Chapter XIX: Part 19

Above all the others, Pushkin (1799-1835) must be considered as the representative of Russian poetry in the nineteenth century. He was in the service of the government, when an ode "to Liberty," written in too bold a spirit, induced Alexander I. to banish him from St. Petersburg. The Emperor Nicholas recalled him, and became his patron. Though by no means a mere imitator, his poetry bears strong marks of the influence of Byron.

Lermontoff (d. 1841) was a poet and novelist whose writings, like those of Pushkin, were strongly influenced by Byron. Koltsoff (d. 1842) is the first song writer of Russia, and his favorite theme is the joys and sorrows of the people. Through the influence of Pushkin and Gogol (d. 1852), Russian literature became emancipated from the classic rule and began to develop original tendencies. Gogol in his writings manifests a deep sentiment of patriotism, a strong love of nature, and a fine sense of humor.

The Russians have few ballads of great antiquity, and these rarely have any reference to the subjects of the heroic prose tales which are the delight of Russian nurseries, the favorite subjects of which are the traditions of Vladimir and his giant heroes, which doubtless once existed in the form of ballads. The Russians have ever been a _singing_ race. Every festival day and every extraordinary event has its accompanying song. Though these songs have been modernized in language and form, that they date from the age of paganism is evident from their frequent invocations of heathen deities and allusions to heathen customs. Allied to these songs are the various ditties which the peasant girls and lads sing on certain occasions, consisting of endless repetitions of words or syllables; yet through this melodious tissue, apparently without meaning, sparks of real poetry often shine.

The Russian songs, like the language, have a peculiar tenderness, and are full of caressing epithets, which are often applied even to inanimate objects. Russian lovers are quite inexhaustible in their endearing expressions, and the abundance of diminutives which the language possesses is especially favorable to their affectionate mode of address. With this exquisite tenderness of the love-song is united a pensive feeling, which, indeed, pervades the whole popular poetry of Russia, and which may be characterized as _melancholy musical_, and in harmony with the Russian national music, the expressive sweetness of which has been the admiration of all foreign composers to whom it has been known.

In the rich and fertile steppes of the Ukraine, where every forest tree seems to harbor a singer, and every blade of grass on the boundless plains seems to whisper the echo of a song, this pensive character of Russian poetry deepens into a melancholy that finds expression in a variety of sweet elegiac melodies. A German writer says of them, "they are the sorrows of whole centuries blended in one everlasting sigh." The spirit of the past indeed breathes through their mournful strains. The cradle of the Kozak was rocked to the music of clashing swords, and for centuries the country, on both banks of the Dnieper to the northwestern branch of the Carpathian Mountains, the seat of this race, was the theatre of constant warfare. Their narrative ballads, therefore, have few other subjects than the feuds with the Poles and Tartars, the Kozak's parting with his beloved one, his lonely death on the border or on the bloody field of battle.

These ballads have sometimes a spirit and boldness which presents noble relief to the habitual melancholy of this poetry in general. Professional singers, with a kind of guitar in their hand, wander through the country, sure to find a willing audience in whatever village they may stop. Their ballads are not confined to the scenes of their early history, but find subjects in the later wars with the Turks and Tartars, and in the campaigns of more modern times; they illustrate the warlike spirit, as well as the domestic relations of the Kozaks, and their skill in narrative, as well as their power of expressing in lyric strains the unsophisticated emotions of a tender heart.

The poets of the present age exercise little or no influence on a society distracted and absorbed by the political questions of the day.

Although the history of Russia is rich in dramatic episodes, it has failed to inspire any native dramatist. Count Tolstoi has been one of the most successful writers in this line, but, with great merits, he has the fault common to the Russian drama in general, that of great attention to the study of the chief character, to the neglect of other points which contribute to secure interest.

4. LITERATURE IN RUSSIA SINCE THE CRIMEAN WAR.--After the Crimean War, in 1854, the Russian government took the initiative in an onward movement, and by the abolition of serfdom the country awoke to new life. In literature this showed itself in the rise of a new school, that of Nature, in which Turgenieff (1818-1883) is the most prominent figure, a place which he still holds in contemporary Russian literature. The publication of his "Diary of a Sportsman" first made the nobility of Russia aware that the serf was a man capable of feeling and suffering, and not a brute to be bought and sold with the soil, and this work was not without its effect in causing the emancipation. No writer has studied so faithfully and profoundly the Russian peasant and better understood the moral needs of the time and the great questions which agitate it.

Within the last twenty years the new theory of Nihilism has begun to find expression in literature, particularly in fiction. Rejecting all authority in religion, politics, science, and art, this school is the reaction from long ages of oppression. The school of nature lent itself to this new movement until at last it reached the pessimistic standpoint of Schopenhauer.

Of late, the ultra-realistic school has appeared in Russia, the writers of which devote themselves to the study of a low realism in its most repulsive aspects. While it boasts of not idealizing the peasant, like Turgenieff and others, it presents him in an aspect to excite only aversion. Art being thus excluded, and the school having neither authority, principle, nor object, whatever influence it may have cannot but be pernicious.

SCIENCE.--In mathematics and in all the natural sciences Russia keeps pace with the most advanced European nations. In chemistry Mendeleéff formulated the theory relating to atoms and their chemical properties and relations, not then discovered to be the law by which they were governed, as later experiments proved.

THE SERVIAN LANGUAGE AND LITERATURE.

The Servian alphabet was first fixed and the language reduced to certain general rules only within the present century. The language extends, with some slight variations of dialect, and various systems of writing, over the Turkish and Austrian provinces of Servia, Bosnia, Herzegovina, Montenegro, and Dalmatia, and the eastern part of Croatia. The southern sky, and the beauties of natural scenery that abound in all these regions, so favorable to the development of poetical genius, appear also to have exerted a happy influence on the language. While it yields to none of the other Slavic dialects in richness, clearness, and precision, it far surpasses them all in euphony.

The most interesting feature of the literature of these countries is their popular poetry. This branch of literature still survives among the Slavic race, particularly the Servians and Dalmatians, in its beauty and luxuriance, while it is almost extinct in other nations. Much of this poetry is of unknown antiquity, and has been handed down by tradition from generation to generation. From the gray ages of paganism it reaches us like the chimes of distant bells, unconnected, and half lost in the air. It often manifests the strong, deep-rooted superstitions of the Slavic race, and is full of dreams, omens, and forebodings; witchcraft, and a certain Oriental fatalism, seeming to direct will and destiny. Love and heroism form the subject of all Slavic poetry, which is distinguished for the purity of manners it evinces. Wild passions or complicated actions are seldom represented, but rather the quiet scenes of domestic grief and joy. The peculiar relation of brother and sister, particularly among the Servians, often forms an interesting feature of the popular songs. To have no brother is a misfortune, almost a disgrace, and the cuckoo, the constant image of a mourning woman in Servian poetry, was, according to the legend, a sister who had lost her brother.

This poetry was first collected by Vuk Stephanovitch Karadshitch (b. 1786), a Turkish Servian, the author of the first Oriental Servian grammar and dictionary, who gathered the songs from the lips of the peasantry. His work, published at Vienna in 1815, has been made known to the world through a translation into German by the distinguished authoress of the "Languages and Literature of the Slavic Nations," from which this brief sketch has been made. Nearly one third of these songs consist of epic tales several hundred verses in length. The lyric songs compare favorably with those of other nations, but the long epic extemporized compositions, by which the peasant bard, in the circle of other peasants, in unpremeditated but regular and harmonious verse, celebrates the heroic deeds of their ancestors or contemporaries, have no parallel in the whole history of literature since the days of Homer.

The poetry of the Servians is intimately interwoven with their daily life. The hall where the women sit spinning around the fireside, the mountain on which the boys pasture their flocks, the square where the village youth assemble to dance, the plains where the harvest is reaped, and the forests through which the lonely traveler journeys, all resound with song. Short compositions, sung without accompaniment, are mostly composed by women, and are called female songs; they relate to domestic life, and are distinguished by cheerfulness, and often by a spirit of graceful roguery. The feeling expressed in the Servian love-songs is gentle, often playful, indicating more of tenderness than of passion. In their heroic poems the Servians stand quite isolated; no modern nation can be compared to them in epic productiveness, and the recent publication of these poems throws new light on the grand compositions of the ancients. The general character of these Servian tales is objective and plastic; the poet is, in most cases, in a remarkable degree _above_ his subject; he paints his pictures, not in glowing colors, but in prominent features, and no explanation is necessary to interpret what the reader thinks he sees with his own eyes. The number and variety of the Servian heroic poems is immense, and many of them, until recently preserved only by tradition, cannot be supposed to have retained their original form; they are frequently interwoven with a belief in certain fanciful creatures of pagan superstition, which exercise a constant influence on human affairs. The poems are often recited, but most frequently sung to the music of a rude kind of guitar. The bard chants two lines, then he pauses and gives a few plaintive strokes on his instrument; then he chants again, and so on. While in Slavic poetry generally the musical element is prominent, in the Servian it is completely subordinate. Even the lyric poetry is in a high degree monotonous, and is chanted rather than sung.

Goethe, Grimm, and "Talvi" drew attention to these songs, many translations of which were published in Germany, and Bowring, Lytton, and others have made them known in England.

At present there is much intellectual activity among the Servians in various departments of literature, tragedy, comedy, satire, and fiction, but the names of the writers are new to Europeans, and not easily remembered.

THE BOHEMIAN LANGUAGE AND LITERATURE.

John Huss, Jerome of Prague, Tycho Brahe, Kepler, Comenius, and others.

The Bohemian is one of the principal Slavic languages. It is spoken in Bohemia and in Moravia, and is used by the Slovaks of Hungary in their literary productions. Of all the modern Slavic dialects, the Bohemian was the first cultivated; it early adopted the Latin characters, and was developed under the influence of the German language. In its free construction, the Bohemian approaches the Latin, and is capable of imitating the Greek in all its lighter shades.

The first written documents of the Bohemians are not older than the introduction of Christianity into their country; but there exists a collection of national songs celebrating battles and victories, which probably belongs to the eighth or ninth century. During the eleventh and twelfth centuries the influence of German customs and habits is apparent in Bohemian literature; and in the thirteenth and fourteenth this influence increased, and was manifest in the lyric poetry, which echoed the lays of the German Minnesingers. Of these popular songs, however, very few are left.

In 1348 the first Slavic university was founded in Prague, on the plan of those of Paris and Bologna, by the Emperor Charles IV., who united the crowns of Germany and Bohemia. The influence of this institution was felt, not merely in the two countries, but throughout Europe.

The name of John Huss (1373-1415) stands at the head of a new period in Bohemian literature. He was professor at the university of Prague, and early became acquainted with the writings of Wickliffe, whose doctrines he defended in his lectures and sermons. The care and attention he bestowed on his compositions exerted a decided and lasting influence on the language. The old Bohemian alphabet he arranged anew, and first settled the Bohemian orthography according to fixed principles. Summoned to appear before the council of Constance to answer to the charges of heresy, he obeyed the call under a safe-conduct from the Emperor Sigismund. But he was soon arrested by order of the council, condemned, and burned alive.

Among the coadjutors of Huss was Jerome of Prague, a professor in the same university, who in his erudition and eloquence surpassed his friend, whose doctrinal views he adopted, but he had not the mildness of disposition nor the moderation of conduct which distinguished Huss. He wrote several works for the instruction of the people, and translated some of the writings of Wickliffe into the Bohemian language. On hearing of the dangerous situation of his friend he hastened to Constance to assist and support him. He, too, was arrested, and even terrified into temporary submission; but at the next audience of the council he reaffirmed his faith, and declared that of all his sins he repented of none more than his apostasy from the doctrines he had maintained. In consequence of this avowal he was condemned to the same fate as his friend.

These illustrious martyrs were, with the exception of Wickliffe, the first advocates of truth a century before the Reformation. Since then, in no language has the Bible been studied with more zeal and devotion than in the Bohemian. The long contest for freedom of conscience which desolated the country until the extinction of the nation is one of the great tragedies of human history.

The period from 1520 to 1620 is considered the golden age of Bohemian literature. Nearly two hundred writers distinguished the reign of Rudolph I. (1526-1611), and among them were many ladies and gentlemen of the court, of which Tycho Brahe, Kepler, and other scientific men, from foreign countries, were the chief ornaments. Numerous historical works were published, theology was cultivated with talent and zeal, the eloquence of the pulpit and the bar acquired a high degree of cultivation, and in religious hymns all sects were equally productive.

The triumph of the Catholic party, which followed the battle of the White Mountain, near Prague (1620), gave a fatal blow to Bohemia. The leading men of the country were executed, exiled, or imprisoned; the Protestant religion was abolished, and the country was declared a hereditary Catholic monarchy. The Bohemian language ceased to be used in public transactions; and every book written in it was condemned to the flames as necessarily heretical. Great numbers of monks came from southern Europe, and seized whatever native books they could find; and this destruction continued to go on until the close of the last century.

Among the Bohemian emigrants who continued to write in their foreign homes, Comenius (1592-1691) surpassed all others. When the great persecution of the Protestants broke out he fled to Poland, and in his exile he published several works in Latin and in Bohemian, distinguished for the classical perfection of their style.

In the latter part of the eighteenth century the efforts to introduce into Bohemia the German as the official language of the country awoke the national feeling of the people, and produced a strong reaction in favor of their native tongue. When the tolerant views of Joseph II. were known, more than a hundred thousand Protestants returned to their country; books long hidden were brought to light, and many works were reprinted. During the reign of his two successors, the Bohemians received still more encouragement; the use of the language was ordained in all the schools, and a knowledge of it was made a necessary qualification for office. Among the writers who exerted a favorable influence in this movement may be mentioned Kramerius (1753-1808), the editor of the first Bohemian newspaper, and the author of many original works; Dobrovsky (1753-1829), the patriarch of modern Slavic literature, and one of the profoundest scholars of the age; and Kollar (b. 1763), the leading poet of modern times in the Bohemian language. Schaffarik (b. 1795), a Slovak, is the author of a "History of the Slavic Language and Literature," in German, which has, perhaps, contributed more than any other work to a knowledge of Slavic literature. Palacky, a Moravian by birth, was the faithful fellow- laborer of Schaffarik; his most important work is a "History of Bohemia."

Since 1848 there has arisen a school of poets whose writings are more in accordance with those of the western nations. Among them are Hálek (d. 1874) and Cech, the most celebrated of living Bohemian poets. Caroline Soêtla (b. 1830) is the originator of the modern Bohemian novel. Since 1879 many poems have appeared, epic in their character, taking their materials both from the past and the present. In various branches of literature able writers are found, too numerous even to name.

THE POLISH LANGUAGE AND LITERATURE.

Rey, Bielski, Copernicus, Czartoryski, Niemcewicz, Mickiewicz, and others.

The Polish language is the only existing representative of that variety of idioms originally spoken by the Slavic tribes, which, under the name of Lekhes, in the sixth or seventh century, settled on the banks of the Vistula and Varta. Although very little is known of the progress of the language into its present state, it is sufficiently obvious that it has developed from the conflict of its natural elements with the Latin and German idioms. Of the other Slavic dialects, the Bohemian is the only one which has exerted any influence upon this tongue. The Polish language is refined and artificial in its grammatical structure, rich in its words and phrases, and, like the Bohemian, capable of faithfully imitating the refinements of the classical languages. It has a great variety and nicety of shades in the pronunciation of the vowels, and such combinations of consonants as can only be conquered by a Slavic tongue.

The literary history of Poland begins, like that of Bohemia, at the epoch of the introduction of Christianity. In the year 965, Miecislav, Duke of Poland, married the Bohemian princess Dombrovka, who consented to the marriage on the condition of the duke becoming a convert to Christianity; and from that time the Polish princes, and the greater part of the nation, adopted the new faith. The clergy in those early ages in Poland, as well as elsewhere, were the depositaries of mental light; and the Benedictine monks who, with others, had been invited to the converted country, founded convents, to which they early attached schools. Their example was followed, at a later period, by other orders, and for several centuries the natives were excluded from all clerical dignities and privileges, and the education of the country was directed by foreign monks. They burned the few writings which they found in the vernacular tongue, and excited unnatural prejudices against it. From the ninth to the sixteenth century Polish literature was almost entirely confined to the translation of a part of the Bible and a few chronicles written in Latin. Among these must be noticed the chronicle of Martin Gallus (d. 1132), an emigrant Frenchman, who is considered as the oldest historian of Poland.

Casimir (1333-1370) was one of the few princes who acquired the name of the Great, not by conquests, but by the substantial benefits of laws, courts of justice, and means of education, which he procured for his subjects. In his reign was formed the first code of laws, known by the name of "Statute of Wislica," a part of which is written in the Polish language; and he laid the foundation of the university of Cracow (1347), which, however, was only organized half a century later. Hedevig, the granddaughter of Casimir, married Jagello of Lithuania, and under their descendants, who reigned nearly two centuries, Poland rose to the summit of power and glory. With Sigismund I. (1505-1542), and Sigismund Augustus (1542-1613), a new period of Polish literature begins. The university of Cracow had been organized in 1400, on the model of that of Prague, and this opened a door for the doctrines, first of the Bohemian, then of the German reformers. The wild flame of superstition which kindled the fagots for the disciples of the new doctrines in Poland was extinguished by Sigismund I. and Sigismund II., in whom the Reformation found a decided support. Under their administration Poland was the seat of a toleration then unequaled in the world; the Polish language became more used in literary productions, and was fixed as the medium through which laws and decrees were promulgated.

Rey of Naglowic (1515-1569), who lived at the courts of the Sigismunds, is called the father of Polish poetry. Most of his productions are of a religious nature, and bear the stamp of a truly poetical talent. John Kochanowski (1530-1584) published a translation of the Psalms, which is still considered as a classical work. His other poems, in which Pindar, Anacreon, and Horace were alternately his models, are distinguished for their conciseness and terseness of style. Rybinski (fl. 1581) and Simon Szymonowicz (d. 1629), the former as a lyric poet, the latter as a writer of idyls, maintain a high rank.

The Poles possess all the necessary qualities for oratory, and the sixteenth century was eminent for forensic and pulpit eloquence. History was cultivated with much zeal, but mostly in the Latin language. Martin Bielski (1500-1576) was the author of the "Chronicle of Poland," the first historical work in Polish. Scientific works were mostly written in Latin, the cultivation of which, in Poland, has ever kept pace with the study of the vernacular tongue. Indeed, the most eminent writers and orators of the sixteenth century, who made use of the Polish language, managed the Latin with equal skill and dexterity, and in common conversation both Latin and Polish were used.

Among the scientific writers of Latin is the astronomer Copernicus (1473- 1543). He early went to Italy, and was appointed professor of mathematics at Rome. He at length returned to Poland, and devoted himself to the study of astronomy. Having spent twenty years in observations and calculations, he brought his scheme to perfection, and established the theory of the universe which is now everywhere received.

The interval between 1622 and 1760 marks a period of a general decadence in Polish literature. The perversion of taste which, at the beginning of that age, reigned in Italy, and thence spread over Europe, reached Poland; and for nearly a hundred and fifty years the country, under the influence of the Jesuits, was the victim of a stifling intolerance, and of a general mental paralysis. But in the reign of Stanislaus Augustus (1762-1795), Poland began to revive, and the national literature received a new impulse. Though the French language and manners prevailed, and the bombastic school of Marini was only supplanted by that of the cold and formal poets of France, the cultivation of the Polish language was not neglected; a periodical work, to which the ablest men of the country contributed, was published, public instruction was made one of the great concerns of the government, and the power of the Jesuits was destroyed.

The dissolution of the kingdom which soon followed, its partition and amalgamation with foreign nations, kindled anew the patriotic spirit of the Poles, who devoted themselves with more zeal than ever to the cultivation of their native language, the sole tie which still binds them together. The following are the principal representatives of this period: Stephen Konarski (1700-1773), a writer on politics and education, who devoted himself entirely to the literary and mental reform of his country; Zaluski (1724-1786), known more especially as the founder of a large library, which, at the dismemberment of Poland, was transferred to St. Petersburg; and, above all, Adam Czartoryski (1731-1823), and the two brothers Potocki, distinguished as statesmen, orators, writers, and patrons of literature and art. At the head of the historical writers of the eighteenth century stands Naruszewicz (1753-1796), whose history of Poland is considered as a standard work. In respect to erudition, philosophical conception, and purity of style, it is a masterpiece of Polish literature. Krasicki (1739-1802), the most distinguished poet under Stanislaus Augustus, was called the Polish Voltaire. His poems and prose writings are replete with wit and spirit, though bearing evident marks of French influence, which was felt in almost all the poetical productions of that age.

Niemcewicz (1787-1846) is regarded as one of the greatest poets of the eighteenth and nineteenth centuries. Having fought by the side of Kosciusko, and shared his fate as a prisoner, he accompanied him to America, where he became the friend and associate of Washington, whose life he afterwards described. His other works consist of historical songs, dramas, and a history of the reign of Sigismund.

There is no branch of literature in which the Poles have manifested greater want of original power than in the drama, where the influence of the French school is decided, and, indeed, exclusive. Novels and tales, founded on domestic life, are not abundant in Polish literature; philosophy has had few votaries, and the other sciences, with the exception of the mathematical and physical branches, have been, till recently, neglected.

The failure of the revolution of 1830 forms a melancholy epoch in Polish history, and especially in Polish literature. The universities of Warsaw and Wilna were broken up, and their rich libraries removed to St. Petersburg. Even the lower schools were mostly deprived of their funds, and changed to Russian government schools. The press was placed under the strictest control, the language and the national peculiarities of the country were everywhere persecuted, the Russian tongue and customs substituted, and the poets and learned men either silenced or banished. Yet since that time the national history has become more than ever a chosen study with the people; and as the results of these researches, since 1830, cannot be written in Poland, Paris has become the principal seat of Polish learning. One of the first works of importance published there was the "History of the Polish Insurrection," by Mochnachi (1804- 1835), known before as the author of a work on the Polish literature of the nineteenth century, and as the able editor of several periodicals. Lelewel, one of the leaders of the revolution, wrote a work on the civil rights of the Polish peasantry, which has exercised a more decided influence in Poland than that of any modern author. Miekiewicz (1798- 1843), a leader of the same revolution, is the most distinguished of the modern poets of Poland. His magnificent poem of "The Feast of the Dead" is a powerful expression of genius. His "Sonnets on the Crimea" are among his happiest productions, and his "Sir Thaddeus" is a graphic description of the civil and domestic life of Lithuania. Mickiewicz is the founder of the modern romantic school in Poland, to which belong the most popular productions of Polish literature. Zalesski, Grabowski, and others of this school have chosen the Ukraine as the favorite theatre of their poems, and give us pictures of that country, alternately sweet, wild, and romantic.

Of all the Slavic nations, the Poles have most neglected their popular poetry, a fact which may be easily explained in a nation among whom whatever refers to mere boors and serfs has always been regarded with the utmost contempt. Their beautiful national dances, however, the graceful Polonaise, the bold Masur, the ingenious Cracovienne, are equally the property of the nobility and peasantry, and were formerly always accompanied by singing instead of instrumental music. These songs were extemporized, and were probably never committed to writing.

The centre of literary activity in Poland is Warsaw, which, in spite of the severe restrictions on the press, has always maintained its preëminence.

ROUMANIAN LITERATURE.

Carmen Sylva.

The kingdom of Roumania, composed of the principalities of Moldavia and Wallachia, united in 1859, has few literary monuments. The language is Wallachian, in which the Latin predominates, with a mixture of Slavic, Turkish, and Tartar, and has only of late been classed with the Romance languages, by the side of Italian, Spanish, and Portuguese. There are some historical fragments of the fifteenth century remaining; the literature that followed was mostly theological. In recent times a great number of learned and poetical works have been produced, and political movements have led to many political writings and to the establishment of many newspapers.

The most distinguished name in Roumanian literature is that of "Carmen Sylva," the _nom de plume_ of the beautiful and gifted queen of that country, whose writings in prose and verse are remarkable for passionate feeling, grace, and finished execution.

DUTCH LITERATURE.

1. The Language.--2. Dutch Literature to the Sixteenth Century: Maerlant; Melis Stoke; De Weert; the Chambers of Rhetoric; the Flemish Chroniclers; the Rise of the Dutch Republic.--3. The Latin Writers: Erasmus; Grotius; Arminius; Lipsius; the Scaligers, and others; Salmasius; Spinoza; Boerhaave; Johannes Secundus.--4. Dutch Writers of the Sixteenth Century: Anna Byns; Coornhert; Marnix de St. Aldegonde, Bor, Visscher, and Spieghel.--5. Writers of the Seventeenth Century: Hooft; Vondel; Cats; Antonides; Brandt, and others; Decline in Dutch Literature.--6. The Eighteenth Century: Poot; Langendijk; Hoogvliet; De Marre; Feitama; Huydecoper; the Van Harens; Smits; Ten Kate; Van Winter; Van Merken; De Lannoy; Van Alphen; Bellamy; Nieuwland, Styl, and others.--7. The Nineteenth Century: Feith; Helmers; Bilderdyk; Van der Palm; Loosjes; Loots, Tollens, Van Kampen, De s'Gravenweert, Hoevill, and others.

1. THE LANGUAGE.--The Dutch, Flemish, and Frisic languages, spoken in the kingdoms of Holland and Belgium, are branches of the Gothic family. Toward the close of the fifteenth century, the Dutch gained the ascendency over the others, which it has never since lost. This language is energetic and flexible, rich in synonyms and delicate shades, and from its fullness and strength, better adapted to history, tragedy, and odes, than to comedy and the lighter kinds of poetry. The Flemish, which still remains the literary language of the southern provinces, is inferior to the Dutch, and has been greatly corrupted by the admixture of foreign words. The Frisic, spoken in Friesland, is an idiom less cultivated than the others, and is gradually disappearing. In the seventeenth century it boasted of several writers, of whom the poet Japix was the most eminent. The first grammar of the Frisic language was published by Professor Rask, of Copenhagen, in 1825. In some parts of Belgium the Walloon, an old dialect of the French, is still spoken, but the Flemish continues to be the common language of the people, although since the establishment of Belgium as an independent kingdom the use of the French language has prevailed among the higher classes.

2. DUTCH LITERATURE TO THE SIXTEENTH CENTURY.--When the obscurity of the dark ages began to disappear with the revival of letters, the Netherlands were not last among the countries of Europe in coming forth from the darkness. The cities of Flanders were early distinguished for the commercial activity and industrial skill of their inhabitants. Bruges reached the height of its splendor in the beginning of the fifteenth century, and was for some time one of the great commercial emporiums of the world, to which Constantinople, Genoa, and Venice sent their precious argosies laden with the products of the East. At the close of the thirteenth century Ghent, in wealth and power, eclipsed the French metropolis; and at the end of the fifteenth century there was, according to Erasmus, no town in all Christendom to compare with it for magnitude, power, political institutions, or the culture of its citizens. The lays of the minstrels and the romances of chivalry were early translated, and a Dutch version of "Reynard the Fox" was made in the middle of the thirteenth century. Jakob Maerlant (1235-1300), the first author of note, translated the Bible into Flemish rhyme, and made many versions of the classics; and Melis Stoke, his contemporary, wrote a rhymed "Chronicle of Holland."

The most important work of the fourteenth century is the "New Doctrine," by De Weert, which, for the freedom of its expression on religious subjects, may be regarded as one of the precursors of the Reformation.

Towards the close of the fourteenth century there arose a class of wandering poets called Sprekers, who, at the courts of princes and elsewhere, rehearsed their maxims in prose or verse. In the fifteenth century they formed themselves into literary societies, known as "Chambers of Rhetoric" (poetry being at that time called the "Art of Rhetoric"), which were similar to the Guilds of the Meistersingers. These institutions were soon multiplied throughout the country, and the members exercised themselves in rhyming, or composed and performed mysteries and plays, which, at length, gave rise to the theatre. They engaged in poetical contests, distributed prizes, and were prominent in all national fêtes. The number of the rhetoricians was so immense, that during the reign of Philip II. of Spain more than thirty chambers, composed of fifteen hundred members, often entered Antwerp in triumphal procession. But the effect of these associations, composed for the most part of illiterate men, was to destroy the purity of the language and to produce degeneracy in the literature. The Chamber of Amsterdam, however, was an honorable exception, and towards the close of the sixteenth century it counted among its members distinguished scholars, such as Spieghel, Coornhert, Marnix, and Visscher, and it may be considered as the school which formed Hooft and Vondel.

During the reign of the House of Burgundy (1383-1477), which was essentially French in tastes and manners, the native tongue became corrupted by the admixture of foreign elements. The poets and chroniclers of the time were chiefly of Flemish origin; the most widely known among the latter are Henricourt (d. 1403), Monstrelet (d. 1453), and Chastelain (d. 1475). A translation of the Bible and a few more works close the literary record of the fifteenth century.

The invention of printing, the great event of the age, is claimed by the cities of Mayence, Strasbourg, and Harlem; but if the art which preserves literature originated in the Netherlands, it did not at once create a native literature, the growth of which was greatly retarded by the use of the Latin tongue, which long continued to be the organ of expression with the principal writers of the country, nearly all of whom, even to the present day, are distinguished for the purity and elegance with which they compose in this language.

The Reformation and the great political agitations of the sixteenth century ended in the independence of the northern provinces and the establishment of the Dutch Republic (1581) under the name of the United Provinces, commonly called Holland, from the province of that name, which was superior to the others in extent, population, and influence. The new republic rose rapidly in power; and while intolerance and religious disputes distracted other European states, it offered a safe asylum to the persecuted of all sects. The expanding energies of the people soon sought a field beyond the narrow boundaries of the country; their ships visited every sea, and they monopolized the richest commerce of the world. They alone supplied Europe with the productions of the Spice Islands, and the gold, pearls, and jewels of the East all passed through their hands; and in the middle of the seventeenth century the United Provinces were the first commercial and the first maritime power in the world. A rapid development of the literature was the natural consequence of this increasing national development, which was still more powerfully promoted by the great and wise William I., Prince of Orange, who in 1575 founded the university of Leyden as a reward to that city for its valiant defense against the Spaniards. Similar institutions were soon established at Groningen, Utrecht, and elsewhere; these various seats of learning produced a rivalry highly advantageous to the diffusion of knowledge, and great men arose in all branches of science and literature. Among the distinguished names of the sixteenth century those of the Latin writers occupy the first place.

3. LATIN WRITERS.--One of the great restorers of letters in Europe, and one of the most elegant of modern Latin authors, was Gerard Didier, a native of Rotterdam, who took the name of Erasmus (1467-1536). To profound learning he joined a refined taste and a delicate wit, and few men have been so greatly admired as he was during his lifetime. The principal sovereigns of Europe endeavored to draw him into their kingdoms. He several times visited England, where he was received with great deference by Henry VIII., and where he gave lectures on Greek literature at Cambridge. He made many translations from Greek authors, and a very valuable translation of the New Testament into Latin. His writings introduced the spirit of free inquiry on all subjects, and to his influence may be attributed the first dawning of the Reformation. But his caution offended some of the best men of the times. His treatise on "Free Will" made an open breach between him and Luther, whose opinions favored predestination; his "Colloquies" gave great offense to the Catholics; and as he had not declared for the Protestants, he had but lukewarm friends in either party. It has been said of Erasmus, that he would have purified and repaired the venerable fabric of the church, with a light and cautious touch, fearful lest learning, virtue, and religion should be buried in its fall, while Luther struck at the tottering ruin with a bold and reckless hand, confident that a new and more beautiful temple would rise from its ruins.

Hugo de Groot, who, according to the fashion of the time, took the Latin name of Grotius (1583-1645), was a scholar and statesman of the most diversified talents, and one of the master minds of the age. He was involved in the religious controversy which at that time disturbed Holland, and he advocated the doctrines of Arminius, in common with the great statesman, Barneveldt, whom he supported and defended by his pen and influence. On the execution of Barneveldt, Grotius was condemned to imprisonment for life in the castle of Louvestein; but after nearly two years spent in the prison, his faithful wife planned and effected his escape. She had procured the privilege of sending him a chest of books, which occasionally passed and repassed, closely scrutinized. On one occasion the statesman took the place of the books, and was borne forth from the prison in the chest, which is still in the possession of the descendants of Grotius, in his native city of Delft. The States-General perpetuated the memory of the devoted wife by continuing to give her name to a frigate in the Dutch navy. After his escape from prison, Grotius found an asylum in Sweden, from whence he was sent ambassador to France. His countrymen at length repented of having banished the man who was the honor of his native land, and he was recalled; but on his way to Holland he was taken ill and died before he could profit by this tardy act of justice. The writings of Grotius greatly tended to diffuse an enlightened and liberal manner of thinking in all matters of science. He was a profound theologian, a distinguished scholar, an acute philosopher and jurist, and among the modern Latin poets he holds a high place. The philosophy of jurisprudence has been especially promoted by his great work on natural and national law, which laid the foundation of a new science.

Arminius (1560-1609), the founder of the sect of Arminians or Remonstrants, was distinguished as a preacher and for his zeal in the Reformed Religion. He attempted to soften the Calvinistic doctrines of predestination, in which he was violently opposed by Gomarus. He counted among his adherents Grotius, Barneveldt, and many of the eminent men of Holland. Other eminent theologians of this period were Drusius and Coeceius.

Lipsius (1547-1606) is known as a philologist and for his treatises on the military art of the Romans, on the Latin classics, and on the philosophy of the Stoics. Another scholar of extensive learning, whose editions of the principal Greek and Latin classics have rendered him famous all over Europe, was Daniel Heinsius (1580-1655). Gronovius and several of the members of the Spanheim family became also eminent for their scholarship in various branches of ancient learning.

The two Scaligers, father and son (1483-1554) (1540-1609), Italians, resident in Holland, are eminent for their researches in chronology and archaeology, and for their valuable works on the classics. Prominent among those who followed in the new path of philological study opened by the elder Scaliger was Vossius, or Voss (1577-1649), who excelled in many branches of learning, and particularly in Latin philology, which owes much to him. He left five sons, all scholars of note, especially the youngest, Isaac Vossius (1618-1689).

Peter Burmann (1668-1741) was a scholar of great erudition and industry.

Christian Huyghens (1629-1695) was a celebrated astronomer and mathematician, and many great men in those branches of science flourished in Holland in the seventeenth century. Among the great philologists and scholars must also be mentioned Hemsterhuis, Ruhnkenius, and Valckenaer.

Menno van Coehorn (1641-1704) was a general and engineer distinguished for his genius in military science; his great work on fortifications has been translated into many foreign languages. Helmont and Boerhaave have acquired world-wide fame by their labors in chemistry; Linnaeus collected the materials for his principal botanical work from the remarkable botanical treasures of Holland; and zoology and the natural sciences generally counted many devoted and eminent champions in that country.

Salmasius (1588-1653), though born in France, is ranked among the writers of Holland. He was professor in the University of Leyden, and was celebrated for the extent and depth of his erudition. He wrote a defense of Charles I. of England, which was answered by Milton, in a work entitled "A Defense of the English People against Salmasius' Defense of the King." Salmasius died soon after, and some did not scruple to say that Milton killed him by the acuteness of his reply.

Boerhaave (1668-1738) was one of the most eminent writers on medical science in the eighteenth century, and from the time of Hippocrates no physician had excited so much admiration. Spinoza (1632-1677) holds a commanding position as a philosophical writer. His metaphysical system, as expounded in his principal work, "Ethica," merges everything individual and particular in the Divine substance, and is thus essentially pantheistic. The philosophy of Spinoza exercised a powerful influence upon the mind of Kant, and the master-minds and great poets of modern times, particularly of Germany, have drawn copiously from the deep wells of his suggestive thought.

Among the many Latin poets of Holland, John Everard (1511-1536) (called Jan Second or Johannes Secundus, because he had an uncle of the same name) is most celebrated. His poem entitled "The Basia or Kisses" has been translated into the principal European languages. Nicholas Heinsius (1620- 1681), son of the great philologist and poet Heinsius, wrote various Latin poems, the melody of which is so sweet that he was called by his contemporaries the "Swan of Holland."

4. DUTCH WRITERS OF THE SIXTEENTH CENTURY.--The first writer of this century in the native language was Anna Byns, who has been called the Flemish Sappho. She was bitterly opposed to the Reformation, and such of her writings as were free from religious intolerance evince more poetic fire than is found in those of her contemporaries. Coornhert (1522-1605) was a poet and philosopher, distinguished not less by his literary works than by his participation in the revolution of the Provinces. In purity of style and vigor of thought he far surpassed his predecessors. Marnix de St. Aldegonde (d. 1598) was a soldier, a statesman, a theologian, and a poet. He was the author of the celebrated "Compromise of the Nobles," and his satire on the Roman Catholic Church was one of the most effective productions of the time. He translated the Psalms from the original Hebrew, and was the author of a lyric which, after two centuries and a half, is still the rallying song of the nation on all occasions of peril or triumph.

Bor (1559-1635) was commissioned by the States to write a history of their struggles with Spain, and his work is still read and valued for its truthfulness and impartiality. Meteren, the contemporary of Bor, wrote the history of the country from the accession of the House of Burgundy to the year 1612--a work which, with some faults, has a high place in the literature.

Visscher (d. 1612) and Spieghel (d. 1613) form the connecting link between the sixteenth and seventeenth centuries. Visscher, the Maecenas of the day, was distinguished for his epigrammatic and fugitive poems, and rendered immense service to letters by his influence on the literary men of his time. His charming daughters were both distinguished in literature. Spieghel is best remembered by his poem, the "Mirror of the Heart," which abounds in lofty ideas, and in sentiments of enlightened patriotism.

5. THE SEVENTEENTH CENTURY.--At the close of the sixteenth century, although the language was established, it still remained hard and inflexible, and the literature was still destitute of dramatic, erotic, and the lighter kinds of poetry; but an earnest, patriotic, religious, and national character was impressed upon it, and its golden age was near at hand.

The commencement of the seventeenth century saw the people of the United Provinces animated by the same spirit and energy, preferring death to the abandonment of their principles, struggling with a handful of men against the most powerful monarchy of the time; conquering their political and religious independence, after more than half a century of conflict, and giving to the world a great example of freedom and toleration; covering the ocean with their fleets, and securing possessions beyond the sea a hundred times more vast than the mother country; becoming the centre of universal commerce, and cultivating letters, the sciences, and the arts, with equal success. Poetry was national, for patriotism predominated over all other sentiments; and it was original, because it recognized no models of imitation but the classics.

The spirit of the age naturally communicated itself to the men of letters, who soon raised the literature of the country to a classic height; first among these were Hooft, Vondel, and Jacob Cats.

Hooft (1581-1647), a tragic and lyric poet as well as a historian, greatly developed and perfected the language, and by a careful study of the Italian poets imparted to his native tongue that sonorous sweetness which has since characterized the poetry of Holland. He was the creator of native tragedy, as well as of erotic verse, in which his style is marked by great sweetness, tenderness, and grace. He rendered still greater service to the native prose. His histories of "Henry IV.," of the "House of Medici," and above all the history of the "War of Independence in the Low Countries," without sacrificing truth, often border on poetry, in their brilliant descriptions and paintings of character, and in their nervous and energetic style. Hooft was a man of noble heart; he dared to protect Grotius in the days of his persecution; he defended Descartes and offered an asylum to Galileo.

Vondel (1587-1660), as a lyric, epic, and tragic poet, far surpassed all his contemporaries, and his name is honored in Holland as that of Shakspeare is in England. His tragedies, which are numerous, are his most celebrated productions, and among them "Palamedes Unjustly Sacrificed" is particularly interesting as representing the heroic firmness of Barneveldt, who repeated one of the odes of Horace when undergoing the torture. Vondel excelled as a lyric and epigrammatic poet, and the faults of his style belonged rather to his age than to himself.

No writer of the time acquired a greater or more lasting reputation than Jacob Cats (1577-1660), no less celebrated for the purity of his life than for the sound sense and morality of his writings, and the statesmanlike abilities which he displayed as ambassador in England, and as grand pensioner of Holland. His style is simple and touching, his versification easy and harmonious, and his descriptive talent extraordinary. His works consist chiefly of apologues and didactic and descriptive poems. No writer of Holland has been more read than Father Cats, as the people affectionately call him; and up to the present hour, in all families his works have their place beside the Bible, and his verses are known by heart all over the country. An illustrated edition of his poems in English has been recently published in London.

Hooft and Vondel left many disciples and imitators, among whom are Antonides (1647-1684), surnamed Van der Goes, whose charming poem on the River Y, the model of several similar compositions, is still read and admired. Among numerous other writers were Huygens (b. 1596), a poet who wrote in many languages besides his own; Heinsius (b. 1580), a pupil of Scaliger, the author of many valuable works in prose and poetry; Vallenhoven, contemporary with Antonides, a religious poet; Rotgans, the author of an epic poem on William of England; Elizabeth Hoofman (b. 1664), a poetess of rare elegance and taste, and Wellekens (b. 1658), whose eclogues and idyls occupy the first place among that class of poems. As a historian Hooft found a worthy successor in Brandt (1626-1683), also a poet, but best known by his "History of the Reformation in the Netherlands," which has been translated into French and English, and which is a model in point of style. At this period the Bible was translated and commented upon, and biographies, criticisms, and many other prose works appeared. The voyages and discoveries of the Dutch merchants and navigators were illustrated by numerous narratives, which, for their interest both in style and detail, deserve honorable mention.

From the commencement of the last quarter of the seventeenth century, however, many causes combined to produce a decline in the literature of the Netherlands. The honors which were accorded not only by the Dutch universities, but by all Europe to their Latin writers and learned professors, were rarely bestowed on writers in the native tongue, and thus the minds of men of genius were turned to the study of the classics and the sciences. The Dutch merchants, while they cultivated all other languages for the facilities they thus gained in their commercial transactions, restricted by so much the diffusion of their own. Other causes of this decline are to be found in the indifference of the republican government to the interests of literature, and in the increasing number of alliances with foreigners, who were attracted to Holland by the mildness of its laws, in the growing commercial spirit and taste for luxury, and especially in the influence of French literature, which, towards the close of the seventeenth century, became predominant in Holland as elsewhere.

6. THE EIGHTEENTH CENTURY.--For the first three quarters of the eighteenth century the literature of Holland, like that of other countries of Europe, with the exception of France, remained stationary, or slowly declined. But in the midst of universal mediocrity, a few names shine with distinguished lustre. Among them that of Poot (1689-1732) is commonly cited with those of Hooft and Vondel. He was a young peasant, whose rare genius found expression in a sweet and unaffected style. He excelled in idyllic and erotic poetry, and while he has no rival in Holland, he may perhaps be compared to Burns in Scotland, and Béranger in France. The theatre of Amsterdam, the only one of the country, continued to confine itself to translations or imitations from the French. There appeared, however, at the commencement of this period, an original comic author, Langendijk (1662-1735), whose works still hold their place upon the stage, partly for their merit, and partly to do honor to the only comic poet Holland has produced.

Hoogvliet (1689-1763) was distinguished as the author of a poem entitled "Abraham," which had great and merited success, and which still ranks among the classics; for some years after it appeared, it produced a flood of imitations.