Quick Facts
In full:
Elizabeth Wolff-Bekker
Born:
July 24, 1738, Vlissingen, Neth.
Died:
Nov. 5, 1804, The Hague (aged 66)

Betje Wolff (born July 24, 1738, Vlissingen, Neth.—died Nov. 5, 1804, The Hague) was a Dutch writer and collaborator with Aagje Deken on the first Dutch novel, De historie van mejuffrouw Sara Burgerhart, 2 vol. (1782; “The History of Miss Sara Burgerhart”).

Wolff, the daughter of a prosperous family, ran away with a naval officer at age 17, only to return home in a few days, deeply hurt by the experience. In 1759 she married Adriaan Wolff, a minister more than 30 years her senior.

The first writing she did was classical poetry in imitation of Alexander Pope; she also wrote lyrical poetry and satire. She directed most of her satire at her conservative, provincial neighbours. From 1767 to 1769 Wolff contributed to the periodical Gryzaard. By the time she met Aagje Deken in 1776, she was a well-known and widely discussed writer. After the death of her husband, Wolff set up house with Deken. Five years later Sara Burgerhart, an epistolary novel inspired by Samuel Richardson’s Pamela, was published. It was a realistic, subtly developed character study and included circumstances drawn from the lives of both women—particularly from Wolff’s youthful adventure with the ensign.

Illustration of "The Lamb" from "Songs of Innocence" by William Blake, 1879. poem; poetry
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After the success of Sara Burgerhart, the two women continued to work together, producing among other works three more epistolary novels. The nature and extent of their literary collaboration remains a matter of some dispute. Some critics, reflecting on Deken’s mediocre output prior to the publication of Sara Burgerhart, maintain that Wolff was the principal author of the joint works. Wolff in fact had a far greater catalog and reputation.

This article was most recently revised and updated by Encyclopaedia Britannica.

Dutch literature, the body of written works in the Dutch language as spoken in the Netherlands and northern Belgium. The Dutch-language literature of Belgium is treated in Belgian literature.

Of the earliest inhabitants of the Netherlands, only the Frisians have survived, and they have maintained a separate language and literature since the 8th century. The remainder of the Netherlands was colonized by the Saxons and Franks between the 3rd and 9th centuries, resulting in a predominantly Frankish culture in the south and Saxon or an amalgam of Saxon and Frankish language and culture elsewhere.

Under the less nomadic Franks, the south prospered more than the north, and there a literary language first developed. Because of marked differences between the dialects of the east, the centre, and the west (Flanders, with features that linked the coastal dialects with Old English), the development was very gradual. In the early Middle Ages, when Latin and, later, French were the languages of the educated, the vernacular was largely confined to unrecorded oral legend and folk songs. The earliest text that can claim to contain examples of Old Dutch was the early 10th-century “Wachtendonck Psalm Fragments.”

Medieval literary works

Poetry and prose

The work of Heinrich von Veldeke, the earliest known poet to use a Dutch dialect, typified the age’s religious zeal, which emanated from the French centres of learning. In addition to his Eneit (c. 1185), a chivalrous rendering of Virgil’s Aeneid, and his love lyrics, which were important for German poets, Heinrich produced Servatius, a saint’s life written in the Limburg dialect. Dutch 13th- and 14th-century texts were generally written in the cultural centres of Flanders and Brabant, where, for reasons of trade, the prevailing influence was French. Throughout Europe the Crusades brought courtly romances into vogue, and Dutch romances, following French models, were written about events from Classical history, such as Segher Diergotgaf ’s Paerlement van Troyen (“Parliament of Troy”); about Oriental subjects; or, most popular of all, on themes from Celtic sagas, including the Arthurian cycle. But by the 1260s chivalry was on the decline; the titles of Jacob van Maerlant’s later works bear witness to a late 13th-century reaction against romance. Van Maerlant’s compendia of knowledge, including his Der naturen bloeme (“The Flower of Nature”) and Spieghel historiael (“The Mirror of History”), answered a demand for the kind of self-instructional literature that long remained a characteristic of Dutch literature. The change in social patterns at this time is also evident in two epic tales. Karel ende Elegast (“Charles and Elegast”), probably an original Flemish chanson de geste of the 12th or 13th century, describes with feudal reverence Charlemagne’s adventures in the magic world of folklore. Van den vos Reinaerde (c. 1240; “Reynard the Fox”) is the Flemish poet Willem’s version of a translation by another Fleming, Aernout, of the French Le Plaid, which, by contrast, brilliantly satirizes feudal society and the epic manner.

Mystical writing reached a remarkable lyrical intensity in the poetry and hortatory prose of a Brabantine laywoman, Hadewijch (late 12th to early 13th century), and this inspired later mystics, greatest of whom was Jan van Ruysbroeck, a disciple of the German mystic Meister Eckehart and the Netherlands’ greatest medieval prose writer. His most important work was Die chierheit der gheestliker brulocht (1350; The Adornment of the Spiritual Marriage, or The Spiritual Espousals), concerning the soul in search of God. His work was part of a renewed ecclesiastic concern to instruct the laity, which resulted in a wealth of Bible stories, legends, and didactic short stories. Of these, Beatrijs, an early 14th-century Flemish verse rendering of a popular legend, is told with such humanity and restraint that it still inspires modern versions (e.g., those by Maurice Maeterlinck and Pieter Cornelis Boutens).

4:043 Dickinson, Emily: A Life of Letters, This is my letter to the world/That never wrote to me; I'll tell you how the Sun Rose/A Ribbon at a time; Hope is the thing with feathers/That perches in the soul
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Songs, drama, and the rhetoricians

The earliest recorded songs suggest a Germanic rather than a Romance tradition. Because the first extant plays—the 14th-century Abele spelen (“seemly plays”)—were entirely secular (and may have been the first of such in Europe), incorporating romantic themes from the earlier songs, there is reason to attribute the emergence of drama in the Netherlands as much to mime and song as to liturgical action. The only evidence of early liturgical drama is the Latin Officium stellae of the 14th century, after which there is nothing until 1448–55, when a play cycle on the seven joys of Mary was first performed at Brussels. Of the many miracle and morality plays, two deserve special mention: Mariken van Nieumeghen (late 15th century; “Mary of Nijmegen”) and Elckerlyc (of about the same date). The first anticipates the Renaissance in its psychology and treatment; the second, entirely medieval in its conception, is the original of the English Everyman. Both were written by members of rederijkerskamers, or chambers of rhetoric, institutions that spread from the French border in the 15th century. Organized like guilds, with functions similar to those of the French medieval dramatic societies, the chambers were commissioned by the town protecting them to provide the ceremonial and entertainment at religious and secular festivals, and they were influential in popularizing art and morals. Drama by this time was in the hands of the laity rather than the church, and the introduction of secular themes made it necessary to perform outside of religious buildings, using stages or carts. The survival of the chambers depended on literary performance, and members organized national festivals and competitions. A record of one such festival, held in 1561, is the illustrated Antwerps landjuweel (1562; “Antwerp National Contest”).