Ulla Winblad

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Constance Bystrom [sv] playing Ulla Winblad in 18th century dress and bo-peep hat, in 1908 Constance Bystrom, rollportratt - SMV - GB192.tif
Constance Byström  [ sv ] playing Ulla Winblad in 18th century dress and bo-peep hat, in 1908

Ulla Winblad is a semi-fictional character in many of Carl Michael Bellman's musical works. She is at once an idealised rococo goddess and a tavern prostitute, and a key figure in Bellman's songs of Fredman's Epistles . The juxtaposition of elegant and low life is humorous, while allowing Bellman to convey a range of emotions. Ulla Winblad has been called "one of the really great female figures in Swedish literature". [1] The character was partly inspired by Maria Kristina Kiellström (1744–1798).

Contents

Context

Map of Bellman's Stockholm, places of interest for his Fredman's Epistles and Songs on map from William Coxe's Travels into Poland, Russia, Sweden, and Denmark, 1784.
1 Haga park (S. 64) - 2 Brunnsviken - 3 Forsta Torpet (Ep. 80) - 4 Kungsholmen - 5 Hessingen (Ep. 48) - 6 Lake Malaren (Ep. 48) - 7 Sodermalm - 8 Urvadersgrand - 9 Lokatten tavern (Ep. 11, Ep. 59, Ep. 77), Bruna Dorren tavern (Ep. 24, Ep. 38) - 10 Gamla stan (Ep. 5, Ep. 9, Ep. 23, Ep. 28, Ep. 79) - 11 Skeppsbron Quay (Ep. 33) - 12 Arsta Castle - 13 Djurgarden Park - (Ep. 25, Ep. 51, Ep. 82) - 14 Grona Lund (Ep. 12, Ep. 62) - 15 Bellman's birthplace - 16 Fiskartorpet (Ep. 71) - 17 Lilla Sjotullen (Bellmanmuseet) (Ep. 48) - 18 Bensvarvars tavern (Ep. 40) 19 Rostock tavern (Ep. 45) Map of Bellman's Stockholm William Coxe's Travels 1784.jpg
Map of Bellman's Stockholm, places of interest for his Fredman's Epistles and Songs on map from William Coxe's Travels into Poland, Russia, Sweden, and Denmark, 1784.
1 Haga park (S. 64) – 2 Brunnsviken – 3 Första Torpet (Ep. 80) – 4 Kungsholmen – 5 Hessingen (Ep. 48) – 6 Lake Mälaren (Ep. 48) – 7 Södermalm – 8 Urvädersgränd – 9 Lokatten tavern (Ep. 11, Ep. 59, Ep. 77), Bruna Dörren tavern (Ep. 24, Ep. 38) – 10 Gamla stan (Ep. 5, Ep. 9, Ep. 23, Ep. 28, Ep. 79) – 11 Skeppsbron Quay (Ep. 33) – 12 Årsta Castle – 13 Djurgården Park – (Ep. 25, Ep. 51, Ep. 82) – 14 Gröna Lund (Ep. 12, Ep. 62) – 15 Bellman's birthplace – 16 Fiskartorpet (Ep. 71) – 17 Lilla Sjötullen (Bellmanmuseet) (Ep. 48) – 18 Bensvarvars tavern (Ep. 40) 19 Rostock tavern (Ep. 45)

Carl Michael Bellman is a central figure in the Swedish ballad tradition and a powerful influence in Swedish music, known for his 1790 Fredman's Epistles and his 1791 Fredman's Songs . [2] A solo entertainer, he played the cittern, accompanying himself as he performed his songs at the royal court. [3] [4] [5]

The epistles, written and performed in different styles, from drinking songs and laments to pastorales, paint a complex picture of the life of the city of Stockholm during the 18th century. A frequent theme is the demimonde, with Fredman's cheerfully drunk Order of Bacchus, [6] a loose company of ragged men who favour strong drink and prostitutes. At the same time as depicting this realist side of life, Bellman creates a rococo picture, full of classical allusion, following the French post-Baroque poets. The women, including the beautiful Ulla Winblad, are "nymphs", while Neptune's festive troop of followers and sea-creatures sport in Stockholm's waters. [7] The juxtaposition of elegant and low life is humorous, sometimes burlesque, but always graceful and sympathetic. [3] [8] The songs are "most ingeniously" set to their music, which is nearly always borrowed and skilfully adapted. [9]

Origins

Ulla Winblad features repeatedly in Fredman's Epistles. Some of her appearances are in songs about taverns in and around Stockholm; others are in pastorales, set in leafy places near the city, or on boats crossing its waterways and lakes. Alongside her is a cast of contemporary Stockholmers, accompanied by figures from classical and Norse mythology. [2] [7]

Fredman's Epistles featuring Ulla Winblad
NumberFirst lineDedicationThemeMortalsImmortalsLocation, notes
3 Fader Berg i hornet stöter Til en och hvar af Systrarna, men enkannerligen till Ulla WinbladWine, Women, Song, HornFader Berg, Jergen Puckel, Ulla Winblad Charon, Paris, Helen, Freya Introduces Ulla Winblad
6 Käraste Bröder Systrar och Vänner Til de Galimater på hinsidon den Konungsliga DjurgårdenomWine, Women, SongUlla Winblad Djurgården
7 Fram med basfiolen, knäpp och skruva Som synes vara en Elegie, skriven vid Ulla Winblads säng, sent om aftonenMuseUlla Winblad, Fader Berg Freya
11Hej! sade Fredman hvar gång han hörde Valdthorn börja skrålaTil Bröderne och Systrarna på LokattenWine, Women, SongUlla Winblad Cupid Lokatten (Lynx Tavern)
25 Blåsen nu alla Som är ett försök till en pastoral i bacchanalisk smak, skriven vid Ulla Winblads överfart till Djurgården Pastorale Ulla Winblad Neptune, Venus/Freya, Zephyrs, water nymphs, Tritons, Palaemon Water crossing to Djurgården
28 I går såg jag ditt barn, min Fröja Om ett anställt försåt emot Ulla WinbladMuseUlla Winblad Freya, Themis Yxsmedsgränd
36 Vår Ulla låg i sängen och sov Rörande Ulla Winblads flyktMuseUlla Winblad Apollo, Astrild, Bacchus, Freya
42Ren Calas jag spår och trorRörande Kortspelet på KlubbenCardsMollberg, mor Wingmark, Ulla WinbladThe club, Mälaren
43 Värm mer Öl och Bröd Til Ulla Winblad, skrifven vid et ömt tilfälleMuseUlla Winblad Astrild The birthing-room
48 Solen glimmar blank och trind Hvaruti afmålas Ulla Winblads hemresa från Hessingen i Mälaren en sommarmorgon 1769 Pastorale Ulla Winblad, Movitz Neptune Lake Mälaren back to Stockholm
49Mamsell Ulla, märk MamsellAngående Landstigningen vid Klubben i Mälaren en sommar-afton 1769 Pastorale Ulla Winblad, Mollberg Bacchus The club, Mälaren
50Phoebus förnyarOm des sista Ögnekast på Ulla Winblad vid Hännes återfart ifrån Djurgården Pastorale, Rococo Ulla Winblad, Movitz Jupiter, Neptune, Pan, Cupids, Freya Return from Djurgården
51 Movitz blåste en Concert Angående Concerten på Tre ByttorWine, Women, SongMovitz, Ulla Winblad, Wingmark, Bergström, Berg Eol, Neptune, Orpheus Tre Byttor Tavern
69Se Dansmästarn Mollberg, BröderOm Mollberg DansmästareDance, LifeMollberg, Ulla Winblad
70Movitz vik mössan högt öfver öraOm något som passerade i Artilleri-Lägret Anno 1773Movitz, Ulla Winblad
71 Ulla! min Ulla! säj får jag dig bjuda Till Ulla i fönstret på Fiskartorpet Pastorale Ulla Winblad, Jean Fredman Fiskartorpet
80 Liksom en Herdinna, högtids klädd Angående Ulla Winblads Lustresa til Första Torpet, utom Kattrumps Tullen Pastorale Ulla Winblad, Mollberg Flora, Jupiter Första Torpet, outside Kattrump Tollgate
82 Hvila vid denna källa Eller Oförmodade Afsked, förkunnadt vid Ulla Winblads Frukost en sommar-morgon i det gröna Pastorale Ulla Winblad, Fredman Bacchus, Clotho, Charon, Eolus, Freya

After Bellman

Ulla Winblad remains a popular character in Sweden and other countries, where Bellman's songs continue to be performed, both directly and adapted into theatre productions. In 1908, she was played by Constance Byström  [ sv ] in Ernst Didring's play Två konungar ("Two Kings", about Bellman and Gustav the third) at the Swedish Theatre, Helsinki. In 1953 Carl Zuckmayer put on his play Ulla Winblad in Germany, to popular acclaim. [10]

Ulla and the real Maria Kristina Kiellström

Detail from etching "The steps on Skeppsbro" depicting a scene in Stockholm's harbour by Elias Martin, 1800. The central figure is popularly supposed to represent Ulla Winblad. The steps on Skeppsbro etching by Elias Martin detail.jpg
Detail from etching "The steps on Skeppsbro" depicting a scene in Stockholm's harbour by Elias Martin, 1800. The central figure is popularly supposed to represent Ulla Winblad.

The fictional Ulla Winblad and the real Maria Kristina Kiellström have frequently been confused, but were not at all the same. [12] Burman comments that she was not "on the slide" but a quite ordinary woman, "not a prostitute, not a bride of Bacchus and not a goddess of love either. Just as little was she a Vestal Virgin." [13] Kiellström, born in 1744 in a poor family, did borrow her stepmother's surname, Winblad (the name means vine-leaf). About 1763, she found a job in a silk factory. At the age of about twenty Kiellström became notorious for being made pregnant by a Swedish nobleman, Count Wilhelm Schildt. The child died; he abandoned her. Further notoriety came in 1767: while she was without regular employment, she was accused of wearing a red silk cape, a banned luxury item; but unlike Ulla, she was acquitted. By 1770, Kiellström had moved out of the town centre; she and another girl, whose name was Ulla, were both officially recorded as being suspected by their landlord of "loose living". [14]

Carl Michael Bellman sang of Ulla Winblad in Fredman's Epistle 25, which seems to depict a Rococo scene like Francois Boucher's 1740 Birth of Venus, which then hung in Drottningholm Palace, near Stockholm FrancoisBoucher,TriumphOfVenus(1740)detail.jpg
Carl Michael Bellman sang of Ulla Winblad in Fredman's Epistle 25, which seems to depict a Rococo scene like François Boucher's 1740 Birth of Venus, which then hung in Drottningholm Palace, near Stockholm

Bellman met Kiellström in about 1769. Soon afterwards, he sang of Ulla Winblad for the first time in Fredman's Epistle number 25, Blåsen nu alla , subtitled Which is an attempt at a pastoral in Bacchanalian taste, written on Ulla Winblad's crossing to Djurgården. [15] It begins with rococo "angels, dolphins, zephyrs and the whole might of Paphos" (compare Boucher's Birth of Venus) and musical flourishes on the horn ("Corno") and ends with Ulla as "my nymph" and the sentiment "May love come into our lives". [16]

Bellman worked up the silk cape incident into the rococo Epistle 28, I går såg jag ditt barn, min Fröja , where Fredman sees a "goddess", elegantly dressed, with illegally flounced and frilled petticoats. [15]

Kiellström married a customs officer, Eric Nordström, in 1772: Bellman found him his job. The couple lived very close to Bellman, and Norström too appears in the Epistles; a "quarrelsome violent man" and a drinker, he died in a police cell. Kiellström, still attractive, remarried at the age of 42; her second husband, 11 years younger than her, complained that she was "generally and in printed songs known for passionate living." [17]

The mythic Ulla

Edvard Matz, author of a book about Carl Michael Bellman's women, calls Ulla "one of the really great female figures in Swedish literature". [1] Bellman's English biographer, Paul Britten Austin, summarizes Ulla's dual nature, both romanticised and sexual: "Ulla is at once a nymph of the taverns and a goddess of a rococo universe of graceful and hot imaginings". [18] Fredman's Epistles are distinctive in combining realism - drink, poverty, gambling, prostitution, old age - with elegant mythological rococo flourishes, enabling Bellman to achieve both comic and elegiac effects. Britten Austin cites the Swedish critic Nils Afzelius  [ sv ]: [18] "Several of the most personal poems are staged with a heavy overlay of classical mythology ... It is as if a curtain with a whole rococo world of gods and goddesses on rosy clouds ... were suddenly raised, revealing a tavern-interior with shaky chairs, spilled and shattered glasses, staggering clients and sluttish barmaids [N. Afzelius).]" Ulla Winblad is, as Carina Burman writes, the only female character in Fredman's Epistles to have her own surname. The others may have a first name, like Lotta or Jeanna, or may simply be known by the tavern where they work, like Mutter på Tuppen ("Mother at the Cockerel [Tavern]"). [19]

The sluttiest of the barmaids, though as Britten Austin writes "on the rosiest mythological clouds", is of course Ulla. In Epistle 36 Vår Ulla låg i sängen och sov , (Our Ulla lay in bed and slept), Bellman in full rococo style describes Ulla asleep in a tavern bedroom - while the owner peeps through the keyhole and three excited drunks wait outside. As she wakes, three rococo cupids assist her with make-up, perfume, and her hair. Then she runs into the bar, revives herself with a glass of brandy, and leaves with the blindest of the waiting fellows, "leaving the inmates of the tavern, shaken, to contemplate Ulla's glass where she has left it, empty and broken on the bar." [18]

The Ulla Winblad depicted in Fredman's Epistles is at once romanticised and clearly sexual. Epistle 71, in Britten Austin's words "the apogee, perhaps, of all that is typically bellmansk" evokes the Swedish countryside at Djurgården in summertime, as Bellman imagines riding out of town and finding Ulla at her window. [20] The song is called a Pastorale, and titled "To Ulla at her window, Fiskartorpet, lunchtime, one summer's day". It begins [21] [22]

Ulla, min Ulla, säj, får jag dig bjuda
rödaste smultron i mjölk och vin,...
Ulla, my Ulla, say may I offer you
reddest strawberries in milk and wine...

The scholar of Swedish literature Lars Lönnroth writes that the song is a serenade, originally a profession of love set to the strings of a guitar outside the beloved's window of an evening. In Bellman's hands, the setting is shifted to midday in a Swedish summer. Fredman can, Lönnroth writes, be supposed to have spent the night with Ulla after an evening of celebration; now he sits on his horse outside her window and sings to her. In the first half of each verse, in the major key, he speaks straight to Ulla, offering his love in the form of delicious food and drink; in the second half, the refrain, in the minor key, he encourages her more softly to admire nature all around, and she replies with a meditative word or two: "Heavenly!"; "Oh yes!". [23] There is, furthermore, a definite erotic charge, increasing in each of the three verses. In the first verse, the house's doors are suggestively blown open by the wind, while in the last verse, the neighing, stamping, galloping horse appears as a sexual metaphor alongside Fredman's expressed passion. [23]

See also

Related Research Articles

Maria Kristina Kiellström, known as Maja Stina, was a Swedish silk worker and alleged prostitute, and most famously the fictional demimonde prostitute or Rococo "nymph" Ulla Winblad in the songs called Fredman's Epistles by Sweden's troubadour, Carl Michael Bellman, who made her a major character in his work.

<i>Fredmans epistlar</i> Book of songs by Carl Michael Bellman

Fredmans epistlar is a collection of 82 poems set to music by Carl Michael Bellman, a major figure in Swedish 18th century song. Though first published in 1790, it was created over a period of twenty years from 1768 onwards. A companion volume, Fredmans sånger was published the following year.

<span class="mw-page-title-main">Solen glimmar blank och trind</span> Song by the 18th century Swedish bard Carl Michael Bellman

Solen glimmar blank och trind is Epistle No. 48 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The Epistle is subtitled "Hvaruti afmålas Ulla Winblads hemresa från Hessingen i Mälaren en sommarmorgon 1769". One of his best-known and best-loved works, it depicts an early morning on Lake Mälaren, as the Rococo muse Ulla Winblad sails back home to Stockholm after a night spent partying on the lake. The composition is one of Bellman's two Bacchanalian lake-journeys, along with epistle 25, representing a venture into a social realism style.

<span class="mw-page-title-main">Ulla! min Ulla! Säj får jag dig bjuda</span> Song by the 18th century Swedish bard Carl Michael Bellman

Ulla! min Ulla! säj, får jag dig bjuda, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 71. A pastorale, it depicts the Rococo muse Ulla Winblad, as the narrator offers her "reddest strawberries in milk and wine" in the Djurgården countryside north of Stockholm.

<span class="mw-page-title-main">Hvila vid denna källa</span> Song by the 18th century Swedish bard Carl Michael Bellman

Hvila vid denna källa is a song by the Swedish poet and performer Carl Michael Bellman from his 1790 collection, Fredman's Epistles, where it is No. 82, the final Epistle. It is subtitled "Eller Oförmodade avsked, förkunnat vid Ulla Winblads frukost en sommarmorgon i det gröna. Pastoral dedicerad till Kgl. Sekreteraren Leopoldt" . It depicts the Rococo muse Ulla Winblad, as the narrator offers a "little breakfast" of "red wine with burnet, and a newly-shot snipe" in a pastoral setting in the Stockholm countryside.

<span class="mw-page-title-main">Ack du min moder</span> Song by the 18th century Swedish bard Carl Michael Bellman

Ack du min moder, originally written Ach! du min Moder, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 23. The collection is ostensibly of drinking-songs, but they vary in character from laments to pastorales, often simultaneously realistic and elegantly rococo in style. The song has two parts, despairing and celebratory: it begins as a lament, with Jean Fredman lying drunk in a Stockholm gutter outside the Crawl-in tavern, and repeatedly cursing his mother for conceiving him. Then he goes in, is revived by a stiff drink, and repeatedly thanks his mother and father for his life.

<span class="mw-page-title-main">Fader Berg i hornet stöter</span> 18th century Swedish song

Fader Berg i hornet stöter is Epistle No. 3 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Till en och var av systrarna, men enkannerligen till Ulla Winblad". One of his best-known works, it is both about and mimics the rhythm of playing the horn, while Fredman enjoys the sight of Ulla Winblad dancing in a ruffled dress.

<span class="mw-page-title-main">Blåsen nu alla</span> Song by the 18th century Swedish bard Carl Michael Bellman

Blåsen nu alla, "All blow now!", is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 25. It is a pastorale, based on François Boucher's rococo 1740 painting Triumph of Venus.

<span class="mw-page-title-main">Glimmande nymf</span> Song by the 18th century Swedish bard Carl Michael Bellman

Glimmande Nymf! blixtrande öga!, is a song by the Swedish poet and performer Carl Michael Bellman from his 1790 collection, Fredman's Epistles, where it is No. 72. It is subtitled "Lemnad vid Cajsa Lisas Säng, sent om en afton", and set to a melody by Egidio Duni. A night-piece, it depicts a Rococo muse in the Ulla Winblad mould, asleep in her bed in Stockholm, complete with allusions to both classical and Nordic mythology.

<span class="mw-page-title-main">Liksom en Herdinna, högtids klädd</span> Song by the 18th century Swedish bard Carl Michael Bellman

Liksom en Herdinna, högtids klädd, is a song by the Swedish poet and performer Carl Michael Bellman from his 1790 collection, Fredman's Epistles, where it is No. 80. The Epistle is subtitled "Angående Ulla Winblads Lustresa til Första Torpet, utom Kattrumps Tullen". It is a pastorale, starting with a near-paraphrase of Nicolas Boileau-Despréaux's French guide to the construction of pastoral verse. That doesn't prevent the supposed shepherd and shepherdess from falling into bed drunk at the end of the song. It has been described as lovelier in Swedish than in Boileau's original French. The epistle's humorous depiction of the human condition has been praised by critics.

<span class="mw-page-title-main">Vår Ulla låg i sängen och sov</span> 1790 song by Swedish bard Carl Michael Bellman

Vår Ulla låg i sängen och sov is Epistle No. 36 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Rörande Ulla Winblad's flykt". It begins with the innkeeper peeping through the keyhole to her bedroom and whispering with his friends as she sleeps, slowly waking up. Then she dresses ornately and enters the tavern, delighting the menfolk until she is suddenly arrested.

<span class="mw-page-title-main">I går såg jag ditt barn, min Fröja</span> Song by the 18th century Swedish bard Carl Michael Bellman

I går såg jag ditt barn, min Fröja, is a ballad from the Swedish poet and performer Carl Michael Bellman's 1790 collection, Fredman's Epistles, where it is No. 28. The epistle is subtitled "Om et anstäldt försåt emot Ulla Winblad.". It describes an attempt to arrest the "nymph" Ulla Winblad, based on a real event. The lyrics create a rococo picture of life, blending classical allusion and pastoral description with harsh reality.

<span class="mw-page-title-main">Stolta Stad!</span> Song and speech by the 18th century Swedish bard Carl Michael Bellman

Stolta stad! is Epistle No. 33 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. One of his best-known works, it combines both spoken and sung sections. In the spoken sections, Bellman, as composer and as performer, imitates a whole crowd of people of many descriptions. It has been described as Swedish literature's most congenial portrait of the country's capital city, Stockholm.

<span class="mw-page-title-main">Movitz blåste en konsert</span> Song by the 18th century Swedish bard Carl Michael Bellman

Movitz blåste en konsert is epistle No. 51 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Angående konserten på Tre Byttor", naming a restaurant in Stockholm's Djurgården park. It was written after Bellman had become a court musician to the new King Gustav III in 1773. The melody was borrowed from George Frideric Handel's 1718 opera, Acis and Galatea.

<span class="mw-page-title-main">Opp Amaryllis!</span> Swedish song

Opp Amaryllis! is one of the Swedish poet and performer Carl Michael Bellman's songs from his 1791 collection, Fredman's Songs, where it is No. 31. The song is a graceful pastorale in rococo style, involving a sleeping nymph who is invited to come fishing upon the sea's stormy wave. In reality, the nymph is a Swedish woman, Wilhelmina Norman, the stormy wave is a Swedish waterway, and the progression from shore to fishing-boat can equally well be read as a seduction. It is one of Bellman's best-known and best-loved songs, and has been recorded by musicians including Folke Andersson and Edvard Andreasson.

<span class="mw-page-title-main">Fram med basfiolen, knäpp och skruva</span> Song by the 18th century Swedish bard Carl Michael Bellman

Fram med basfiolen, knäpp och skruva is Epistle No. 7 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Som synes vara en elegi, skriven vid Ulla Winblads sang, sent om en afton". It describes an attempt by Jean Fredman to make love to Ulla Winblad, set to a tune from a French operetta, narrated with a combination of biblical allusion and suggestive metaphor. The mention of elegy implies that the song is about death, but the subtext is of the "little death" or female orgasm. Scholars have remarked the epistle's ambiguity, enabling it to work both on a high mythological level and a low worldly level. Similarly, the musician's cello serves both as a musical instrument and as a symbol for Ulla Winblad's body, allowing the singer to mime plucking strings and feeling a woman's body.

<span class="mw-page-title-main">Kära syster</span> Song by the 18th century Swedish bard Carl Michael Bellman

Kära Syster is No. 24 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Till kära mor på Bruna Dörren" ; its themes are drinking and death. One of his best-known works, it is set to a tune extensively modified from one by Egidio Duni for Louis Anseaume's 1766 song-play La Clochette. Bellman's biographer, Carina Burman, calls it a central epistle.

<span class="mw-page-title-main">Värm mer Öl och Bröd</span> Song by the 18th century Swedish bard Carl Michael Bellman

Värm mer Öl och Bröd is epistle No. 43 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle, dated 14 November 1771, is subtitled "Till Ulla Winblad, skrifven vid et ömt tilfälle". The source of the melody has not been traced.

<span class="mw-page-title-main">Charon i Luren tutar</span> Song by the 18th century Swedish bard Carl Michael Bellman

Charon i Luren tutar is epistle No. 79 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. The epistle is subtitled "Afsked til Matronorna, synnerligen til Mor Maja Myra i Solgränden vid Stortorget, Anno 1785". The song describes Jean Fredman's departure from the world.

References

  1. 1 2 Matz 2015, p. 31.
  2. 1 2 Bellman 1790.
  3. 1 2 "Carl Michael Bellmans liv och verk. En minibiografi (The Life and Works of Carl Michael Bellman. A Short Biography)" (in Swedish). Bellman Society. Archived from the original on 10 August 2015. Retrieved 25 April 2015.
  4. "Bellman in Mariefred". The Royal Palaces [of Sweden]. Archived from the original on 21 June 2022. Retrieved 19 September 2022.
  5. Johnson, Anna (1989). "Stockholm in the Gustavian Era". In Zaslaw, Neal (ed.). The Classical Era: from the 1740s to the end of the 18th century. Macmillan. pp. 327–349. ISBN   978-0131369207.
  6. Britten Austin 1967, p. 39.
  7. 1 2 Britten Austin 1967, pp. 81–83, 108.
  8. Britten Austin 1967, pp. 71–72 "In a tissue of dramatic antitheses—furious realism and graceful elegance, details of low-life and mythological embellishments, emotional immediacy and ironic detachment, humour and melancholy—the poet presents what might be called a fragmentary chronicle of the seedy fringe of Stockholm life in the 'sixties.".
  9. Britten Austin 1967, p. 63.
  10. Loram, Ian C. (1955). "Ulla Winblad: Words and Music by Zuckmayer and Bellman". Monatshefte. 47 (1): 11–18. JSTOR   30160212.
  11. Burman 2019, p. 174.
  12. Kleveland 1984, p. 9.
  13. Burman 2019, p. 207.
  14. Britten Austin 1967, pp. 84–85.
  15. 1 2 Britten Austin 1967, p. 86.
  16. Bellman 1790, Epistle 25.
  17. Britten Austin 1967, p. 89.
  18. 1 2 3 Britten Austin, 1967. pages 81–83
  19. Burman 2019, p. 162.
  20. Britten Austin 1967, p. 155.
  21. Bellman 1790, Epistle 71.
  22. Swedish Wikisource: Fredmans epistel n:o 71
  23. 1 2 3 Lönnroth 2005, pp. 320–323.

Bibliography