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See also:EDWARD DOUWES See also:DEKKER (182o-1887)
, Dutch writer, commonly known as MULTATULI, was See also:born at See also:Amsterdam on the 2nd of See also: He continued to write much, and to See also:faggot his miscellanies in See also:uniform volumes called Ideas, of which seven appeared between 1862 and 1877 . Douwes quitted Holland, shaking off her dust from his feet, and went to live at See also:Wiesbaden . He now made several attempts to gain the See also:stage, and one of his pieces, The School for Princes, 1875 (published in the See also:fourth See also:volume of Ideas), pleased himself so highly that he is said to have styled it the greatest See also:drama ever written . It is a See also:fine poem, written in See also:blank See also:verse, like an See also:English tragedy, and not in Dutch Alexandrines; but it is undramatic, and has not held the boards . Douwes Dekker moved his See also:residence to Nieder See also:Ingelheim, on the See also:Rhine, and there he died on the 19th of See also:February 1887 . Towards the end of his career he was the centre of a See also:crowd of disciples and imitators, who did his reputation no service; he is now, again, in danger of being read too little . To under-stand his fame, it is necessary to remember the sensational way in which he See also:broke into the dulness of Dutch literature fifty years ago, like a See also:flame out of the Far See also:East . He was ardent, provocative, perhaps a little hysterical, but he made himelf heard all over Europe . He brought an exceedingly severe See also:indictment against the egotism and brutality of the administrators of Dutch See also:India, and he framed it in a literary See also:form which was brilliantly See also:original . Not satisfied with this, he attacked, in a fury that was sometimes See also:blind, everything that seemed to him falsely conventional in Dutch See also:religion, See also:government, society and morals . He respected nothing, he See also:left no institution untouched . Now that it is possible to look back upon Multatuli without See also:passion, we see in him, not what Dutch See also:enthusiasm saw,—" the second writer of Europe in the nineteenth See also:century " (See also:Victor See also:Hugo being presumably the first), but a See also:great See also:man who was a powerful and glowing author, yet hardly an artist, a reckless enthusiast, who was inspired by indignation and a burning sense of See also:justice, who cared little for his means if only he could produce his effect . He is seen to his best and worst in Max Havelaar; his Ideas, hard, fantastic and sardonic, seldom offer any solid See also:satisfaction to the See also:foreign reader . But Multatuli deserves remembrance, if only on See also:account of the unequalled effect his See also:writing had in rousing Holland from the intellectual and moral lethargy in which she See also:lay See also:half a century ago . (E . |
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[back] DEKKER (or DECKER), THOMAS (c. 1570-1641) |
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