Chapter 2 little john original

I would like to be able to give an introduction to a second work of modern Dutch literature, published a few months after the publication of my translation of Couperus' Noodlot.In Germany, the hitherto indifference to Dutch juvenile literature seems to be gradually dissipating, and it is given a place of just respect and deep sympathy to Dutch literature, which has gained no less than that of other nations. People pay little attention to the works of the Netherlands, but on the one hand, they yearn enthusiastically for everything from France, Russia, and northern Europe. The first reason is probably due to long-accustomed prejudice.Since the great poet hero Joost van den Bon-del (1587-1679) achieved the flowering period of Dutch literature with his perfect performance in the first half of the seventeenth century, Dutch literature has Development enters a state of rest, which has the same meaning as long-term degeneration in the flow of time.The dreadfully conservative spirit of the Dutch, the rigidity of old habits, the self-satisfied complacency, the consequent utter indifference to progress, the unwavering willingness to waver—these are all faithfully reflected in literature, which makes her a became a boring literature.The overflow of their moral and didactic groans, the unbearable breadth, the complete absence of a warm and deep voice, Dutch literature is long standing in the parochial narrowness of Munheer and Mevouw. People outside the range of feeling cannot bear it.

After several successful attempts, it was not until the beginning of the 1980s that a fresh and lively current took place in Dutch literature, tearing her out of the old evils.I should here briefly recall a few persons who, in Dutch literature, took a middle position between old and new tendencies, and who may also be seen as intellectual advocates of the modern ideal, who, in the last years, They all aroused a great change in the literary outlook of Dutch readers. First of all, the genius Dekker (Eduard Douwes Dekker, 1820-87) should be commended here. "Max Havelaar" also caused obvious changes in literature.This book introduces brand-new materials into literature, and because of the special style of description, the warm and vivid heartfelt voice of Dutch prose suddenly endows it with a so far unknown maturity and transfer, so this can also be regarded as the foundation of Dutch literature. A boundary stone in development.Moletai Duli is next, and here are two critics and estheticians Busken-Huet (C. Busken-Huet, 1826-86) and Karl Vosmaer (Karl Vosmaer, 1826-88) .Although in his later years, when the new tendencies developed, he was rather indifferent to them, and made many enemies among the youth, yet he has the indisputable merit of paving the way for them up to a certain point. , so they can move forward from there.The braver vanguard of the new ideal was Pauscanheit, who, under the title "Illusion and Criticism of Literature," put together the most complete treatise of all that has been expressed in the spirit of Holland. up.

One might also point to Grtrude Bosboom-Toussaint (1812-86) as the precursor of a new tendency, whose first novels of romance and human affairs were still in a range hovering in complacent broad in the old Dutch epics, which used ordinary material, but later turned to social and psychological problems, and applied with great mastery to several romances, such as Major Frans and Raymond de schrijnwerker. Following the new tendencies in the early 1980s, the first effort was superficial, regarding form.New modes of expression were sought for verse and prose, which gave flow and life to the clumsiness of the Dutch language.So I tried first, and gave credit to the lyric poetry, which had been largely neglected until then, which had been completely lost in the dust of poetry made by cold recollection during the past two centuries.Until then there was scarcely a single Dutch lyric poem to speak of; now these lyric poems, which do not fear comparisons with those of other peoples, occupy a strong position.

Here, Jacques Perk (Jacques Perk, 1860-81), who died young, is the first to be mentioned. His poem published in 1883 began to unite all the best, and helped the Netherlands in a very short period of time. His lyric poems have gained an honored place in world literature. Among the young Dutch lyric poets, Pol de Mont (geb. 1859) from Antwerp is actually the most famous in Germany.His poems, published in many collections, are evident both for the novelty and boldness of thought, and also for the extraordinary perfection of form.His striving for indisputable form, above all else, is often to the detriment of his poetry.This, coupled with his preference for the heaviest and most complex rhythms, caused his poems to lose some of the simplicity and spontaneity of expression which are the first-class requirements of lyrical poetry.

The fullness of all forms and the expressive nature can be found in Helene Swarth, who was born in Amsterdam in 1859.She was educated in Briissel, but France is not as confident as her native language, so her first published two collections of poetry, "Fleurs du Reve" (1879) and "Les Printannieres" (1881) , also in French.Later she had a close acquaintance with Dutch literature, but she felt that she was not as familiar with it as German.This had a deep and lasting effect on her spiritual life.How in a very short period of time she broke into the spirit of the Dutch language, which she was familiar with as a child and is now more convinced, is her first work in this language "Eenzame Bloemen" (1883) As it turns out, even more so in the following year's sequel, Blauwe Bloemen.She later published many small books of poems, among which "Sneeuwvlohken" (1888) and "Passiebloemen" (1892) are the most complete that any New Dutch lyric poem can express.

Other representatives of Dutch lyric poetry in full bloom are J. Winkker Prins, Louis Couperus, Albert Verwey, and Wang Aiqin. (Frederik van Eeden), Simon Gorter, EB Koster and others. The imprint of the inherent modernity, the new ideals and indirect upheavals imparted by all literature in recent times, is less effective in lyric poetry than in novels from the second half of the 1980s when it comes to Dutch literature. few.Outside influences are undeniable.It is notable that France and the Netherlands have always had a lively relationship with it, and this has achieved results in juvenile literature.Flaubert, Zola, the Goncourts, and partly also Bourget and Huysmans, combined the Russian and Norse poets who were often translated, Added a far-reaching influence on the development of the modern Dutch novel.

Frans Retscher, the modern Dutch prose writer, is revealed with his two novel collections Studies in Nude Models and People Around Us.These novels, because of their depressing factual descriptions, are often boring.The rest is not bad, except for the first collection which makes one guess that it is an advertising title. The description of the actual situation is more substantive. Alberdingk Thym collaborated under the pseudonym of L.wan Deyssel. Those two novels and "Little Republic" have established a strong proof of talent. While his novels gain general interest, he also remains very much in the realm of imitation.

Among the recent generation of Dutch poets, the youngest and at the same time the most prominent is the already mentioned Louis Couperus, born in 1863.When he was already known as a poet, he published a legendary novel "Eline Vere" in 1890.There he presents us with ingenious examples from the social world of the Dutch capital.Falling even further within the realm of the psychological novel are the later publications of his breed, Noodlot ("Fate") in 1891 and Extaze in 1892.Of all that modern Dutch literature has hitherto been able to do, Noodlot is indeed the most independent and artistically excellent creation.

There is a long line of modern narrative poets at work besides what has already been praised, and from among them I will briefly describe the most prominent. A particularly promising talent is Vosmeer de Spie, whose psychological novel Een Passie ("Sadness"), published last year, has attracted considerable attention.Marcellus Emants, known as the imitator of Purge, published not a few desirable novels.At the same time, Emile Scipgens also recognized the novelist.As legendary novels, van Groeningen and A. Aletrino can also be commended. Their novels "Martha de Bruin" and "Zuster Bertha" can be counted among modern Dutch literature. 's best work.If I end by mentioning Johan de Meester, whose novel "Een Huwelijk" ("The Marriage"), like his Parisian film "Parijsche Schimmen", testifies to a fine observation faculty, then I think that modern literature has been narrated with respect for its outstanding representatives.

In 1885, the New Tendency also created an institution, the "de Nieuwe Gids" ("New Leader"), so named because of the treatment of the old Dutch monthly "de Gids".The new periodical was a militant and revolutionary organ, vigorously and unscrupulously laying out battle lines against the trivial and stale in literature, and bravely opening the way for new ideals.Now the new tendencies have made their way in Holland, and the noblest periodicals have opened columns for them, and the old Prelude, which has since become, as it always has been, the most famous literary institution in the Netherlands, has become like that. The periodical, about Corbelus's novels, was first presented to a Dutch readership.

One can be seen as the spiritual leader of the young writers clustered around the New Prelude was Frederik van Eeden, author of fairy-tale poems symbolically realistic, with which the new periodical was born , and the translation from German brings the reader closer.In the following, I will apply all the explanations given to me by the translator, and hand over one or two close reports for the author of such a completely strange, purely poetic story that is unparalleled in all world literature. Born in Haarlem in 1860, Wang Aitin studied medicine and graduated in 1886.He is the son of wealthy parents, so he can study his favorite literature with his major in his spare time. While a student he was already well known as the author of several funny plays, two of which were staged with great success in the theaters of Amstead and Rotterdam.His publication, in 1885, put him at the forefront of Dutch poets with just one click.The broadcast of his knowledge is clearly expressed in his various short writings.The institutions he co-founded also publish their works year by year, on Dutch, French or English literature, on social issues, and on the objects of science, all of which are extremely clear, because of the clear arguments he has shown.He has also shown to the lyric poets that his poems can be regarded as the best among the lyric poems that Holland has hitherto achieved.In 1890 he published a larger poem, "Ellen, Song of Sorrow" (German translation "Ellen, eim Lied des Schmerzes"), far superior to his previous works, and in recent decades occupies an honorable place among all works of its kind.After receiving his degree in 1886, Ai Tan went to Nancy to study Hypnotische Heilmethode at the famous Liebaul school.Shortly thereafter, he established a now busy Psychotherapy clinic in Amsteadden.At Bussum, a little place near Ammostadden, he built a quiet artist's residence, where he, among his household, could rest from his laborious duties, and live undisturbed in his life. Art.There, in the solitary stillness of the countryside, he recently completed a larger work, Johannes Viator, Book of Love (German translation of Johannes Viator, das Buch von der Liebe), which follows closely In the works of poetry, the mature artist has fulfilled all the things that some authors expect people to do. May this translation also gain new friends in Germany, and help our waking interest in Dutch literature, as far as stability and progress. In July 1892, in Frankfurt am Main. Paul Laher