page_title: Flemish literature
section_title: Medieval Flemish literature
hierarchical_section_title: Flemish literature / Medieval Flemish literature
caption_attribution_description: English: Portrait of the medieval Dutch author en:Jacob van Maerlant from the initial of a medieval manuscript of one of his works.
context_page_description: Flemish literature is literature from Flanders, historically a region comprising parts of present-day Belgium, France and the Netherlands. Until the early 19th century, this literature was regarded as an integral part of Dutch literature. After Belgium became independent from the Netherlands in 1830, the term Flemish literature acquired a narrower meaning and refers to the Dutch-language literature produced in Belgium. It remains a part of Dutch-language literature.
context_section_description: In the earliest stages of the Dutch language, a considerable degree of mutual intelligibility with some (what we now call) German dialects was present, and some fragments and authors are claimed for both realms. Examples include the 12th-century poet Hendrik van Veldeke, who is claimed by both Dutch and German literature.
  In the first stages of Flemish literature, poetry was the predominant form of literary expression. In the Low Countries as in the rest of Europe, courtly romance and poetry were popular genres during the Middle Ages. One such Minnesanger was the aforementioned Van Veldeke. The chivalric epic was a popular genre as well, often featuring King Arthur or Charlemagne (Karel) as protagonist (with notable example of Karel ende Elegast, Dutch for "Charlemagne and the elf-spirit/elf-guest").
  The first Dutch language writer known by name is the 12th-century County of Loon poet Hendrik van Veldeke, an early contemporary of Walther von der Vogelweide. Van Veldeke wrote courtly love poetry, a hagiography of Saint Servatius and an epic retelling of the Aeneid in a Limburgish dialect that straddles the Dutch-German language boundary.
  A number of the surviving epic works, especially the courtly romances, were copies from or expansions of earlier German or French efforts, but there are examples of truly original works (such as the anonymously written Karel ende Elegast) and original Dutch-language works that were translated into other languages (notable Dutch morality play Elckerlijc formed the basis for the English play Everyman).
  Apart from ancient tales embedded in Dutch folk songs, virtually no genuine folk-tales of Dutch antiquity have come down to us, and scarcely any echoes of Germanic myth. On the other hand, the sagas of Charlemagne and Arthur appear immediately in Middle Dutch forms. These were evidently introduced by wandering minstrels and translated to gratify the curiosity of the noble women. It is rarely that the name of such a translator has reached us. The Chanson de Roland was translated somewhere in the twelfth century, and the Flemish minstrel Diederic van Assenede completed his version of Floris and Blancheflour as Floris ende Blancefloer around 1260.
  The Arthurian legends appear to have been brought to Flanders by some Flemish colonists in Wales, on their return to their mother country. Around 1250 a Brabantine minstrel translated the Prose Lancelot at the command of his liege, Lodewijk van Velthem. This adaptation, known as the Lancelot-Compilatie, contains many differences from the French original, and includes a number of episodes that were probably originally separate romances. Some of these are themselves translations of French originals, but others, such as the Morien, seem to be originals. The Gauvain was translated by Penninc and Vostaert as Roman van Walewijn before 1260, while the first wholly original Dutch epic writer, Jacob van Maerlant, occupied himself around 1260 with several romances dealing with Merlin and the Holy Grail.
  The earliest existing fragments of the epic of Reynard the Fox were written in Latin by Flemish priests, and about 1250 the first part of a very important version in Dutch, Van den vos Reynaerde ("Of Reynard") was made by Willem. In his existing work the author follows Pierre de Saint-Cloud, but not slavishly; and he is the first really admirable writer that we meet with in Dutch literature. The second part was added by another poet, Aernout, of whom we know little else either.
  The first lyrical writer of the Low Countries was John I, Duke of Brabant, who practised the minnelied with success. In 1544 the earliest collection of Dutch folk-songs saw the light, and in this volume one or two romances of the fourteenth century are preserved, of which "Het Daghet in den Oosten" is the best known.
  Up until now, the Middle Dutch language output mainly serviced the aristocratic and monastic orders, recording the traditions of chivalry and of religion, but scarcely addressed the bulk of the population. With the close of the thirteenth century a change came over the face of
caption: Jacob van Maerlant.
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