Hvila Vid Denna Källa
The popular song, described as one of Sweden's best-loved, has been used in at least 16 Swedish films. Its melody appears to be one of the few, possibly the only one, composed by Bellman. In the song's last stanza, the dying Bellman, in words attributed to the dying Fredman, says farewell.
Context
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. A solo entertainer, he played the cittern, accompanying himself as he performed his songs at the royal court.
Jean Fredman (1712 or 1713–1767) was a real watchmaker of Bellman's Stockholm. The fictional Fredman, alive after 1767, but without employment, is the supposed narrator in Bellman's epistles and songs. 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 during the 18th century. A frequent theme is the demimonde, with Fredman's cheerfully drunk Order of Bacchus, 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. The juxtaposition of elegant and low life is humorous, sometimes burlesque, but always graceful and sympathetic. The songs are "most ingeniously" set to their music, which is nearly always borrowed and skilfully adapted.
Song
Melody and verse form
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Vila_vid_denna_k%C3%A4lla.tif/lossy-page1-370px-Vila_vid_denna_k%C3%A4lla.tif.jpg)
by Johan Peter Cronhamn (1803–1875)
The song is in
4 time, marked Andante. It has six verses, each consisting of 14 lines, the end of the last line being repeated after a Corno interlude. The verses have the rhyming pattern AAAB-CCCB-BABABB. The origin of the melody is disputed, and it may well have been one of the very few of Fredman's Epistles (perhaps the only one) composed by Bellman himself, apparently in 1790, making it one of the last to be written. Afzelius noted that the melody resembles that of Epistle 25, "Blåsen nu alla"; this would involve a change from
4 to
4 time, which Bellman is known to have been skilful at. Hildebrand argued that the melody was Bellman's; Olof Åhlström wrote that it must have been borrowed from an unknown source. Bellman set two other songs, "Skåden den lugna stranden" (See the calm shore) and "Hjertat det kännes klappa" (The heart is felt beating) to the same melody.
Lyrics
Carl Michael Bellman, 1790 |
Eva Toller's prose, 2004 |
Hendrik Willem Van Loon's verse, 1939 |
Paul Britten Austin's verse, 1977 |
---|---|---|---|
Hvila vid denna källa, |
Rest by this spring, |
Come, love, and rest a while now, |
Come now, ourselves reposing, |
Reception and legacy
![](http://upload.wikimedia.org/wikipedia/commons/thumb/7/78/View_towards_Stockholm_from_Djurg%C3%A5rden%2C_Uppland%2C_Sweden_%288935476172%29_%28cropped%29.jpg/290px-View_towards_Stockholm_from_Djurg%C3%A5rden%2C_Uppland%2C_Sweden_%288935476172%29_%28cropped%29.jpg)
Carina Burman writes in her biography of Bellman that Fredman does finally say goodbye in this, the last Epistle, as the subtitle ("An unexpected departure...") makes clear, as does the final stanza:
Äntlig i detta gröna, Får du mitt sista afsked röna; Ulla! farväl min Sköna, Vid alla Instrumenters ljud.
Finally in this greenery, you'll hear my last farewell; Ulla! adieu my lovely, to the sound of all the instruments.
Indeed, Burman notes, the Epistle represents Bellman's dying words as well as Fredman's, and perhaps Ulla Winblad's too; at least, she certainly dies in one sense, and perhaps in the other as well; Bellman knew that he was writing his last Epistles. All the same, Burman remarks, the song is a bright counterpart to the farewell of Epistle 79, with Ulla's beauty, green grass and music instead of apocalypse. The Epistle's pastoral tone and descriptions of food are to an extent anticipated, writes Burman, in Bellman's longest poem, Bacchi Tempel, which mentions exotic imports such as melon and Parmesan.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/2/29/20130530Wiesenknopf_Altlussheim4.jpg/170px-20130530Wiesenknopf_Altlussheim4.jpg)
Lars Lönnroth, writing in Svenska Dagbladet, suggests that the "spring" in the Epistle was in fact not a stream in summer meadows but a fashionable spa, perhaps Djurgårsbrunn on what was in Bellman's time the edge of Stockholm.
Henrik Mickos, in the 2011 Bellman lecture, discussed what the "pimpinella" of the first verse might be, concluding that salad burnet (Sanguisorba minor) was quite likely, given it was known at the time as pimpinella, and was more common in Sweden then than in the 21st century. Mickos dismisses the possibility that it was aniseed (Pimpinella anisum), which was used to flavour brännvin but not as the song has it ("red wine and pimpinella") a wine-based punch.
Epistle 82 has appeared in at least 16 Swedish films from 1929 onwards. It is included in the 1894 Danish High School Songbook. It has been described as one of Sweden's best-loved songs. It has been recorded by Fred Åkerström, as the title track of his third album of Bellman interpretations in 1977. An earlier performance by the noted Bellman interpreter Sven-Bertil Taube on his Fredmans Epistlar och Sånger, recorded 1959–1963, was re-released on an EMI-Svenska CD in 1983. The Epistle has been translated into English by Eva Toller.
Notes
- ^ The French word for Snipe.
- ^ The order of phrases is varied here.
- ^ French: female cousin.
- ^ "Stod Ulla sista gången brud" (Ulla played bride for the final time) meaning she had her final "little death" (orgasm), or that she actually dies.
References
- ^ Bellman 1790.
- ^ "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.
- ^ "Bellman in Mariefred". The Royal Palaces [of Sweden]. Archived from the original on 21 June 2022. Retrieved 19 September 2022.
- ^ 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.
- ^ Britten Austin 1967, pp. 60–61.
- ^ Britten Austin 1967, p. 39.
- ^ Britten Austin 1967, pp. 81–83, 108.
- ^ 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.".
- ^ Britten Austin 1967, p. 63.
- ^ Massengale 1979, pp. 205–206.
- ^ Hassler & Dahl 1989, pp. 189–194.
- ^ Toller, Eva (2004). "Rest by This Spring – Epistle No. 82". Eva Toller. Retrieved 14 June 2021.
- ^ Van_LoonCastagnetta1939, pp. 76–78.
- ^ Britten Austin 1977, p. 95.
- ^ Burman 2019, pp. 469–470.
- ^ Burman 2019, pp. 465, 469–470.
- ^ Burman 2019, pp. 379–380.
- ^ Mickos, Henrik (2011). "Bellmans Pimpinella" [Bellman's Pimpinella] (in Swedish). Bellman Gesellschaft.de. Retrieved 11 March 2016.
- ^ Lönnroth, Lars (22 January 2002). "Ett paradis på jorden. Om den svenska kurortskulturen 1680-1880 Vattenhål för kur och kurtis". Svenska Dagbladet (in Swedish). Retrieved 11 March 2016.
- ^ "Vila vid denna källa" (in Swedish). Svensk Filmdatabas. Archived from the original on 12 March 2016. Retrieved 11 March 2016.
- ^ "Vila vid denna källa". Højskolesangbogen (in Swedish). Retrieved 16 September 2021.
- ^ "Information om Fredman i Bellmans epistlar". Stockholm Gamla Stan. Retrieved 17 June 2021.
- ^ Hassler & Dahl 1989, pp. 278, 283.
- ^ Toller, Eva. "Glimmande nymf - Epistel Nr 82". Eva Toller. Retrieved 10 March 2016.
Sources
- Bellman, Carl Michael (1790). Fredmans epistlar. Stockholm: By Royal Privilege.
- Britten Austin, Paul (1967). The Life and Songs of Carl Michael Bellman: Genius of the Swedish Rococo. New York: Allhem, Malmö American-Scandinavian Foundation. ISBN 978-3-932759-00-0.
- Britten Austin, Paul (1977). Fredman's Epistles and Songs. Stockholm: Reuter and Reuter. OCLC 5059758.
- Burman, Carina (2019). Bellman. Biografin [Bellman: The Biography] (in Swedish). Stockholm: Albert Bonniers Förlag. ISBN 978-9100141790.
- Hassler, Göran; Dahl, Peter (illus.) (1989). Bellman – en antologi [Bellman – an anthology] (in Swedish). En bok för alla. ISBN 91-7448-742-6. (contains the most popular Epistles and Songs, in Swedish, with sheet music)
- Kleveland, Åse; Ehrén, Svenolov (illus.) (1984). Fredmans epistlar & sånger [The songs and epistles of Fredman] (in Swedish). Stockholm: Informationsförlaget. ISBN 91-7736-059-1. (with facsimiles of sheet music from first editions in 1790, 1791)
- Massengale, James Rhea (1979). The Musical-Poetic Method of Carl Michael Bellman. Stockholm: Almqvist & Wiksell International. ISBN 91-554-0849-4.
- Van Loon, Hendrik Willem; Castagnetta, Grace (1939). The Last of the Troubadours. New York: Simon & Schuster.
External links
- Text of Epistle 82 at Bellman.net
- Analysis of Epistle 82 by Lars Huldén, Bellman Society 2011