the wagoner that he was heard to say: "It is just as if I were journeying with Joseph and Mary."
The family first stopped at Utrecht, where the young "Joost" went to school. His early education, however, was very meagre, ending with his tenth year; so that he whose attainments were afterwards the admiration of his scholarly contemporaries, and the wonder of posterity, commenced life with the most threadbare equipment of learning.
Surely the plastic imagination of the boy must have been wonderfully impressed by the grandeur of that gigantic Gothic pile, the Utrecht Cathedral, and its tremendous campanile, pointing like a huge index finger unerringly to God, and towering so sublimely above the beautiful old town and the fertile meadows all around!
In 1597 we find the family in Amsterdam, of which flourishing city the elder Vondel had recently become a citizen, and where he had opened a hosiery shop.
This business must have proved remunerative, as one of his younger children, his son William, afterwards studied law at Orleans, and then travelled to Rome, where he applied himself to theology and letters, a course of study which in that age, even more than to-day, must have been beyond the means of even the ordinary well-to-do citizen.
Though the subject of our sketch was not so fortunate in this respect as his younger brother, yet he made good use of his opportunities; and it is recorded that, even before he had reached his teens, his rimes attracted considerable attention among the friends of the family.
When only thirteen years old, we find his verses complimented as showing unusual promise. It was Peter Cornelius Hooft, the talented young poet, son of the burgomaster of the city, who was at that time pursuing a course of study in Italy, who incidentally made this passing reference in an interesting rimed epistle to the Chamber of the Eglantine at Amsterdam.
This Chamber was one of the literary guilds founded in imitation of the French Collèges de Rhétorique; and it played so important a part in the literary history of the city and in the life of our poet that we ask indulgence if an account of it cause what may seem a little digression.
Under the rule of the House of Burgundy, the French feeling for dramatic poetry had been introduced into the Netherlands. This was fostered, not only by the exhibitions of the travelling minstrels, but also by the impressive and often gorgeous Miracle and Mystery Plays of the clergy. In the wake of these followed the more artistic Morality Plays. These allegorical representations did much to create a purer taste and to waken a greater demand for the drama.
The people suddenly began to take unusual interest in declamation and in dramatic exhibitions; and Chambers of Rhetoric, for the indulgence of this new taste, were soon established in all of the prominent cities of the country.
These societies also began sedulously to cultivate rhetorica, or literature, and soon became nothing less than an association of literary guilds, bound together in a sort of social Hanseatic league, designed for their own defence and for the fostering of their beloved art.
Each was distinguished by some device, and usually bore the name of some flower. They were wont also to compete against each other in rhetorical contests called "land-jewels," to which they would march, costumed in glorious masquerade, and to the sound of pealing trumpets and of shrill, melodious airs.
As was natural, the follies of the Church were too tempting a subject for these Chambers to resist; and many of them, long before the thundering polemics of Luther were heard, had dramatized a stinging satire on the clergy, revealing their vices in all of their hideous coarseness, and making their follies the butt of their unsparing mockery.
When the Reformation, therefore, trumped her battle-cry, there throbbed a responsive echo in the hearts of the Netherlanders, long disgusted, as they were, with the excesses of a dissolute priesthood.
These societies, therefore, exerted no little influence on the social, religious, and intellectual life of the country, and became a powerful aid to the awakening of a national consciousness and to the up-building of the language and the literature.
Among them all, no other attained the distinction of the Chamber of the Eglantine at Amsterdam. This Chamber, whose device was "Blossoming in Love," was founded by Charles V., and to it belonged many of the most prominent citizens of that opulent city. All religious discussions were forbidden within its walls; and there, in that age of religious discord and rabid intolerance, both Catholic and Protestant met together in the worship of Apollo. It was to this honored body that the name of the young Vondel was introduced, and upon him, therefore, its members kept an attentive eye.
We next hear of Vondel as a youth of seventeen. He had, it seems, all the while been assisting his father in the cares of the little hosiery shop; but his mind was with his books, and he employed every spare moment in reading or in study.
About this period a friend of the family was married, and the young poet must needs try his wings. Accordingly, he wrote an epithalamium, which, unfortunately for the poet, still survives. As might have been expected, the too-aspiring youth soared on Icarian wings. However, he was not conscious of this at the time; and lame and faulty as these first efforts are, it may yet be surmised that he felt the thrill of inspiration and the rapture of creating no less than when, in later life, he forged those Olympian thunderbolts that fulmined over Holland, causing tyrants to shake and multitudes to tremble.
Soon after the wedding-verses, Vondel wrote a threnody on the assassination of Henry IV. of France, which was but little better than his former effort.
We hear no more of our young poet till, like the deer-stealing youth, Shakespeare, he stands, in his young and vigorous manhood, blushing at the altar. Maria de Wolff was the name of the bride that the twenty-three-year-old husband had won to share his destiny.
History does not record the circumstances nor the incidents of his wooing; but from what we know of his character, we will venture to say that it was ardently done.
Of the sonnets and the love-verses that this passion must have inspired in the soul of the young poet nothing, unfortunately, seems to be known. He who had, as a boy, written tolerable verses at the marriage of another must surely, as a man, have done something better at his own.
"All the world loves a lover," be he ever so humble. But the loves of the poets are of especial interest.
We therefore confess our disappointment that no record exists wherein we could see the poet in the sweet throes of that heart-consuming passion. But, for all that, we feel that he loved like a poet, and we know that his marriage proved to be a most happy one.
His wife was in full sympathy with his every thought and aspiration, and wisely left her star-gazing husband to write verses while she stayed behind the counter and sold stockings. She was the daughter of a prosperous linen-merchant of Cologne, and was fortunately of a practical turn of mind.
Thus, when Vondel succeeded to the business of his father, she took upon herself not only the management of the shop, but attended to the house-keeping as well.
ASPIRATION.
In 1612 appeared Vondel's first drama, "The Passover." It was the first of that splendid series of Bible tragedies to which, in the field of the sacred drama, neither ancient nor modern times furnish a parallel. This play, which covertly celebrated the recent escape of the Hollanders from the yoke of Spain, was played in the Brabantian Chamber of the Lavender, to which Vondel, whose family came from Brabant, naturally belonged.
This poem showed the results of his years of study, and was far superior to his earlier efforts, indeed, it gave such promise that Vondel was immediately invited to become a member of the Chamber of the Eglantine, and thus at once stood on an equality with the most distinguished literati of the day.
Among these was Roemer Visscher, "the round Roemer," as he was known among his intimates. Visscher was celebrated for his epigrams, and was called "the Dutch Martial." He was a good type of the Dutch merchant of his time, and on account of his wit and jollity was very popular with the other members of the society.
With his friends Coornhert and Spieghel he had taken upon