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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."
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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.
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1243:(repeating a word at the starts of neighbouring clauses) in verse 4, "hÀll den pÄ hjÀrtat, hÀll 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.
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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
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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
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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.
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 111â152 (which covers Ă
hlström's and Kellgren's collaboration with Bellman on the first edition and its prehistory). The background of the collection is covered by Hillbom in "SĂ„ngerna som blev Fredmans", vol. 2, pages 95â134. Original editions:
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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
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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 MĂ€laren, 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: SÀkert kÀnner man Ànnu ej mer Àn til hÀlften dessa Poemers vÀrde, om man blott kÀnner dem som Poemer. Aldrig Ànnu voro Skaldekonst och Tonkonst mera systerligt förente. Det Àr icke Vers, som Àro gjorde til denna Musik; icke Musik, som Àr satt til dessa Vers: de hafva sÄ iklÀdt 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 SjÄvik
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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."
1820:, and strawberries in a bowl of milk and wine; while in Epistle 43, "VÀrm 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 "KĂ€ra 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".
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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
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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 (1740â1795), 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 â 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 â 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. Ă
hlström 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
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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 ("VisprÄmen 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:
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
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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 ("
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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
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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!"
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
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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
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hvarandras behag, sÄ sammansmÀlt til En Skönhet, at man föga kan se hvilken mÀst skulle sakna den andra för sin fullkomlighet: Verserne, at rÀtt fattas; eller Musiken, at rÀtt 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
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.
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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
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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
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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.
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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
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
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his particular brand of 'realism' carries with it a heaping measure of pure fantasy, grotesque humor, andânot leastâan 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,
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483:"one of Bellman's greatest", creating "an incomparable panorama of that eighteenth-century Stockholm which meets us in Elias Martin's canvasses."
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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
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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.
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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,
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478:(The sun gleams smooth and round), narrates the relaxed and peaceful journey of a boat bringing Ulla Winblad home to Stockholm across
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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,
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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
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276:. The Epistles have been translated into German, French, English, Russian, Polish, Finnish, Italian and Dutch.
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Editions and selections of the Epistles, some with illustrations, some with music, some printed together with
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Bellman was sung "with delight" by students and schoolchildren from the start of the 19th century. The
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Sterven van liefde en leven van wijn : een bloemlezing uit de Epistels & Zangen van Fredman
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1700:, Stockholm: Norstedt. (In French) 28 Epistles trans. Nils Afzelius and Pierre Volboudt. Illus. by
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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,
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Bellman has been compared with poets and musicians as diverse as Shakespeare and Beethoven.
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2104:"The Note that was Worth a Ducat: The Search for the Source Melody to Bellman's Epistel 81"
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19th century illustration for "Ulla Winblad kÀra syster. Du Àr eldig, qvick och yster...".
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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
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1765:, Rome: Istituti editoriali e poligrafici internazionali. (In Italian). A selection.
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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 SiĂšcle 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
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2871:(contains the most popular Epistles and Songs, in Swedish, with sheet music)
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2897:(contains the remaining Epistles and Songs, in Swedish, with sheet music)
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The Life and Songs of Carl Michael Bellman: Genius of the Swedish Rococo
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stated that Bellman's songs "had no model and can have no successors".
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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:â 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 & SĂ„nger 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:â 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: BellmanssÀllskapet. ("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:, KrakĂłw: 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:â 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:â 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, Ă
se; 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 versoâ3 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. 11â12.
1636:, Stockholm: Bonniers. Arranged for piano solo.
1597:, Stockholm: Olof Ă
hlström, 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:â 3 Första Torpet (
872:â 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) â 15 Bellman's birthplace â 16
3093:
3079:
2966:
2697:Bellman vid skiljovÀgen: och andra studier
2316:
2310:
2298:
2286:
2146:
2098:
2086:
1120:Drick ur ditt glas, se Döden pÄ dig vÀntar
323:that are fitted to the tunes are often in
40:
2417:ElgĂĄn, 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:â 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:TrÀd fram du Nattens Gud (AftonkvÀde)
3248:Ulla! min Ulla! SÀj fÄr jag dig bjuda
3146:KÀre bröder, sÄ lÄtom 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! sÀj fÄr 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, knÀpp 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:â a (beautiful) female nature deity
774:â 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 Àr det fatt?
3188:I gÄr sÄg 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 gÄr sÄg jag ditt barn, min Fröja
268:, and by ensemble singers such as
25:
3691:
3158:KÀraste Bröder Systrar och VÀnner
3044:
2909:The songs and Epistles of Fredman
1906:
1691:Fredmans epistlar, Text och musik
1382:
1310:Liksom en Herdinna, högtids klÀdd
534:Liksom en Herdinna, högtids klÀdd
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-gÄln din hund!
409:to Stockholm in Epistle No. 48,
3212:Ge rum i BröllopsgÄln 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 kÀrlek, ropa pÄ vin
718:, the model for the humorously
702:
379:
3299:Hör klockorna med Àngsligt dÄn
3200:Bröderna fara vÀl vilse ibland
2904:Fredmans epistlar & sÄnger
2824:The Swedish literature history
1966:
1894:
1783:
1564:by the leading Swedish artist
1297:Sjung om kÀrlek, vin och lycka
1221:Bröderna fara vÀl vilse ibland
758:BlÄsen nu alla (All blow now!)
724:BlÄsen 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:VÄr Ulla lÄg i sÀngen 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. 187â216, 297â333.
1749:Fredmanowe posĆania i pieĆni
1731:Fredman's Epistles and Songs
1627:Fredmans epistlar och sÄnger
1483:(1937â1985) with his albums
306:Bellman wrote a total of 82
7:
3329:FjÀriln vingad syns pÄ 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:â 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:GrÄt 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:GrÄt Fader Berg och spela
1046:) â 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:SÄ lunka vi sÄ smÄningom
3236:Movitz blÄste en konsert
3004:Van Loon, Hendrik Willem
2878:Bellman II â 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 â an anthology
2857:Bellman â an anthology
2765:Bellman. The Biography
2695:Blanck, Anton (1941).
2599:Byström, Olof (1945).
2579:Stockholm Municipality
2505:"About Orphei DrÀngar"
2264:Kellgren, Johan Henric
1756:Lauluja ja epistoloita
1698:Les ĂpĂźtres 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
18:Fredman's Epistle
3598:Charles Wharton Stork
3278:Hvila vid denna kÀlla
3025:. Lincoln, Nebraska:
2852:Bellman â 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 kÀlla
527:melody from a French
489:
405:'s journey back from
396:
333:Johan Henric Kellgren
287:
3464:Vila vid denna kÀlla
3448:Fred sjunger Bellman
3260:Charon i Luren tutar
3218:VĂ€rm mer Ăl och Bröd
3102:Carl Michael Bellman
3012:Simon & Schuster
2847:Dahl, Peter (illus.)
2816:HÀgg, Göran (1996).
2796:Scandinavian Studies
2731:Britten Austin, Paul
2709:Britten Austin, Paul
2112:Boydell & Brewer
2036:SjÄvik, Jan (2006).
1792:toto cantabitur orbe
1570:Johan Fredrik Martin
1498:Vila vid denna kÀlla
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:MÀrk hur vÄr skugga
2652:Britten Austin 1967
2631:"Fredmans epistlar"
2620:, pp. 451â459.
2559:. Amigo. AMCD 759D.
2543:Britten Austin 1967
2396:BellmanssÀllskapet
2376:Britten Austin 1967
2347:, pp. 310â335.
2250:, pp. 124â127.
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:â 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:
3560:Bellman. Biografin
3482:Cornelis Vreeswijk
3266:Liksom en herdinna
2826:]. Stockholm:
2760:Bellman. Biografin
2533:, pp. 284â285
2378:, pp. 120â123
2313:, pp. 147â148
2266:(6 October 1790).
2210:, pp. 103â105
2137:, pp. 155â156
2114:. pp. 28â41.
2089:, pp. 112â116
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:â 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:BellmansÀllskapet
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. p11â12
2557:Visor FrÄn 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:NĂ„ 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:StockholmskÀllan
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. 78â79
2296:
2290:
2284:
2278:
2277:
2260:
2251:
2245:
2232:
2226:
2211:
2205:
2196:
2195:, pp. 12â14
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. 92â93
2016:
1999:
1998:, pp. 15â16
1993:
1976:
1970:
1964:
1958:
1945:
1944:, pp. 60â93
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 sÄnger
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 sÄnger
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 sÄnger
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:DjurgÄrden Park
1004:Skeppsbron Quay
978:, Ep. 38) â 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 sÄnger
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 Ă
kerström
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:BlÄsen 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): 310â335.
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 DrÀngar
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 Ă
kerström
1468:Orphei DrÀngar
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:â 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 Ă
kerström
257:Orphei DrÀngar
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 Ă
hlström
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:
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1858:
1854:
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1827:
1823:
1819:
1815:
1814:Ulla min Ulla
1809:
1802:
1798:
1794:
1793:
1786:
1782:
1771:
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1757:
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1710:
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1708:
1707:
1703:
1699:
1695:
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1686:
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1673:
1669:
1666:
1665:
1660:
1657:
1653:
1650:
1649:Alf Wallander
1646:
1642:
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1635:
1631:
1628:
1624:
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1596:
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1589:
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1581:
1577:
1573:
1571:
1567:
1563:
1559:
1555:
1554:Olof Ă
hlström
1546:
1537:
1535:
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1477:
1472:
1470:
1469:
1457:
1455:
1449:
1446:
1441:
1436:
1432:
1428:
1426:
1425:Ă
se 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:
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1178:
1168:
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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:UrvÀdersgrÀnd
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:
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431:
429:
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423:
414:
413:
408:
404:
400:
395:
390:
383:
377:
374:
369:
365:
361:
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277:
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250:
246:
241:
239:
235:
231:
227:
223:
219:
215:
211:
207:
203:
199:
198:Gustavian-age
195:
191:
187:
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179:
175:
170:
168:
167:
162:
158:
154:
150:
149:
144:
143:
133:
129:
126:
123:
119:
115:
109:
105:
104:Olof Ă
hlström
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:
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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:
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1818:Crucian carp
1808:
1800:
1790:
1785:
1769:
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1755:
1748:
1741:
1730:
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1702:Elias Martin
1697:
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1663:
1655:
1647:. Illus. by
1640:
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1612:
1593:
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1578:
1574:
1562:frontispiece
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1397:Carl Wahlbom
1392:
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1330:frihetstiden
1329:
1319:Anton Blanck
1308:
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1280:
1269:Milman Parry
1256:
1250:
1219:
1217:
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1205:
1200:
1194:
1181:
1157:contradances
1151:
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1142:
1138:
1129:
1119:
1115:
1093:
1072:
1070:
1040:Fiskartorpet
1012:Ă
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960:Lake MĂ€laren
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:
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480:Lake MĂ€laren
473:
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438:
426:
421:
417:
410:
407:Lake MĂ€laren
403:Ulla Winblad
381:
372:
368:Axel Romdahl
364:prostitution
337:
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307:
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297:
289:
255:
253:
242:
237:
226:Ulla Winblad
206:Jean Fredman
171:
164:
147:
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140:
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29:
3627:Par Bricole
3541:Translators
3505:Martin Best
3323:Gubben Noak
3176:KĂ€ra syster
2618:Burman 2019
2470:, p. 6
2357:Blanck 1941
2345:Clover 1972
2328:, p. 6
1587:, include:
1534:Kajsa Grytt
1399:(1810â1858)
1322: [
1237:epanalepsis
1233:anadiplosis
1213:KĂ€ra syster
1195:The critic
1159:, operatic
1056:Bensvarvars
948:Kungsholmen
940:Brunnsviken
738:(1740â1814)
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:DjurgÄrden
449:Gamla stan
214:Epistle 23
145:(English:
3539:Scholars,
3327:64:
3321:35:
3315:32:
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3303:21:
3276:82:
3270:81:
3264:80:
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3252:72:
3246:71:
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3228:48:
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3198:35:
3192:33:
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3180:25:
3174:24:
3168:23:
3162:12:
2733:(1999) .
2456:HĂ€gg 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:) â 18
1010:) â 12
1002:) â 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:BrÀnnvin
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:) â 14
1018:â (
966:) â 7
958:) â 6
946:) â 4
938:) â 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:kÀrlek
1285:kÀrlek
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:â 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:â 8
950:â 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:".
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1281:vin
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854:Pan
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2110:.
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