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Selective Affinities and Poetic Appropriation: Percy Bysshe

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SELECTIVE A ffinities a n d P oetic A ppropriation : P e r c y B y ss h e S helley a n d W illem K lo o s Kris Omer Eli Antoon Sebastiaan STEYAERT University College London Ph.D. in Dutch September 2000 ProQuest Number: U642576 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642576 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract In this dissertation, I examine the reception and appropriation of Percy Bysshe Shelley’s works in the Low Countries during the period 1880-1940. This period roughly coincides with the writing career of Willem Kloos (1859-1938), the Dutch poet-critic who monopolised his admiration for Shelley and proclaimed himself to be his only poetical heir. I demonstrate how Kloos’s own poetics and political beliefs made him misrepresent and manipulate key facts in Shelley’s life and literary output during his never-ending promotion of the artistic, as well as spiritual, bond between himself and the English writer. More particularly, Kloos showed great determination in advancing Shelley’s works as a comprehensive endorsement of his own artistic tenets. However, Kloos was not the only Shelley devotee and when the ‘school’ of De Beweging began to claim Shelley for themselves, Kloos, in his periodical De Nieiiwe Gids, attacked what he considered to be their illegitimate annexation attempts. This is most noticeable, I argue, in the translation battle between the two literary camps: Willem Kloos, Karel Herman de Raaf (1871-1948), and Hein Boeken (1861-1933) on the one hand, and Albert Verwey (1865-1937), Alex(ander) Gutteling (1884-1910), and Pieter Nicolaas van Eyck (1887-1954) on the other. The first chapter shows Kloos’s interpretation of Shelley’s work to be firmly rooted in high-Victorian scholarship. The starting-point for this contextualisation is a number of unpublished notes which Kloos made in his early twenties and which have never been examined before. The second chapter demonstrates how a number of dissident voices in the Netherlands took issue with Kloos’s depoliticisation which glossed over an integral part of Shelley’s art. The third and fourth chapters are devoted to Alastor and Prometheus Unbound respectively, and interpret the highly critical and partisan reviews triggered by the rivalling translations of each camp. The fifth chapter examines a series of twelve sonnets in which Kloos describes a visitation of Shelley’s ghost confirming the Dutch poet’s self-proclaimed status as Holland’s principal bard. The ideological assumptions underlying the sonnet cycle are typical of Kloos’s appropriation tactics. The final chapter deals with Shelley’s dramaThe Cenci, De Raaf s translation of it, and the first performance in the Low Countries, which has been completely ignored so far by Shelley specialists. Each nation strung for him her own sweet lyre. And every poet smiled upon his love. JOHN A lfred Langford ‘Shelley’ (stanza 15,11. 1-2) O, Percy Bysshe Shelley, langvergane, nooit gezien, Noch ooit toen nog gelezen, ‘k zag u, toen k als lange schrale Gelaten jonge mijmraar liep een raam langs: zonder falen Herwist ‘k u als t Zielsdiepste van al ‘t vroegere geschiên. Ik leefde als mensch in veel gedaanten: onbewust steeds vliên Bleef ‘k in en buiten mij ‘t leege Eendre, want bij dieper dalen k Doorvoel ‘t Eene Eeuwge wat bezielt me. Een nooit verbrookne stalen Voeler en denker blijf ik, en schoon ‘k, Percy, niet u dien. Van jongen man toch voel ik, dat ge 66k streng naar t ideale Durend en sterk gestreefd hebt, juist als ik, in ‘t vlakke, vale Maar mooie Holland, kalm steeds deed. Nooit valschlijk of meskien Werkte ik diep ziende, lijk ook thans: hartstochtlijk-wijd bepalen Blijf ‘k aller Dichtren Diepte en leef dies als gedwee-fatale Dienaar en heerscher hoog nog, naar wien velen avrechtsch rien. WILLEM K lo o s ‘Binnengedachten’ Mxv Contents Abstract 2 Acknowledgements 6 Abbreviations 8 Introduction 9 Chapter One: Zastrozzi, Queen Mab, Laon & Cythna, and the political pamphlets 19 1. Introduction 19 2. Aesthetic-individualism versus poetry of persuasion 21 3. Kloos’s early‘Aanteekeningen’ 29 a. Content and date of composition 29 b. Zastrozzi 33 c. Queen Mab and rhetoric 36 4. Literature, ethics, and socialism 41 5. Kloos’s views in a Victorian context 50 6. Laon and Cythna 56 Chapter Two: Dissident voices in the Netherlands 61 1. Kloos’s depoliticisation under attack 63 2. Towards a synthesis: radicalist aW lyricist 73 3. Kloos as a follower of Shelley 81 4. The perception of Shelley’s succès as reformer 86 5. Vindicating Shelley 93 6. Kloos’s legacy 100 Chapter Three: ^/ûf5/or 108 1. Kloos’s introduction to De Raaf s Alastor translation 109 2. Kloos and Verwey on Alastor 116 3. Critical responses to De Raaf s translation 120 4. De Raaf s and Alastor translations: An analysis 126 5. 1922: The centenary of Shelley’s death 135 6. Busken Huet-Shelley-Kloos 144 Chapter Four: Prometheus Unbound 149 1. Kloos on Gutteling’s Prometheus onthoeid 150 2. The ‘ravin-ruin’ controversy 156 3. Kloos and Shelley’s ‘desolation’ 165 4. Prometheus in the Netherlands 170 5. Prometheus ontboeid: An analysis 180 Chapter Five: Kloos’s Shelley sonnet cycle 189 1. Kloos’s Shelley letter and sonnet cycle 190 2. The prose commentary 202 3. Kloos and spiritism 206 4. Kloos as the incarnation of Shelley 212 Chapter Six: The Cenci 216 1. Dutch reactions to the London premiere of 1886 217 2. De Raaf s De Cenci 223 3. De Cenci: An analysis 228 4. Roland Holst-Shelley-Kloos 236 5. The 1929 performance in Antwerp 242 6. Emants-Shelley-Kloos 254 Conclusion 259 Appendix 1: Kloos’s early ‘Aanteekeningen’ 267 Appendix 2: Kloos’s Shelley collection 279 Appendix 3 : Dutch Shelley translations: a bibliography 294 Appendix 4: Kloos’s Shelley sonnet cycle 301 Appendix 5: Revenue and attendance figures forDe Cenci 307 Bibliography 308 Acknowledgements I am grateful to the following people and institutions for their help during the writing of this dissertation: The ‘Antwerps Museum voor het Vlaamse Cultuurleven’ (AMVC); the Antwerp City Archives; the Albert Verwey Archives at the University of Amsterdam (UvA); the ‘Koninklijke Bibliotheek’ in The Hague; the Libraries of Ghent University, Leiden University, the Free University of Amsterdam (VU), and University College London; the British Library (and especially Dr Jacob Harskamp who put me on the right tracks); the University of London Library (Senate House); Dirk Hellemans of the ‘Koninklijk Nederlands Theater’ in Antwerp (Bourla Schouwburg); Dr Frans Peeters of the University of Antwerp for introducing me to the Antwerp theatre scene of the 1920s; Tanja de Boer, Head of Collections at the ‘Museum van het Boek’ (Meermanno-Westreenianum) in The Hague; Piet Kralt (Hoogland) for his suggestions regarding the dates of some early Kloos manuscripts; S.A.J. van Faassen, Head of Collections at the ‘Nederlands Letterkundig Museum en Documentatiecentrum’ in The Hague; the ‘Nederlands Audiovisueel Archief in Hilversum, Dr Nop Maas (Haarlem) whose ‘kaartenbak’ yielded a number of real gems; and DrM.H. Hietbrink of the Free University of Amsterdam (VU) who alerted me to Verwey’s Baudelaire translations and their interesting genesis. On a more personal note, thanks are due to Jeroen Bosch and Berber Overdijk for their kindness and hospitality: they always made me feel welcome during my visits to the Netherlands. That I am indebted to my parents for their continuous support can only be a vast understatement: I thank them from the bottom of my heart. Dr Kate Davis (University of York) and Dr Sharon Ruston (Keele University) read earlier versions of chapters 4 and 6 and made many useful suggestions. I am much obliged to them. I gratefully acknowledge the financial support of the Humanities Research Board (British Academy) who granted me a Postgraduate Studentship to study at University College London. The Graduate School at University College London and the School of European Languages and Cultures at the University of Hull helped to fund my research travels to the Low Countries. I thank the British Association for Romantic Studies (BARS) for the Stephen Copley Memorial Research Award which enabled me to undertake further archival spadework in the Netherlands. As a former student of Stephen’s, I can only hope this thesis will reflect at least some of the intellectual vigour with which he inspired everyone who knew him. I miss him greatly. Finally, I owe a special debt of gratitude to my supervisor at University College London, Prof. Dr. Theo Hermans, for his patience, guidance, and encouragement during my work in progress. His feedback after scrupulous readings of earlier drafts helped me plot a clearer course, and his advice during our conversations together proved invaluable. I could not have wished for a better mentor. Kris Steyaert London, September 2000 Abbreviations Dekker Dekker, G. Die invloed van Keats en Shelley in Nederland gedurende die negentiende eeu. The Hague and Groningen: J.B. Wolters, 1926. Dowden Dowden, Edward. The Life o f Shelley. Two vols. London: Kegan Paul, Trench & Co, 1886. JPGl Jacques Perks gedichten volgens de eerste druk (1882).
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