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R. P. Gillies, Foreign Quarterly Review och den sv. litteraturen 87
most wonderful instances of genius that have appeared in any age
or nation we may reckon Bellmann the Swedish Anacreon, a
self-taught poet1 who was born in 1741 and died in 1796. His songs,
it is true, will rarely if ever hear translations, the allusions being
local, and the scenes almost always laid in low life; but on account
of their spirit and originality, the afford most admirable models.2
Besides, Bellman’s genius was far from being confined to
verse-making only. The music to his numerous songs was most
invariably of his own composition, so that in the command over the
sister arts, we believe he is unrivalled. We have heard respectable
judges affirm that, as a musical composer, independently of his
poetical merits, Bellmann was entitled to very high distinction. On
account of his partiality to low life, he has been compared to
Teniers, Ostade, and Gerard Douw, among painters; however, the
analogy is but superficial; for the painter strives to represent things
as they really are; whereas Bellmann creates for himself a new
world out of the rudest materials, and while he writes almost
always in the character of a Bacchanalian, we may be assured that
his productions are not such as the undue stimulus of wine, but
on the contrary, that of nature and extraordinary genius, matured
by discipline, could have inspired. That he lived well, and was of
a buoyant jovial humour, we doubt not; but he lived for Art more
than for pleasure; or rather his pleasure consisted in that art by
which in his country he has gained immortal reputation. It is
difficult to convey a clear idea of Bellmann’s principles, on which,
perhaps, a new school of poetry might be founded. However, let
any one recollect the tract of investigation which has been gone
over by our Crabbe (excepting, of course, the prisons and
workhouses) and picture to himself the self-same scenery and
circumstances lighted up by a fervid spirit of pleasure, instead of being
chilled and clouded by the influence of satirical hypochondriacism;
then some idea may be gained of Bellmann’s leading characteristics.»
Jag har obeskuret anfört det ovanstående som prov på Gillies’
kritik. Han hade sina anteckningar och minnen av samtal med
Ekendahl, hade vidare Arndt — se nedan — Molbech och Marianne
1 Jfr Polyfem No. 15, citat ur Arndts Einleitung zu historischen
Character-childerungen: »en verkligt inspirerad, ingen lärdom, inga förberedelser». Gillies
har helt säkert läst både Bellman och Kellgrens företal, men Polyfem har
förmodligen ingått i Ekendahls litterära resebagage.
2 Jfr P. A. Sondén, Apollo, Bachus och Venus, Midsommarafton (till melodi
ur Fredmans Sånger) 1812. Poetisk Kalender 1814, s. 16.
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