THE VALLEY.

Vondel was the author of no less than thirty-three tragedies. Only eighteen of these, however, were presented on the stage. Some were deemed objectionable on account of their Biblical subject matter; others because of their leaning towards Catholicism.

The dramatist also suffered from the jealousy of his rivals. One of these, Jan Vos, was one of the managers of the theatre, and attempted to make Vondel's plays unpopular by a.s.signing the most important roles to inferior players, and also by using old and worn-out costumes. No wonder, then, that the sweeping tragedies of this master spirit began to lose favor with the ma.s.ses, and that the translations of the French and Spanish plays that now flooded the country, with their extravagant scenery and their flashy innovations, usurped their place.

A few years before his death, Vondel paid a visit to the town of his birth, Cologne, and there saw the very house where he was born. With a poet's whim he climbed into the old wall bedstead in which he was brought into the world, which, of course, also furnished inspiration for a poem.

Brief mention must also be made of Vondel's last religious poems. His sublime "Reflections on G.o.d and Religion," which was written in opposition to the Epicurean and Lucretian philosophy of Descartes; his "John, the Messenger of Repentance," which glows with all the fervor and the grandeur of the Apocalypse; his "Glory of the Church," a work as learned as it was elevated, which shows the rise and progress of the Mother Church, would alone be sufficient to ent.i.tle Vondel to be considered as one of the great religious poets of the world, and perhaps the most powerful champion of Catholicism that ever entered the lists of controversy.

At the age of eighty-four, Vondel translated Ovid's "Metamorphoses" and also wrote a great number of poems of all kinds--epigrams, lyrics, letters, lampoons, dedications, eulogies, threnodies, hymns, epithalamiums, riddles, and epitaphs--in all of which his pen, sharpened by the practice of nearly three-fourths of a century, excelled.

To the last the aged poet preserved his intense satiric vein. The fire of his spirit burned as fiercely now as in the days of his youth. One of the last poems written by those aged fingers was his n.o.ble elegy on the distinguished brothers De Witt, who, in 1672, were a.s.sa.s.sinated in The Hague by a frenzied mob.

His last production was an epithalamium on the marriage of his favorite niece, Agnes Blok. He was then eighty-seven years old. His physician having cautioned him to rest his brain, he now bade the Muses, whom he had known so long, and whom he had found so sweet a comfort in his hours of sorrow, an eternal farewell.

His health, however, remained good until a few days before his death.

His legs first showed signs of weakness, and refused longer to support him. His memory also failed him, and he would often stop still in the midst of a sentence. When he was made aware of this, he was somewhat distressed, for his judgment remained unimpaired to the last, saying, "I am no longer capable of carrying on a conversation with my friends."

Brandt, to whom we are indebted for most of these interesting particulars concerning Vondel, and other friends cheered his last days with their visits. The poet, who now spent most of his waking hours by the cheerful blaze of his hearth, seemed to appreciate this very highly, and whenever they were about to leave, would tell them good-by with a hearty pressure of the hand. Here, too, came Antonides, that brilliant young poet, so untimely cut off, and the painter, Philip de Koning, both of whom the old bard admired greatly.

When in his ninetieth year he had himself taken to the houses of the two Burgomasters of the city, whom with broken words he begged to provide for his grandson Justus, who bore his name, and whose prospects, on account of his father's profligacy and his grandfather's poverty, were anything but promising. The city fathers comforted the poor old man with good words, and he returned to his corner by the hearth, never again to leave it alive.

"Old age," says Brandt, "was now his illness; the oil was lacking; the fire must go out." His limbs became cold and refused to be warmed.

Referring to this a few days before his death, he remarked to Brandt, with a humorous twinkle in his large brown eyes: "You might give me this epitaph:

"Here in peace lies Vondel old; He died because he was so cold."

This was the old poet's last rhyme, surely an humble one for him whose lofty imagery and sublime conceptions are the wonder of his countrymen.

He also said to his niece, Agnes Blok, "I do not long for death." She asked, "Do you not long for eternal life?" He replied: "Aye, I do long for that; but, like Elijah, I would fain fly thither." Though now he also began to say: "Pray for me that G.o.d will take me out of this life."

And when those standing around his bedside asked: "Are you ready now for the terrible messenger to come?" he replied, "Aye, let him come; for, even though I wait longer, Elijah's chariot will not descend. I shall have to go in at the common gate."

After an illness of only eight days, on February 5, 1679, about half-past four in the morning, the old bard fell asleep. He seemed to be wholly free from pain, and died so softly that the friends who stood around his bedside scarcely observed it.

Vondel was aged ninety-one years, two months, and nineteen days. He was nearly double the age of the world's greatest dramatist, was seventeen years older than Euripides, and just as old as Sophocles.

Three days after his death he was buried in the Nieuwe Kerk--the Church of St. Catherine--at Amsterdam, not far from the choir. Fourteen poets were the pall-bearers who carried the great master to his last resting-place. Around his grave were the tombs of most of his literary friends of former years. Here lay Hooft and Barlaeus and Tesselschade.

Here, too, was the tomb of the n.o.ble de Ruyter, his country's most ill.u.s.trious naval hero. Here, among this company of distinguished dead, among these sculptured busts and mediaeval effigies, these monumental tombs and glorious cenotaphs, this greatest of all Hollanders was buried in a simple grave, unmarked by even an epitaph. Three years afterwards Joan Six, one of the Aldermen of the city, had the following time-verse (which gives the year of his death) engraved upon the stone:

TO THE OLDEST AND GREATEST POET.

VIR PHBO ET MVSIS GRATVS VONDELIVS HIC EST VI MV I V V D LIV IC 6 1005 1 5 5 5005015 1100 ---- 1679

Shortly after his decease, Antonides, Vollenhove, and others of the younger poets also honored him with eulogies as the first poet of his age. To the pall-bearers a medallion was given, on one side of which was the image of the poet; on the other, a singing swan, with the year of Vondel's birth and death, and the inscription: "The oldest and greatest poet."

HIS PERSON AND CHARACTER.

Vondel was of medium height, with a figure well made and compact. His countenance was one of remarkable intelligence, and was characterized by an expression at once earnest and exalted.

In early life his face was pale and thin, but later, after the disappearance of his strange malady, it became broad and full, and of a healthful color, with glowing red cheeks. His forehead, not too high, was broad and commanding, a fit a.r.s.enal for those thunderbolts of invective that he knew so well how to employ. One of his eyebrows was slightly higher than the other. Beneath them glowed two deep brown eyes, large and penetrating--eagle eyes, full of fire, as if, navely says his biographer, "he had satires in his head." His nose was sensitive and somewhat large; his mouth of medium size, with rather thin lips. He usually wore his hair short, his ears only half covered. On his chin grew a small pointed beard, in early manhood a dark brown, later white with age. Altogether a figure striking and n.o.ble, if not grand and imposing--one that long acquaintance would only render the more impressive, for it was stamped with character. Thus the outward man!

Would you learn the stature of his soul? Read his magnificent works.

Strange to say, he who was so full of thought and spirit in his writings was still and silent in the presence of others. Once when dining with Grotius, Vossius, and Barlaeus--the three most learned men of the age--it is related that during the course of the whole meal the poet said not one word. He was usually grave and taciturn. When he did speak, however, he was intense and pointed.

He was ever modest in his deportment and temperate in his habits. Though living in an age of good fellowship and of royal tippling, when post-prandial drunkenness was the rule rather than the exception, he was never known to have indulged to excess. Like Dante, Milton, and Petrarch, furthermore, his private life was pure. Not one accuser ever threw mud at its whiteness.

His clothes, though in the fashion and in good taste, were always plain and una.s.suming. He enjoyed the society of artists and men of letters, learning, and judgment. He was extremely popular among his relatives, which speaks well for his heart, and is surely a good index to his true character.

Vondel was a true friend, and was ever ready to prove his devotion, if need be, by the sacrifice of blood and treasure. Such a romantic attachment as that of Dante for Beatrice was doubtless unknown to our poet. His was the more natural ardor of a deep-seated affection. Yet he had the capacity for suffering so characteristic of genius. We know that, like William III., he was profoundly affected by the death of his wife. For several years, indeed, he was in such a melancholy that his thoughts fell still-born from his pen. He wrote little, and destroyed all that he wrote. Life had lost all charms for him. He was, however, awakened from this reverie of sorrow by the bugle blast of war; and only in the roar of the conflict did he forget the sting of grief.

Vondel was in no sense a theologian, and had no patience with hair-splitting distinctions. Though a fervid Catholic, his toleration is shown by his remark that he would not "sit in the Inquisition as a judge of anyone's life."

"There were some hot-headed Papists," he said, "who persecuted the pious of other creeds. It is also true that the Papists of all time have sought to rule the consciences of men. However, some reformers are lately following in their footsteps." In regard to the wonderful legends of the early Church, he remarked that they were "monkish fables written in the dark ages for the ignorant people." That his Catholicism had not lessened his love for freedom or for his country his later poems bear excellent witness.

Though by his bitter lampoons and severe invective he had made many enemies during the course of his long career, yet his popularity is seen in the fact that his memory was honored by men of all creeds and parties. The Jesuits of Antwerp placed his portrait in their cloister among the most ill.u.s.trious men of ancient and modern times.

He had gathered no riches with his poetry. On the contrary, his losses were far greater than his gains. The most costly gift ever given him was the golden locket and chain from her majesty Queen Christina of Sweden.

This present was worth about two hundred dollars. Amelia von Solms, the widow of Frederic Henry, also honored him with a gold medal for a poem on the marriage of her daughter, the Princess Henrietta. For his ode on the dedication of the new Stadthuis, the authorities of Amsterdam honored him with a silver cup. The visiting Elector of one of the German States gave him, for some verses in his honor, "a small sixteen guldens." For his eulogy in honor of the Archbishop of Cologne, the city fathers allowed him thirty guldens.

His daughter Anna, dying before him, willed him her portion, which, with his pension, proved amply sufficient for his maintenance.

A few months before his death he had willed all of his books to a certain priest. Thinking that if they remained with him he might injure his feeble health by reading, he allowed them to be taken away.

Afterwards, however, he bitterly regretted this, and, with tears in his eyes, complained to one of his friends that all of his treasures had been stolen, and that now nothing was left him.

In his youth his motto was: "Love conquers all things." Later he signed his productions with the word "Zeal," or "Justice"--the last a play on his name; sometimes, also, with the letters P.L., meaning _pro libertate_, or with the initials P.V.K.--"Palamedes of Kologne." In some of his works was to be seen a picture of David playing a harp, with the device "Justus fide vivit," to which, of course, could be given a double meaning: "The just man lives by faith," or "Justus lives by his lyre."

Vondel's diligence was phenomenal. Once he remarked in a letter to a friend that the height of Parna.s.sus can only be attained by much panting and sweat, and that attention and exercise sharpen the intellect. The mult.i.tude and the excellence of his works prove the worth of his philosophy.

His thirst for knowledge was extraordinary, and he left few corners of that vast field unfilled. To learn the best expressions for each trade and profession he was wont to question all kinds and conditions of men in regard to the words that they used in their trade or calling.

Farmers, carpenters, masons, artists, men of every business and profession added to his vocabulary. He thus built up the language, and himself attained a thorough mastery over his native tongue; one never equalled by any of his countrymen, with the possible exception of the poet Bilderdk.

He was, moreover, always ready to receive suggestions in regard to his own productions, and often read them to his friends to obtain the benefit of their criticism. This, however, was more true of his translations than of his originals. He took much pleasure, also, in praising the work of others, especially that of the younger poets.

That he was an excellent critic is shown by his prose essays, though he was too impressionable to beauty to be very severe. He was exceedingly modest in regard to his own powers. He considered Hooft the foremost among the Dutch writers of his age, not only on account of his sweet lyrics and stately tragedies, but also because of his historical works.

Constantine Huyghens he praised for his liveliness and fancy, his subtlety, and his wonderful versatility. He also thought highly of Anslo and de Dekker, and particularly of those two young giants, Vollenhove and Antonides. In "The Y Stream" of the latter he saw extraordinary promise, and he thenceforth called the younger poet his son, and was always most tender and fatherly towards him, taking much delight in his company. Of Vollenhove's "Triumph of Christ," he said: "There is a great light in that man, but it is a pity that he is a clergyman." Brandt he called "a good epigrammatist."

HIS FEELING FOR ART.

Art to Vondel was a revelation of the divine in man, and therefore the best promoter of virtue. Hence his pa.s.sion for poetry, and his admiration for painting, music, and architecture. How fitting that he who sang the union of the arts:

"Blithe Poesy and Painting fair, Two sisters debonair,"

should be crowned "king of the feast" by a company of fellow artists!

Vondel was the painter's poet. He wrote numerous inscriptions for paintings. He praises Raphael, Veronese, t.i.tian, Ba.s.sano, Giulo Romano, Lastman, Sandrart, Goltzius (the etcher), and Rubens. He apparently preferred the idealists of the Italian school, for he says but little about the realists of the day, Steen, Ostade, Brouwer, and Teniers; nor even concerning those who copied nature like Douw, De Hoogh, and Mutsu.

The great Rembrandt he names but twice. In one place he speaks of the portrait of Cornelis Anslo, of which he tamely says, "The visible part is the least of him, and who would see Anslo must hear him." He seems to have been more impressed by the fine portrait of Anna Wymers, for he says: "Anna seems to be alive." Elsewhere, however, he speaks of "the night-owl, who hides himself from the day in his shadows of cobweb;"

which is thought to be a covert reference to that magnificent study in chiaroscuro, Rembrandt's "Night Patrol." It is certain, however, that he did not realize the powerful genius of Holland's greatest artist.