Flemish literature

Flemish literature is literature from Flanders, historically a region comprising parts of present-day Belgium, France and the Netherlands. Until the early 19th century, this literature was regarded as an integral part of Dutch literature. After Belgium became independent from the Netherlands in 1830, the term Flemish literature acquired a narrower meaning and refers to the Dutch-language literature produced in Belgium. It remains a part of Dutch-language literature.

Medieval Flemish literature

In the earliest stages of the Dutch language, a considerable degree of mutual intelligibility with some (what we now call) German dialects was present, and some fragments and authors are claimed for both realms. Examples include the 12th-century poet Hendrik van Veldeke, who is claimed by both Dutch and German literature.

In the first stages of Flemish literature, poetry was the predominant form of literary expression. In the Low Countries as in the rest of Europe, courtly romance and poetry were popular genres during the Middle Ages. One such ''Minnesanger'' was the aforementioned Van Veldeke. The chivalric epic was a popular genre as well, often featuring King Arthur or Charlemagne (''Karel'') as protagonist (with notable example of '' Karel ende Elegast'', Dutch for "Charlemagne and the elf-spirit/elf-guest").

The first Dutch language writer known by name is the 12th-century County of Loon poet Hendrik van Veldeke, an early contemporary of Walther von der Vogelweide. Van Veldeke wrote courtly love poetry, a hagiography of Saint Servatius and an epic retelling of the ''Aeneid'' in a Limburgish dialect that straddles the Dutch-German language boundary.

A number of the surviving epic works, especially the courtly romances, were copies from or expansions of earlier German or French efforts, but there are examples of truly original works (such as the anonymously written '' Karel ende Elegast'') and original Dutch-language works that were translated into other languages (notable Dutch morality play ''Elckerlijc'' formed the basis for the English play ''Everyman'').

Apart from ancient tales embedded in Dutch folk songs, virtually no genuine folk-tales of Dutch antiquity have come down to us, and scarcely any echoes of Germanic myth. On the other hand, the sagas of Charlemagne and Arthur appear immediately in Middle Dutch forms. These were evidently introduced by wandering minstrels and translated to gratify the curiosity of the noble women. It is rarely that the name of such a translator has reached us. The ''Chanson de Roland'' was translated somewhere in the twelfth century, and the Flemish minstrel Diederic van Assenede completed his version of ''Floris and Blancheflour'' as ''Floris ende Blancefloer'' around 1260.

The Arthurian legends appear to have been brought to Flanders by some Flemish colonists in Wales, on their return to their mother country. Around 1250 a Brabantine minstrel translated the ''Prose Lancelot'' at the command of his liege, Lodewijk van Velthem. This adaptation, known as the Lancelot Compilation, contains many differences from the French original, and includes a number of episodes that were probably originally separate romances. Some of these are themselves translations of French originals, but others, such as the '' Moriaen'', seem to be originals. The ''Gauvain'' was translated by Penninc and Vostaert as ' before 1260, while the first wholly original Dutch epic writer, Jacob van Maerlant, occupied himself around 1260 with several romances dealing with Merlin and the Holy Grail.

The earliest existing fragments of the epic of Reynard the Fox were written in Latin by Flemish priests, and about 1250 the first part of a very important version in Dutch, '' Van den vos Reynaerde'' ("Of Reynard") was made by Willem. In his existing work the author follows Pierre de Saint-Cloud, but not slavishly; and he is the first really admirable writer that we meet with in Dutch literature. The second part was added by another poet, Aernout, of whom we know little else either.

The first lyrical writer of the Low Countries was John I, Duke of Brabant, who practised the ''minnelied'' with success. In 1544 the earliest collection of Dutch folk-songs saw the light, and in this volume one or two romances of the fourteenth century are preserved, of which "Het Daghet in den Oosten" is the best known.

Up until now, the Middle Dutch language output mainly serviced the aristocratic and monastic orders, recording the traditions of chivalry and of religion, but scarcely addressed the bulk of the population. With the close of the thirteenth century a change came over the face of Dutch literature.

The founder and creator of this original Dutch literature was Jacob van Maerlant. His ''Der Naturen Bloeme'' ("The Flower of Nature"), written about 1263, takes an important place in early Dutch literature. It is a collection of moral and satirical addresses to all classes of society. With his ''Rijmbijbel'' ("Verse Bible") he foreshadowed the courage and free-thought of the Reformation. It was not until 1284 that he began his masterpiece, ''De Spieghel Historiael'' ("The Mirror of History") at the command of Count Floris V.

From the very first the literary spirit in the Low Countries began to assert itself in a homely and utilitarian spirit. Thoroughly aristocratic in feeling was Hem van Aken, a priest of Louvain, who lived about 1255–1330, and who combined to a very curious extent the romantic and didactic elements prevailing at the time. As early as 1280 he had completed his translation of the ''Roman de la Rose'', which he must have commenced in the lifetime of its author Jean de Meung.

As for prose, the oldest pieces of Dutch prose now in existence are charters of towns in Flanders and Zeeland, dated 1249, 1251 and 1254. Beatrice of Nazareth (1200–1268) was the first known prose writer in the Dutch language, the author of the notable dissertation known as the ''Seven Ways of Holy Love''. From the other Dutch mystics whose writings have reached us, the Brussels friar Jan van Ruusbroec (better known in English as the Blessed John of Ruysbroeck, 1293/4–1381), the "father of Dutch prose" stands out. A prose translation of the Old Testament was made about 1300, and there exists a ''Life of Jesus'' of around the same date.

The poets of the Low Countries had already discovered in late medieval times the value of guilds in promoting the arts and industrial handicrafts. The term "Collèges de Rhétorique" (" Chambers of Rhetoric") is supposed to have been introduced around 1440 to the courtiers of the Burgundian dynasty, but the institutions themselves existed long before. These literary guilds, whose members called themselves "Rederijkers" or "Rhetoricians", lasted until the end of the sixteenth century and during the greater part of that time preserved a completely medieval character, even when the influences of the Renaissance and the Reformation obliged them to modify in some degree their outward forms. They were in almost all cases absolutely middle class in tone, and opposed to aristocratic ideas and tendencies in thought.

Of these chambers, the earliest were almost entirely engaged in preparing mysteries and miracle plays for the people. Towards the end of the fifteenth century, the Ghent chamber began to exercise a sovereign power over the other Flemish chambers, which was emulated later on in Holland by the Eglantine at Amsterdam. But this official recognition proved of no consequence in literature and it was not in Ghent but in Antwerp that intellectual life first began to stir. In Holland the burghers only formed the chambers, while in Flanders the representatives of the noble families were honorary members, and assisted with their money at the arrangement of ecclesiastical

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