One of the foremost Dutch poets of the century is Petrus Augustus de Génestet. Although he is not free from rhetoric, and frequently uses old and worn-out similes, his general view of things is wider and his feeling deeper than those of any of his contemporaries in verse. The contrast, for example, between him and Carel Vosmaer, though they belong to the same period, is very striking, for while the poetry of Génestet is full of feeling and ideality, that of Vosmaer is unemotional; and though he dresses his thoughts in beautiful words, the impression left upon the mind after reading his poetry is that which might be left after looking at a gracefully modelled piece of marble--it is fine as art, but cold and dead, and so awakens no responsive sympathy in the mind of the beholder.
But the greatest of modern Dutch authors, and the one who may be termed the forerunner of the renaissance of 1880, was E. Douwes Dekker, who died thirteen years ago. Dekker had an eventful career. He went to the Dutch Indies at the age of twenty-one, and there spent some seventeen years in official life, gradually rising to the position of Assistant Resident of Lebac. While occupying that office his eyes were opened to the defective System of government existing in the Colonies, and the abuses to which the natives were subjected. He tried to interest the higher officials on behalf of the subject races, but as all his endeavours proved unavailing he became disheartened, and, resigning his post, returned to Holland with the object of pleading in Government circles at home the cause which he had taken so deeply to heart. As a deaf ear was still turned to all his entreaties he decided, as a last resource, to appeal for a hearing at the bar of public opinion. He entered literature, and wrote the stirring story 'Max Havelaar,' in which he gave voice to the wrongs of the natives and the callous injustices perpetrated by the Colonial authorities. The book made a great sensation, and has unquestionably had very beneficial results in opening the public's eyes to some of the more glaring defects of Colonial administration.
In 1880 Dutch literature entered upon an entirely new phase. The chief authors of the movement then begun were Lodewryk van Deyssel, Albert Verwey, and Willem Kloos, who in the monthly magazine, De Nieuwe Gids, exercised by their trenchant criticisms the same beneficial and restraining influence upon the literature of the day as Potgieter and Bakhuizen did forty years before. The columns of the Nieuwe Gids were only opened to the very best of Dutch authors, and any works not coming up to the editors' high ideas of literary excellence were unmercifully 'slated' by these competent critics. Independence was the prominent characteristic of the authors of the period. They shook themselves free from the old thoughts and similes, and created new paths, in which their minds found freer expression. The new thoughts demanded new words, hence came about the practice of word-combination, which was in direct defiance of the conservative canons of literary style which had hitherto prevailed, so that nowadays almost every author adds a new vocabulary of his own to the Dutch language, so enhancing the charm of his own writings and adding to the literary wealth of the nation in general.
The poetess whom Holland to-day most delights to honour is Helena Lapidoth Swarth, whose works increase in worth and beauty every year. Her command of the Dutch language and her power of wresting from it literary resources which are unattainable by any other writer have made her the admiration of all critics of penetration. Louis Couperas is also another living poet of mark, who, however, does not confine himself to formal versification, for his prose is also poetry. His best works are 'Elme Vere,' the first book he wrote, and the characters in which are said to have been all taken from life, and his novels 'Majesty' and 'Universal Peace,' which have gained for him a European reputation, for they have been translated into most modern languages.
Women authors who have written works with a special tendency are Cornelie Huygens, who is known particularly by her novel 'Barthold Maryan;' Mrs. Goekoop de Jong, who champions the cause of women's rights; and Anna de Savornin Lohman, who, in a striking book entitled, 'Why question any longer?' has written very bitterly against the political conditions of the circle of society in which she moves.
While the authors of the present day are beneficially leavening popular opinion by inculcating higher and healthier sentiments, there are also authors in Holland, as elsewhere, who debase good metal, and write from a purely material standpoint. To this class of authors belong Marcellus Emants and Frans Netcher.
Of Dutch dramatic writers, Herman Heyermans is one of the most noteworthy, and some of his plays have been translated into French, and produced in Paris theatres.
It is a great drawback to literary effort in Holland that the honoraria paid to authors are so low that most writers who happen not to be pecuniarily independent--and they are the majority--are unable to make a tolerable subsistence at home by the pen alone, and are obliged to contribute to foreign publications, and some even resort to teaching. Many Dutch authors of high rank write anonymously in English, French, and German magazines, and probably earn far more in that way than by their contributions to Dutch ephemeral literature, for the ordinary fee for a sheet of three thousand words--which is the average length of a printed sheet in a Dutch magazine--is only forty francs.
The pity is that Dutch literature itself is not known as well as it deserves to be, for any one who takes the trouble to master the Dutch language will find himself well repaid by the treasures of thought which are contained in the modern authors of Holland.