Abstract
At a time when the study of literature is in the process of becoming increasingly cosmopolitan, it is surprising that major literary areas are still virtually unknown. One such terra incognita is Dutch literature, particularly modern. The accusation that Dutch literature is a provincial subdivision of German lacks proof, for as any tourist can testify, Holland is probably one of the most cosmopolitan of continental societies. The First World War forced Dutch art to look beyond its borders; though Holland as a nation was at that time not physically violated, the conflict replaced an introverted with an international consciousness, a process that was not congenial to the traditions of the middle class, nor to the literary establishment. During the 'twenties three men vigorously attacked this bulwark, intent on setting the artist free from rigid aestheticism. In Flanders Paul van Ostaijen (1898-1928) single-handedly changed the artistic perspective of his generation, while in Holland Edgar Du Perron (1899-1940) and Menno Ter Braak (1902-1940) once and for all set a European standard for Dutch artists.
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