Vestige of the Third Force: Willem Bilderdijk, Poet, Anti-Skeptic, Millenarian

One of the unfortunate consequences of Babel is that only the Dutch read Dutch poetry. ¹ Although English-speaking historians may have heard of the seventeenth-century poet Joost van den Vondel, who generally qualifies as the greatest literary artist of the Netherlands, virtually no one outside Holland knows Willem Bilderdijk (1756-1831), poet, jurist, and man of learning. Robert Southey, having met the poet at his home in Leiden in 1825, lamented several years later the fact that Bilderdijk's fame had not traversed national boundaries:

"And who is Bilderdyk?" methinks thou sayest:
A ready question; yet which, trust me, Allan,
Would not be asked, had not the curse that came
From Babel, clipt the wings of Poetry. ²

When Southey sojourned in the Netherlands, Bilderdijk had already established his reputation as one of the few unconventional figures in Dutch history, comparable, in this sense, to Coornhert and Spinoza. The most outstanding poet of his age, he dominated nineteenth-century Dutch literature through his versatility, rhetorical prowess and sheer output. He is reputed to have written 300,000 lines of verse, not counting his unpublished poems. He practiced virtually all literary genres, from Pindaric odes and erotic rhyme to didactic poetry. Versed in the classics, he wrote numerous translations of, among many others, Homer, Sophocles, Anacreon, Callimachus, Horace, and Ovid. Bilderdijk was a prolific writer of essays on subjects ranging from moral philosophy, epistemology, and natural law to aesthetics, architecture, and botany. He translated theological and devotional works, including Thomas Chalmers's Evidence and Authority of the Christian Revelation, Chrysostome's sermons, and books on freemasonry and pneumatology. Besides contributing to perspective drawing, he wrote the first geological study in Dutch. His History of the Fatherland appeared posthumously in thirteen volumes. He himself regarded his linguistic studies and literary essays as his main achievement. Bilderdijk filled thousands of pages with his idiosyncratic views on the gender of nouns, the alphabet, grammar, spelling, medieval manuscripts, tragedy, and drama in general.

Not surprisingly, Bilderdijk's varied interests and comprehensive mind have led to different interpretations of his thought. Most are one of two kinds. Writers subscribing to the first interpretation regard him as a somewhat strange but devout apologist for Calvinist orthodoxy. They stress the fact that Bilderdijk was the only intellectual who, in the midst of the soul-destroying rationalism propounded by a complacent liberal establishment, dared to cry out against Revolution and Enlightenment, thus revivifying the religious heart of the nation. ³ Those who follow the second interpretation emphasize the Romantic nature of his thought. This group tends to look upon Bilderdijk as the only true Dutch Romantic, a Wordsworth and Coleridge combined, a metaphysical if rather erratic genius who outgrew the intellectual marshlands of his native country. Writers in this tradition stress his definition of poetry as a spontaneous overflow of feeling, his linguistic achievements, his preoccupation with geology, and his visionary view of Dutch history. ⁴ One major interpreter, commenting on Bilderdijk's "real position as a philosopher," has stated that "to me there can be no doubt that Bilderdijk should be placed among the post-Kantian idealists like Fichte and Schelling (cf., again, Coleridge!)." ⁵

Such statements are largely products of wishful thinking. Bilderdijk was not a devout Calvinist. He hardly ever went to church, his theology exhibits suspiciously heterodox leanings, and his professed adherence to the doctrine of predestination had less to do with a profound knowledge of the articles of Dort than mystical resignation. Similarly, the depiction of Bilderdijk as a post-Kantian idealist is sympathetic but lacks any evidence. Some literary historians have tried to salvage the "Romantic" nature of his poetry, but the result is not particularly convincing. ⁶

"And who is Bilderdijk," to echo Southey, if he was neither a Calvinist nor a Romantic? How should one interpret his thought? What should one do...