Page from Cotta's Morgenblatt für gebildete Stände, No.42 (1828) with translation of Karl August Nicander's poem Moskwa Text of first three stanzas: Napoleon in Moskau, von Nikander; übersezt von Amalie von Helwig. In des Kremels Rittersaale, Rurecks thurmgeschmück­tem Schloß Saß Napoleon, und dachte jener Zeit, die jüngst verfloß. Schrieb den Brief, drin Alexandern er zum Frieden bot die Hand, Bey dem Schein, der durch die Fenster leuchtete von Moskau's Brand, Weithin draußen in der Ebne wälzte sich ein Flammen­meer; Trug auf sturmempörten Wogen das Entsetzen vor sich her. Ueber hundert Tempeln wanken Feuersäulen, schon im Fall; Selbst der Himmel glüht, als schmölzen seine Sterne all. Aber näher wälzt der Brand sich, kreiset um den Kre­mel dicht, Und Napoleon bemerkt es, die Gefahr nur sieht er nicht; Nur des Bildes Größe fesselt seinen Blick, der drin versenkt; Doch, wer kennt die Welt des Innern, die sein Sinnen lenkt? Source: https://www.digitale-sammlungen.de/en/view/bsb10531696?page=173

Painting by Vasily Vereshchagin [В. В. Верещагин (1842-1904)]: The Kremlin is on fire! Russian Title: «В Кремле — пожар!» from a series Napoleon I in Russia dated 1887—1898. Oil on canvas Napoleon I is seen - full figure with characteristic attitude, holding his aching stomach, hat, white uniform and brown thick coat - from the left side, half turning away from us spectators. He seems to stand on the battlement of the Kremlin - in the background some ghost-like wall of the Kremlin fortifications is seen. The wall to his right limits the field of vision for us, while Napoleon peers out through the parapet. Behind the crenellated wall, a fire rages with. But we see only some eerie red shine and smoke. Behind Napoleon a few high officers from his entourage - gold-laced dark-blue military coats, white breeches, black boots, being proud as fighter cocks. On the tiled flower - cast in the same hellish red light - at Napoleon's feet there is smouldering rubble, and some debris. Source: https://commons.wikimedia.org/wiki/File:Napoleon_watching_the_fire_of_Moscow_01.jpg

Romantic Landscapes (26.1/n)
#Moscow #Nicander #AvHelvig #AvImhoff #RomanticLandscapes

A translation of Nicander's poem by Amalie von Helvig, nee Anna Amalie von Imhoff appears in 1828.

I en riddarsal på Kremlin, Rureks tornbeprydda slott, Satt Napoleon och tänkte på de tider, som förgått: Skref ett bref till Alexander, der han böd sin hand till fred, Vid det sken, som Moskwabranden genom fönstren spred. Utanför ett haf af flammor vältrade kring nejden fram, På hvars stormupprörda vågor Fasan som en drake samm. Re'n tvåhundra tempel darra, med en eldstod i sin topp: Himlen sjelf, med sina stjernor, tyckes smälta opp. Närmre, närmre hvälfves branden, nalkas Kremlin mer och mer, Och Napoleon det märker; faran blott han icke ser. Taflans prakt hans öga fjettrar. Hvem kan veta, hvad han tror, Hvilken verld af djupa tankar i hans inre bor? Karl August Nicander from 'Moskwa' Source: Samlade Dikter. 2 K. A. Nicander Stockholm : Bonnier(1840) https://www.digitale-sammlungen.de/en/view/bsb10038789?page=191 [In the knight's hall at the Kremlin, Rurek's tower-adorned castle, Napoleon sat and thought recent past: He wrote a letter to Alexander, offering his hand in peace. In the light cast by Moscow’s fire through the windows. Outside, a sea of flames rolled through the city With stormy waves spreading terror as a raging dragon. Two hundred temples trembled in flames up to their tops: The sky itself, with its stars, seemed to be melting. Closer and closer the fire encroaching Kremlin ever and ever more, Napoleon apprehending it, only he did not see the danger. Its radiance captures his eye. Who can know what he thought, What world of deep thought dwelled in him?]

Painting by A. Smirnov (Смирнов А.Ф.) Fire of Moscow in 15-18 September, 1812, after Napoleon takes the city dated 1813 Source: https://commons.wikimedia.org/wiki/File:Fire_of_Moscow_1812.jpg

Romantic Landscapes (26)
#Moscow #Nicander #RomanticLandscapes

The Fire of Moscow 1812 after the Grande Armee had taken the city was a major catastrophe of the romantic era. Remarkably, the swedish poet K.A. Nicander focuses on Napoleon as a tragic hero.