1294: 1290: 1286: 1282: 1278: 1274: 1270: 1266: 1262: 1258: 1254: 1247:Improvisation 1244: 1242: 1238: 1234: 1231: 1227: 1223: 1222: 1216: 1214: 1210: 1204: 1202: 1198: 1191: 1187: 1183: 1178: 1168: 1166: 1162: 1158: 1154: 1149: 1144: 1140: 1137: 1134: 1125: 1121: 1117: 1112: 1108: 1106: 1102: 1098: 1092: 1090: 1086: 1082: 1078: 1074: 1065: 1061: 1057: 1053: 1049: 1048:Bellmanmuseet 1045: 1041: 1037: 1033: 1029: 1025: 1021: 1017: 1013: 1009: 1005: 1001: 997: 993: 989: 985: 981: 977: 973: 972:Urvädersgränd 969: 965: 961: 957: 953: 949: 945: 941: 937: 933: 926: 922: 918: 917: 912: 911: 906: 902: 897: 885: 881: 877: 874: 871: 868: 865: 861: 858: 855: 852: 849: 846: 843: 840: 837: 834: 831: 830:Jupiter/Jofur 828: 825: 821: 818: 815: 812: 809: 805: 802: 799: 795: 792: 789: 786: 783: 782: 777: 773: 770: 769: 768: 765: 763: 759: 755: 751: 745: 737: 732: 725: 722:Epistle 25, " 721: 717: 713: 709: 697: 691: 686: 683: 677: 672: 667: 662: 655: 650: 643: 638: 633: 628: 627:Jergen Puckel 622: 617: 615: 614:Elis Chiewitz 611: 610: 609: 607: 603: 599: 595: 591: 586: 584: 580: 576: 572: 561: 559: 557: 553: 552: 546: 544: 540: 536: 535: 530: 529:opéra comique 526: 522: 521: 516: 512: 511: 505: 502: 493: 492:Elis Chiewitz 488: 484: 481: 477: 476: 471: 467: 466: 460: 458: 454: 450: 446: 442: 441: 435: 431: 429: 424: 423: 414: 413: 408: 404: 400: 395: 390: 383: 377: 374: 369: 365: 361: 357: 353: 349: 345: 341: 336: 334: 330: 326: 321: 317: 313: 309: 301: 300: 295: 291: 286: 277: 275: 271: 267: 263: 259: 258: 252: 250: 246: 241: 239: 235: 231: 227: 223: 219: 215: 211: 207: 203: 199: 198:Gustavian-age 195: 191: 187: 183: 179: 175: 170: 168: 167: 162: 158: 154: 150: 149: 144: 143: 133: 129: 126: 123: 119: 115: 109: 105: 104:Olof Åhlström 102: 98: 94: 90: 86: 82: 79: 75: 71: 67: 64: 61: 57: 53: 49: 43: 38: 35: 30: 19: 3573: 3558: 3525: 3510: 3495: 3487: 3472:Martin Bagge 3462: 3454: 3446: 3431: 3418: 3391:Ulla Winblad 3381:Jean Fredman 3344: 3287: 3194:Stolta Stad! 3117: 3116: 3055:(in Swedish) 3053:Bellman.net 3021: 3010:. New York: 3007: 2994: 2971: 2937: 2932: 2908: 2903: 2882: 2877: 2856: 2851: 2823: 2818: 2800: 2794: 2790: 2764: 2758: 2735: 2712: 2700: 2696: 2686: 2672: 2647: 2635:. Retrieved 2625: 2613: 2604: 2600: 2594: 2582:. Retrieved 2574: 2565: 2556: 2550: 2538: 2526: 2514:. Retrieved 2508: 2499: 2487: 2475: 2463: 2451: 2439: 2419: 2412: 2400:. Retrieved 2398:(in Swedish) 2395: 2352: 2306: 2294: 2282: 2268: 2188: 2180: 2176: 2164:. Retrieved 2162:(in Swedish) 2154: 2142: 2130: 2107: 2094: 2082: 2058: 2038: 1968: 1963:, p. 11 1903:, p. 61 1896: 1891:, p. 60 1864: 1861:Bellman 1791 1856: 1853:Bellman 1790 1843: 1833: 1818:Crucian carp 1808: 1800: 1790: 1785: 1769: 1762: 1755: 1748: 1741: 1730: 1719: 1702:Elias Martin 1697: 1690: 1684: 1678: 1671: 1663: 1655: 1647:. Illus. by 1640: 1633: 1626: 1619: 1612: 1593: 1584: 1582: 1578: 1574: 1562:frontispiece 1557: 1551: 1527: 1512: 1506: 1496: 1490: 1484: 1473: 1466: 1464: 1451: 1443: 1438: 1434: 1430: 1422: 1414: 1409: 1402: 1397:Carl Wahlbom 1392: 1377: 1353: 1348: 1330:frihetstiden 1329: 1319:Anton Blanck 1308: 1304: 1300: 1296: 1292: 1288: 1284: 1280: 1269:Milman Parry 1256: 1250: 1219: 1217: 1211:") and 24 (" 1205: 1200: 1194: 1181: 1157:contradances 1151: 1146: 1142: 1138: 1129: 1119: 1115: 1093: 1072: 1070: 1040:Fiskartorpet 1012:Årsta Castle 960:Lake Mälaren 924: 921:William Coxe 919:on map from 914: 908: 779: 766: 747: 715: 703:Rococo theme 682:Ulla Winblad 605: 594:fallen woman 589: 587: 582: 575:Ulla Winblad 571:Jean Fredman 567: 560: 549: 547: 532: 518: 515:Fiskartorpet 508: 506: 497: 480:Lake Mälaren 473: 463: 461: 445:Yxsmedsgränd 438: 426: 421: 417: 410: 407:Lake Mälaren 403:Ulla Winblad 381: 372: 368:Axel Romdahl 364:prostitution 337: 328: 307: 305: 297: 289: 255: 253: 242: 237: 226:Ulla Winblad 206:Jean Fredman 171: 164: 147: 146: 141: 140: 139: 33: 29: 3627:Par Bricole 3541:Translators 3505:Martin Best 3323:Gubben Noak 3176:Kära syster 2618:Burman 2019 2470:, p. 6 2357:Blanck 1941 2345:Clover 1972 2328:, p. 6 1587:, include: 1534:Kajsa Grytt 1399:(1810–1858) 1322: [ 1237:epanalepsis 1233:anadiplosis 1213:Kära syster 1195:The critic 1159:, operatic 1056:Bensvarvars 948:Kungsholmen 940:Brunnsviken 738:(1740–1814) 664: [ 630: [ 558:of brandy. 344:Shakespeare 188:-drinking, 3670:1790 books 3654:Categories 3572:2005 3557:2019 3524:1988 3509:1982 3494:1977 3486:1971 3461:1977 3453:1974 3445:1969 3430:1963 3369:Characters 2633:. WorldCat 2492:Stork 1917 2480:Stork 1917 2248:Warme 1996 1874:References 1418:Peter Dahl 1395:No. 3, by 1370:Chrysippos 1305:krogspoesi 1277:Epistle 24 1253:Gustav III 1085:Epistle 23 1081:Epistle 12 1032:Gröna Lund 980:Gamla stan 762:Djurgården 449:Gamla stan 214:Epistle 23 145:(English: 3539:Scholars, 3327:64: 3321:35: 3315:32: 3309:31: 3303:21: 3276:82: 3270:81: 3264:80: 3258:79: 3252:72: 3246:71: 3240:63: 3234:51: 3228:48: 3222:45: 3216:43: 3210:40: 3204:36: 3198:35: 3192:33: 3186:28: 3180:25: 3174:24: 3168:23: 3162:12: 2733:(1999) . 2456:Hägg 1996 1287:(love), " 1190:pastorale 1133:solecisms 968:Södermalm 952:Hessingen 932:Haga park 905:Stockholm 772:Amaryllis 750:pastorale 602:demimonde 579:alcoholic 539:pastorale 457:Aphrodite 348:Beethoven 316:Stockholm 234:demimonde 210:alcoholic 202:Stockholm 178:pastorale 100:Publisher 85:pastorale 3297:6: 3156:9: 3150:7: 3144:5: 3138:3: 3132:2: 2992:(1917). 2970:(1979). 2960:61881374 2930:(2005). 2849:(1989). 2809:40917408 2771:Förlag. 2757:(2019). 2711:(1967). 2684:(1791). 2670:(1790). 2584:17 March 2516:17 March 2402:18 April 2166:18 March 2102:(1993). 1540:Editions 1355:Anacreon 1241:anaphora 1161:ariettes 1118:No. 30: 1097:Martin's 1054:) – 18 1010:) – 12 1002:) – 11 864:Titaness 836:Morpheus 781:Eclogues 606:Epistles 583:Epistles 507:No. 71, 418:Many of 382:Epistles 312:pastoral 299:Gin Lane 280:Overview 249:melodies 220:as "the 186:Brännvin 176:-themed 93:Kellgren 2661:Sources 2446:, cover 2183:No. 25. 1803:, 1.15. 1364:Priapus 1332:to the 1226:panoply 1165:minuets 1153:marches 1105:Watteau 1101:Hogarth 1077:realism 1030:) – 14 1018:– ( 966:) – 7 958:) – 6 946:) – 4 938:) – 2 927:, 1784. 901:Bellman 899:Map of 891:Realism 842:Neptune 824:Astrild 804:Chloris 788:Bacchus 696:Fredman 525:Andante 420:the 82 356:Hogarth 340:cittern 325:parodic 302:, 1751. 161:Swedish 69:Subject 3411:Albums 3033: 2978: 2958: 2948: 2915: 2889: 2863: 2834: 2807: 2775: 2743: 2719: 2637:5 June 2427: 2118: 2046: 1822:burnet 1801:Amores 1768:2003: 1761:2002: 1754:1991: 1747:1991: 1740:1982: 1729:1977: 1718:1958: 1696:1953: 1689:1858: 1677:1994: 1670:1927: 1661:1920: 1654:1909: 1639:1899: 1632:1889: 1625:1869: 1618:1844: 1611:1816: 1591:1790: 1501:, and 1340:Impact 1315:rococo 1289:kärlek 1285:kärlek 1064:Ep. 45 1060:Ep. 40 1052:Ep. 48 1044:Ep. 71 1036:Ep. 12 1028:Ep. 82 1024:Ep. 51 1020:Ep. 25 1014:– 13 1008:Ep. 33 1000:Ep. 79 996:Ep. 28 992:Ep. 23 976:Ep. 24 964:Ep. 48 956:Ep. 48 944:Ep. 80 870:Triton 860:Themis 814:Clotho 794:Charon 776:Virgil 744:Rococo 720:Rococo 647:Movitz 598:nymphs 494:, 1827 453:myrtle 354:, and 352:Mozart 320:Rococo 245:poetry 230:nymphs 190:tavern 174:Rococo 125:Sweden 89:parody 81:Rococo 59:Author 3607:Other 3338:Other 3109:Works 2936:[ 2907:[ 2881:[ 2855:[ 2822:[ 2805:JSTOR 2763:[ 2699:[ 2603:[ 1826:snipe 1777:Notes 1326:] 1251:King 1184:80, " 1107:'s." 988:Ep. 9 984:Ep. 5 970:– 8 950:– 5 936:S. 64 916:Songs 880:Fröja 876:Venus 848:Nymph 820:Cupid 808:Flora 798:Hades 668:] 634:] 208:, an 151:) is 131:Pages 77:Genre 3124:List 3031:ISBN 2976:ISBN 2956:OCLC 2946:ISBN 2913:ISBN 2887:ISBN 2861:ISBN 2832:ISBN 2773:ISBN 2741:ISBN 2717:ISBN 2639:2019 2586:2016 2518:2016 2425:ISBN 2404:2016 2168:2016 2116:ISBN 2044:ISBN 1797:Ovid 1521:and 1511:and 1495:and 1155:and 1122:(In 1050:) ( 913:and 573:and 556:dram 380:The 272:and 264:and 116:1790 72:Song 2793:". 1799:'s 1293:vin 1281:vin 1201:One 923:'s 903:'s 854:Pan 778:'s 155:by 134:391 3656:: 3393:/ 3029:. 2954:. 2944:. 2830:. 2801:44 2799:. 2507:. 2383:^ 2364:^ 2333:^ 2318:^ 2255:^ 2236:^ 2215:^ 2200:^ 2110:. 2070:^ 2026:^ 2003:^ 1980:^ 1949:^ 1908:^ 1881:^ 1863:, 1859:; 1855:, 1572:. 1536:. 1489:, 1324:sv 1263:. 1066:) 1026:, 1022:, 998:, 994:, 990:, 986:, 930:1 882:/ 878:/ 862:– 822:/ 806:/ 666:sv 632:sv 608:. 459:. 350:, 346:, 240:. 204:. 87:, 83:, 3126:) 3122:( 3094:e 3087:t 3080:v 3039:. 3014:. 2984:. 2962:. 2921:. 2895:. 2869:. 2840:. 2811:. 2781:. 2749:. 2725:. 2641:. 2588:. 2520:. 2433:. 2406:. 2124:. 2052:. 1737:. 1704:. 1651:. 1372:, 1042:( 1034:( 1006:( 982:( 962:( 954:( 934:( 784:) 726:" 430:! 95:) 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index