Vondel's Lucifer Part 5

It was here that the literary genius of the Netherlands reached its highest efflorescence; nor has it ever again reached the sublime standard of those golden days.

Soon after being appointed Judge of Muiden, Hooft had rebuilt the old castle; and now it stood, a romantic structure, crowned with turrets and towers. It was picturesquely situated on an island in the centre of a small lake. A feudal drawbridge connected it with the outside world, and it was embowered in lofty trees and surrounded by gardens and orchards.

There is no more charming picture in literature than that of the aristocratic host of Muiden, with his handsome, intelligent face and his elegant manners, in the midst of his guests, the genius and the flower of the Netherlands--a scene rendered still more interesting by the presence of talented and beautiful women.

Here, beneath the shade of the spreading lindens and the n.o.ble beeches, they would lighten the heavy summer hours by games and conversation, and by the discussion of affairs of state.

Or, perhaps, too, they would listen to the cla.s.sic muse of the learned Barlaeus, or to the dramatic recitations of Daniel Mostert; or, occasionally,--O! inestimable privilege!--they would be thrilled by the powerful verses of the sublime Vondel, destined to become the greatest poet of his country. Here, also, they were often enchanted by the tender songs of the beautiful Tesselschade, the Dutch Nightingale, richly warbling her own deep notes, while her nimble fingers swept the guitar; or, perhaps, singing to the accompaniment of the celebrated Zweling, the first great composer of the Netherlands. Or it may be that another sweet singer, Francesca Duarte, would sometimes add her mellow tones to those delightful strains, while the distinguished company applauded with eloquent silence.

Here, too, before her apostasy to the Dort School, came the gentle Anna Visscher to read her n.o.ble rimes; while often, also, Vossius, the first Latinist of his age, and Laurens Reael, the renowned statesman, soldier, and erotic poet, would lend the dignity of their presence. Here, furthermore, came the young Huyghens, the most versatile of a versatile race, and one of the most celebrated wits and poets of his day.

The "Muider Kring" ("the Muiden circle"), as this salon is known in the literary history of the Netherlands, is yet the proudest boast and the perennial glory of Holland; for this was the Elizabethan era of Dutch literature. Hooft, as the social centre of a literary constellation, exerted, perhaps, even more influence upon his age by his magnetic personality than by his remarkable writings.

STRUGGLE AND ACHIEVEMENT.

It was amid such congenial surroundings that the genius of Vondel grew to maturity.

Soon after the satires of 1630, he translated Seneca's "Hippolytus,"

which he dedicated to Grotius. Grotius was still in exile, and the publisher of this translation, fearing the displeasure of the authorities, tore the dedication leaf out of every copy.

Vondel's next effort was the "Farmer's Catechism," which was full of a rollicking humor that, at the same time, was not without its sting.

Vossius, in his professional study at Leiden, laughed heartily upon reading it, and it occasioned much mirth among the Arminians, or Remonstrants, everywhere.

Some satirical poems of the same period were much keener, and unmercifully ridiculed the blunders of the government, the general extravagance, and the increase of avarice and ostentation among the citizens.

Shortly after this came his "Decretum Horribile," a powerful polemic against the Calvinistic doctrine of election and predestination as interpreted by the Gomarists. This savage attack on their belief filled the Ultra-Calvinists with rage, and caused the name of the poet to be execrated as the personification of infamy.

Hear his fierce outburst against the great Calvin himself:

"That monster dread that from a poison-chalice Pours out the drug of h.e.l.l in unctuous malice; And makes the gracious G.o.d a very fiend."

No wonder that in the eyes of these stern followers of Calvin he was himself a very devil, nor is it extravagant to say that he was hardly less feared by them than his Satanic majesty himself.

From every pulpit the Contra-Remonstrants hurled anathemas at the offending poet.

Not one of their gatherings from which his name did not rise to the throne of divine grace in clouds of execration. Not a preacher of the sect that did not call down the wrath of Jehovah upon the head of the blasphemer who had dared to mock the arrogant tenets of his exclusive faith.

Vondel, however, did not pause in his path one instant, answering their maledictions with stinging satire, and their abuse with overwhelming invective.

Yet it must not be thought that our poet was forever forging thunderbolts of satire at the blaze of his wrath. He also found time for the amenities of life; and thus we often find him in the companions.h.i.+p of those distinguished friends who contributed so much to his pleasure and his growth.

About this period the moribund Chamber of the Eglantine was merged into Coster's Academy, which now became the theatre of the city.

Shortly afterwards Vondel wrote his verses of welcome to Hugo Grotius upon his return from exile--verses full of severe condemnation of the party that had banished him. Then followed a song of triumph for the naval victories over the Spaniards, and several satires against the clergy, who were again fomenting restrictive measures against the freedom of conscience. All of these productions glowed with the fierce jealousy for personal liberty which had become the poet's ruling pa.s.sion; for his verse ever gave utterance to his dominant emotion. In his own words: "I needs must sing the song that fills my heart."

His "Funeral Sacrifice of Magdeburg" alone was free from this contentious spirit. This was a heroic poem in praise of Gustavus Adolphus, the bulwark of Protestantism, and his splendid victory over Tilly and Pappenheim at Leipsic--that terrible vengeance for the fearful sacking of Magdeburg!

In the beginning of 1632 the ill.u.s.trious Atheneum of Amsterdam was opened with imposing ceremonies, to which occasion Vondel contributed an excellent poem.

Not long afterwards, Grotius, on account of his too open opposition to his old enemies, was again banished from his fatherland. A price of two thousand guldens was set on his head, which gave Vondel cause for another trenchant pasquinade. He did not, however, dare to publish this, for fear of calling upon himself the same violence that his friend had escaped. Grotius himself wrote Vondel a letter of thanks for his interest in his behalf, adding that it could do no possible good to publish the poem, and that it would therefore be unwise for him to put himself into danger.

An elegy on the death of Count Ernest Casimir and an ode on the triumph of Maastricht saw the light, however, and were much admired by all parties of his countrymen.

Vondel now began his great epic, "Constantine." This poem had for its subject the journey of Constantine to Rome, and was intended to be complete in twelve books, after the model of Virgil's "aeneid." The poet had for several years been preparing himself for this immense undertaking by a thorough study, not only of the great epics of antiquity, but also of those of Ta.s.so and Ariosto.

Besides reading the various Church Fathers and the historians who had written on this period, he also entered into a correspondence concerning the subject with Grotius, who was much pleased to hear of his plan and who also gave him considerable information.

While Vondel was busy with his epic, his wife bore him a son, whom, in honor of his hero, he named Constantine. The child died, however, and not long afterwards the mother also. This terrible affliction cast a gloom over the life of the poet from which he never entirely emerged.

Full of pathos is his letter to Grotius stating his loneliness, and adding that all his interest in his epic had departed: "Since the death of my sainted wife, I have lost heart; so that I shall have to give up my great 'Constantine' for the present."

The poet was never able to resume this stupendous work. It was too suggestive of memories of a happiness forever lost. After keeping the ma.n.u.script by him for several years, with the vain hope that his interest might be reanimated, he at last destroyed it. It was thus that Dutch literature lost its greatest epic, a poem which would doubtless have added to the renown of the author, and reflected l.u.s.tre upon his country.

In 1635, Grotius, who was now the Swedish Amba.s.sador to France, published his Latin tragedy, "Sophompaneas," of which Joseph was the hero. Vondel, who was still in his shop in the Warmoesstraat, having laid the "Constantine" aside, and wis.h.i.+ng to employ his leisure time, made a Dutch rendering of this play, of which the author wrote Vossius as follows:

"I understand that Vondel hath done me the honor to put my 'Sophompaneas' with his own hand, that is to say, in his artistic manner, into our Holland tongue. I am under great obligations to him, because he, who is capable of so much better things than I, hath now, in his translation of my play, given his labor as a proof of his friends.h.i.+p."

Vondel, in translating, often sought the advice of his friends, saying, "Each judgment views the matter in a different light; and the judgment of one is poor beside the opinions of many." He also said that he found the work of translating serviceable to gain a knowledge of the technique, diction, thought, and peculiarity of an author. Moreover, he discovered that it not only kindled his imagination, but that it also suggested new thought, and was conducive to his own improvement in language and in form. For this reason he translated so many of the cla.s.sics, of which more will be said at the proper time.

The Academy having become too small for the public that now thronged to the theatre, Dr. Coster sold the building to the regents of the City's Orphan Asylum and of the Old Men's Home. The managers of these charitable inst.i.tutions, then, as an investment, built a new theatre in its place. Here, twice a week, plays were presented, with great profit to the management.

The new theatre was completed in 1637, and the first drama played on its stage was Vondel's fine tragedy, "Gysbrecht van Amstel." This play had as its subject the defeat of the old hero, Sir Gysbrecht, and his banishment from his native city, Amsterdam, soon after the death of Floris V.

This historical event was supposed to have occurred about Christmastide, and the drama was accordingly presented on New Year's Eve. The "Gysbrecht" is the most popular of all of Vondel's plays, and it is interesting to note that, from the night of its first presentation, two hundred and fifty years ago, until the present time, it has been presented every New Year's Eve on the stage of the theatre of Amsterdam.

Some of the situations in this drama are based upon various episodes in Virgil's "aeneid." One of the characters, also, is made to prophesy the future glory of the city; which, moreover, may easily be interpreted as prophetic of the grandeur of the greater "New Amsterdam" beyond the sea, a circ.u.mstance that should give it additional interest to Americans. The "Gysbrecht" was dedicated to Grotius, who acknowledged the honor as follows:

"Sir: I hold myself much beholden to you for your courtesy and your great kindness to me; for you, almost alone--at least there are but few besides you--in the Netherlands, seek to relieve my gloom and to reward my unrewarded services. I have always held your talents and your works in the highest esteem."

He then goes on to speak of the charming proportions of the play, and of the "verses, pithy, tender, heart-melting, and flowing." Then he continues: "The 'dipus Coloneus' of Sophocles and the 'Supplicants'

of Euripides have not honored Athens more than thou hast Amsterdam."

To Vossius, at Leiden, Grotius also wrote in a no less complimentary strain concerning this production.

We had the privilege of seeing this drama on the stage in Amsterdam one New Year's Eve a couple of years ago, and we confess that it was not until we heard the magnificent recitative of the superb Bouwmeester, the great tragedian of Holland, in this beautiful play, that we fully appreciated the grandeur and the sublimity of Vondel, and the power and the sweetness of the Dutch language.

Part of the Roman ceremonial, with its splendid ritual, is introduced into one of the scenes of the "Gysbrecht;" and this has been taken as foreshadowing Vondel's conversion to Catholicism. Naturally this gave offence to many of the bigots among the Calvinists, who saw in it only the glorification of popery.

Vondel then wrote a tragedy, "Messalina," which, however, he destroyed because some of the actors, while rehearsing their parts, through some advent.i.tious remark of the poet, had inferred that the play possessed a certain political significance, and that it was an allegory picturing forth some of the notables of the day, after the manner of the "Palamedes."

The poet fearing that it might breed mischief, and seeing that it was impossible to rectify the matter, since it had already become a subject of conversation among the actors, begged the parts of the three leading _roles_, pretending that he wished to make some important corrections.

Having obtained possession of these parts, he took good care to burn them, thus preventing the presentation of the play, and putting a stop to the silly chatter of the players.

ROME!

His next undertaking was the translation of the "Electra" of Sophocles, being aided in the work by Isaac Vossius, a son of the celebrated Leyden professor, who was himself also a profound scholar. As was usual with this poet, the translation of this tragedy was followed by one of his own, the drama of "The Virgins; or, Saint Ursula." This he dedicated to the city of his birth, Cologne; where, the legend says, a British princess, with eleven thousand other maidens, at the command of Attila, the ferocious Hun, suffered a martyr's death. This tragedy also received the praises of Grotius; and it may safely be said that no man of his time, with the possible exception of John Milton, was so capable of judging according to the rigid rules of the antique as Grotius. For besides being the most learned man of his age, an accomplished Grecian, and an unsurpa.s.sed Latinist, he was himself a poet of no mean order.

"The Virgins," notwithstanding its beauty and tenderness, was the cause of much sorrow to the friends of Vondel, in that it unmistakably showed the poet's inclination towards Romanism.