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Drama by this time was in the hands of the laity rather than the church, and the introduction of secular themes made it necessary to perform outside of religious buildings, using stages or carts.The survival of the chambers depended on literary performance, and members organized national festivals and competitions.(“rhetoricians”) verse; Reformation propaganda; marching songs of the Calvinist revolt against Spain; these and the first sonnets, the first dissertations in the vernacular, and the first grammars of the Dutch language displayed the restlessness of an age of change.So, while the Catholic Anna Bijns was fulminating against Lutheranism in her glowing satirical verse, which was countered later by the Calvinist Marnix van Sint Aldegonde in his polemical attack on the Catholic church, the echoes of Classical antiquity were reaching the Netherlands in the odes, sonnets, and translations of Erasmus had been famous throughout Europe for nearly a century.His secular songs in medieval style and devotional songs in Renaissance verse told of a passionate devotion to women and yearning for religious moderation.While his three tragicomedies were not successful, his three farces marked the zenith of the medieval genre.Dutch literature, the body of written works in the Dutch language as spoken in the Netherlands and northern Belgium.The Dutch-language literature of Belgium is treated in Belgian literature.

His work was part of a renewed ecclesiastic concern to instruct the laity, which resulted in a wealth of Bible stories, legends, and didactic short stories.

Van der Noot’s Petrarchan sonnets, written in the manner of the French poet Pierre de Ronsard, were published in London, where he was then in exile for participating in an insurrection in 1567.

The two great moderates of the age were the Erasmians Henric Laurenszoon Spieghel and Dirk Volkertszoon Coornhert, liberal humanists who espoused a social, undogmatic Christian ethic.

Spieghel’s poetry is generally more intellectual than Coornhert’s prose, which was influenced by Montaigne and the Bible, with a remarkably supple and lucid, even entertaining, style.

It was Coornhert and his successors, in particular the translators of the Dutch authorized version of the Bible (published in 1637), who laid the foundations of the standard language.

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Contemporary life in Amsterdam provided material for his two comedies, including his masterpiece, Joost van den Vondel.

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