His soul communed with nature in her deepest and quietest moods. The peaceful meadow, the calm beauty of the woods, the forest-crowned mountains, the tumultuous sea were all the themes of his song.
Though his feeling for nature was not so fine nor so intense as that of some of the later poets, yet it was deeper and truer. In the world around him he saw but a reflection of the grander world beyond.
Nor was the pantheistic conception strange to him. See the first chorus of the "Lucifer," where he calls God "the soul of all we can conceive;" and the second act, where he speaks of:
"——the farthest rounds
And endless circles of eternity,
That, from the bounds of time and space set free,
Revolve unceasingly around one God,
Who is their centre and circumference.
How like the pantheism of Spinoza, first proclaimed some years later!
HIS PATRIOTISM.
Would you know him as a patriot? Hear his splendid tones of jubilation over the victory of his countrymen—a victory where truth and freedom triumphed. Hear his fine odes celebrating the commerce and the progress of the growing commonwealth. Listen to his bursts of patriotism in his "Orange May Song," and where he calls the ancient Greek sea-galleys, "child's play beside ours."
Vondel was a representative Dutchman, and there was a strong national stamp on all that he did. He was a grand type of the burgher of the great Dutch middle class, which has ever been the glory of the Netherlands, and which has given to the world such an illustrious array of soldiers, painters, scholars, poets, and statesmen. In reading him we are continually reminded that we are in the land of dykes and windmills. Thus all of his heroes are invested with Holland dignities. We hear of burghers, burgomasters, and stadtholders; of the dunes, the sea, the dams, the strand, and the green, fertile meadows. Wherever the scene of the play, we always recognize the streets, the canals, the houses, the palaces, and the environs of Amsterdam. This was not due to a lack of historical information, as was the case with Shakespeare, but because the poet desired to bring the truth closer to the hearts of his hearers. The fact, too, that this made the scenic requirements of a play considerably less, thus reducing the expense of presentation, might also have had some influence.
Vondel, furthermore, when representing the past, never forgot the present. It was ever before his eyes. Hence many of his plays were political allegories, and were significant for their bearing upon the time.
The one universal characterization of all of his work, one that glows in every poem, is his love of freedom—the ruling passion of his countrymen. Already in the "Passover "—his first tragedy, written at the age of twenty-six—we hear his cry, "O! sweetest freedom." Soon afterwards, in his lyrics and in "Palamedes," he showed his strong sympathy with Oldenbarneveldt; and during the bitter persecution that followed, when he was forced to fly like a hunted beast from house to house, this spirit grew by the opposition that it fed upon into a fierce blaze, only quenched by death.