Johann Gottfried Herder (1744–1803) collected texts from all over Europe and began printing them for the first time in 1775 under the title Alte Volkslieder , which he discontinued after the first sheet. He coined the term folk song as early as 1771. In 1778 and 1779 the collection was then published under the name folk songs . After his death in 1807 a second version was published under the name Voices of the Peoples in Songs . Herder's definition of folk song is not congruent with today's definition of a folk song, as it does not communicate any melodies and shows formal freedom. Many songs are legends from other countries. B. also quotes and songs from Shakespeare and other well-known poets in the collection, for example one by Martin Opitz. With the voices of the peoples in songs , Herder became the "initiator of German folk song research".
At Herder, the songs don't have to be old and anonymous to be considered folk songs. Although from different countries, they are all communicated in German. In addition to the western countries, Herder was particularly interested in the eastern countries such as Estonia , Lithuania and Poland (Christel Käschel). Herder was dependent on other translators. In 1771 he met the young Goethe , whose future work he influenced. Goethe's poem Sah ein Knab ein Röslein (Heidenröslein) is part of Herder's collection. Käschel writes that Goethe was on a creative break at the time and was exhausted. In this situation he was positively influenced by the encounter with Herder.
“Voices of the peoples in songs” is a name that the first edition of Herder's song collection did not yet have. This name was only used after his death, in the second edition by Johann von Müller. The name suggests that songs from all sorts of countries are included in this collection, each representing the national voice of their people. Herder was the first to publish a large number of German folk songs . With the 27 songs from the German-speaking areas contained in the collection, he was one of the first to create a sense of nationality in Germany.
The differences in the two editions
The first edition was published in 1778/79. However, there was a different division than the current one, which follows the second edition from 1807. This was only published by Johann von Müller after Herder's death. There are thus two traditions of transmission: one after the first edition (1778/79) and the one after the second edition. According to Käschel, the edition from 1807 is the most frequently used edition, but it uses the original compilation from 1778/79. Also Marquardt uses the second edition. The differences can be clearly seen. While one edition is thematically divided, the second edition is divided according to country and therefore no longer corresponds to Herder's intention.
Distribution of the various expenses
The Käschel edition has 370 pages (194 songs) of text, the Marquardt edition only 282 pages (107 songs). This can partly be attributed to the different production methods, which may cause the different scope.
Both editions contain texts that are not contained in the other edition. The edition of 1807 contains 25 pieces that were not originally included in Herder's collection from 1778/79. This collection from 1778/79 contains 169 songs compared to 107 songs. 25 of the 107 songs have been added. It follows that 83 songs are old. These 83 songs compared to the 169 means that about half of the songs are not included in Müller's collection. For this he added the 25 mentioned songs. There are a total of 194 songs that belong to the collection Voices of the Nations in Songs. Käschel illustrates this well in the appendix. It uses the original classification from Herder, whereas Marquardt uses the new classification from Müller.
expenditure
Folk songs.
First part. Weygand, Leipzig 1778 ( digitized in the Google book search).
Second part. Weygand, Leipzig 1779 ( digitized in the Google book search).
Voices of the peoples in songs. Edited by Johann von Müller. In: Johann Gottfried von Herder's entire works . Eighth part. Cotta, Tübingen 1807 ( digitized in the Google book search).
Johann Gottfried Herder: Voices of the Nations in Songs. A selection. With 35 etchings by Josef Hegenbarth , Berlin 1978.
Johann Gottfried Herder: Voices of the Nations in Songs. Edited by Christel Käschel, Leipzig 1968.
↑ See the epilogue by Käschel zu Herder: Voices of the Nations in Songs, p. 365.
↑ Epilogue to Johann Gottfried Herder: Voices of the Nations in Songs , Leipzig 1968, p. 365.
^ Johann Gottfried Herder: Voices of the peoples in songs. A selection. With 35 etchings by Josef Hegenbarth , Berlin 1978, p. 273.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, p. 376.
^ Johann Gottfried Herder: Voices of the peoples in songs. A selection. With 35 etchings by Josef Hegenbarth , Berlin 1978.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 9–151.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 9-55.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 56-105.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 106–151.
↑ p. 150 Romance makers and folk poets: Herder ironically quotes a song from Shakespeare "Heinrich V.", Part I, 3rd act, 2nd appearance, based on Schlegel's translation "Shakespeare's dramatic works" (1997–1810)
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 171–335.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 171-213.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 213-268.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 213-221.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 221-268.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 269-335.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 339-364.
^ Johann Gottfried Herder: Voices of the peoples in songs. Christel Käschel (ed.), Leipzig 1968, pp. 339-364.
Herder's comments
↑ Shakespeare has this splendid song in his "Meas. Fo Mesure", Act. IV, Sc. I needed, but who can translate it? "Meas. For Measure" - Shakespeare comedy " Measure for Measure ", 1604. Johann Gottfried Herder: Voices of the peoples in songs. Edited by Hans Marquardt , Leipzig 1978, p. 285.
↑ From Shakespeare's "Cymberl.", Act. II, Sc. 3. It is like the previous ones. "Cymbel" - Shakespeare fairy tale game "Cymbeline" Johann Gottfried Herder: Voices of the peoples in songs. Edited by Hans Marquardt , Leipzig 1978, p. 285.
^ "As you like it" Act. II, Sc. 10. Besides the context of the romantic forest, these songs must of course lose. "As you like it" - Shakespeare comedy "As you like it", 1599/1600. Footnote from Johann Gottlieb Fichte: Voices of the Nations in Songs, edited by Hans Marquardt, Berlin, 1978, p. 287.
↑ ('Cymbel.'Act. IV, Sc.5.) It sounds like the last dull throw of the crypt earth on the constricted coffin.
↑ The following footnotes are Herder's explanations of his work.
From the mouth of the people in Alsace. The melody is sad and touching; almost a hymn in simplicity.
↑ From the "Reliqu. Of. Anc. English Poetry", Vol. II, p. 141. It is already in the "N. Bibl. Der sch. Wiss.", T.2, St 1, and me [Herder ] otherwise has been translated. Voices of the peoples in songs afterword by Käschel p. 380.
↑ The Lithuanian Dainos that appear in this part were [given] to the collector by Mr. P. [roffessor Johann Gottlieb] K. [Reutzfeld] in K. [önigsfeld]. Voices of the peoples in songs afterword by Käschel p. 380.
↑ The melody has the lightness and solemnity of an evening song, as if under the light of the stars, and the Alsatian dialect admirably joins the vibrations of the same, just as in all folk songs many are lost with the living song. The content of the song is a bold and terribly continuing plot: a small lyrical painting, such as Othello is a huge, large fresco. The beginning of the song is a favorite part of several folk songs. One of the twelve songs recorded by Goethe in Alsace. Voices of the Nations in Songs Afterword by Käschel p. 381.
↑ From the "Reliqu. Off aanc. Poetr.", Vol I, p. 342. The beautiful romance has already been translated three times that I wish it would now appear for the last time. In English it is only an imitation, the Spanish original. Voices of the peoples in songs Afterword by Käschel p. 381.
↑ Taken from the "Hist. De las guerras civieles de Granada" and added here for comparison. Voices of the peoples in songs Afterword by Käschel p. 381.
↑ are from this source, p. 45b, p. 51, p. 53 all in a sense a continuation of a story. The Spanish romances are the simplest, oldest and the origin of all romances.
"Hist. De las guerra civiles de Granada": "Historia de los Vandos de los Cegries y evening cerrages etc.": Arabic collection, translated into Spanish by Perez de Hita; Herder used to cite it as "Hist de las guerras de Granada".
↑ The melody is appropriate to the content, light and longing.
↑ “The original is in the relic. Vol. II. P. 194. under the title: Lady Anne Bothwell's lament, and is, like the most beautiful lyric pieces of all ages and languages, an expression of a true feeling. It seems to me that in this piece you see the abandoned mother hanging over the cradle, looking at the fatherly features on the child's face, crying and comforting himself with it ”. Johann Gottfried von Herder, Johannes Daniel Falk: Folksongs, Volume 2 . Weygandsche Buchhandlung, 1825, p. 437. ( digitized version )
↑ From Ramsay's "Tea-Table Miscell.", Vol. II, p. 213. It has already been translated into Ursinus' Ballads (pp. 130–135). "Tea-Table Miscellany.": Collection of Scottish songs, published in 1724 by Allan Ramsay (1686–1758) under the title "Tea-Table Miscellany".
↑ From Ramsay's "Tea-Table Miscell.", Vol. II, p. 25. Also translated into Ursinus (pp. 120–123)
↑ It lost a lot because I had to transplant it from its honest, strong, naive folk dialect into dear High German, although I didn't change anything as much as possible. The song is by Simon Dach and is in the fifth part of Albert's arias for singing and playing. Königsb. 1648. 52. Fol.
↑ From an English collection of songs and ballads with the title: "Wit and mirth or pills to purge Melancholy", Vol. II, Lond. 1712. This time it is on p. 129 with its melody under the name: a riddle wittily expounded.
↑ That's why. Vol.– I don't know which one of the five.
↑ You can feel that the romance is new. It is from Tikel (see "Reliqu.", T. III, p. 234) and was otherwise published under the title "Hannchen und Lukas". I had to leave out the first two stanzas and otherwise simplified them as I was able to in order to rob her of the superfluous Tickelian beauties; I don't think she lost it.
↑ From Eckard's "Hist. Stud. Etymol. Ling. German." Hannov. 1711, pp. 269-73. This song was also inserted by Goethe von Goethe, as the final song, in his singspiel "Die Fischrin".
↑ ("Reliqu.", T. I, p. 35.) A horrible fairy tale, the legend of which once cost so many Jews land and lives. The murderous and night sounds of the original are almost untranslatable. P. 384.
↑ ("Reliqu.", Vol III, p. 119.) If in this and similar songs the number of syllables overflows the verse and, as it were, floods the translation, the mistake is probably not that one does not have four feet and eight Could count syllables or could have found them together with chaste, cute rhymes, but because the original would have lost everything in the tone and process. If you don't like this old romance, read the newer one below. P. 384.
↑ From "Fortis Osservazioni sopra l'isola di Cherso ed Osero", Venet. 1771, 4, according to his Italian translation there p. 162. Morlacken: South Slavic tribe in northern Dalmatia, Yugoslav landscape. P. 384.
↑ The melody light and rising like a lark; the dialect swings after him in its amalgamation of words; Of which, of course, there is little left on paper with letters. P. 384.
↑ ("Reliqu." Vol. III, p. 143.) An old song and how full of expression of true feeling! Arhur's seat is a hill near Edinburgh: St. Antonsbrunn is on him, a romantic area like so many in Scotland. P. 385.
↑ Shakespeare has this excellent song in his "Meas. For measures", Act. IV, Sc. 1 needed, but who can translate it? "Meas. For measure": Shakespeare's comedy "Measure for measure", 1604.
↑ From Shakespeare's "Cymbel.", Act. II, Sc. 3. It is like the previous one. "Cymbel." : Shakespeare's fairy tale " Cymbeline ", 1609.
↑ From Shakespeae's "Tempest." Act. V, Sc. 3, Act I, Sc. 5. Besides the translation, it is also in the Bibl. W., T. 4, p. 646. - In the original there is a magic tone like from a world of other beings. "Tempest": Shakespeare's fairy tale " The Tempest ", 1611. p. 385.
↑ See the "Kiämpe-Viiser", Koppenha. 1739, p. 160. Also "Letters over Merkw. Der Liter.", B. 1, p. 110. The magic of the original is untranslatable.
↑ From Hickes "Thesaur. Lingu. Septentr.", PI, p193–195, who took it from the Havararsaga ". Mistakes in this and other languages of the kind where they should appear will be forgiven by better connoisseurs, because the translator will not be able to years of study and these ancient pieces are obscure even to native scholars. Hickes "Thesaur lingu. Sepentr. ":" Linguarum veterum septentrionalium Thesaurus grammatico-criticus et archaeologicus ", Oxford 1705. Meyer's classic editions, Herder's works, Leipzig and Vienna undated, obtained from Thedor Mathias, points out in this (2nd vol. P. 507 ff.) And other Nordic songs refer to some of these inaccuracies in the transmission that Herder himself announced. Pp. 385–386.
↑ In "Barrtholin. Causs. Contemt. Mort.", Pp. 522-528 it is incomplete and in Mllets "Mythol. Der Nordvölker" badly mutilated. The "Norwegaga" has it all, from which I once copied it; but I don't have them to hand to quote. "Bartholin": Thomas Barthilini Antiquitatum de causis contemptae a Dani adhuc gentibilibus mortis libri III. ", Havn. 1689.
↑ From Shakespeare's " Othello ", Act 4.5. P. 391.
↑ (Shakespeare's "twelfth-Nigt, Act. II, Sc. 5.) " Twealft-Night ": Shakespeare's comedy" Was ihr wollt ", 1600.
