Danmarks gamle folkeviser, Volume 6
edited by Sven Grundtvig, Axel Olrik
[barely proofed]
Svend i Rosengaard
I 340
denne lille Vises eneste Optrin, hvor Sennen maa tilstaa Broderdrabet for sin Moder, staar vi for en Digtning, livis energiske Samtaleform har baaret den fra Land til Land over hele det nordlige Europa. Vi finder den i de tre nordiske Lande, og derhos paa Finsk i паэг Tilslutning til den svenske Form, endvidere i Skotsk-Engelsk, og den er endogsaa (i en Blandingsform) vandret over Atlanterhavet og er i vore Dage herl af Smaafolksborn i Boston og New York, samtidig med at den i renere Form blev optegnet efter Sang af ssellandske og fynske Bondekoner, og i Telemarkens, Sverigs og Finlands Stuer.
Visens korte literaere Liv har vreret en fortsat Sejrsgang. Udgiven af Percy og oversat af Herder har den skotske Vise vseret Genstand for iEstetikernes hojeste Beundring. Den svenske „Sven i Rosengârd" — Geijers Yndlingssang — aabner tredje Bind af Geijers og Afzelius' Sämling, og har siden da gaeldt blandt det ypperste af svensk Folkedigtning. Den danske Opskrift blev, straks efter at vœre funden, offenliggjort som en Farstegrode af S. Grundtvigs Folkevisesamlinger. — Forfalterinden Talvj bar i „Charakteristik der Volkslieder germanischer Nationen" (S. 601) lovprist den skotske Folkevises kraftige Stil som den ypperste tragiske Digtning. Og en nyere ungarsk Folkevisegransker har heri fundet Menneskehedens asldste Digtning, hvis fselles-europaeiske og fiBlles-europœisk-altaiske Form han da soger at fastslaa*).
[1] Hugo von Meltzl. Edward der schottischen ballade archetypon unter den székleni nebst Varianten verschiedener nationen. vergleichend-litterarhislorische Untersuchung. Kolosvár 1880. 29 S. (Sœrtryk af Acta comparâtionis litt, universarum.) Det antagne .archetypon" er de rnagyariske Vari¡uiter af vor Nr. 341 „Den forgivne Sostci".
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Uden her at komme dybere ind pua Visons Oprindelse, skal vi her blot bemerke, at vi i Daiiiiiark har den i en enkelt sœllandsk Opskrif't, og i et Brndstykke af en fynsk, men slet ikke i det sangrige Jylland. Det ligger efter dens stedlige Forekomst naer at opfatte den som Sideskud af den rigere svenske Overlevering; og lierpaa tyder ogsaa den udanske Brug af Kendeordet i A 4-5.
I en naesten rent dansk Sprogform optraeder ogsaa Visens eneste norske Opskrift, fra Telemarken, her nedenfor aftrykt som С Den lurtes af Sangersken tilbage til en Kaptajnsson Pohnann, der efter Navnet at domme vel kan vajre af svensk Slaegt.
Fra Sverig kender jeg 11 Opskrifter fra Folkemunde, samt en udtva;ret, halvt komisk Tekst paa 33 Vers, i et Haandskrift saa gammelt som 1640erne (A, i Stokholm, Afskrift i Stephens' Sämling). Af nyere Overlevering: В Afzelius Nr. 67 A (2. Udg. Nr. 54A) „Sven i Rosengârd" fra Vermland, paa kun 6 Vers; О sstds. G7 В (54 В) „känd i fiera landsorter", 11 V.; DE Arw. Nr. 87, fra Smaaland paa 18 Vers, fra 0sterg0tland paa lo; P Svenska Landsmálen VII, 6. H., S. 16, fra Bleking, 18 V.; ОШ Aminson, Bidrag tili Södermanlands äldre kulturhistoria I S. 32, III S. 37, V. S. là, (paa 1 V., S V., 11 V.); К fra 0sterg0tland ved J. P. Johansson, 10 V. (nœr i Sla;gt med I; Afskrift i S. Grundtvigs Hskr. - Sämling Nr. 64); LM fra Smaaland i Stephens' Sämling paa 8 og 14 Vers. Desuden har В vœret trykt som Flyveblad (Uppsala 1827) sammen med Afzelius' Oversœttelse af den tilsvarende skotske Vise. Som Vidnesbyrd om Visens store Udbredelse nœvner Bergström en nyere Parodi af den, trykt som Flyveblad 1794 og öftere.
Finsk: A „Verinen Pojka" (den blodige S0n) 14 Vers, Schröder, Finnische Runen S. 124 (oversat paa Svensk: Arw. II 88); В „Velisurmaja" (Brodermorderen) 20 Vers, Lönnrot, Kanteletar s. X.
Bngelsk: Child PB Nr. 13 "Edward", to Opskrifter fra 18de Aarh. og et enkelt Vers senere; A er oversat i S. Grundtvig, Engelske og skotske Folkeviser Nr. 26: „Brodermordet". Desuden genfindes Moderens Spörgsmaal om det blodige Svaerd og saedvanlig ogsaa om, naar hun maa vente S0nnen igen, i Nr. 49 „The twa Brothers" (Opskrifterne DEFG: Grimdtvig, Eng. og sk. Fv., Nr. 25); og i endnu hojere Grad er sidste Halvdel af Nr. 51 „Lizie Wan" laant fra Brodermordsvisen.
Derimod t0r vi ikke saette vor Vise i umiddelbar Forbindelse med den Masngde af Udlandets Folkedigtninger, hvor der under et eller andet billedligt Udtryk gives det Svar: nej ikke saalaenge Verden staar (naar Abilden gror i Vand, og Fisken gaar paa Land; naar det sner med Roser og régner med Vin, osv.; se Henvisningerne hos Child II 437). Det er dog muligt, at vi har en Afhegger af Brodermordsvisen i en russisk Folkevise, hvor S0nnen lover at komme igen til sin haarde Fader, naar det Urre /Ebletra; graines; og isœr i en lillerussisk, hvor den af Moderen bortjagede S0n vil vende tilbage, naar Sandet paa Klippen blomstrer, — altsaa ligesom i vor œldste svenske Opskrift V. 29: Nâr will du ighen kommaV När stenen star i blomma! (Wenzig, Slavische Volkslieder, S. 230. 141).
Over hele Visens Landomraade kan vi falge dens ejendommelige Sangform: den af et Sp0rgsmaal og et Svar bestaaende Strol'e, omslynget af det dobbelte Omkvaid. Ogsaa Samtalens enkelte Led genkendes óveralt. Bl. a. ni0der Sp0rgsmaalene om hvad han vil g0re af Hustru, Born og Ejendom (hvori enkelte Forskere bar villet so upoetiske Tilsa-tninger) med Udbredelse over alle Visens Lande, om end en Del folkolige Ovetleveringer med ganske god Takt har udeladt dem. Vi vil efter vore Fonulsajtningor snarest taenke os Broderdrœberen som den unge ugitte Son i Hjemmet; men det er aabenbart, at Visen taenkor sig ham Wende som gift indenfor det fajdrene og modrene Hjem, — en Samfundsskik, der f. Eks. nu kendes blandt Finnerne, men ogsaa öftere nœvnes i Nordens Middelalder.
Störst Afvigelser frembryder Sonnens sidste Svar, der antyder at han aldrig tor gense sit Hjem. T vore engelskc Viser lover Sonnen at komme tilbage. naar Solen og Maanen danser summen paa Gronningen. I den nordiske „Svend i Rosensgaard" er denne Tanke afamdret paa mangfoldige Maader. Najsten overalt nieder vi de fire Svar: 1) naar Ravnen hvidner, 2) naar Svanen sortner, 3) naar Fjeren synker, 4) og naar Stenen flyder. Det forste og sidste genfindes i en Opskrift af Svend Vonveds Vise (vor Nr. 18 A7), der snarest har laant det hele Oplrin fra „Svend i Rosensgaard"; men, som Soplius Bugge har paapeget (Aarb. f. nord. Oldk. 1889 S. 6-7), lindes det Udtryk om Verdensordenens Ophor „naar Stenene flyder paa Vand" allerede i den islandske Skjald Kormaks Vers fra lOde Aarh. Vi synes her at mode aeldgamle nordiske Trœk. Et 5te Sporgsmaal, naar Solen rinder op i Nord (el. Vest), findes sjaeldnere, men med vid Udbredelse (dansk, sv. AM, finsk). Det samrne grelder 6) naar Havet monne brsende (d. A, sv. A); og endnu mere udbredt er det dermed rimende „aldrig for Verdens Ende". — Desuden findes en Rœkke Sporgsmaal af ringere geografisk Udbredelse; saaledes de nysvenske: 8) naar Fyrren loves, 0) naar Birken (el. Ellen) „bairas", 10) naar alle Enebair modnes, 11) naar alle Piger bliver gifte (ogsaa i dansk B), og 12) naar Kirken bliver Enke (jf. d. A6). Desuden har vi de mere individuelle Variationer: 13) naar Ilden bliver vaad, og 14) naar Stenen staar i Blomme (den garnie svenske Opskrift), 15-16) naar alle Maend er dode, naar alle Huse og Gaarde er ode (d. A), naar alle Klokker klemter (M). Denne Tankeleg af skiftende Udtryk for Verdens Undergang har ofte na;rmet Visens nordiske Former til de helt eller halvt skœmtende Folkeviser, hvor Samtalen er en Tagfat-leg mellem Sporger og Svarer. Veerst og aandlosest er den svenske Tekst fra 17de Aarh. bleven omarbejdet; men ogsaa den nyere Bondeoverlevering har i de fleste Tilfselde lidt derunder. Dette gœlder ogsaa vore danske Opskrifter.
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Translation:
The only action of this little ballad, where the son murders his brother, is a dialogue with his mother. We have a poem in which the energetic form of life has borne it from country to country throughout Northern Europe. We find it in the three Nordic countries, and in Finnish, in addition to the Swedish form, in Scottish-English, it is also (in a mixture form) wandered across the Atlantic Ocean and is in our day the passed down to folks born in Boston and New York, while it was recorded in purer form after singing of merchants and Funen farmers, and in the counties of Telemark[Norway], Sweden and Finland.
The short literary life of the ballad has been a continuous story. Published by Percy and translated by Herder, the Scottish version has been the subject of the highest admiration of the aesthetics. The Swedish "Sven i Rosengârd" - Geijer's favorite song - opens the third book of Geijer and Afzelius' sämling, and has since become one of the best of Swedish folklore. The Danish version was, immediately after being found, offered as an example in S Grundtvig's collections of people. The writer Meltzl in the "Charakteristik der Volkslieder Germanischer Nation" (S. 601) praised the powerful style of the Scottish version [Percy, Child B] as the utmost tragic poem. And a recent Hungarian public reviewer has found it to be the finest poem of humanity, whose European-European and Flemish-European-Altaic form he seeks to establish[1].
[1] Hugo von Meltzl. Edward der Schottischen Balllade Archetypon Unter den Székleni Nebst Variations Different Nations. verggelichend-literarhislorische Untersuchung. Kolosvár 1880. 29 S. (Sample of Acta comparâtionis lite, universumum.) The adopted archetype "are the Magyarian variants of our No. 341, "The Forgiven Sostci."
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Without here getting deeper into the origin of this version, we should simply note that in Denmark we have it in a single Swedish inscription, and in a version of another, but not in the southern part of Jutland. It is, after its local occurrence, to be perceive it as an example of the richer Swedish tradition; and Lierpaa also suggests the use of a French word in A 4-5.
In an almost pure Danish language form, the only Norwegian recipe, from the Telemark, is shown below as the "The Leaning of the Singer" is from a Captain Peter Pohnann who, after all, may well be of Swedish birth.
From Sweden I know 11 versions from Folkemunde, as well as an exhaustive, straight, half comic text of 33 verses, in a handwriting as old as the 1640s (A, in Stockholm, Transcript in [George] Stephen's collection). Of more recently known versions: В Afzelius Nr. 67 A (2nd Edition No. 54A) "Sven i Rosengârd" from Vermland, in only 6 Verses; О sdds. G7 В (54 В) "Known in Fiera Landsorter", 11 V .; DE Arw. Nr. 87, from Sweden on 18 verses, from Austria on lo; P Svenska Landsmálen VII, 6. H., S. 16, from Bleking, 18 V .; Olig Aminson, Contribution to Södermanland's earlier cultural history in S. 32, III S. 37, V. S. là, (at 1 V., S V., 11 V.); К from Ostergotland by J. P. Johansson, 10 V. (in Sla; gt with I; Copy in S. Grundtvig's Hskr. - Revenue No. 64); LM from Sweden in Stephens' Sämling of 8 and 14 Verses. In addition, the weather has been printed as Flyveblad (Uppsala 1827) together with Afzelius' Translation of the corresponding Scottish View. As a testimony of the great spread of the show, Bergström enjoys a recent parody of it, printed as Flyveblad 1794 and the anthem.
Finnish: A "Verinen Pojka" (The Bloody Son) 14 Vers, Schröder, Finnische Runen S. 124, "Velisurmaja" (Brotherhood) 20 Verses, Maple, Kanteletar P. X.
English: Child PB No. 13 "Edward", two recipes from the 18th century and a single verse later; A is translated in S. Grundtvig, English and Scottish Folk Newspapers No. 26: "The Brotherhood of Murder." In addition, the mother's question about the bloody sword and usually also reappears when she must wait again in No. 49 "The Twa Brothers" (Versions D, E, F, G: Grundtvig, Eng. Et al., No. 25); And in even to larger extent is the last half of No. 51 "Lizie Wan" similar to the Brother Murder ballad.
On the other hand, we do not see our views in direct connection with the masses of foreign cultures, where it is given some sort of pictorial expression: no not so long as the world is standing (when the abyss grows in water and the fish goes on land as it turns with roses and dishes with wine, etc. See the references of Child II 437). It is possible, however, that we have a captivator of the Brotherhood of Victims in a Russian People's Guide, in which the Son promises to return to her hot father, to the Urre / Ebletra; graines; and especially in a Lussus, where the sun shattered by the mother will return when the sand blossoms on the rock, as in our oldest Swedish recipe V. 29: When will you come? When the stone starts to bloom! (Wenzig, Slavic Volkslieder, S. 230, 141).
Throughout the Land of the Vision we can distinguish its peculiar singing form: the question of a question and a response, surrounded by the double reversal. Also, the single member of the conversation is recognized unexpectedly. B. The questions about what he would like to do by wife, child, and property (in which some researchers wished to have so-called euthanasia) with propagation over all the countries with the versions, although some of them have deliberately left them out. After our phonetic dating we will soon treat ourselves to the brother-in-law like the young ugly son in the home; but it is evident that the version makes him wend as a poison in the home and the home, a social practice, for example, now known among the Finns, but also in the middle ages of the Middle Ages.
Biggest deviations expose the last answer of the Son, which suggests that he never gets used to his home. T is English version promises the son will come back to the sun and the moon dances on the sum of the Grønningen. In the Scandinavian "Svend i Rosensgaard", this thought is distinguished in many ways. As found everywhere we find the four answers: 1) to the Raven turns white, 2) when the Swan is black, 3) when the feathers sink, 4) and when the stone floats. First and last are found in a version of Svend Vonveds Vise (Our No. 18 A7), which has promptly borrowed all the words from "Svend i Rosensgaard"; but as Soplius Bugge has pointed out (cf. North, Old Church, 1889, p. 6-7), the expression of the order of the world order "as the stones float on water" is already reflected in the Icelandic version of Skald Kormak from the last century. Here a fashionable Nordic song. A 5th question, when the sun rises in the north, is more sophisticated, but with widespread dissemination (Danish, AM, Finnish d. A, sv. A); and even more widespread it is thus "never before the end of the world." In addition, there is a straight question of poorer geographical distribution; so that the curious ones: 8) when the lighthouses are loved, 9) to Birken (el. Ellen) "bairas", 10) to all the Enebair riots, 11) when all girls get married (also in Danish B) and 12) when the church becomes Widow (see d. A6). In addition, we have the more individual variations: 13) when the fire becomes wet, and 14) when the stone is in bloom (the garnie Swedish recipe), 15-16) to all the dead are dead all houses and gardens are ode (d. A) when all bells ring (M). This mindset of changing expressions of world destruction has often referred to the Nordic forms of the Vision to the full or half-shattering publications of people where the conversation is a word- play between Sporger and Svarer. The spring and evening test is the Swedish text of the 17th century, but also the newer peasant surrender has in most cases a little bit. This also applies to our Danish recipes.
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