Fredmans epistlar - Knowledge

1377: 1445:. 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." 885: 697: 3350: 1534: 1204:") 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. 643: 476: 383: 1068:, 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 1232:(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. 610: 1120:

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

665: 1100: 543:(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 31: 679: 1084:

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

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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.

1188:, 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 1840:(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: 1569:

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.

581:(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 1428:

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

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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

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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

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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

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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

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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

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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

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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,

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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

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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

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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

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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

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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

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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

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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

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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:

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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."

1809:, 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 240:, 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. 1264:, 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 534:'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". 1396:

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

299:, 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 1404:

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

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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

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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:

303:, 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 432:(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 ( 520:. 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, 1545:, 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 457:(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 1467:

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

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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:

331:, 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 1196:

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 ("

753:, 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. 502:(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 1420:

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.

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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!"

1224:(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 570:

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

574:, 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. 351:, 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 1827:

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.

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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

1460:(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. 3408: 1302:(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 355:. 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 756:

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:

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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

2619: 642: 1514:, 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. 1325:'s "poised rococo consciousness". In her view, the early Epistles are close to the improvisatory tradition, while the later ones are undoubtedly more literary. 1256:

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

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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.

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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

1228:(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 1132:

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.

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

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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,

3477: 1496: 3515: 472:"one of Bellman's greatest", creating "an incomparable panorama of that eighteenth-century Stockholm which meets us in Elias Martin's canvasses." 414:

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,

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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

3421: 1156:. The result is related to a drinking song only by derivation. As an artistic achievement it stands alone in the history of Swedish poetry. 3500: 3048: 3236: 2723: 1836:

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

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

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

984: 467:(The sun gleams smooth and round), narrates the relaxed and peaceful journey of a boat bringing Ulla Winblad home to Stockholm across 428: 3146: 976: 506:

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,

3140: 3663: 3254: 1298: 932: 522: 3287: 3212: 1052: 2968: 2938: 2905: 2879: 2853: 2733: 2709: 2417: 2036: 1581: 453: 3194: 3200: 2660: 1048: 1044: 3188: 2674: 1209: 3074: 2765: 2108: 3023: 2824: 3317: 924: 3293: 205:, a description of Fredman lying drunk in the gutter and then recovering in the Crawl-In Tavern, was described by 316:

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

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

2784: 265:. The Epistles have been translated into German, French, English, Russian, Polish, Finnish, Italian and Dutch. 1572:

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

3218: 3112: 3067: 1040: 952: 944: 884: 609: 463: 408: 400: 377: 141: 3128: 566:, are based on real people, and in Fredman's case his real name was used. The Fredman of the Epistles is an 3015: 3383: 3206: 3152: 1197: 1069: 1024: 531: 3581: 3305: 3224: 2816: 1012: 3648: 1392:

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

1317:'s identification of 1772 as the turning point, from Bellman's early years in the relaxed 18th century 963:– 9 Lokatten tavern (Ep. 11, Ep. 59, Ep. 77), Bruna Dörren tavern ( 1533: 3349: 664: 2930: 1759:

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

3260: 1689:, Stockholm: Norstedt. (In French) 28 Epistles trans. Nils Afzelius and Pierre Volboudt. Illus. by 1464: 909: 475: 3266: 1248:" (The master improviser). Scholars have debated the question of how far the Epistles are in fact 1016: 696: 654: 539: 3653: 3571: 2992: 1518: 340: 1454:

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

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

347:. Bellman, however, was no great playwright, nor a major classical composer. His biographer, 321: 81: 2380: 1412:

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

3436: 3248: 3090: 2670: 2656: 2093:"The Note that was Worth a Ducat: The Search for the Source Melody to Bellman's Epistel 81" 1558: 1474: 1442: 1380:

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

1268:), "Kära bror", "Kära vänner" and so forth for various persons. She notes, too, that while 1241: 988: 889: 824: 678: 387: 336: 327:

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

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

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

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

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

1393: 864: 852: 258: 3170: 2498: 1754:, Rome: Istituti editoriali e poligrafici internazionali. (In Italian). A selection. 1651: 1456: 1008: 746: 712: 245: 189:

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

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

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

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

1000: 468: 433: 395: 3388: 3299: 3242: 1633: 1261: 1077: 508: 206: 3164: 1265: 1201: 964: 3642: 3625: 3605: 3541: 3334: 2743: 1802: 1637: 1322: 1249: 1036: 796: 602: 480: 186: 182: 2948: 2860:(contains the most popular Epistles and Songs, in Swedish, with sheet music) 1020: 1004: 750: 3460: 3379: 3369: 3182: 3039: 1814: 1806: 1690: 1385: 1257: 1165: 1085: 1028: 996: 719: 670: 582: 563: 559: 503: 391: 356: 352: 214: 194: 956: 3615: 3493: 3311: 2886:(contains the remaining Epistles and Songs, in Swedish, with sheet music) 1522: 1225: 1221: 1145: 960: 936: 928: 544: 2797: 2702:

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

307:, but are simultaneously decorated, for romantic or humorous effect, in 174: 3059: 2148: 992: 968: 920: 567: 437: 324:

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

198: 948: 815:– god of desire and erotic love, Astrild being a late Nordic invention 1780: 1178: 893: 842: 738: 590: 527: 445: 304: 222: 190: 166: 73: 2045: 1429:

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

1280:, in keeping with Fredman's program, is rarely mentioned apart from 217:, based on one of Bellman's friends, is the chief of the fictional " 1343: 1121: 769: 760: 300: 287: 2912:(with facsimiles of sheet music from first editions in 1790, 1791) 2891: 2865: 2839: 2806: 1115:'s translation "Drain off thy glass, see death upon thee waiting") 493:

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

2562:[Bellman's Glittering Nymph interpreted by Kajsa Grytt]. 2383:[Carl Michael Bellman's life and work. A minibiography]. 1352: 1214: 1149: 1093: 812: 792: 776: 684: 328: 833:– god of the sea, accompanying the birth of Venus from the waves 221:". She is half goddess, half prostitute, a key figure among the 185:. The lyrics, based on the lives of Bellman's contemporaries in 1873: 1871: 1549:

cannot be fully determined. The edition was illustrated with a

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

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Historical Dictionary of Scandinavian Literature and Theater

1868: 1784:, ("will be celebrated in poetry in the whole world"), from 1761:, 's-Hertogenbosch : Voltaire. (In Dutch). A selection. 362:

Historical Dictionary of Scandinavian Literature and Theater

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Fredmans Epistlar & Sånger Sjungna Av Sven-Bertil Taube

2596:] (PhD) (in Swedish). Stockholm University. p. 46. 2232: 2230: 2228: 2226: 1785: 273: 80:, drinking: it 'had no model and can have no successors' ( 2600: 2320: 737:

Many of the Epistles have a Rococo theme, especially the

589:". She is half goddess, half prostitute, chief among the 421:(Alas, thou my mother), which has been described as "the 2223: 1565:

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

799:– the nymph or goddess of springtime, flowers and growth 1752:

Ulla, mia Ulla: antologia poetica in italiano cantabile

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Kring Fredmans epistlar. Deras tillkomst och utgivning

2493: 2412:. Lanham, MD: Rowman & Littlefield. p. 174. 2381:"Carl Michael Bellmans liv och verk. En minibiografi" 1663:, Stockholm: Bellmanssällskapet. ("Standard Edition") 2927:

Lovely Carnival!: about Carl Michael Bellman's Verse

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Fredman's Epistles and Songs: A Selection in English

2339: 1722:, Stockholm: Reuter and Reuter. (In English) trans. 1661:

Carl Michael Bellmans skrifter. 1. Fredmans Epistlar

158:(Fredman's Songs) was published the following year. 2963:. Stockholm: Almqvist & Wiksell International. 1740:, Kraków: Polskie Wydawnictwo Muzyczne. (In Polish) 1611:, Copenhagen: Jaeger. With 24 coloured lithographs. 1080:as "the to-be-or-not-to-be of Swedish literature". 821:– king of the gods on Mount Olympus, god of thunder 648:Ep. 45: Mollberg is beaten, his harp broken in the 161:The Epistles vary widely in style and effect, from 2922:Ljuva karneval!: om Carl Michael Bellmans diktning 1537:Pastoral head-piece engraving in the first edition 440:– with images from classical mythology, such as a 3478:Spring mot Ulla, spring! Cornelis sjunger Bellman 2987:. New York: The American-Scandinavian Foundation. 2961:The Musical-Poetic Method of Carl Michael Bellman 2890:Kleveland, Åse; Ehrén, Svenolov (illus.) (1984). 2594:Catch Fredman's epistles. Their entry and release 2095:. In Ingwersen, Faith; Norseng, Mary Kay (eds.). 749:", a short crossing of the Stockholm waterway to 3640: 2399: 2265:. pages 2 verso–3 recto – via Bellman.net. 1674:Translations of the Epistles similarly include: 1047:tavern ( 914:Travels into Poland, Russia, Sweden, and Denmark 232:The Epistles are admired for the way that their 2560:"Bellmans Glimmande Nymf tolkad av Kajsa Grytt" 2081: 2031:. Lanham, MD: Scarecrow Press. pp. 11–12. 1625:, Stockholm: Bonniers. Arranged for piano solo. 1586:, Stockholm: Olof Åhlström, by Royal Privilege. 2889: 2864:Hassler, Göran; Dahl, Peter (illus.) (1989b). 2718: 2696: 2640: 2531: 2426: 2364: 2314: 2217: 2196: 2123: 2007: 1961: 1949: 1930: 1889: 1877: 1805:", the breakfast consists of a freshly caught 512:(Gleaming nymph), is a night-piece, set to an 3075: 3056:, 1836 edition, on Google books (free access) 2984:Anthology of Swedish lyrics from 1750 to 1915 2587: 2310: 2308: 2293: 1449: 1296:(tavern verse). In contrast, a late one like 741:pieces with a cast of gods and demigods from 526:(Like a shepherdess in her best dress), is a 2690:Bellman at the crossroads: and other studies 2405: 2020: 2018: 2016: 931:– 3 Första Torpet ( 861:– messenger of the sea, accompanying Neptune 320:are thus not easy to categorise; the critic 2833: 2519: 2456: 2432: 2247: 2245: 2181: 2003: 2001: 1999: 1997: 1995: 1993: 1984: 1817:", along with "dinner wine" and hot coffee. 1051:) 19 Rostock tavern ( 1027:, Ep. 62) – 15 Bellman's birthplace – 16 3082: 3068: 2955: 2686:Bellman vid skiljovägen: och andra studier 2305: 2299: 2287: 2275: 2135: 2087: 2075: 1109:Drick ur ditt glas, se Döden på dig väntar 312:that are fitted to the tunes are often in 29: 2406:Elgán, Elisabeth; Scobbie, Irene (2015). 2375: 2373: 2258:Fredmans Epistlar: Företal (Introduction) 2013: 1980: 1978: 1976: 1974: 1972: 1970: 1778:The open book at lower left is inscribed 1630:Fredmans epistlar af Carl Michael Bellman 1463:Several professional solo singers in the 1424:Britten Austin says instead simply that: 1409:, to bring the texts to a wide audience. 789:, carrying souls to the place of the dead 451:Quite a different tone is set in No. 40, 3089: 2915: 2900:]. Stockholm: Informationsförlaget. 2543: 2360: 2358: 2356: 2354: 2251: 2242: 2213: 2211: 2209: 2207: 2205: 2192: 2190: 2062: 2060: 2051: 1990: 1747:, Helsinki: Yliopistopaino. (In Finnish) 1532: 1375: 1350:Whose wit, with drunken sallies pleas'd, 1333: 1164: 1098: 883: 718: 695: 474: 381: 272: 2669: 2655: 1945: 1943: 1941: 1939: 1849: 1841: 1593:--- facsimile reprint, 1976: Uddevalla. 845:– god of wildness and rough countryside 249:, by professional solo singers such as 3641: 2774: 2742: 2683: 2606: 2370: 2345: 2333: 2024: 1967: 1284:", giving instances like Epistle 24's 169:with a cast of gods and demigods from 3306:Träd fram du Nattens Gud (Aftonkväde) 3237:Ulla! min Ulla! Säj får jag dig bjuda 3135:Käre bröder, så låtom oss supa i frid 3063: 3007: 2977: 2480: 2468: 2351: 2236: 2202: 2187: 2117: 2057: 1926: 1924: 1922: 1920: 1918: 1711:, Munich: Desch. (In German). trans. 552: 499:Ulla! min Ulla! säj får jag dig bjuda 444:crown and an allusion to the goddess 142:a collection of 82 poems set to music 35:Frontispiece to the first edition by 16:Book of songs by Carl Michael Bellman 3141:Fram med basfiolen, knäpp och skruva 2804: 2444: 1936: 1916: 1914: 1912: 1910: 1908: 1906: 1904: 1902: 1900: 1898: 1700:--- reprinted, 1984: La Ferté-Milon. 1682:, Copenhagen: J. Erslev. (In Danish) 1618:, Stockholm: Elkan and Schildknecht. 1060:Alongside the frankly mythological, 2874:]. Stockholm: En bok för alla. 2848:]. Stockholm: En bok för alla. 839:– a (beautiful) female nature deity 763:– a nymph of the countryside (from 723:"A noisy company". Wash drawing by 277:Bellman's artistry in the songs of 13: 3213:Tjenare Mollberg, hur är det fatt? 3177:I går såg jag ditt barn, min Fröja 3040:Bellman lyrics and reference index 2486: 2141: 1733:, Leningrad: Khudozh. (In Russian) 1731:Pesni Fredmana; Poslaniia Fredmana 1647:, Jena: E. Diederichs. (In German) 1363:And full as rich his learnéd vein. 1348:Thy lyre another's hand has seized 1160: 429:I går såg jag ditt barn, min Fröja 257:, and by ensemble singers such as 14: 3680: 3147:Käraste Bröder Systrar och Vänner 3033: 2898:The songs and Epistles of Fredman 1895: 1680:Fredmans epistlar, Text och musik 1371: 1299:Liksom en Herdinna, högtids klädd 523:Liksom en Herdinna, högtids klädd 285:'s work as a painter, as here in 3348: 2679:. Stockholm: By Royal Privilege. 2665:. Stockholm: By Royal Privilege. 1653:Fredmans epistlar, Ord och musik 1235: 677: 663: 641: 629: 608: 454:Ge rum i Bröllops-gåln din hund! 398:to Stockholm in Epistle No. 48, 3201:Ge rum i Bröllopsgåln din hund! 3011:A History of Swedish Literature 2929:] (in Swedish). Stockholm: 2808:Den svenska litteraturhistorien 2756:] (in Swedish). Stockholm: 2634: 2612: 2581: 2552: 2537: 2525: 2513: 2474: 2462: 2450: 2438: 2409:Historical Dictionary of Sweden 2281: 2269: 2175: 2163: 2129: 2069: 2066:Britten Austin, 1967, page 125. 1830: 1820: 1795: 1715:, Felix Niedner, Georg Schwarz. 1290:Sjungom om kärlek, ropa på vin 707:, the model for the humorously 691: 368: 3288:Hör klockorna med ängsligt dån 3189:Bröderna fara väl vilse ibland 2893:Fredmans epistlar & sånger 2813:The Swedish literature history 1955: 1883: 1772: 1553:by the leading Swedish artist 1286:Sjung om kärlek, vin och lycka 1210:Bröderna fara väl vilse ibland 747:Blåsen nu alla (All blow now!) 713:Blåsen nu alla (All blow now!) 173:to laments for the effects of 1: 3664:Works by Carl Michael Bellman 3516:Music of Carl Michael Bellman 3501:Songs of Carl Michael Bellman 3219:Solen glimmar blank och trind 3195:Vår Ulla låg i sängen och sov 2995:; Castagnetta, Grace (1939). 1862: 1801:For example, in Epistle 71, " 1632:, Stockholm: Ljus. Intro. by 1272:(wine) often appears without 896:, places of interest for his 464:Solen glimmar blank och trind 401:Solen glimmar blank och trind 3422:sjunger Carl Michael Bellman 3016:University of Nebraska Press 2054:, pp. 187–216, 297–333. 1738:Fredmanowe posłania i pieśni 1720:Fredman's Epistles and Songs 1616:Fredmans epistlar och sånger 1472:(1937–1985) with his albums 295:Bellman wrote a total of 82 7: 3318:Fjäriln vingad syns på Haga 2997:The Last of the Troubadours 1528: 537:The final Epistle, No. 82, 268: 10: 3685: 3129:Fader Berg i hornet stöter 2778:(1972). "Improvisation in 2692:] (in Swedish). Geber. 2649: 2315:Kleveland & Ehrén 1984 2008:Kleveland & Ehrén 1984 1450:Performance and recordings 1355:' court delights; the same 1092:'s. Frail and ethereal as 879: 779:– god of wine and drinking 730: 577:A particular group is the 390:of a scene reminiscent of 378:List of Fredman's Epistles 375: 3595: 3527: 3397: 3384:Maria Kristina Kiellström 3357: 3346: 3326: 3275: 3153:Gråt Fader Berg och spela 3104: 3097: 2817:Wahlström & Widstrand 2261:(in Swedish). Stockholm: 1357:Grows wild apace as e'er 1328: 1260:'s identification of the 1198:Gråt Fader Berg och spela 1035:) – 17 Lilla Sjötullen ( 855:of divine law and justice 532:Nicolas Boileau-Despréaux 386:Detail of watercolour by 119: 109: 99: 88: 65: 57: 47: 28: 3294:Så lunka vi så småningom 3225:Movitz blåste en konsert 2993:Van Loon, Hendrik Willem 2867:Bellman II – en antologi 2544:Karlsson, Sofia (2007). 2159:– via Bellman.net. 1765: 1497:Spring mot Ulla, spring! 1465:Swedish ballad tradition 1177:" (As a shepherdess), a 213:of Swedish literature". 3572:Hendrik Willem van Loon 3008:Warme, Lars G. (1996). 2728:. Stockholm: Proprius. 2520:Hassler & Dahl 1989 2457:Hassler & Dahl 1989 2433:Hassler & Dahl 1989 2182:Hassler & Dahl 1989 1985:Hassler & Dahl 1989 1506:Other singers, such as 1288:alongside Epistle 11's 1246:Il signor improvisatore 1103:An 1825 broadside with 281:has been compared with 3049:Facsimile of 1790 book 2979:Stork, Charles Wharton 2957:Massengale, James Rhea 2931:Albert Bonniers Förlag 2872:Bellman – an anthology 2846:Bellman – an anthology 2754:Bellman. The Biography 2684:Blanck, Anton (1941). 2588:Byström, Olof (1945). 2568:Stockholm Municipality 2494:"About Orphei Drängar" 2253:Kellgren, Johan Henric 1745:Lauluja ja epistoloita 1687:Les Épîtres de Fredman 1670:, Stockholm: Proprius. 1656:, Stockholm: Bonniers. 1604:, Stockholm: Rumstedt. 1538: 1521:and the rock musician 1447: 1431: 1422: 1389: 1365: 1181: 1158: 1134: 1116: 1057: 745:. Thus, Epistle 25, " 728: 716: 530:, almost paraphrasing 484: 404: 292: 181:-scenes, and apparent 3587:Charles Wharton Stork 3267:Hvila vid denna källa 3014:. Lincoln, Nebraska: 2841:Bellman – en antologi 2671:Bellman, Carl Michael 2657:Bellman, Carl Michael 1713:Hanns von Gumppenberg 1536: 1439: 1434:Charles Wharton Stork 1426: 1418: 1379: 1341: 1334:In Bellman's lifetime 1306:pastorale. She notes 1186:Johan Henric Kellgren 1168: 1139: 1130: 1102: 887: 731:Further information: 722: 699: 540:Hvila vid denna källa 516:melody from a French 478: 394:'s journey back from 385: 322:Johan Henric Kellgren 276: 3453:Vila vid denna källa 3437:Fred sjunger Bellman 3249:Charon i Luren tutar 3207:Värm mer Öl och Bröd 3091:Carl Michael Bellman 3001:Simon & Schuster 2836:Dahl, Peter (illus.) 2805:Hägg, Göran (1996). 2785:Scandinavian Studies 2720:Britten Austin, Paul 2698:Britten Austin, Paul 2101:Boydell & Brewer 2025:Sjåvik, Jan (2006). 1781:toto cantabitur orbe 1559:Johan Fredrik Martin 1487:Vila vid denna källa 1475:Fred sjunger Bellman 1346:! Where is thy fame? 388:Johan Fredrik Martin 148:, a major figure in 146:Carl Michael Bellman 95:, by Royal Privilege 52:Carl Michael Bellman 41:Johan Fredrik Martin 3537:Paul Britten Austin 3261:Märk hur vår skugga 2641:Britten Austin 1967 2620:"Fredmans epistlar" 2609:, pp. 451–459. 2548:. Amigo. AMCD 759D. 2532:Britten Austin 1967 2385:Bellmanssällskapet 2365:Britten Austin 1967 2336:, pp. 310–335. 2239:, pp. 124–127. 2218:Britten Austin 1967 2197:Britten Austin 1967 2149:"Fredmans epistlar" 2124:Britten Austin 1967 1962:Britten Austin 1999 1950:Britten Austin 1967 1931:Britten Austin 1967 1890:Britten Austin 1967 1878:Britten Austin 1967 1813:, and a newly-shot 1724:Paul Britten Austin 1555:Johan Tobias Sergel 1113:Paul Britten Austin 875:– goddesses of love 873:Aphrodite at Paphos 743:classical mythology 725:Johan Tobias Sergel 349:Paul Britten Austin 171:classical antiquity 37:Johan Tobias Sergel 25: 3549:Bellman. Biografin 3471:Cornelis Vreeswijk 3255:Liksom en herdinna 2815:]. Stockholm: 2749:Bellman. Biografin 2522:, pp. 284–285 2367:, pp. 120–123 2302:, pp. 147–148 2255:(6 October 1790). 2199:, pp. 103–105 2126:, pp. 155–156 2103:. pp. 28–41. 2078:, pp. 112–116 1547:Fredman's Epistles 1539: 1492:Cornelis Vreeswijk 1390: 1182: 1175:Liksom en herdinna 1125:Bellman provides. 1117: 1064:have a convincing 1062:Fredman's Epistles 1058: 899:Fredman's Epistles 785:– the ferryman of 729: 717: 593:characters of the 553:Cast of characters 485: 423:to-be-or-not-to-be 411:Fredman's Epistles 405: 318:Fredman's Epistles 297:Fredman's Epistles 293: 279:Fredman's Epistles 255:Cornelis Vreeswijk 227:Fredman's Epistles 211:to-be-or-not-to-be 137:Fredman's Epistles 21: 3649:Fredmans epistlar 3636: 3635: 3611:Bellmansällskapet 3466:Sven-Bertil Taube 3344: 3343: 3107:Fredmans epistlar 3054:Fredmans Epistlar 2970:978-91-554-0849-7 2940:978-91-0-057245-7 2907:978-91-7736-059-9 2881:978-91-7448-742-8 2855:978-91-7448-512-7 2780:Fredmans Epistlar 2735:978-9-231-03608-8 2711:978-3-932759-00-0 2662:Fredmans epistlar 2643:, pp. p11–12 2546:Visor Från Vinden 2419:978-1-4422-5071-0 2170:Fredman's Epistle 2089:Massengale, James 2038:978-0-8108-6501-3 1846:Fredmans epistlar 1709:Das trunkene Lied 1668:Fredmans epistlar 1645:Fredmans Episteln 1623:Fredmans epistlar 1609:Fredmans epistlar 1602:Fredmans epistlar 1583:Fredmans epistlar 1508:Sven-Bertil Taube 1443:Horace's Epistles 1394:Romantic movement 1382:Fredman's Epistle 1219:rhetorical figure 1213:, Bellman uses a 1171:Fredman's Epistle 1105:Fredman's Epistle 1056: 703:'s 1740 painting 601:Illustrations by 436:) in Stockholm's 259:Sven-Bertil Taube 131:Fredmans epistlar 127: 126: 110:Publication place 23:Fredmans epistlar 3676: 3577:James Massengale 3509:Mikael Samuelson 3406:1960, 1963 3365:Barbara Ekenberg 3352: 3159:Ack du min moder 3123:Nå skruva Fiolen 3102: 3101: 3084: 3077: 3070: 3061: 3060: 3045: 3029: 3004: 2988: 2974: 2952: 2911: 2885: 2859: 2834:Hassler, Göran; 2830: 2801: 2776:Clover, Carol J. 2771: 2739: 2715: 2693: 2680: 2666: 2644: 2638: 2632: 2631: 2629: 2627: 2616: 2610: 2604: 2598: 2597: 2585: 2579: 2578: 2576: 2574: 2564:Stockholmskällan 2556: 2550: 2549: 2541: 2535: 2529: 2523: 2517: 2511: 2510: 2508: 2506: 2490: 2484: 2478: 2472: 2466: 2460: 2454: 2448: 2442: 2436: 2430: 2424: 2423: 2403: 2397: 2396: 2394: 2392: 2377: 2368: 2362: 2349: 2343: 2337: 2331: 2318: 2312: 2303: 2297: 2291: 2290:, pp. 78–79 2285: 2279: 2273: 2267: 2266: 2249: 2240: 2234: 2221: 2215: 2200: 2194: 2185: 2184:, pp. 12–14 2179: 2173: 2167: 2161: 2160: 2158: 2156: 2145: 2139: 2133: 2127: 2121: 2115: 2114: 2085: 2079: 2073: 2067: 2064: 2055: 2049: 2043: 2042: 2022: 2011: 2010:, pp. 92–93 2005: 1988: 1987:, pp. 15–16 1982: 1965: 1959: 1953: 1947: 1934: 1933:, pp. 60–93 1928: 1893: 1887: 1881: 1875: 1856: 1838:James Massengale 1834: 1828: 1824: 1818: 1799: 1793: 1776: 1494:with his albums 1316: 1244:called Bellman " 1169:Sheet music for 918: 705:Triumph of Venus 701:François Boucher 681: 667: 658: 645: 633: 624: 612: 579:Order of Bacchus 490:James Massengale 417:Ack du min Moder 360:comments in the 101:Publication date 33: 26: 20: 3684: 3683: 3679: 3678: 3677: 3675: 3674: 3673: 3639: 3638: 3637: 3632: 3591: 3582:Michael Roberts 3564:Ljuva karneval! 3529: 3523: 3486:Movitz! Movitz! 3415:William Clauson 3399: 3393: 3375:Lovisa von Plat 3353: 3340: 3322: 3278:Fredmans sånger 3271: 3231:Fader Bergström 3110: 3093: 3088: 3043: 3036: 3026: 2991: 2971: 2941: 2908: 2882: 2863: 2856: 2827: 2768: 2758:Albert Bonniers 2736: 2712: 2676:Fredmans sånger 2652: 2647: 2639: 2635: 2625: 2623: 2618: 2617: 2613: 2605: 2601: 2586: 2582: 2572: 2570: 2558: 2557: 2553: 2542: 2538: 2530: 2526: 2518: 2514: 2504: 2502: 2492: 2491: 2487: 2479: 2475: 2467: 2463: 2455: 2451: 2443: 2439: 2431: 2427: 2420: 2404: 2400: 2390: 2388: 2379: 2378: 2371: 2363: 2352: 2344: 2340: 2332: 2321: 2313: 2306: 2300:Massengale 1979 2298: 2294: 2288:Massengale 1979 2286: 2282: 2276:Massengale 1979 2274: 2270: 2250: 2243: 2235: 2224: 2216: 2203: 2195: 2188: 2180: 2176: 2168: 2164: 2154: 2152: 2147: 2146: 2142: 2136:Massengale 1979 2134: 2130: 2122: 2118: 2111: 2086: 2082: 2076:Massengale 1979 2074: 2070: 2065: 2058: 2050: 2046: 2039: 2023: 2014: 2006: 1991: 1983: 1968: 1960: 1956: 1948: 1937: 1929: 1896: 1888: 1884: 1876: 1869: 1865: 1860: 1859: 1854:Fredmans sånger 1835: 1831: 1825: 1821: 1800: 1796: 1777: 1773: 1768: 1574:Fredman's Songs 1531: 1512:William Clauson 1503:Movitz! Movitz! 1452: 1399:Bellmansstudier 1374: 1362: 1356: 1351: 1349: 1347: 1336: 1331: 1310: 1254:Carol J. Clover 1238: 1163: 1161:Fitted to music 1152:, and graceful 1076:, described by 1005:Djurgården Park 993:Skeppsbron Quay 967:, Ep. 38) – 10 917: 882: 735: 694: 687: 682: 673: 668: 659: 652: 646: 637: 634: 625: 618: 613: 555: 459:rhyming pattern 380: 374: 283:William Hogarth 271: 263:William Clauson 155:Fredmans sånger 102: 43: 17: 12: 11: 5: 3682: 3672: 3671: 3666: 3661: 3656: 3654:Swedish poetry 3651: 3634: 3633: 3631: 3630: 3629: 3628: 3620: 3619: 3618: 3613: 3608: 3599: 3597: 3593: 3592: 3590: 3589: 3584: 3579: 3574: 3569: 3568: 3567: 3554: 3553: 3552: 3539: 3533: 3531: 3525: 3524: 3522: 3521: 3520: 3519: 3506: 3505: 3504: 3491: 3490: 3489: 3481: 3468: 3463: 3458: 3457: 3456: 3448: 3445:Glimmande nymf 3440: 3430:Fred Åkerström 3427: 3426: 3425: 3412: 3403: 3401: 3395: 3394: 3392: 3391: 3389:Helena Quiding 3386: 3377: 3372: 3367: 3361: 3359: 3355: 3354: 3347: 3345: 3342: 3341: 3339: 3338: 3330: 3328: 3324: 3323: 3321: 3320: 3314: 3308: 3302: 3300:Opp Amaryllis! 3296: 3290: 3283: 3281: 3273: 3272: 3270: 3269: 3263: 3257: 3251: 3245: 3243:Glimmande nymf 3239: 3233: 3227: 3221: 3215: 3209: 3203: 3197: 3191: 3185: 3179: 3173: 3171:Blåsen nu alla 3167: 3161: 3155: 3149: 3143: 3137: 3131: 3125: 3118: 3116: 3099: 3095: 3094: 3087: 3086: 3079: 3072: 3064: 3058: 3057: 3051: 3046: 3035: 3034:External links 3032: 3031: 3030: 3024: 3005: 2989: 2975: 2969: 2953: 2939: 2917:Lönnroth, Lars 2913: 2906: 2887: 2880: 2861: 2854: 2831: 2825: 2802: 2792:(3): 310–335. 2772: 2767:978-9100141790 2766: 2744:Burman, Carina 2740: 2734: 2716: 2710: 2694: 2681: 2667: 2651: 2648: 2646: 2645: 2633: 2611: 2599: 2580: 2566:(in Swedish). 2551: 2536: 2524: 2512: 2499:Orphei Drängar 2485: 2473: 2471:, p. xvii 2461: 2449: 2437: 2425: 2418: 2398: 2369: 2350: 2338: 2319: 2304: 2292: 2280: 2268: 2241: 2222: 2201: 2186: 2174: 2162: 2140: 2128: 2116: 2110:978-1879751248 2109: 2080: 2068: 2056: 2044: 2037: 2012: 1989: 1966: 1964:, Introduction 1954: 1935: 1894: 1882: 1866: 1864: 1861: 1858: 1857: 1829: 1819: 1794: 1770: 1769: 1767: 1764: 1763: 1762: 1755: 1748: 1741: 1734: 1727: 1716: 1704: 1703: 1702: 1701: 1695: 1694: 1683: 1672: 1671: 1664: 1657: 1648: 1641: 1634:Oscar Levertin 1626: 1619: 1612: 1605: 1597: 1596: 1595: 1594: 1588: 1587: 1557:, engraved by 1530: 1527: 1519:Sofia Karlsson 1481:Glimmande nymf 1470:Fred Åkerström 1457:Orphei Drängar 1451: 1448: 1373: 1372:In later times 1370: 1335: 1332: 1330: 1327: 1262:poetic formula 1250:improvisations 1237: 1234: 1162: 1159: 1088:. Detailed as 1078:Oscar Levertin 881: 878: 877: 876: 862: 856: 846: 840: 834: 828: 827:– god of sleep 822: 816: 806: 800: 790: 780: 774: 693: 690: 689: 688: 683: 676: 674: 669: 662: 660: 650:Rostock tavern 647: 640: 638: 635: 628: 626: 614: 607: 605: 554: 551: 509:Glimmande nymf 376:Main article: 373: 367: 270: 267: 251:Fred Åkerström 246:Orphei Drängar 225:characters of 207:Oscar Levertin 183:improvisations 125: 124: 121: 117: 116: 111: 107: 106: 103: 100: 97: 96: 90: 86: 85: 67: 63: 62: 59: 55: 54: 49: 45: 44: 39:, engraved by 34: 15: 9: 6: 4: 3: 2: 3681: 3670: 3669:Swedish songs 3667: 3665: 3662: 3660: 3657: 3655: 3652: 3650: 3647: 3646: 3644: 3627: 3626:Elis Chiewitz 3624: 3623: 3622:Illustrators 3621: 3617: 3614: 3612: 3609: 3607: 3606:Bellmanmuseet 3604: 3603: 3602:Institutions 3601: 3600: 3598: 3594: 3588: 3585: 3583: 3580: 3578: 3575: 3573: 3570: 3566: 3565: 3560: 3559: 3558: 3557:Lars Lönnroth 3555: 3551: 3550: 3545: 3544: 3543: 3542:Carina Burman 3540: 3538: 3535: 3534: 3532: 3526: 3518: 3517: 3512: 3511: 3510: 3507: 3503: 3502: 3497: 3496: 3495: 3492: 3488: 3487: 3482: 3480: 3479: 3474: 3473: 3472: 3469: 3467: 3464: 3462: 3459: 3455: 3454: 3449: 3447: 3446: 3441: 3439: 3438: 3433: 3432: 3431: 3428: 3424: 3423: 3418: 3417: 3416: 3413: 3411: 3410: 3405: 3404: 3402: 3398:Interpreters, 3396: 3390: 3387: 3385: 3381: 3378: 3376: 3373: 3371: 3368: 3366: 3363: 3362: 3360: 3356: 3351: 3337: 3336: 3335:Bacchi Tempel 3332: 3331: 3329: 3325: 3319: 3315: 3313: 3309: 3307: 3303: 3301: 3297: 3295: 3291: 3289: 3285: 3284: 3282: 3280: 3279: 3274: 3268: 3264: 3262: 3258: 3256: 3252: 3250: 3246: 3244: 3240: 3238: 3234: 3232: 3228: 3226: 3222: 3220: 3216: 3214: 3210: 3208: 3204: 3202: 3198: 3196: 3192: 3190: 3186: 3184: 3180: 3178: 3174: 3172: 3168: 3166: 3162: 3160: 3156: 3154: 3150: 3148: 3144: 3142: 3138: 3136: 3132: 3130: 3126: 3124: 3120: 3119: 3117: 3114: 3109: 3108: 3103: 3100: 3096: 3092: 3085: 3080: 3078: 3073: 3071: 3066: 3065: 3062: 3055: 3052: 3050: 3047: 3041: 3038: 3037: 3027: 3025:0-8032-4750-8 3021: 3017: 3013: 3012: 3006: 3002: 2998: 2994: 2990: 2986: 2985: 2980: 2976: 2972: 2966: 2962: 2958: 2954: 2950: 2946: 2942: 2936: 2932: 2928: 2924: 2923: 2918: 2914: 2909: 2903: 2899: 2895: 2894: 2888: 2883: 2877: 2873: 2869: 2868: 2862: 2857: 2851: 2847: 2843: 2842: 2837: 2832: 2828: 2826:91-46-17629-2 2822: 2818: 2814: 2810: 2809: 2803: 2799: 2795: 2791: 2787: 2786: 2781: 2777: 2773: 2769: 2763: 2759: 2755: 2751: 2750: 2745: 2741: 2737: 2731: 2727: 2726: 2721: 2717: 2713: 2707: 2703: 2699: 2695: 2691: 2687: 2682: 2678: 2677: 2672: 2668: 2664: 2663: 2658: 2654: 2653: 2642: 2637: 2621: 2615: 2608: 2603: 2595: 2591: 2584: 2569: 2565: 2561: 2555: 2547: 2540: 2534:, p. 180 2533: 2528: 2521: 2516: 2501: 2500: 2495: 2489: 2483:, p. xix 2482: 2477: 2470: 2465: 2458: 2453: 2447:, p. 149 2446: 2441: 2434: 2429: 2421: 2415: 2411: 2410: 2402: 2386: 2382: 2376: 2374: 2366: 2361: 2359: 2357: 2355: 2348:, p. 46. 2347: 2342: 2335: 2330: 2328: 2326: 2324: 2316: 2311: 2309: 2301: 2296: 2289: 2284: 2278:, p. 150 2277: 2272: 2264: 2263:Olof Åhlström 2260: 2259: 2254: 2248: 2246: 2238: 2233: 2231: 2229: 2227: 2220:, p. 132 2219: 2214: 2212: 2210: 2208: 2206: 2198: 2193: 2191: 2183: 2178: 2171: 2166: 2150: 2144: 2138:, p. 100 2137: 2132: 2125: 2120: 2112: 2106: 2102: 2098: 2094: 2090: 2084: 2077: 2072: 2063: 2061: 2053: 2052:Lönnroth 2005 2048: 2040: 2034: 2030: 2029: 2021: 2019: 2017: 2009: 2004: 2002: 2000: 1998: 1996: 1994: 1986: 1981: 1979: 1977: 1975: 1973: 1971: 1963: 1958: 1951: 1946: 1944: 1942: 1940: 1932: 1927: 1925: 1923: 1921: 1919: 1917: 1915: 1913: 1911: 1909: 1907: 1905: 1903: 1901: 1899: 1891: 1886: 1879: 1874: 1872: 1867: 1855: 1851: 1847: 1843: 1839: 1833: 1823: 1816: 1812: 1808: 1804: 1803:Ulla min Ulla 1798: 1791: 1787: 1783: 1782: 1775: 1771: 1760: 1756: 1753: 1749: 1746: 1742: 1739: 1735: 1732: 1728: 1725: 1721: 1717: 1714: 1710: 1706: 1705: 1699: 1698: 1697: 1696: 1692: 1688: 1684: 1681: 1677: 1676: 1675: 1669: 1665: 1662: 1658: 1655: 1654: 1649: 1646: 1642: 1639: 1638:Alf Wallander 1635: 1631: 1627: 1624: 1620: 1617: 1613: 1610: 1606: 1603: 1599: 1598: 1592: 1591: 1590: 1589: 1585: 1584: 1579: 1578: 1577: 1575: 1570: 1566: 1562: 1560: 1556: 1552: 1548: 1544: 1543:Olof Åhlström 1535: 1526: 1524: 1520: 1515: 1513: 1509: 1505: 1504: 1499: 1498: 1493: 1489: 1488: 1483: 1482: 1477: 1476: 1471: 1466: 1461: 1459: 1458: 1446: 1444: 1438: 1435: 1430: 1425: 1421: 1417: 1415: 1414:Åse Kleveland 1410: 1408: 1402: 1400: 1395: 1387: 1383: 1378: 1369: 1364: 1360: 1354: 1345: 1340: 1326: 1324: 1323:Gustavian era 1320: 1314: 1309: 1305: 1301: 1300: 1295: 1291: 1287: 1283: 1279: 1275: 1271: 1267: 1263: 1259: 1255: 1251: 1247: 1243: 1236:Improvisation 1233: 1231: 1227: 1223: 1220: 1216: 1212: 1211: 1205: 1203: 1199: 1193: 1191: 1187: 1180: 1176: 1172: 1167: 1157: 1155: 1151: 1147: 1143: 1138: 1133: 1129: 1126: 1123: 1114: 1110: 1106: 1101: 1097: 1095: 1091: 1087: 1081: 1079: 1075: 1071: 1067: 1063: 1054: 1050: 1046: 1042: 1038: 1037:Bellmanmuseet 1034: 1030: 1026: 1022: 1018: 1014: 1010: 1006: 1002: 998: 994: 990: 986: 982: 978: 974: 970: 966: 962: 961:Urvädersgränd 958: 954: 950: 946: 942: 938: 934: 930: 926: 922: 915: 911: 907: 906: 901: 900: 895: 891: 886: 874: 870: 866: 863: 860: 857: 854: 850: 847: 844: 841: 838: 835: 832: 829: 826: 823: 820: 819:Jupiter/Jofur 817: 814: 810: 807: 804: 801: 798: 794: 791: 788: 784: 781: 778: 775: 772: 771: 766: 762: 759: 758: 757: 754: 752: 748: 744: 740: 734: 726: 721: 714: 711:Epistle 25, " 710: 706: 702: 698: 686: 680: 675: 672: 666: 661: 656: 651: 644: 639: 632: 627: 622: 617: 616:Jergen Puckel 611: 606: 604: 603:Elis Chiewitz 600: 599: 598: 596: 592: 588: 584: 580: 575: 573: 569: 565: 561: 550: 548: 546: 542: 541: 535: 533: 529: 525: 524: 519: 518:opéra comique 515: 511: 510: 505: 501: 500: 494: 491: 482: 481:Elis Chiewitz 477: 473: 470: 466: 465: 460: 456: 455: 449: 447: 443: 439: 435: 431: 430: 424: 420: 418: 413: 412: 403: 402: 397: 393: 389: 384: 379: 372: 366: 363: 358: 354: 350: 346: 342: 338: 334: 330: 325: 323: 319: 315: 310: 306: 302: 298: 290: 289: 284: 280: 275: 266: 264: 260: 256: 252: 248: 247: 241: 239: 235: 230: 228: 224: 220: 216: 212: 208: 204: 200: 196: 192: 188: 187:Gustavian-age 184: 180: 176: 172: 168: 164: 159: 157: 156: 151: 147: 143: 139: 138: 133: 132: 122: 118: 115: 112: 108: 104: 98: 94: 93:Olof Åhlström 91: 87: 83: 79: 75: 71: 68: 64: 60: 56: 53: 50: 46: 42: 38: 32: 27: 24: 19: 3562: 3547: 3514: 3499: 3484: 3476: 3461:Martin Bagge 3451: 3443: 3435: 3420: 3407: 3380:Ulla Winblad 3370:Jean Fredman 3333: 3276: 3183:Stolta Stad! 3106: 3105: 3044:(in Swedish) 3042:Bellman.net 3010: 2999:. New York: 2996: 2983: 2960: 2926: 2921: 2897: 2892: 2871: 2866: 2845: 2840: 2812: 2807: 2789: 2783: 2779: 2753: 2747: 2724: 2701: 2689: 2685: 2675: 2661: 2636: 2624:. Retrieved 2614: 2602: 2593: 2589: 2583: 2571:. Retrieved 2563: 2554: 2545: 2539: 2527: 2515: 2503:. Retrieved 2497: 2488: 2476: 2464: 2452: 2440: 2428: 2408: 2401: 2389:. Retrieved 2387:(in Swedish) 2384: 2341: 2295: 2283: 2271: 2257: 2177: 2169: 2165: 2153:. Retrieved 2151:(in Swedish) 2143: 2131: 2119: 2096: 2083: 2071: 2047: 2027: 1957: 1952:, p. 11 1892:, p. 61 1885: 1880:, p. 60 1853: 1850:Bellman 1791 1845: 1842:Bellman 1790 1832: 1822: 1807:Crucian carp 1797: 1789: 1779: 1774: 1758: 1751: 1744: 1737: 1730: 1719: 1708: 1691:Elias Martin 1686: 1679: 1673: 1667: 1660: 1652: 1644: 1636:. Illus. by 1629: 1622: 1615: 1608: 1601: 1582: 1573: 1571: 1567: 1563: 1551:frontispiece 1546: 1540: 1516: 1501: 1495: 1485: 1479: 1473: 1462: 1455: 1453: 1440: 1432: 1427: 1423: 1419: 1411: 1403: 1398: 1391: 1386:Carl Wahlbom 1381: 1366: 1342: 1337: 1319:frihetstiden 1318: 1308:Anton Blanck 1297: 1293: 1289: 1285: 1281: 1277: 1273: 1269: 1258:Milman Parry 1245: 1239: 1208: 1206: 1200:") and 24 (" 1194: 1189: 1183: 1170: 1146:contradances 1140: 1135: 1131: 1127: 1118: 1108: 1104: 1082: 1061: 1059: 1029:Fiskartorpet 1001:Årsta Castle 949:Lake Mälaren 913: 910:William Coxe 908:on map from 903: 897: 768: 755: 736: 704: 692:Rococo theme 671:Ulla Winblad 594: 583:fallen woman 578: 576: 571: 564:Ulla Winblad 560:Jean Fredman 556: 549: 538: 536: 521: 507: 504:Fiskartorpet 497: 495: 486: 469:Lake Mälaren 462: 452: 450: 434:Yxsmedsgränd 427: 415: 410: 406: 399: 396:Lake Mälaren 392:Ulla Winblad 370: 361: 357:Axel Romdahl 353:prostitution 326: 317: 296: 294: 286: 278: 244: 242: 231: 226: 215:Ulla Winblad 195:Jean Fredman 160: 153: 136: 135: 130: 129: 128: 22: 18: 3616:Par Bricole 3530:Translators 3494:Martin Best 3312:Gubben Noak 3165:Kära syster 2607:Burman 2019 2459:, p. 6 2346:Blanck 1941 2334:Clover 1972 2317:, p. 6 1576:, include: 1523:Kajsa Grytt 1388:(1810–1858) 1311: [ 1226:epanalepsis 1222:anadiplosis 1202:Kära syster 1184:The critic 1148:, operatic 1045:Bensvarvars 937:Kungsholmen 929:Brunnsviken 727:(1740–1814) 653: [ 619: [ 547:of brandy. 333:Shakespeare 177:-drinking, 3659:1790 books 3643:Categories 3561:2005 3546:2019 3513:1988 3498:1982 3483:1977 3475:1971 3450:1977 3442:1974 3434:1969 3419:1963 3358:Characters 2622:. WorldCat 2481:Stork 1917 2469:Stork 1917 2237:Warme 1996 1863:References 1407:Peter Dahl 1384:No. 3, by 1359:Chrysippos 1294:krogspoesi 1266:Epistle 24 1242:Gustav III 1074:Epistle 23 1070:Epistle 12 1021:Gröna Lund 969:Gamla stan 751:Djurgården 438:Gamla stan 203:Epistle 23 134:(English: 3528:Scholars, 3316:64: 3310:35: 3304:32: 3298:31: 3292:21: 3265:82: 3259:81: 3253:80: 3247:79: 3241:72: 3235:71: 3229:63: 3223:51: 3217:48: 3211:45: 3205:43: 3199:40: 3193:36: 3187:35: 3181:33: 3175:28: 3169:25: 3163:24: 3157:23: 3151:12: 2722:(1999) . 2445:Hägg 1996 1276:(love), " 1179:pastorale 1122:solecisms 957:Södermalm 941:Hessingen 921:Haga park 894:Stockholm 761:Amaryllis 739:pastorale 591:demimonde 568:alcoholic 528:pastorale 446:Aphrodite 337:Beethoven 305:Stockholm 223:demimonde 199:alcoholic 191:Stockholm 167:pastorale 89:Publisher 74:pastorale 3286:6: 3145:9: 3139:7: 3133:5: 3127:3: 3121:2: 2981:(1917). 2959:(1979). 2949:61881374 2919:(2005). 2838:(1989). 2798:40917408 2760:Förlag. 2746:(2019). 2700:(1967). 2673:(1791). 2659:(1790). 2573:17 March 2505:17 March 2391:18 April 2155:18 March 2091:(1993). 1529:Editions 1344:Anacreon 1230:anaphora 1150:ariettes 1107:No. 30: 1086:Martin's 1043:) – 18 999:) – 12 991:) – 11 853:Titaness 825:Morpheus 770:Eclogues 595:Epistles 572:Epistles 496:No. 71, 407:Many of 371:Epistles 301:pastoral 288:Gin Lane 269:Overview 238:melodies 209:as "the 175:Brännvin 165:-themed 82:Kellgren 2650:Sources 2435:, cover 2172:No. 25. 1792:, 1.15. 1353:Priapus 1321:to the 1215:panoply 1154:minuets 1142:marches 1094:Watteau 1090:Hogarth 1066:realism 1019:) – 14 1007:– ( 955:) – 7 947:) – 6 935:) – 4 927:) – 2 916:, 1784. 890:Bellman 888:Map of 880:Realism 831:Neptune 813:Astrild 793:Chloris 777:Bacchus 685:Fredman 514:Andante 409:the 82 345:Hogarth 329:cittern 314:parodic 291:, 1751. 150:Swedish 58:Subject 3400:Albums 3022: 2967: 2947: 2937: 2904: 2878: 2852: 2823: 2796: 2764: 2732: 2708: 2626:5 June 2416: 2107: 2035: 1811:burnet 1790:Amores 1757:2003: 1750:2002: 1743:1991: 1736:1991: 1729:1982: 1718:1977: 1707:1958: 1685:1953: 1678:1858: 1666:1994: 1659:1927: 1650:1920: 1643:1909: 1628:1899: 1621:1889: 1614:1869: 1607:1844: 1600:1816: 1580:1790: 1490:, and 1329:Impact 1304:rococo 1278:kärlek 1274:kärlek 1053:Ep. 45 1049:Ep. 40 1041:Ep. 48 1033:Ep. 71 1025:Ep. 12 1017:Ep. 82 1013:Ep. 51 1009:Ep. 25 1003:– 13 997:Ep. 33 989:Ep. 79 985:Ep. 28 981:Ep. 23 965:Ep. 24 953:Ep. 48 945:Ep. 48 933:Ep. 80 859:Triton 849:Themis 803:Clotho 783:Charon 765:Virgil 733:Rococo 709:Rococo 636:Movitz 587:nymphs 483:, 1827 442:myrtle 343:, and 341:Mozart 309:Rococo 234:poetry 219:nymphs 179:tavern 163:Rococo 114:Sweden 78:parody 70:Rococo 48:Author 3596:Other 3327:Other 3098:Works 2925:[ 2896:[ 2870:[ 2844:[ 2811:[ 2794:JSTOR 2752:[ 2688:[ 2592:[ 1815:snipe 1766:Notes 1315:] 1240:King 1173:80, " 1096:'s." 977:Ep. 9 973:Ep. 5 959:– 8 939:– 5 925:S. 64 905:Songs 869:Fröja 865:Venus 837:Nymph 809:Cupid 797:Flora 787:Hades 657:] 623:] 197:, an 140:) is 120:Pages 66:Genre 3113:List 3020:ISBN 2965:ISBN 2945:OCLC 2935:ISBN 2902:ISBN 2876:ISBN 2850:ISBN 2821:ISBN 2762:ISBN 2730:ISBN 2706:ISBN 2628:2019 2575:2016 2507:2016 2414:ISBN 2393:2016 2157:2016 2105:ISBN 2033:ISBN 1786:Ovid 1510:and 1500:and 1484:and 1144:and 1111:(In 1039:) ( 902:and 562:and 545:dram 369:The 261:and 253:and 105:1790 61:Song 2782:". 1788:'s 1282:vin 1270:vin 1190:One 912:'s 892:'s 843:Pan 767:'s 144:by 123:391 3645:: 3382:/ 3018:. 2943:. 2933:. 2819:. 2790:44 2788:. 2496:. 2372:^ 2353:^ 2322:^ 2307:^ 2244:^ 2225:^ 2204:^ 2189:^ 2099:. 2059:^ 2015:^ 1992:^ 1969:^ 1938:^ 1897:^ 1870:^ 1852:, 1848:; 1844:, 1561:. 1525:. 1478:, 1313:sv 1252:. 1055:) 1015:, 1011:, 987:, 983:, 979:, 975:, 919:1 871:/ 867:/ 851:– 811:/ 795:/ 655:sv 621:sv 597:. 448:. 339:, 335:, 229:. 193:. 76:, 72:, 3115:) 3111:( 3083:e 3076:t 3069:v 3028:. 3003:. 2973:. 2951:. 2910:. 2884:. 2858:. 2829:. 2800:. 2770:. 2738:. 2714:. 2630:. 2577:. 2509:. 2422:. 2395:. 2113:. 2041:. 1726:. 1693:. 1640:. 1361:, 1031:( 1023:( 995:( 971:( 951:( 943:( 923:( 773:) 715:" 419:! 84:)

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