Abstract
During the last two decades of the nineteenth century the Dutch drama, which had lapsed into a state of somnolence since the glorious days of Vondel, suddenly awoke to vigorous life. Not only did gifted dramatists appear, but talented directors, actors, and actresses brought new splendor to the theatre. Yet this brilliant flame did not burst forth in a vacuum, and to appreciate the quality of its light, it must be viewed against the background of its origins in the European drama.
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Notes
Cf. Samuel M. Waxman, Antoine and the Théâtre-Libre (Cambridge: Harvard University Press, 1926 ), 19–22; Julius Bab, Das Theater der Gegenwart, “Illustrierte theatergeschichtliche Monographien,” I ( Leipzig: Weber, 1928 ), 43–44.
Waxman, op. cit., 22–33.
Cf. Edgar Steiger, Das Werden des neuen Dramas (Berlin: Fontane, 1898 ), I, 1 2930.
Waxman, op. cit., 114–17.
Cf. Ibid., 94–96.
Waxman, op. cit., 211, points out that in spite of the fact that both The Weavers and The Assumption of Hannele appeared in Paris almost at the same time as in Berlin, Hauptmann had no great influence on the French drama.
Cf. Bab, op. cit., 113–114.
Ibid., 77 ff.
F. Prince, André Antoine et le Rénouveau du Théâtre Hollandais (1880–1900) (Amsterdam: Vermeulen, 1941 ), 1; cf. also 1–11 and Gerd A. Gillhoff, The Royal Dutch Theatre at The Hague (1804–1876) ( The Hague: Nijhoff, 1938 ), 1–4.
For a discussion of the attitudes of Kloos, van Deyssel, and van Eeden toward Zola and French Naturalism, cf. J. de Graaf, Le Réveil litteraire en Hollande et le Naturalisme français (1880–1900) ( Amsterdam: Paris, 1938 ), 20–26.
Cf. K. H. de Raaf and J. J. Griss, Zeven Eeuwen; stroomingen en gestalten ( Rotterdam: Brusse, 1931 ), 216–18.
De Graaf, op. cit., 14–20.
Ibid., 107 ff. Emants did not achieve recognition and influence as a dramatist until some years later. For a discussion of his contribution to the Dutch drama, cf. B. Hunningher, Toneel en werkelijkheid ( Rotterdam: Brusse, 1947 ), 32–60.
Aside from accounts in literary histories and handbooks, there is a sketchy review of his work by G. Karsten, Herman Heyermans; novellist, romancier, dramaturg ( Amsterdam: De Steenuil, 1934 ).
Descriptions of Heijermans at the height of his career are given by his first wife, Marie Heijermans-Peers (and Hermine Eerens-Heijermans), Met Herman Heijermans in hemel en put (Amsterdam-Utrecht: Cohen’s Boekhandel, 1927) and Frans Hulleman, Heyermans-herinneringen (Laren (Gooiland): Schoonderbeek, [1926]). Chapter II, below, is an account of Heijermans’ life based on these books and on the magazine and newspaper articles indicated in the footnotes. The author’s widow, Mevr. A. Heijermans-Jurgens, and his sisters, Mej. H. A. Heijermans and Mrs. Caroline Heijermans Houwink have been kind enough to supply additional information.
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© 1954 Martinus Nijhoff, The Hague, Holland
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Flaxman, S.L. (1954). Introduction. In: Herman Heijermans and His Dramas. Springer, Dordrecht. https://doi.org/10.1007/978-94-011-9155-5_1
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