The Anglo-Scottish Raven Ballad- Tardel 1914 (Die englisch-schottische Raben-Ballade)
[Not proofed, barely organized. Translations of German and Danish texts by Google and not proofed. Will review at some point!]
[From Zwei Liedstudien (Two Song Studies) by Hermann Tardel, 1914. The studies were published with German text. The first study is the Child 26, "The Three Ravens," and is titled I. Die englisch-schottische Raben-Ballade (I. The Anglo-Scottish Raven ballad).
This is a rough draft with OCR and translated by Google. There are still a few German words in the translation. Since I do not speak or know German, this will need to be proofed by someone who does. Volunteers?
I've also translated some of the Danish versions. Footnotes at bottom of each page, 27 pages divided.
Original text:
http://babel.hathitrust.org/cgi/pt?id=uc1.b3113869;view=1up;seq=25
R. Matteson 2014]
I. The Anglo-Scottish Raven Ballade.[1]
What re-creative Theodor Fontane as a translator and as a free captivated artists to the Anglo-Scottish ballads, was by his
own words, the bold freshness of life, the immediate natural power, the desire for succinct double effect, vivid design
and poignant lyrical mood. This characteristic also fits to deliberately juxtaposed ballads pair of the three and two ravens. The former is:
Three ravens sat on a tree,
As a hind (deer) came along.
Three more black ravens
The one said to the other one:
"Where do we take our morning meal one?"
Others said, "Down there in the field,
Bottom Shields is a slain hero.
At his feet, his dog is you buried
And keeps the watch since some very hour.
And his hawks circling him sharply,
No bird can come near him.
you spoke of Use. there were hardly any.
Under her heart she wore heavy a cub.
She lifted the dead man's head in the Hoh
And kissed the wounds, she was so hurt.
invited her back to him soon
And carried him down between lake and forest.
him since before dawn,
Before evening she was dead himself.
God send every knight especially
"Such Hawks and dogs and such
[Husband.
In order to compare the second ballad:
I went over the moor alone,
There I heard two ravens scream
One cried to another:
"Where we have lunch, me and you!"
"In the forest over there is unguarded"
A slain knight since tonight,
And no one saw him in the forest ground,
When his lover and his Hawk and his dog.
"His dog goes on a new track,
[shrine; His love is gone with her paramour,
and His Falcon spied on fresh prey,
We can eat there in peace.
You set on his neck you
His blue eyes are for me,
a golden lock of his hair
If the nest warm us next year.
"Some people will say I 'love it hard!
But nobody will know where he remained,
And going there someday about his pale bones
If wind and rain and sunshine. "
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1 Announced in Easter program 1913 work "motif walks" could not appear due to large scale in the originally planned form. a
Part of it is under the title "The design of the poem, Botenart 'of Anastasius Grün" now in the Festschrift for XVI. Neuphilologentag in Bremen (Heidelberg, C. Winter, 1914) p 163 - 201 have been published. Here follow under new heading two other treatises.
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This ballad, also earn a single study, as aie; wcrlrt aüeh: riac very, different directions, recently increasingly more other ballads on the basis of Child's materials has become part. So Erich Schmidt has proposed to us by Herder excellent transmission common Edward ballad analyzed aesthetically and motivational historically followed, the interesting evidence
showed that Heine's impressive verse "Let them go begging, if they are hungry "in the" grenadiers "breaking out of a Scottish
ballad comes. The poachers ballad "Johnie Cock" is by Alois Brand been treated especially after the text-critical side. the single
gehendste representation has the Chevy Chase ballad by Karl Nessler learn not only the tradition, the historical foundations
and the poetic motifs discussed the same, but also the important literary afterlife of the ballad in England and Germany
traces. As is to be regretted in the latter point, that the author does not have the chronological enumeration of the many
Phrases across progressed to a systematic processing. At the Raven ballad interested us two things: that is self-
intrusive question of the relationship of the two reported versions and the remarkable proliferation, including the second
Version, in the literature of the mainland, particularly in Germany.
I.
Walter Scott, which we of the release of the Scottish text two ravens owe, and the first to have long known English text has used three ravens to compare notes, that the former text more of a counterpart as a copy (rather a counterpart than copy) seem to be the second. subsequent challenges encoder as Motherwell treat the Scottish ballad as a bear ditionäre form of English, without further once the differences move on. Francis James Child, the best ballads expert and editor the large collection of "English and Scottish popular ballads", reinforced Scott's opinion, by being the Scottish ballad a cynical variation of delicate English referred to a judgment, Francis B. Gummere that in his book on the folk ballad (1907) repeated. Scott and Child want their comments surely indicate that they, the English ballad for the elderly, the Scottish hold for the younger and derived, if they so certain Formulation appear to be avoided. In contrast, explains the
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German translator Rosa Warrens with great confidence the Scottish for the original: only in this is the question and answer
Ravens in the context of the rest; in the English version remained the garment, while the modified content is not more
fit into this framework. Most readers, I would like to believe, are first increases the latter, because logically undoubtedly correct opinion want to vote. To this, the difficult problems of the nature and origin of the folk ballad and folk poetry touching in question to clarify something, we must first set the tradition into sharper eye grasp.
The English ballad is entitled "The three Ravens" first published in T. Ravenscroft's anonymous collection "Melismata Musical Phansies. Fitting the Court, Cittie and Countrey Humours. London, 1611 No. 20 total "under the group of "Country Pastimes"
been printed. It is certainly much older than the year of publication of the book, but not be described easily as "ancient"
as to express the translator several times. Since they are not in the usual Chevy Chase-verse is written with septenary pair, it is hardly be the oldest medieval holdings of balladry. include the short couplets amended obtained have perhaps more at a later time, about the 15th or even 16th century, what not, however, exclude the possibility that the substance as such older origin.
Also, rhythm and rhyme technique is no particular antiquity recognize, on the other hand, the smoothing, balancing influence
art poetry of the 17th century is not exposed. The text reads:
1 There were three ravens sat on a tree,
Downe a downe, hay down, hay downe
There were three ravens sat on a tree,
With a downe
There were three rauens sat on a tree,
They were as blacke as they might be.
With a downe derrie, derrie, derrie, downe, downe
2 The one of them said to his mate, [1]
'Where shall we our breakefast take?'
3 'Downe in yonder greene field,
There lies a knight slain under his shield.
4 'His hounds they lie downe at his feete,
So well they can their master keepe.
5 'His haukes they flie so eagerly,
There's no fowle dare him come nie.'
6 Downe there comes a fallow doe,
As great with yong as she might goe.
7 She lift up his bloudy hed,
And kist his wounds that were so red.
8 She got him up vpon her backe,
And carried him to earthen lake.
9 She buried him before the prime,
She was dead herselfe ere even-song time.
10 God send euery gentleman,
Such haukes, such hounds, and such a leman.
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1. W. Carew Hazlitt puts one in his new edition of Ritsons Ancient songs for "mate" the double form of "make" (ags. maca, friend, spouse) to the impure. Rhyme mate: take carry away.
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The first introductory verse does not start well with the national standard action and emotion, but with the indication of the situation: Three Ravens sitting on a tree, but the multiple repetition of this entry gangs, the dull refrain Downe a downe, hay downe, etc. and the note the deep black of the plumage of birds indicate already on something mysterious, gruesome way. In the 2nd to 5th stanza prepares a dialogue of ravens before the real action. On the question of the one where they want to take their morning meal, has the others point to the field lying, well-guarded body of the knight.
Here, the poet of the old means of parallel stylization operated
(Verse 4 his hounds etc. They lie and verse 5 His Hauke They flie etc.), even with internal rhyme. We now expect logically the
Raven meal or the clearing away the obstacles that you are
oppose. Nothing of the sort is performed employing the Raven
Imagination of the poet no longer even the dead knight ties him
not too long, he tells us, but not even anything about the cause
of his death. His interest is rather the faithfulness facing the
the dogs and falcons have proved their Lord, and by this
Ward he developed his poem on. Only now begins in
Verse 6-9 the direct action (of course, if in the case of such a small
Ballade at all possible to speak of his act): a promising
Hind comes close, kissing the wounds of the dead, invites him to the
Back, buries him and dies. The doe is useful so that
Theme of the ballad, or if we include dogs and falcons with,
the helpful animals at all. We now recognize that the callous
Raven the first verses only as opposed to the good animals
should act. After the death of the hind disaster
occurred and the highlight of our sympathy is reached, followed
in the 10th verse of the turn really popular, steamed and
reassuring conclusion. Here as desired formula by the poet
every gentleman wishes such three helpers, as they found the dead
has. The doe is very fine as "beloved, darling" (Leman, to me. lemman, ags. Leof-is called).
Wearing this little poem, whose reasoning we have just developed have the character of the old, authentic popular ballad? In order to answer this question it is necessary to the much discussed, general question to take the essence of the folk ballad position and other short interpretations, with what conditions we approach the discussion. The balladry, the Anglo-Scottish both as the other
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culturally equal standing nations, has, according to their material sources considered, the fairy tale, the, legend and history presupposes mainly because in these areas it solves salient motives also and processes them according to the technique of the widest possible consolidated concentration. This artistic design is a mixed product of
three basic poetic forms represent. makes The Epic of Natural Products
sometimes, especially in historical ballads, even some
epic representation back. Here belong also the Axel Olrik
observed initial and final standards (he calls them laws).
after which the beginning and end of a folk poetry much more epic
Nature. In the main, however, the form of the ballad is not
epic, but lyrically in the highest degree, so much so that the lyrical
the most important feature of the ballad. In addition, the dramatic
(direct action, dialogue form) as the second most important moment. this
explains lyrical dramatic contraction of an epic allegation
from the special purpose to which the ballad supply their origin
thanks: it was not for the single song or single lecture as the
Epic determined, but for the choir (cantor accurate and
Choir), in stanzas, originally mostly with accompanying
Dance (more precisely! Dance steps of the singers) how the Faroese from the
Songs gives the clearest. This from what has already from
Herder and Goethe prominent moment of unmediated and
Jump sticking in the molding result. This illogical straying
of a battered topic, this skipping the mental
Intermediate links, which gives the ballads somewhat fragmentary, occurs as
in the very phenomenon that one can almost say is a ballad
so original and older, the less they the intellectual
Are developing room. The Abrupt of the ballad appears hereafter
as something natural Conditional, Normal and Primitives. in contrast
this has Alfr. Götze (ZfddU., 1914 year of birth. 28, p 243), but only
in regard to the German folk song Abrupt as a secondary
Phenomenon, referred to as a result of its tradition, the archetype
is neither erratic nor dark. This view applies only to the
later, to the people squat art songs to specific authors,
what John Meiers research have become fundamental. whether they
also for all the other songs has validity, is completely problem.
A mere analogy with modern observations on the
Productions of the Middle Ages, a member of the ballad would be so bold,
that he may not seem very conclusive. It is certain that this opinion
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not with the specified, special mode of origin of the ballad, not with the constraint that each neces- art form on the content and organization agile practices, expects. It must be admitted, of course, that the abrupt by
the predominantly oral dissemination are exacerbated it.[1]
After these points would now be of the Raven ballad
say that they are all in the cultural milieu of the older ballads, the
medieval chivalry, moved. Again, the Knight, inseparable
accompanied by dogs and falcons. It also has by animals
and birds with human destinies linked, a relationship to the world of the fairy tale. Hinde, falcon and dog appear as faithful total
tracks of the people, as the grateful creatures of fairy tales, without
here you just need to think of a particular fairy tale. as
Enemy of the people on the other hand comes before the raven, according to old folk
believe the herald impending doom, the confidant of shady
Crimes. The fabric is so tiny he is also epic, as well as the
Representation at the beginning and end. The Human - poignant but,
the Artistic actually lies in the lyricism of it all the way through
draws. Feeling is everything, mood everywhere. Mysterious shower,
when the Ravens take counsel about their meal, ghastly silence when
we down in the valley the body of the knight with his shield
see lie. The Gloomy thins out slowly: the dead guard
the faithful animals. A ray of hope: a doe approaching. What
will they do? You, the animal, and, moreover, even in a desperate state, buried the dead, to which the people no longer
care. And then she dies herself. These selfless sacrifice
of the animal to humans is a big train grandeur, a
truly poetic symbolization infinite compassion, infinite
Self-renunciation, and this symbol arises spontaneously from the
naive simplicity of representation, made entirely of emotional arrival
intuition does well. This lyricism is neither exalted nor
sentimental, what the individual predisposed art poet belongs.
The Dramatic takes place to be as not noticed
needs, bulky and crowded. Accordingly, to be applied later
leading melodies soft, worn, seriously, sometimes almost heroically,
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1 In a similar direction, a statement Golthers moves (Litbl. F. Germ. U. rom. Phil., 1914, Sp. 155) on the occasion of the new edition of the English Sir Perceval of Gales. He wants the deviations of this poetry of the French sources not lost, unknown sources, but from the style of the strophic romance form
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is in that character, the Nordic music. No doubt we are dealing with a genuine folk ballad. Nearly two centuries passed before since Ravenscroft's Melismata again employed a researcher or collector with the ballad.
Only after the Bishop Percy through his "Ancient Reliques" (1765)
a complete reassessment of the fallen into contempt folk song
had caused, took his literary and critical it exceeded
superior opponent Joseph Ritson our ballad from the rare, old
Book in his "Ancient Songs" (1790). On him Walter Scott is based in
his "Minstrelsy of the Scottish Borders" (1802). then there are
some evidence to suggest that the ballad still about in the first
Half of the 19th century was sung by the people.
Motherwell's Minstrelsy Collection (1827) brings one of the text
at Ravenscroft-Ritson only slightly deviating from the tradition
derived version. The beginning is shorter: Three ravens sat upon
a tree, the chorus is a little different: Hey down, hey derry day (hey
down) and at the end: And lay singing doo doo and la and day. the
Noticed publisher that this English ballad in Scotland
is widespread. W. Chappell also confirmed in his book "Popular
Music "(1855), the great popularity of the ballad in some parts
England. He had a series of oral versions for comparison
available that differed in wording and in tune with each other,
yet had sufficient similarity to the same origin
can be seen. The communicated by text follows the
Vulgate text (only trifles with regard to the modern
Language and the melody inserted).
Bring two other people drawn from the mouth of texts real options, which of course only the dissolution of the old song
show. In the "Notes and Queries" (1892) was a version published after in Northorpe (Lincoinshire) in 1859 was written the presentation of a 1793-born farm worker:
There were three ravens in a tree,
As black as any yet could be.
A down a derry down.
2 Says the middlemost raven to his mate:
Where shall we go to get ought to eat?
3 "It's down in yonder grass-green field,
There lies a squire dead and killd.
4 His fourth horse all standing by his side,
Thinking he 'll get up and ride.
5 His hounds all standing at his feet,
Licking his wounds did run so deep. "
6 Then comes a lady full of woe,
As with big bairn (child Var.) as she can go.
7 She lifted up his bloody head,
And kissd his lips did were so red.
8 She laid her down all by his side
And for the love of him she died.
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Apart from a few new twists, such as the middlemost raven, the grass-green (field) and squire (for knight), this differs from the version of the elderly in the following points: instead of the Hawks entered in the fourth stanza plates the horse; instead of Hinde licking the dogs the wounds of the knight (verse 5). Such a change had to take place, because in verse 6-8 the helpful animal is replaced by the mistress of the knight, who, also pregnant,
the head of the Dead picks up, his lips kissing at his side
sets and dies for love of him. From the rhyming couplets of the old text
have been only two quite get (tree: be; head: red), with four
is the only remained a rhyming word (mate: eat; field: kill'd; feet: deep;
woe: go) added, two new rhymes (in verse 4 and 8).
Some phrases and rhymes could very well be as old as
the text at Ravenscroft, but the chief change - for fallow doe the (lady) fill of woe - is a later interpretation, the
probably by the turn examined a leman caused.
The same important deviation has still more extensive next
Published a decomposition of Frank Kidson, Traditional Tunes (1891)
lights on text in 1825 in a village of Stoney Middleton Derbyshire was sung:
1. There were three ravens on a tree,
A-down, a-down, a derry down,
There were three ravens on a tree,
Heigh ho!
The middlemost raven said to me,
"There lies a dead man at yon tree."
A-down, a-down, a derry down,
Heigh ho!
2 There comes his lady full of woe,
A-down, a-down, a derry down,
There comes his lady full of woe,
Heigh ho!
There comes his lady full of woe as she could go,
A-down, a-down, a derry down,
Heigh ho!
3 "Who's this that's killed my own true love,
A-down, a-down, a derry down,
Who's this that's killed my own true love,
Heigh ho!
I hope in heaven he'll never rest,
Nor e'er did enjoy blessed place. "
A-down, a-down, a derry down,
Heigh ho!
The phrase from the raven middlemost and the lady fill of woe shows the relationship of the text from Lincolnshire, from which also the gap in verse 26 is easy to complete. The design of the Raven meal and the preservation of the body of the knight is as lost gone like the death of Lady. But she asks at least not according to
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the murderer of her lover, from whom she hopes that he is not in the Heaven comes. The ballad was zersungen.
There are us get three melodies: A at Ravenscroft-Chappell, B at Motherwell (orally from Scotland), C in Kidson (oral
from Derbyshire), all three musically valuable, each of the other different:
A. Slowly, smoothly, and with great expression.
[Music]
There were three rapid ven sat on a tree,
down a down, hey
down, hey down,
They were as black as They Might Be,
with a down ....
The one of them Said to his mate,
where shall we "now" our break-almost take?
With a down, derry derry derry down, down.
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We come to the Scottish text "The twa Corbies" received the Walter Scott of Charles Kirkpatrick Sharpe and his collection "Minstrelsy of the Scottish Border" (1802) was published in 1802.
His informant wrote to him on August 8, 1802 on the origin of the text: "The song of the Twa Corbies what givenName to me by Miss Erskine of Alva (non> Mrs. Ken) who, I think, said that she had written it down from the recitation of an old woman at Alva "He is.:
1 As I was walking all alane,
I heard twa Corbies making a mane;
The tane unto the t'other say:
"Where sall we gang and dine to-day?"
2 "In behint yon auld fail dyke[1],
I wot there lies a new slain knight;
And naebody franc did he read there,
But his hawk, his hound and lady fair.
3 His hound is to the hunting gane,
His hawk to fetch the wild-fowl hame,
His lady's ta'en another mate,
So we june mak our dinner sweet.
4 Ye'll sit on his white hause-bane[2],
And TU pike out his bonny blue een[3];
Wi ae lock o his Gowden * hair
We'll theek5 our nest When it grows bare.
5 Mony a one for him makes mane,
But nane sall ken where he is gane;
Oer his white banes, When they are bare,
The wind sall blow for evermair. "
The question is whether this Scottish version also the nature
the old ballads equivalent, and whether to the English in the exhaust
of dependency is. When you first at the English
Ballad so highly trained chorus missed, so does that not
against the People's authenticity even as the refrain not quite neces-
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1 = fail dyke turf wall, Torfwall.
2 hause-bane = neckbone, neck bones.
3 een, pl. of ee = eye, eye.
4 Gowden = golden, golden.
5 = theek thatch, cover (properly. Straw).
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is agile and based his absence on a lack of tradition can. Also, the more personal the beginning As I was walking all alane
is not unpopular. The first stanza and the first two verses the second (call the ravens over their meal and the slain
Ritter) votes not quite content with the first verses of the English text match; only the place where the body is located (fleld greene, fall dyke)
is different. Also that in the other the dog and the hawk the knight called, shows a relationship of the same kind. These loading rührungen can hardly be accidental, they provide a bridge between two texts hej. Although still called the mistress of the knight
is, it could be like in the above versions of Lincolnshire and Derbyshire be a development of the Zemare motif, but remains
pure conjecture. The new is in verse 2 3 4 first logical summarized: no one knows that the dead man lying there, but his hawk,
his hound and lady fair - the verse is like in the juxtaposition
the conclusion of the English version: keyword hawks, seeking hounds and seeking a leman. The third stanza brings the detailed reason: the
Dog went on a hunt, as the hawk, the lady has a
other lover (mate) taken, so that, therefore, the raven meal
nothing stands in the way. The deliberate contrast to the English
Ballad can not be denied himself. Not the loyalty of the animals, but
their infidelity should be described, as well as the infidelity of
Woman. The opening motif of the raven meal will then follow right in
gruesome vividness in the poetic full-fledged fourth stanza
carried out using the last Withering is thereby somewhat mitigated
that the raven use the locks of the dead to build its nest
wants. This is followed by a complaint about the dead, so a non-
moving finale, as we did not move one in the first verse
Input found. The Scottish ballad is certainly still the old
Ballads character, but not in full originality. from the
resolute implementation of her chosen theme of
Raven meal included Rosa Warrens to the larger age of the Scottish
Version. I'm inclined towards the former Executed, vice versa
to close: just because the mobility of the Scottish Text of
lacks old stylization, he is the younger. He is not so
naive in the form of hand signals like the English, but has little
Individualized, somewhat more conscious of the practice of art. It was an ingenious
Inspiration, there is the song of faithfulness such a breach of trust Stalten that transform serious majesty in somber tragedy and
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the final stanza, - is to not have a sentimental mood? It seems to me that this bällad already the transition the old, squat style ballads in the later, ballad epic - lyrical style displays - move to the leading variants entirely in this direction. The Scottish ballad would be a later
later, conscious counterpart to the English. But no cynical,
Child like something sharp said, only a harsh, glaring counterpart,
such as the ballad human at all in the bare representation
Passions is never immoral, but rather amoral.
From the information provided at Child variants we can use the versions from Fraser-Tytler's manuscript (1800) and Robert Chambers' Scottish
Ballads (1829) go on, because they do not somehow significant waste
deviations included. It is different with the text in Albyn's
Anthology (1818), is said about its origin: from the singing
of Mr. Thomas Shortreed, of Jedburgh, as sung and recited by his
mother. Still missing the third verse of Scott's text, so that
the subject of infidelity seems to have been lost. the fourth
is, though with each change is obtained. Then to follow
Place of the fifth stanza two completely new, which is the song of the ballad
Stripping, character by progressively in a hymn to the summer
sound - whether in the terminal about other songs, is then:
My mother clekit[1] me o an egg
And brought` me up i the feathers gray
And bade me flee whereer I wad[2],
For winter wad be my dying day.
Now winter it is come and past
And a' the birds are biggin[3] Their nests,
But I'll flee high aboon them a ',
And sing a sang for summer's sake.
Next, it is a very strange version in Allan Cuningham's "Songs of Scotland" (1825) and then in Motherwell's "Minstrelsy"
(1827) to mention about the says the former: the present version is made up from various readings and recitations. It is difficult to say how much is of England or of Scotland, or how much is new, or how much is old. Here is the text:
1 There were twa Corbies sat on a tree,
Large and black as black might also be,
And one (unto) the other 'gan say,
"Where shall we go and dine to-day?
Shall we go dine by the wild salt sea?
Shall we go dine 'neath the greenwood tree? "
-----------------
1 = hatched (hatched). 2 = would. 3 = building.
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2 "As I sat on the deep sea sand,
I saw a fair ship nigh at land,
I waved my wings, I bent my beak,
The ship sunk, and I heard a shrick;
They lie there, one, two and three,
I shall dine by the wild salt sea."
3 "Come, I will show ye a sweeter sight,
'A lonesome glen and a new slain knight;
His blood yet on the grass is hot,
His sword half drawn, his shafts unshot,
And no one kens did he read there,
But his hawk, his hound and his lady fair.
4 His hound is to the hunting gane,
His hawk to fetch "the wild fowl hame,
His lady 's away with another mate,
So we Shall make our dinner sweet;
Our dinner's sure, our feasting free,
Come, and dine by the greenwood tree.
5 Ye Shall sit on his white hause-bane,
I will pick out his bonny blue een;
Ye'll take a tress of his yellow hair,
To theak yere nest When it grows bare;
The Gowden down on his young chin
Will do to sewe (rowe) my young ones in. "
6 O cauld and bare will his bed be,
When winter storms sing in the tree;
At his head a turf, at his feet a stone,
He will sleep, nor hear the maiden's moan;
O'er his white bones the birds' shall fly,
The wild deer bound and foxes cry.
This extension brings by each verse of Scott's text adds a couplet and a whole new verse invents, the 20 verses of the older text in 36 verses. In the first stanza 1-2 verse comes from the English ballad (apart from the number of ravens), verse 3-4 of the Scottish, verse 5-6 is additive and indicates a split of the input motif by the question
is asked whether the meal on the wild, salty lake or
take the green tree of the forest is. The second new, to
valuable verse through the first plan by which a
Raven refers to the induced him beaching of a ship.
In the third and in the following verses the other raven reports
from the corpse of the slain knight, the verses of the
Scottish text mostly retained, but the corresponding meter
are filled speaking (as in 3, 3-4, 4, 5-6, 5, 5-6). the final
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stanza, the complaint about the dead is almost entirely independently, only the
Turn O'er his white bones still sounds to the Vulgate text.
This version is no longer ballad, but a epic lyric poem, as for Child not in his collection[1] has added.
We come to the end. The English version is attached as a
fairytale-naive, illogical leaps and bounds-product beholding
Imagination the more original, the Scottish deduced. this is
worked out of the English on the principle of contrast,
some individual held, but without the regular folk character
lose. The variants of the English ballad show a gradual crumbling, even after pages of content, the Scottish, the tendency to expanding additives.
II.
The great attention which is in Germany since Herder
Anglo-Scottish balladry had met with, rendered
themselves, by the powerful wave of romantic enthusiasm for everything
Earthy and Ancient heavily promoted on Walter Scott's
"Minstrelsy of the Scottish Border". Through them, the Raven was
Known ballad in Germany and suggested a goodly body of
Poets on to transmissions. Knew the majority of the translator
both the individualized character and the gloomy character of the
Scottish version as well as the tenderness and intimacy of the English
appreciate, and they both give side by side again.
Probably the first to deal with our ballad as a translator
sought, Ernst Moritz Arndt, who in the time of the heaviest
Humiliation of Germany during an involuntary stay in '
Sweden (1806-1809) with a lot of Scandinavian and Anglo-Scottish
Folk poetry employed. But he was only in his old age to
to sift through these studies, refine and with a dedication to his
Friends Welcker and Dahlmann under the title "anthology of old
publish and New "(1857). He drew in the transmission
--------------------
1 Child are two melodies of Two Ravens text of Campbell's Albyn's arrival Anthology (II, 26) and Rob. Chambers' Twelve Romantic Scottish Ballads (Edinb. 1,844,
P 15). I am very sorry that I these works have remained out of reach and
no comparison with the reported melodies of Three Ravens text can be drawn.
I only know the first volume of the folio work of Campbell Albyn, which, by the way
notice contains the peculiar pibroch tunes the Highlanders.
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17
of 22 English-Scottish songs from Ritson's "English Songs"
(1813), John Finlay's "Scotish historical and romantic ballads" (1805)
and from Scott. He prides himself in the introduction that he had at the time
the emergence of these translations good German, ie good folk
German could have written. That may be true otherwise. What he
but brings in the Germanization of the Scottish ballads, is not,
what mattered, poetic German, but rather home-baked
German prose, which is in the choice of the expression little accurate
and the rhythm and musical sound of the words even less
taken into account. Just read verse 2:
There, behind the curly Hagdornstrauch
Knights blew a erschlagner the last breath,
And that he lies there, not being known
When his beautiful lady, his falcon and dog.
A correct principle for the transfer represents Henriette Schubart in their "Scottish songs and ballads" (1817), the
them to the manes of their more famous sister Sophie, the wife of Clemens
Brentano, was dedicated. She says: "When processing was sought
maintain simple, rapid tone of the original, so much so without
to be incomprehensible, the compulsion of language allowed, since a total
destroyed glätteter, descriptive term the character of the whole
would have. "But we must not such a stylization in one to
loose, not to say bänkelsängerischen expire tone, a
Cliff which has not always avoided the author. the two
Ravens her succeed tolerably. The three ravens permitted in
the sixth stanza unauthorized deviation, when she says:
It is fine as a chamois
Down to him to be the dearest.
One can see how close the change lady for fällow doe was, especially if perhaps the word should be avoided fallow,
because it can not be assumed that the translator except Scott texts as
who knew above. How little the way of their task
had grown, showing the banal transmission of beautiful verse 9, the
the deliberate emphasis on the time of day (burial of the knight before
the prime, death of the animal ere even-song time) completely eliminated:
She buries him well at this period,
She dies, his song is ended.
In a now-lost romantic magazine, which was published by H. Straube and J. Peter Horn of Thal in Göttingen
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18
"Dowsing" (1818) has Aug. Heinr. Zwicker the Scottish ballad easily translates liquid and sent in verse 1 4 an older
Word used ("Where do we find etching these days?"). A combined Zwickau miniature version of the poetic works of Scott
Elise v. Hohenhausen, Willibald Alexis and W. v. Lüdemann to a transfer of the "historical and romantic ballads of the
Scottish borderlands "(1826). During this handsome collection of existing
caused W. Alexis three bands. He brings in our two
Poems without the free rhythm of the older ballads
Rule is to normalize, whereas hardly anything can be argued,
although too much arbitrariness in our ear has a slightly disturbing. He mimics the content with assonance rhyme technique of the old ballads after, not always happy:
6 A pale fawn there is bound
Even she wears under her heart a cub.
The English leman (verse 10) he has "Dear love." In Scottish text like "I want to sit on his white bones" Happen (4i), but in verse 5 3 it will not do to bones with "legs" definition:
About his white legs, so bare and destitute,
If the wind it blow for evermore.
The translator is the next to folk poetry frequently cited overall taught OLB Wolff, who in his "Hall of Nations" (1837) the
English poem by Ritson, the Scottish not by Scott but
rendered by Motherwell. In the former is to acknowledge that he
seeks to reproduce also the refrain, the rest all over setter simply ignore:
Three ravens sat on a branch,
Down, down, down,
Three ravens sat on a branch,
Down.
Three ravens sat on a branch,
Of blackness them came none equal,
Down, down, down.
The phrase earthen lake (8 2 = pit lake here, grave), the the translators deal mostly, is Germanized too literally:
On their backs they (the deer) puts it
And towards the earthy lake wearing it.
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19
Is from the Scottish Text in the very extended form, because he was not otherwise transferred again, at least the second
Verse communicated:
As I sat on the deep sea sand,
Then I saw a beautiful ship near the farm;
I turned the beak, the wings beat me,
As the ship sank and I hear 'a curse.
You are one, two, three, now there,
I feed the wild salt lake close.
The well-known from Goethe's Conversations with Eckermann translator Serbian folk songs, some of which Goethe in his journal "Art and Archaeology" recorded, with Gerhard, also under the title "Minstreiklänge of Scotland" (1853) exceeded Scottish ballads wear. More than its predecessor, Gerhard sets the rhythmic weight, he, in addition to rhymes consistently pure, uniform, iambic or iambic-anapästisch, designed. The three ravens succeed better as the two ravens, but fallow doe as "fallow chamois" The first, second and
10th verse of the first song in reverse, with slight differences
Fontane again, which, however, may be due to chance - in other
Stanzas transfers Fontane better and above all verbatim. to
Gerhards Scottish ballad should be noted that he sometimes
quite freely translated:
1 1. When I forced myself to those stone (!)
I saw two ravens who sat alone.
2. 1. Because down in the valley at high Tann (!)
If a slain knight.
3 1. His horse (!) Is out hunting,
The Red Deer (!) Brings his dog back home.
The German-Swedish Rosa Warrens, the translator [heavy eign], Danish, Norwegian, Icelandic and Finnish folk songs,
provides in its memory the Alexander von Humboldt dedicated Collection "Scottish folk songs of the past" (1861) a very flowing, rather literal translation of the Scottish ballad, while her English less successful. Finally, I note another transmission
the latter by the German-American Knortz in its "songs and romances of Old England "(1872). A last best because that is already to existing initially reprinted translation of Theodor Fontane
talking about the time between which Wilh. Gerhards and Pink
Warrens' is classified. Although it was not published until 1861 in the "ballads"
but the poet dealt with Percy and Scott since 1848.
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20
Everything you cheapen, by a translation, the only a makeshift remains, may request and what his predecessors did not
or only able to reach isolated, met Fontane: greatest possible of meaning and word loyalty in addition to rhythmic sonority.
But we do not want to lose sight of that Fontane and some
its predecessor, translated into the style and could only translate
of the renewal of the German folk song since Heine and the
Romantics ever characterized. But the question is whether or not the
modern poetry, are justified on the restorative bath of naturalism
emerged gesundet can create a different style or
has been created which, on the transmission of ancient folk poetry
applied, can play the earthy smell of the original more.
The primal power, the sedentary folk ballad liable for part of the
Dialect or the color of the ancient language which is also in
Germans can imitate without an archaic wanted to befleißigen manner.
In the racial community and linguistic affinity of
Nordic tribes with Englishmen and Scots, it is easy
understood that Scott's "Minstrelsy" in Denmark and Sweden
an echo aroused, but is the old Scandinavian ballads poetry
complement and in part the older precursor of the English-Scottish.
From the raven ballad can be five newer, Nordic edits
demonstrate that we first consider the four Danish.
Under Andersen's poems there is one called "Skotsk ballad"
called translation "De to Ravne", originally an insert in
the sealed after Scott's novel opera "vapors fra
Lammermoor, "which in the music J. Bredals on May 5, 1832 Copen
hagen was performed. Apart from the first stanza, in the
Andersen follows in the main the English ballad, and small
poetic liberties (as in 2 and 3 s 2), he joined the Scottish
Replaced with Scott at:
1. The first sidde to Ravne paa Træet hist,
Saa varietal you aldrig saae the forvist!
De skrige Haest over Skovens Krat:
"HVAD FAAE vi at spise i denne Nat? "
[1. The first two ravens sitting on the wood yonder,
So black you never saw them relegated!
The screaming hoarsely of the forest thickets:
"What we receive to eat tonight? "]
2 »Jeg veed, at i Mosen bag Dæmningen hist,
The ligger en myrdet Ridder forvist;
Men Ingen det veed, uden Himmelens Gud,
Velvet dogs og og hawks Ridderens Brud.
[2 "I know that in the marsh behind the dam yonder,
There is a murdered knight banished;
But no one knows it, without the God of heaven,
As well as dog and falcon and the knight's bride.]
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21
3 Hans dog drager atter paa hunts hen,
Hans Falk faaer sig Snart en Herre igjen,
Og Bruden finder s Hjertenskjær,
Men vi FAAE et kosteligt Maaltid ago!
[3. His Dog draws again in the chase going,
Hans Falk gets himself soon as a gentleman again;
And the bride finds a heart's love,
But we receive a precious feast here!]
4 Jeg Sætter mig paa ham i Like i mentioned above Ro,
Og hacker ham ud hans Øine to,
Og med hans hair vil jeg flyve afsted,
Og flikke min gamle speech Dermed!
[4 I sit on him in Mag and in peace[Ro],
And picks him out of his eyes two
And with his hair, I fly away,
And cobble my old nest so!]
5 Saa mangt et Øie vil svømme i Vand,
Dog finder Jngen the Riddersmand;
Det Blæser kold over Busk og Green,
Hvor Lovet dækker hans hvide completed! "
[5. So many an eye will swim in water,
However, the Jngen the knight;
It blows cold against Bush and Green,
How foliage cover his white legs! "]
Both the Scottish as English texts are of Svenn Grundtvig in his collection "Engelske og Skotske Folkeviser" (1842) into Danish, this according to Ritson, that according to Scott, and indeed both been transferred very literally. "De tre Ravne" ["The Three Ravens"] are:
1. The first var tre Ravne, saa species som Beg,
I Trætop de sade, saa ilde de skreg.
2. The second Ene sagde there til sin Mage:
"Hvor skulle idag vi days before fode?"
3 "Og hist paa Vang bag the grønne Vold
De Ridder Slagen ligger under sit Skjold.
4 Hans dogs de ned ligge for hans Fod,
Saa de vel Vicars the Herre god.
5 Hans Falke de flyve hist og ago
Slet ingen Fugl TOR come nær ham.
6 The com laudatory toward afraid Daa,
Hun søgte hen did, som Ridderen LAAE.
7 Hun lofted hans blodige Hoved question round,
Hun minded de dybe, de røde Vunder.
8 Hun tog the Ridder op paa sin Bag
Og Forte ham til saa dyb s Grav.
9 Hun jordede ham før Ottesang,
Var selv død før Aftenklokken sounded.
10 Gud send hver Ärlig Riddersmand
Slige Hoge og dogs, slig Liljevand! "
["The Three Ravens" translated:
1 There were three ravens, as black as pitch, [pitch black]
In the tree they sat, so ill they screamed.
2 The one says to his mate:
"How would today we take our food?"
3 "And there at Vang behind the green Violence
A defeated Knight is below his shield.
4 His dogs lie down at his feet,
As well they guard the Lord good.
5 His falcons they fly here and there,
Delete no bird dare come near him.
6 There came running to him afraid Daa,
She sought thither, as the knight lay.
7 She lifted his bloody head fraGrunde,
She minded the deep red wounds.
8 She took the Knight up upon his back
And led him to so deep a grave.
9 She buried him before matins,
Was even death before evening bell sounded.
10 God send every honest knight
Such points Hawks and Dogs, SLIG Water Lily! "
This is followed by the counterpart "to De Ravne" includes:
1. The first jeg mig saa ene i Vang Monne gaae,
Jeg Hørte to Ravne at lovely Raad;
The Ene sig til the Andes vendte:
"Hvor skulle idag vi to-day before fode?"
2 "Bag Græstørv-Diget, det gamle hist,
The ligger en nyslagen Ridder forvist;
Ingen Andes veed at the han ligger,
End Høg hans, hans dog og hans Hjertenskjær.
3 Hans dog the jager i vilden Skov,
Hans Høg the Soger ved Sky sit Rov,
Hans Frue har en givet Andes sin Tro,
Saa vi kan AEDE before i Mad Ro.
4 Hans hvide neck Been maa you sidde paa,
Saa hacker jeg ud hans Øjne blaa,
Og med en Lok af hans gule hair
Vi tække speech before i Efteraar.
5 Saa Mangen En for ham bær Kvide,
Hvor he han bleven, skal vide ingen;
Men over hans Torre hvide Completed
Skal Evig henfare the Barske Vind. "
-----------
[Translated "Two Ravens":
1 There I saw one in Vang Monne go,
I heard two ravens to take counsel;
The One to the Other returned:
"How would today we feed our pick?"
2 "Behind the turf-dike, over yonder,
There is a nyslagen Knight banished;
No Second know that he is there,
End his hawk, his dog and his heart's love.
3 His Dog on a fighter's lungs Forest,
His hawk on looking at Sky his prey,
His Lady has given a second his faith,
Then we can eat our food in peace.
4 His white neck bones must you sit on,
So I peck out his eyes blue,
And with a lock of his yellow hair
We thatch our nest in autumn.
5 So many A for him berries distress,
Where he is made, must not know;
But over his dry white legs
Should eternal henfare the harsh wind. "
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22
Allows you to compare the filling up something in detail overtion of Frederik julius Schaldemose (1783-1853):
1. Jeg gik mig among other things i Engen, Engen et Træ i stod,
Og derpaa sad to Ravne og efter Torsted Blod;
Since jeg Hørte the Ene, som til the Andes KVAD:
Hvor vi silent hunger? Hvor find vi en Brad?
2. Second Gjensvared nu the Andes: Jeg gjennem airing fper,
Since saae jeg bag Gjerde et paa sneebedækte Jord
De Ridder Slagen ligge, ukjendt hans Skjebne he,
Dog kjender the Great Dane hans, hans Høg, hans Hustru Kjær.
3 Hans Høg forfølger Duen udi the grønne Lund,
Og nu efter Hinden jager hans trofaste dog;
Hans Graceful Hustru fængsler s andes Kjærlighed,
Og derfor kan vi AEDE the lækkre Brad i Fred.
4 Afsted, piller jeg Kjødet af hans sneehvide Been,
Afsted, jeg vil udhakke the clear Øjesteen;
Og af de Gyldne Lokker, the flagre om hans child,
Vi Bygge os en Speech hist i the grønne Lind.
5 Vel savnes ha'r) af Gammel, vel savnes han af Ung,
Men Ingen skal det vide, Hvor Skjebnen var ham processing;
Naar he Kjødet afpillet, og Øjets Grav he reen,
Skal Vinterstormen smuldre til Stov de nøgne Been.
[translated:
1. I went myself among other things Engen Engen a tree in standing,
And then sat two ravens and after Torsted blood;
Since I Heard the One who to the Andes sang:
Where we are silent hunger? Where we find a Brad?
2. Second Gjensvared now the Andes: I through airing fper,
Since I saw behind a hedge, in sneebedækte Earth
DeRidder Slagen lie, unacquainted his fate he,
However, know the Great Dane his, his hawk, his wife love.
3 His hawk pursues the dove udi the green Lund,
And now after Hinden chasing his faithful, however;
His Graceful Wife's prisons stocks love;
And therefore we can eat the lækkre Brad in peace.
4 Move, pills I flesh of his sneehvide legs,
Let's go, I will udhakke the clear Øjesteen;
And the golden tresses, the flutter of his child,
We are building us a Speech yonder in the green Lind.
5 Well missing ha'rr of Old, well he lacks the Young,
But no one must know, Where was he Skjebnen processing;
When he flesh skinny and eye grave han pure,
Should Winter storm crumble to Stov the bare bones.]
Indirectly through the Danish is the Scottish ballad again entered the German seal. I mention a translation of H. Zeise in which he edited selection from Andersen's poems (1846). There is an interesting translation Otto Gildemeister from his student days in Berlin (1843). hardly
Become a member of the Berlin "tunnel on the Spree", he attracted
the lively astonishment of this circle because of its comprehensive voice
knowledge as for his translation talent, as he "with twelve
contrary nationalized, variously stylized, erotic manifold
Folk melodies "emerged. Among them are five, each one Spanish,
Portuguese, Old English, and a Danish neugriechisches of
A. K. T. Tielo been published. The latter, without further source
disclosure notified song is:
Two ravens were sitting together in the forest,
And it said the one to the other soon:
"Space is now wheel and gallows and stake,
And I'm hungry much where I find a meal? "
"In the old dilapidated ditch there
If a dead knight, still fresh from the murder.
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23
And no one knows about the bleeding body
When his dog and his falcon and his wife at home.
His wife has wooed the other spouse;
So standeth for us the meal ready.
On the white shoulders you sought your feast,
I peck the blue eyes from him.
And I judder a Lock 'from the blond hair;
The shields in winter the nest from danger.
Well some bewail him and'd 'love him,
But nobody will know where he was.
And like about the bare bones
The wind wafted, day after day! "
Judging by the initial stanza, where the I-formula by is replaced the wording of the English version, Gildemeister has
Andersen's text had in mind (not the Grundtvig's). after the
fourth stanza are two verses about the whereabouts of the dog and
the hawks of non obvious reasons, perhaps only accidentally,
fallen away. It hardly needs to be noted that the later
Master the art of translation in this experiment, not all
Difficulties of language and rhythm has become Mr.
We come to an artistic transformation of the Scottish
Ballad printed by Alexander Pushkin from 1828 (first in 1830, as "Scottish song" without indication of source). It was
unlikely to merely to show translation skills, transmitted, but
because of the dark poet of the deepest and most personal of this
Portrayal of female infidelity felt taken. As in some overall
dense Pushkin's a dark premonition of his tragic death (in
Duel for the honor doubted his wife's sake) resonates,
so also likes the idea of a ballad oncoming
Be presupposed mood. I have about the Russian Urtext
I included a judgment. From a present to me literal
Translation can be seen that the Pushkin squat representation
the song still stocky shape and the whole thing on the final
pointe has made. He lets the last two stanzas of the original
(Division of the spoils, and lament for the slain) continues and expands
the first three stanzas to four, since he the only skill has dead in the eye. The first stanza is preserved, but the
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24
I form the beginning (I was walking, I heard) through a five-time, achieved the Rabengekrächze imitative repetition of the word Raven
sets. The second verse is decomposed with the same content in two new ones.
The third verse is greatly exacerbated when the fourth machining: the
Hawk is flown in the grove, on the little horse (instead of the dog '
in the ballad), the enemy has set, the housewife expects the
Lover, not the slain, the survivors. With this sarcasm
on the fidelity of the woman, which is quite alien to the folk song, closes
the poem. Here we see clearly the difference between art
seal and folk poetry: the art poet replaced to increase the
Effect intentionally the quiet ending of the folk song by a
abrupt, as he abbreviates also the input tuned.
Pushkin's poem has been variously translated into German,
without that the translators of the relationship with Scott's "Minstrelsy"
would become aware first of Hoffmann von Faller life
and von Chamisso.
As the ailing Chamisso shortly before his death it came,
to Germanize this eerie song, is a special story.
If him such an article not quite fernlag (one
think of his treatment of the substance of the Matron of Ephesus in
"Song of the female truth"), so the cause was but a purely
outward. Hoffmann von Faller life had him as editor of the
Muse almanac poem "The slain knight" without source
indication sent. It was printed, as Chamisso the similarity
struck with the Puschkin'schen songs, which he on August 4, 1838
to Varnhagen von Ense, who had just Russian to the
Poet employed, wrote: "Can probably the weak travelers only from
sprouted the same root and not merely a shadow of the
Be Puschkin'schen lush green? "He asked for this one
literal translation of the Russian text and it was already
August 6, present a metric for assessing transmission.
He wished both poems, which his own but with an indication of Pushkin's
, Jokingly take names in the almanac, which even after
soon after his death in the year of 1839 happen
is. Hoffmann was silent, and then, as Hitzig in the publication of
Chamisso correspondence of the latter judgment was made known, and was
later in the "Deutsche Wochenschrift" (1854), presumably by
the mouth of the publisher Karl Goedeke, hear. After this has
he his poem in 1837 due to a him orally by a
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25
Russians reported, allegedly manufactured Russian folk song and only
during a visit to Chamisso (when?) learn the real source.
Later he took the poem under the title "The Faithless" and the
Genesis note 1 November 1837 in the collection of his songs
and romances on. It reads:
Hungry fly there two ravens No one knows who killed him.
On the heath back and forth, no one but the faithful steed,
They greet each other and ask, no one but the noble falcon,
Where wol was a meal? No one but the woman from the castle.
"Among those fallow oak And the Falk 'flew away,
Is for us a table covered, After the forest the horse ran,
Upstairs entrances on that broad stones But the wife
If a knight stretched. Quiet on the high castle.
And they can wander from the pinnacle
On the autumnal dead hall,
And she waits bang 'and silent -
On the foreign lovers only. "
In order to compare Chamisso's "The Two Ravens":
The raven flies to the ravens there, "By whom? why? - The white alone,
The raven croaks the raven the word: The 's looked at her with his falcon
"Raven, my raven, where we find And his black mare especially,
Today our meal? Who made it? "His house wife, his young husband."
The Raven The Raven screams the answer :. The Falcon fled into the forest;
"I know a meal ready for us; In the mare the enemy swung soon;
Bottom misfortune tree in the open field The housewife waits that trembles in desire,
If not killed a good hero. "Des, who died, no, of living.
In fact, Hoffmann transmission is the weaker rice because
it with content match the strong appeal of the individual
Lacks template. The trusted him, simple German folk
liedton, in which he wore was just too simple to the highly
strained energy of Pushkin to express. by
at the end of the situation, as the mistress of the mansion awaits her lover
{Verse 4 3-5 2), further explains, he wins against a Pushkin plus
disaster. However Chamisso achieved through literal reproduction,
buoyant swing and shrill sound of the verses far greater effect.
The onomatopoeic repetition of the word "raven" (verse 1),
the excited questions: By whom? why (killed)? in verse 2,
the black color of the horse (verse 4) and the mention of
Enemy (verse 4) are taken from the Russian text. the
"Misfortune tree" (verse 2 s) does not correspond to the model (under
the high clover).
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26
While Chamisso predominantly iambic rhythm chose
recycled Friedr. Bodenstedtstraße in his Pushkin translation
(1854) based on the original trochaic rhythm:
First through the air a raven croaks, 3 Who, why you killed him?
Hungermüd 'thirsts for refreshment; White Hawk's' only he wore,
He asks another Raven: White Knight black 'horse only,
"Are we going today 'have food?" And his young wife in the castle only.
2 And the other raven speaks: 4 Flew the Falk 'to the forest away,
"To-day there is no shortage of dining: the horse remained the enemy of the Lord;
Dead in the field, on Waldessaume, And the woman awaiting their loved ones,
If a knight under a tall tree. But the not the left. . .
An eloquent, evocative translation (with the exception
of rhyme in verse 33), but not as tart as the Chamissos! with
two can neither Robert Lippert (1840) nor Friedrich
Fiedler (Reclam) measure in their Pushkin transmissions.
We have in conclusion of the Swedish poet Johan
Ludwig Runeberg (1804-1877) commemorate the past in Germany
was known for his epic poem from ensign steel. Among his overall
is dense without further addition a song "Korparna":
First i Korp hungry ropat har, 3 Hur han Föll, för HVEM, hvarför,
af en annan fordrat svar: brat hans falk redo för dig,
"Hvar fins rof i vida verlden, kan hans fäle dig förklara,
SOEC hvart bör you Styra färden? "kan hans sköna maka svara.
2 Oh the other svarar sa 4 hawks flew att Soka rof,
"Lätt ett byte kan nä; pa hans häst jumped upp en bof,
i skogen, gömd för dagen, och hans maka väntar deceived -
ligger Riddarn blek och Slagen. the till häst, the ej i skogen. "
There is little doubt that Runeberg not Pushkin's original,
but Chamisso's German translation as the basis of his song
has used. It is here perhaps not unlike the song
"The förrädda kärleken", he did not lie in the underlying
modern Greek folksong, French also not Fauriel's or
Wilhelm Müller's German translation, but simply from Chamisso
Processing "Betrayed Love" rendered. Too, the Chevy Chase ballad
he took not Percy, but according to Herder as "Chevy hunts"
Germanization, this time the source is acknowledged. Are in the Raven ballad
he free the circuit and milder again when he to the woman, "the
Horse, not the im Walde "expect läßt.[1]
-----------
1 Pushkin's poem was also translated back into English to speak. Child quotes: Pushkin, Works, 1855, II, 462, XXIV.
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27
After the Anglo-Scottish Ballad Raven in their home
after centuries, oral reproduction of a natural
Age death had died, she learned on the Continent during the
19th century a kind of life after death, no longer
in solemn and serious voice with shepherds and farmers, but as a printed
Reading poetry in the hands of the educated, the people in the seal
the remains of a primitive culture discovered thrilled. Walter Scott
and the romantic movement procured her this fame. the
German literature has sought most eagerly to the old English
To assimilate balladry, and so are nine poets and scholars
mentioned, the comparison introduce the Raven ballad by translation
searched, well-known names such as EM Arndt, Willibald Alexis, Fontane,
less known and W. Gerhard, OLB Wolff, Rosa Warrens,
not known as Henriette Schubart, Zwicker, Knortz. the price
the relatively best Germanization falls Fontane, a very Adaequate
Power new style still awaits its creator. The Danish literature
has three representatives, Andersen, Grundtvig, Schaldemose. the initial
mentioned follow imitating Zeise and Otto Gildemeister. the Russian
Pushkin compresses the Scottish version to a pronounced
Art song. In this form it is in German literature by
Hoffmann von Faller life, Chamisso, Bodenstedtstraße, Lippert and Fiedler
of new input. The shape Pushkin Chamisso goes by Runeberg
to about Swedish. Germany is also here as a land of
Center, so far it is underexposed literary relations in all directions
holds. It accepts the Raven ballad through three different channels,
either directly from England or Russian or Danish
Mediation. This literary reincarnation of the old ballad certainly a sign of their intrinsic value.