s form part of those of the
German, and because of the special influence of the so-called chambers
of the _rederykers_ (rhetoricians), from the early years of the 15th
century onwards, which bear some resemblance to the associations of the
master-singers in contemporary higher Germany. The earliest of their
efforts, which so effectively tempered the despotism of both church and
state, seem to have been of a dramatic kind; and a manifold variety of
allegories, moralities and comic entertainments (_esbatementen_ or
comedies, _kluiten_ and _factien_ or farces) enhanced the attractions of
those popular pageants in which the Netherlands surpassed all other
countries of the North. The Low Countries responded more largely to the
impulse of the Renaissance than, with some local exceptions, any other
of the Germanic lands. They necessarily had a considerable share in the
cultivation of the modern Latin drama; and, while the author of
_Acolastus_ may be claimed as its own by the country of his adoption as
well as by that of his birth, G. M. Macropedius (Langhveldt) (c.
1475-1508), who may be regarded as the foremost Latin dramatist of his
age, was born and died at Hertogenbosch or in its immediate vicinity.
Macropedius, who belonged to the fraternity of the Common Life, was a
writer of great realistic power as well as of remarkable literary
versatility.[316] The art of acting flourished in the Low Countries even
during the troubles of the great revolt; but the birth of the regular
drama was delayed till the advent of quieter times. Dutch dramatic
literature begins, under the influence of the classical studies
cherished in the seats of learning founded before and after the close of
the war, with the classical tragedies of S. Koster (c. 1585-c. 1650).
The romantic dramas and farces of Gerbrand Bredero (1585-1618) and the
tragedies of P. Hooft (1581-1647) belong to the same period; but its
foremost dramatic poet was J. van den Vondel, who from an imitation of
classical models passed to more original forms of dramatic composition,
including a patriotic play and a dramatic treatment of part of what was
to form the theme of _Paradise Lost_.[317] But Vondel had no successor
of equal mark. The older form of Dutch tragedy--in which the chorus
still appeared--was, especially under the influence of the critic A.
Pels, exchanged for a close imitation of the French models, Corneille
and Racine; nor was the attempt to create a national comedy su