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19th-century Dutch literature

From Wikipedia, the free encyclopedia

This article deals with literature written in Dutch during the 19th century in the Dutch-speaking regions (Netherlands, Belgium, Dutch East Indies).

The last years of the 18th century, which had seen decline in the Republic, including the arts and international politics, were marked by a general revival of intellectual force. The romantic movement in Germany made itself deeply felt in all branches of Dutch literature and German lyricism took the place hitherto held by French classicism, in spite of the country falling to French expansionalism (see also History of the Netherlands).

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Transcription

0CCUS 16 - Women in the 19th Century Hi, I’m John Green; this is CrashCourse U.S. history and today we’re going to talk about wonder women. Mr. Green, Mr. Green, finally we get to the history of the United States as seen through the lens of Marvel comic superheroes. Oh, Me from the Past, you sniveling little idiot. Wonder Woman is from the DC Universe. Also this is the study of history, which means a constant reexamination and redefinition of what it means to be a hero, and in the case of this episode, it’s about taking the first steps towards acknowledging that not all heroes worthy of historical recognition are men. So we’re going to talk about how women transformed pre-Civil War America as they fought to improve prisons, schools, decrease public drunkenness, and end slavery. And while fighting for change and justice for others, American women discovered that the prisoners, children, and slaves they were fighting for weren’t the only people being oppressed and marginalized in the American democracy. Intro So in the colonial era, most American women of European descent lived lives much like those of their European counterparts: They were legally and socially subservient to men and trapped within a patriarchal structure. Lower and working class women were actually more equal to men of their own classes, but only because they were, like, equally poor. As usual, it all comes back to economics. In general, throughout world history, the higher the social class, the greater the restrictions on women—although high class women have traditionally had the lowest mortality rates, which is one of the benefits of you know doors and extra lifeboats and whatnot. So at least you get to enjoy that oppression for many years. As previously noted, American women did participate in the American Revolution, but they were still expected to marry and have kids rather than, like, pursue a career. Under the legal principle of “coverture” actually husbands held authority over the person, property and choices of their wives. Also since women weren’t permitted to own property and property ownership was a precondition for voting, they were totally shut out of the political process. Citizens of the new Republic were therefore definitionally male, but women did still improve their status via the ideology of “Republican Motherhood.” Women were important to the new Republic because they were raising children—ESPECIALLY MALE CHILDREN—who would become the future voters, legislators, and honorary doctors of America. So women couldn’t themselves participate in the political process, but they needed to be educated some because they were going to potty train those who would later participate in the political process. What’s that? There were no potties? Really? Apparently instead of potties they had typhoid. Actually it was a result of not having potties. So even living without rights in a pottyless nation, the Republican Mother idea allowed women access to education, so that they could teach their children. Also women—provided they weren’t slaves--were counted in determining the population of a state for representation purposes, so that was at least an acknowledgement that they were at, like, five fifths human. And then the market revolution had profound effects on American women, too, because as production shifted from homes to factories, it shifted away from women doing the producing. This led to the so-called “cult of domesticity,” which like most cults, I am opposed to. That’s right, Stan, I’m opposed to the Blue Oyster Cult, The Cult, The Cult of Personality by In Living Color, and the three remaining Shakers. Sorry, Shakers. But who are we kidding? You’re not watching. You’re too busy dancing. The cult of domesticity decreed that a woman’s place was in the home, so rather than making stuff, the job of women was to enable their husbands to make stuff, by providing food and a clean living space, but also by providing what our favorite historian Eric Foner called “non-market values like love, friendship, and mutual obligation,” which is the way we talk about puppies these days. And indeed that’s in line with actual story titles from early 19th century American women’s magazines, like “Woman, a Being to Come Home To” and “Woman: Man’s Best Friend.” Oh, it’s time for the Mystery Document? I hope it’s from “Woman --- Man’s Best Friend.” The rules here are simple. I either get the author of the Mystery Document right...oh, hey there, eagle...or I get shocked. Let’s see what we’ve got. “Woman is to win everything by peace and love; by making herself so much respected, esteemed and loved, that to yield to her opinions and to gratify her wishes, will be the free-will offering of the heart. … But the moment woman begins to feel the promptings of ambition, or the thirst for power, her aegis of defense is gone. All the sacred protection of religion, all the generous promptings of chivalry, all the poetry of romantic gallantry, depend upon woman’s retaining her place as dependent and defenseless, and making no claims, and maintaining no right but what are the gifts of honor, rectitude and love.” Well it was definitely a dude and I have no idea which dude, so I’m just going to guess John C. Calhoun because he’s a bad person. No? Well, what can you do? It wasn’t a dude? It was apparently Harriet Beecher Stowe’s sister Catharine who was an education reformer and yet held all of those opinions, so aaaaAAAAH. So I assume Stan brought up Harriet Beecher Stowe’s sister to point out that it wasn’t just men who bought into the Cult of Domesticity. The idea of true equality between men and women was so radical that almost no one embraced it. Like, despite the economic growth associated with the market economy, women’s opportunities for work were very limited. Only very low paying work was available to them and in most states they couldn’t control their own wages if they were married. But, still poor women did find work in factories or as domestic servants or seamstresses. Some middle class women found work in that most disreputable of fields, teaching, but the cult of domesticity held that a respectable middle class woman should stay at home. The truth is, most American women had no chance to work for profit outside their houses, so many women found work outside traditional spheres in reform movements. Okay, let’s go to the Thought Bubble. Reform movements were open to women partly because if women were supposed to be the moral center of the home, they could also claim to be the moral conscience of the nation. Thus it didn’t seem out of the ordinary for women to become active in the movement to build asylums for the mentally ill, for instance, as Dorothea Dix was, or to take the lead in sobering the men of America. Many of the most famous advocates for legally prohibiting the sale of alcohol in the US were women, like Carry Nation attacked bars with a hatchet and not because she’d had a few too many. The somewhat less radical Frances Willard founded the Women’s Christian Temperance Union in 1874, which would be one of the most powerful lobbying groups in the United States by the end of the 19th century. And women gave many temperance lectures featuring horror stories of men who, rather than seeking refuge from the harsh competition of the market economy and the loving embrace of their homes, found solace at the bottom of a glass or at the end of a beer hose. And by the way, yes, there were bars that allowed you to drink as much beer as you could, from a hose, for a nickel. Today, these establishments are known as frat houses. These temperance lectures would tell of men spending all their hard earned money on drink, leaving wives and children—there were always children—starving and freezing, because in the world of the temperance lecture, it was always winter. Now don’t get me wrong: Prohibition was a disaster, because 1. Freedom, and 2. It’s the only time we had to amend the constitution to be like, “Just kidding about that other amendment,” but it’s worth remembering that back then people drank WAY more than we do now, and also that alcohol is probably a greater public health issue than some recreational drugs that remain illegal. But regardless, the temperance movement made a huge difference in American life because eventually, male and female supporters of temperance realized that women would be a more powerful ally against alcohol if they could vote. Thanks Thought Bubble. So, in 1928, critic Gilbert Seldes wrote that if prohibition had existed in 1800, “the suffragists might have remained for another century a scattered group of intellectual cranks.” And to quote another historian, “the most urgent reasons for women to want to vote in the mid-1800s were alcohol related: They wanted the saloons closed down, or at least regulated. The wanted the right to own property, and to shield their families’ financial security from the profligacy of drunken husbands. They wanted the right to divorce those men, and to have them arrested for wife beating, and to protect children from being terrorized by them. To do all these things they needed to change the laws that consigned married women to the status of chattel. And to change those laws, they needed the vote.” Many women were also important contributors to the anti-slavery movement, although they tended to have more subordinate roles. Like, abolitionist Maria Stewart was the first African American woman to lecture to mixed male and female audiences. Harriet Beecher Stowe wrote the terrible but very import ant Uncle Tom’s Cabin. Sarah and Angelina Grimke, daughters of a South Carolina slaveholder, converted to Quakerism and became outspoken critics of slavery. Sarah Grimke even published the Letters on the Equality of the Sexes in 1838, which is pretty much what the title suggests. By the way, Stan, you could have made Sarah Grimke’s letters the Mystery Document. I would have gotten that. But I want to say one more thing about Harriet Beecher Stowe. There’s a reason we read Uncle Tom’s Cabin in history classes and not in literature ones, but Uncle Tom’s Cabin introduced millions of Americans to the idea that African American people were people. At least in 19th century readers, Uncle Tom’s Cabin humanized slaves to such a degree that it was banned throughout most of the south. So many women involved in the abolitionist movement, when studying slavery, noticed that there was something a little bit familiar. Now, some male abolitionists, notably Frederick Douglass and William Lloyd Garrison became supporters of women’s rights, but ultimately the male leaders of the anti-slavery movement denied women’s demands for equality, believing that any calls for women’s rights would undermine the cause of abolition. And they may have had a point because slavery only existed in parts of the country whereas women existed in all of it. In fact, one of the arguments used by pro-slavery forces was that equality under the law for male slaves might lead to a slippery slope ending with, like, equality for WOMEN. And out of this emerging consciousness of their own subordinate position, the movement for women’s rights was born. The most visible manifestation of it was the issue of woman’s suffrage, raised most eloquently at the Seneca Falls Convention of 1848 where Elizabeth Cady Stanton, Lucretia Mott, Susan B. Anthony and many others wrote and published the Declaration of Sentiments, modeled very closely on the Declaration of Independence. Except, in some ways this declaration was much more radical than the Declaration of Independence because it took on the entire patriarchal structure. Okay, so there are three things I want to quickly point out about the 19th century movement for women’s rights. First, like abolitionism, it was an international movement. Often American feminists travelled abroad to find allies, prefiguring the later transatlantic movement of other advocates for social justice like Florence Kelley and W.E.B DuBois. Secondly, for the most part, like other reform movements, the women’s movement was primarily a middle-class or even upper class effort. Most of the delegates at Seneca Falls, for instance, were from the middle class. There were no representatives of, like, cotton mills, but this didn’t mean that 19th century feminists didn’t acknowledge the needs of working women. Like, Sojourner Truth, probably the most famous black woman abolitionist, spoke eloquently of the plight of working class women, especially slaves, since she’d been one until 1827. And other women recognized that women needed to be able to participate in the market economy to gain some economic freedom. Now, of course all the women who wrote about the moral evils of 19th century America or spoke out or took hatchets to saloons were doing what we would now recognize as work. But they were not being paid. Amelia Bloomer got paid, though, because she recognized that it was impossible for women to easily participate in economic activities because of their crazy clothes. So she popularized a new kind of clothing featuring a loose fitting tunic, trousers, and eponymous undergarments. But then Bloomer and her pants were ridiculed in the press and in the streets, and this brings up the third important thing to remember about the 19th century women’s movement. It faced strong resistance. Patriarchy, like the force, is strong, which is why Luke and Yoda and Darth Vader and Obi-Wan and whoever Samuel Jackson played...all dudes. By the way, why did they train Luke up and not Princess Leia who was cooler and had more to fight for and was less screwed up? Patriarchy. Many women’s rights advocates were fighting to overturn not just laws, but also attitudes. Some of those goals, such as claiming greater control over the right to regulate their own sexual activity and whether or not to have children were twisted by critics to claim that women advocated “free love.” It’s interesting to note that the United States ended slavery more than 50 years before it granted women the right to vote and that although much of the march towards equality between the sexes has been slow and steady, the Equal Rights Amendment, despite being passed by Congress, was never ratified. But by taking leading roles in the reform movements in the 19th century, not just when it came to temperance and slavery, but also prisons and asylums, women were able to enter the public sphere for the first time. And these great women changed the world for better and for worse, just as great men do. And along the way, they made “the woman question” part of the movement for social reform in the United States. And in doing so, American women chipped away at the idea that a woman’s place must be in the home. That might not have been a presidential election or a war, but it is still bringing real change to our real lives on a daily basis. Thanks for watching. I’ll see you next week. Crash Course is produced and directed by Stan Muller. Our script supervisor is Meredith Danko. The associate producer is Danica Johnson. The show is written by my high school history teacher Raoul Meyer, and myself. And our graphics team is Thought Café. If you want to suggest captions for the libertage, please do so in comments where you can also ask questions about today’s video that will be answered by our team of historians. Thanks for watching Crash Course and as we say in my hometown, don’t forget to be awesome...oh, lights! Everything’s fine.

The French era and the United Kingdom of the Netherlands (1795–1839)

Willem Bilderdijk.

Against this backdrop, the most prominent writer was Willem Bilderdijk (1756–1831), an intellectual and intelligent man whose outspoken and eccentric worldview was partly caused by an illness during his adolescence that kept him indoors for ten years. Once recovered he lived a busy, eventful life, writing great quantities of verse; in 1809 he started writing the work he designed to be his masterpiece, the epic De Ondergang der Eerste Wereld ("The Destruction of the First World"), which remained unfinished and appeared as a fragment only in 1820.

Bilderdijk had no time for the new romantic style of poetry, but its fervour found its way into the Netherlands nevertheless, and first of all in the person of Hiëronymus van Alphen (1746–1803). Van Alphen is best remembered for the verses he wrote for children, which are still taught in kindergartens all over the country. Van Alphen was an exponent of the more sentimental school along with Rhijnvis Feith (1753–1824), whose romances are steeped in Weltschmerz.

In Hendrik Tollens (1780–1856) some the power of Bilderdijk and the sweetness of Feith were combined. He is best known for celebrating the great deeds of Dutch history in a series of lyrical romances. Today, Tollens is best known for his poem "Wien Neêrlands Bloed" ("To Those in Whom Dutch Blood Flows Through the Veins"), a nationalistic effort that, set to music, was the Dutch national anthem until 1932, when it was superseded by Marnix' "Wilhelmus". A poet of considerable talent, whose powers were awakened by personal intercourse with Tollens and his followers, was Antoni Christiaan Wijnandt Staring (1767–1840). Staring first published at the age of fifty-three only, but continued to write till past his seventieth year. His poems are a blend of romanticism and rationalism.

During this period, the Low Countries had gone through major political upheaval. The Spanish Netherlands had first become the Austrian Netherlands before being annexed by France in 1794. The Republic, which had become a de facto monarchy in 1747 when the office of stadtholder became hereditary to the House of Orange-Nassau, saw a revolution inspired and backed by France that led to the Batavian Republic and Kingdom of Holland vassal states before actual French annexation in 1810. This transition period removed many old habits and institutions and provided for unitary government, the first constitution (1798) and uniform orthography (Matthias Siegenbeek's spelling).

After Napoleon's downfall in the Southern Netherlands village of Waterloo, the northern and southern provinces were briefly united as the United Kingdom of the Netherlands; this period lasted until 1830 only, when the southern provinces seceded to form Belgium. This period had little influence in literature, and in the new state of Belgium, the status of the Dutch language remained largely unchanged as all governmental and educational affairs were conducted in French.

Ministers, formalism and romanticism (1830–1880)

Nicolaas Beets (Hildebrand).

In scientific and religious literature men of letters showed themselves cognizant of the newest shades of opinion, and freely ventilated their ideas. The language resisted the pressure of German from the outside, and from within broke through its long stagnation and enriched itself, as a medium for literary expression, with a multitude of fresh and colloquial forms. At the same time, no very great genius arose in the Netherlands in any branch of literature. For the thirty or forty years preceding 1880 the course of literature in Holland was smooth and even sluggish. The Dutch writers had slipped into a conventionality of treatment and a strict limitation of form from which even the most striking talents among them could scarcely escape.

Poetry and a large part of prose was dominated by the so-called school of ministers, as the leading writers all were or had been Calvinist ministers. As a result, many of their products emphasized Biblical and bourgeois domestic values. Prime examples include Everhardus Johannes Potgieter (1808–1875, lyric poetry) and Nicolaas Beets (1814–1903), who wrote large quantities of sermons and poetry under his own name but is chiefly remembered today for the humorous prose sketches of Dutch life in Camera Obscura (1839), which he wrote during his student days under the pseudonym of Hildebrand.

A poet of power and promise was lost in the early death of P.A. de Genestet (1829–1861). His narrative poem "De Sint-Nicolaasavond" ("Eve of Saint Nicholas") appeared in 1849 and attained great popularity. Another poet who among others wrote verse for children was Jan Pieter Heije (1809–1876), whose songs are sung to this day. A poet who left no large contemporary impression but who is considered one of the very few readable 19th-century poets is Piet Paaltjens (ps. of François Haverschmidt, 1835–1894). Paaltjens personifies the pure Romantic vein exemplified in German literature by Heine and others. Criticism was best represented by W. J. A. Jonckbloet (1817–1885), who was the first to write a comprehensive history of Dutch literature (1870).

Hendrik Conscience.

Under the influence of romantic nationalism, writers in Belgium began to reconsider their Flemish heritage and move for a recognition of the Dutch language in both official affairs (including education) and literature. Charles De Coster laid the foundations for a native Belgian literature by recounting the Flemish past in historic romances but wrote his works, including his masterpiece Légende de Thyl Ulenspiegel et de Lamme Goedzak (1867) in French. Hendrik Conscience (1812–1883), himself the son of a Frenchman, was the first to write about Flemish subjects in the Dutch language and so is considered the father of modern Flemish literature. In Flemish poetry, Guido Gezelle (1830–1899) is an important figure. Gezelle, an ordained journalist-cum-ethnologist, celebrated his faith and his Flemish roots using an archaic vocabulary based on Medieval Flemish dialects to the detriment of his intelligibility beyond his native West Flanders.

E. Douwes Dekker (Multatuli).

After the restoration in 1815 to the Dutch state of the Dutch East Indies, former corporate Dutch East India Company possessions occupied by the United Kingdom during the Napoleonic era, works of literature continued to be produced there, among which the romances of Melati van Java (ps. of Nicolina Maria Christina Sloot, 1853–1927), which were widely read in both the Netherlands and Belgium. With the rise of social consciousness regarding the administration of the colonies and the treatment of their inhabitants, however, a far more influential voice rose from the Indies in the form of Multatuli (ps. of Eduard Douwes Dekker, 1820–1887), whose Max Havelaar (1860) is a scathing indictment of colonial mismanagement and one of the few 19th-century prose works still widely considered readable today. Although the Belgians had obtained colonial possessions in their own right with the Congo Free State/Belgian Congo, no Dutch-language literature was forthcoming as the territory was entirely Francophone.

The two leading Dutch men of letters in the mid-19th century besides Beets and Douwes Dekker were critics, Conrad Busken-Huet (1826–1886) and Carel Vosmaer (1826–1888). In Busken-Huet the principles of the 1830–1880 period were summed up; he had been during all those years the fearless and trusty watch-dog of Dutch letters as he understood them. He lived just long enough to become aware that a revolution was approaching, not to comprehend its character; but his accomplished fidelity to literary principle and his wide knowledge have been honoured even by the most bitter of the younger school.

The Movement of 1880

Jacques Perk.

In November 1881 Jacques Perk (born 1860) died, a young poet who had done no more than publish a few sonnets in a journal published by Vosmaer. He was no sooner dead, however, than his posthumous poems, and in particular a cycle of sonnets called "Mathilde", were published (1882) and awakened extraordinary emotion. Perk had rejected all the formulas of rhetorical poetry, and had broken up the conventional rhythms. There had been no music like his heard in Holland for two hundred years.

A group of young men collected around his name. They were joined by a poet-novelist-dramatist somewhat older than themselves, Marcellus Emants (1848–1923). Emants had written a symbolical poem called "Lilith" in 1879 that had been stigmatised as audacious and meaningless; encouraged by the admiration of his juniors, Emants published in 1881 a treatise in the form of a novel in which the first open attack was made on the old school.

The next appearance was that of Willem Kloos (1857–1938), who had been the editor and intimate friend of Perk, and who now undertook to lead the army of rebellion. His violent attacks on recognized authority in aesthetics began in 1882 and created a considerable scandal. For some time the new poets and critics found a great difficulty in being heard as all the channels of periodical literature were closed to them, but in 1884 the young school founded a review, De Nieuwe Gids ("The New Guide"), which was able to offer a direct challenge to De Gids ("The Guide"), the old guard's periodical. The new movement was called Tachtigers or "Movement of (Eighteen-)Eighty", after the decade in which it arose. The Tachtigers insisted that style must match content, and that intimate and visceral emotions can only be expressed using an intimate and visceral writing style.

In the same year 1884 a new element was introduced. Until now, the influences of the young Dutch poetry had chiefly come from the United Kingdom; they were those of Shelley, Mrs Browning, the Rossettis (Dante and Christina). The French naturalists now became an additional ingredient and for some time the new Dutch literature became a sort of mixture of Shelley and Zola, heady and bewildering. This was the great flowering moment of the new school.

Louis Couperus.

One of the most important Dutch novelists, Louis Couperus (1863–1923), had his roots in the Tachtigers movement. His boyhood years were spent in Java, and he had preserved in all his nature a certain tropical magnificence. His first literary efforts were lyrics in the Tachtigers style, but Couperus proved far more important and durable as a novelist and his earliest story, Eline Vere (1889) already took him out of the ranks of his contemporaries. In 1891 he published Noodlot, which was translated into English as Footsteps of Fate It was greatly admired by Oscar Wilde, whose The Picture of Dorian Gray is said to have been influenced by it. Couperus continued to pour out one important novel after another until his death in 1923. He separated himself, as he developed, from the more fanatical members of the Tachtigers group, and addressed himself to the wider public. Another talent for prose was revealed by Frederik van Eeden (1860–1932) in De kleine Johannes ("Little Johnny", 1887) and in Van de koele meren des doods ("From the Cold Pools of Death", 1901), a melancholy novel.

19th century

After 1887 the condition of modern Dutch literature remained comparatively stationary, and within the last decade of the 19th century was definitely declining. In 1889 a new poet, Herman Gorter (1864–1927) made his appearance with an epic poem called Mei ("May"), eccentric both in prosody and in treatment. He held his own without any marked advance towards lucidity or variety. Since the recognition of Gorter, however, no really remarkable talent has made itself prominent in Dutch poetry except P.C. Boutens (1870–1943), whose Verzen ("Verses") in 1898 were received with great respect.

Willem Kloos, still the acute and somewhat turbulent leader of the school, collected his poems in 1894 and his critical essays in 1896. The others, with the exception of Couperus, showed symptoms of sinking into silence. The entire school, now that the struggle for recognition was over, and its members were accepted as the mainstream, rested on its triumphs and soon limited itself to a repetition of its old experiments.

The leading dramatist at the close of the century was Herman Heijermans (1864–1924), a writer of strong realistic and socialistic tendencies who single-handedly brought Dutch theatre into the modern time. His Ghetto (1898) and Ora et labora (1901) particularly display his peculiar talent, while his fishermen's tragedy Op hoop van zegen ("Trusting Our Fate in the Hands of God"), which is still staged and has been filmed more than once [1], remains his most popular play.

See also

This page was last edited on 11 March 2024, at 13:35
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