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De Herinnering Aan De Geuzen in Negentiende-Eeuws België

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De Herinnering Aan De Geuzen in Negentiende-Eeuws België “Vrijheid of Dood!” De herinnering aan de Geuzen in negentiende-eeuws België. Jolien Dekoninck Promotor: prof. dr. Anne-Laure Van Bruaene Commissarissen: dr. Ewoud Waerniers en prof. dr. Jan Dumolyn Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het behalen van de graad van Master in de Geschiedenis Academiejaar 2014-2015 Consulteerbaarheidsverklaring De auteur en de promotor(en) geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. Het auteursrecht betreffende de gegevens vermeld in deze studie berust bij de promotor(en). Het auteursrecht beperkt zich tot de wijze waarop de auteur de problematiek van het onderwerp heeft benaderd en neergeschreven. De auteur respecteert daarbij het oorspronkelijke auteursrecht van de individueel geciteerde studies en eventueel bijhorende documentatie, zoals tabellen en figuren. De auteur en de promotor(en) zijn niet verantwoordelijk voor de behandelingen en eventuele doseringen die in deze studie geciteerd en beschreven zijn. 2 Voorwoord Mijn interesse voor cultuur, politiek, identiteit en de geschiedenis van de (vroeg)moderne tijd – door de jaren heen opgebouwd en versterkt door mijn opleiding geschiedenis aan de Universiteit van Gent – is altijd al groot geweest. Ik was dan ook meteen te vinden voor het voorstel van mijn promotor, prof. dr. Anne-Laure Van Bruaene, om mijn masterscriptie te wijden aan de manier waarop het negentiende-eeuwse België terugkeek op de Nederlandse Opstand en de rol van de geuzen hierin interpreteerde en eerde. In dit onderwerp komen immers al bovengenoemde interessesferen samen. In de eerste plaats wil ik dan ook professor Van Bruaene bedanken voor de begeleiding en tips die zij mij het afgelopen jaar geboden heeft. Daarnaast wil ik graag enkele mensen bedanken, die mij geholpen hebben met het zoeken naar bronnen en literatuur, waaronder Eveline Spileers, Christophe Martens en Remco Sleiderink. Ik wil ook graag Ruben Mantels bedanken voor de feedback op het gevonden bronnenmateriaal en de literatuursuggesties. Daarnaast gaat mijn dank uit naar het personeel van de Universiteitsbibliotheek Gent, Universiteitsbibliotheek Leuven, het Liberaal Archief, de Erfgoedbibliotheek Hendrik Conscience en het Letterenhuis. Voor de feedback op de kladversies van de thesis, gaat mijn dank uit naar Benjamin De Vos. Verder wil ik mijn ouders en grootmoeder bedanken voor hun steun gedurende mijn hele studentenloopbaan. Tenslotte gaat heel veel dank uit naar mijn vriendinnen, die mij met raad en daad hebben bijgestaan. Een bijzondere vermelding verdienen Lien Hellebaut, Margot Demorelle en Kimberly Dejonghe om steeds de juiste opbeurende woorden te vinden op de momenten dat ik ze nodig had. Ik wens u veel leesplezier toe. Jolien Dekoninck Gent, 26 mei 2015. 3 “Plus encore qu’une territoire, une langue, une religion ou un régime, une nation, c’est une mémoire” (Pascal Ory, professor hedendaagse geschiedenis aan de Sorbonne).1 1 Citaat uit Tilmans, (K.)., Van Vree, (F.). en Winter, (J.). Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam University Press, Amsterdam, 2010, p. 107. 4 Inhoudsopgave Consulteerbaarheidsverklaring .......................................................................................................... 2 Voorwoord ......................................................................................................................................... 3 Inleiding ............................................................................................................................................. 8 Stand van zaken in de historiografie ................................................................................................ 9 Historisch Toneel ...................................................................................................................... 10 De Geuzen ................................................................................................................................ 11 Onderwerp en Afbakening van het eigen onderzoek ..................................................................... 11 Structuur en Opbouw .................................................................................................................... 14 1. Methodologie ............................................................................................................................... 16 1.1. De Bronnen ............................................................................................................................ 16 1.1.1. Problemen en Bedenkingen ............................................................................................. 18 1.2. Bespreking Tabel 1: Historisch Toneel ..................................................................................... 19 1.3. Onderzoeksmethode .............................................................................................................. 21 2. Historische Context ...................................................................................................................... 23 2.1. De Geuzen: voor een goed begrip ........................................................................................... 23 2.2. De historische cultuurpolitiek van een jonge natiestaat .......................................................... 24 2.2.1. Theoretisch kader ............................................................................................................ 25 2.2.2. De kijk van de Belgische natie op haar eigen verleden ..................................................... 29 2.2.2.1. De ambigue positie van de Nederlandse Opstand……………………………………………………30 2.2.3. De Vlaamse Beweging ..................................................................................................... 31 2.2.3.1. Literair………………………………………………………………………….…………………………………………32 2.2.3.2. Politiek……………………………………………………………………………………………….……………………35 2.2.3.2.1. Katholiek…………………………………………………………………………………………………36 2.2.3.2.2. Liberaal……………………………………………………………………………………………………37 2.2.3.2.3. Neutraal…………………………………………………………………………………………………38 2.2.4. Historisch toneel als medium ........................................................................................... 39 2.2.4.1. Kenmerken………………………………………………………………………………………………………………40 2.2.4.2. Doeltreffendheid……………………………………………………………………………………………………44 2.3. Besluit .................................................................................................................................... 46 3. Historisch Toneel .......................................................................................................................... 48 3.1. Identificatieniveau .................................................................................................................. 48 5 3.1.1. Vertaalde werken ............................................................................................................ 48 3.1.1.1. Alva’s Geheimschrijver of de Burger van Gent (Edouard Ter Bruggen, 1841)…………48 3.1.1.2. Montigny (Frans Van Geert, 1851)…………………………………………………………………………52 3.1.1.3. De Dood van Egmont (Frans Van Geert, 1852)…………………………………………………………55 3.1.2. Origineel-Vlaamse stukken .............................................................................................. 58 3.1.2.1. Mathias de Beeldstormer (Hippoliet Van Peene, 1858)……………………………………………58 3.1.2.2. De Boschgeuzen of de Familie Van Cuyck (Frans Van Geert, 1859)…………………………61 3.1.2.3. Gijsbrecht Barlo (Karel Versnaeyen, 1863)………………………………………………………………64 3.1.2.4. Willem van Oranje, Antwerpen in 1585 (Emmanuel Van Driessche, 1866)………………65 3.1.2.5. De Geuzendans, (Victor De Meyer-Roelandts, 1870)………………………………………………68 3.1.2.6. De Val van Antwerpen (Frans Joseph Van Den Branden, 1872)………………………………70 3.1.2.7. De Ketter (Joseph Domus, 1875)……………………………………………………………………………72 3.1.2.8. De Spaansche Furie of Antwerpen in 1576 (Edward Van Bergen, 1876)…………………74 3.1.2.9. De Pacificatie van Gent (Emiel Van Goethem, 1876)………………………………………………76 3.2. Ideologie ................................................................................................................................ 78 3.2.1. Unionisme (1840-1860) ................................................................................................... 78 3.2.1.1. Alva’s Geheimschrijver……………………………………………………………………………………………78 3.2.1.2. Montigny…………………………………………………………………………………………………………………81 3.2.1.3. De Dood van Egmont………………………………………………………………………………………………83 3.2.1.4. Mathias de Beeldstormer………………………………………………………………………………………85 3.2.1.5. De Boschgeuzen………………………………………………………………………………………………………88 3.2.2. Politieke profilering (1860-1870) ..................................................................................... 90 3.2.2.1. Gijsbrecht Barlo………………………………………………………………………………………………………90 3.2.2.2. Willem van Oranje…………………………………………………………………………………………………92 3.2.2.3. De Geuzendans………………………………………………………………………………………………………95 3.2.3. Besluit ............................................................................................................................. 97 3.2.4. Polarisatie (de jaren 1870) ............................................................................................... 97 3.2.4.1. Het Geuzenjaar 1872………………………………………………………………………………………………97 3.2.4.1.1. De
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