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KEATS AND SHELLEY AND "DE NIEUWE GIDS"

pretation upon the term chiefly responsible for the deadlock. "Hebben Kloos en zijne genooten in ons land op hunne beurt," he says in a striking passage, "het vaandel ontplooid waarop óók in groote letters het devies te lezen was, niet 'Individualisme', maar: 'Individualiteit'1 But Haighton refused even to be satisfied with that amendment; and, whether or not it can be said that his argument has the full weight of logic to back it, it must be agreed that his reasoning has in it a most engaging quality. "Natuurlijk heeft Kloos, hebben de Tachtigers," he seeks to persuade us with, "met 'individualisme' niet ik-zuchte bedoeld, maar 'persoonlijkheid5 2 In effect, the aesthetic by which the Tachtigers appeared to have introduced an utterly revolutionary factor into the conception of poetry was no more than a logical, if extreme, result of Romantic individualism — that is, of the poet's licence to create his own form, expressive at every turn of his personal idiosyncrasy. Professor Prinsen once went so far as definitely to suggest that "de eenheid in deze groep was een negatie", adding: "Doch in hun eigen aard en persoonlijkheid openbaarde zich al spoedig een groot verschil. De felste revolutionnair Van Deyssel stond in zijn vlammende extase voor Zola, zijn eigen, zuiver Hollandsch naturalisme lijnrecht tegenover de aristocratische vergeestelijking en verfijning van Kloos, Gorter, Verwey, die in de verheerlijking van Keats en Shelley opgingen." 3 Yet, the significance of the final clause here is not to be lightly dismissed on account of what has gone before. Kloos, Verwey, Gorter — and, we may add, Van Eeden — were not themselves — any more than Van Deyssel with his Naturalism — to be able, respectively, to effect the divorce between Poetry and Philosophy, Poetry and Society, Poetry and Politics, Poetry and Religion; but I do maintain that while they worked within the purely

1 "De Nieuwe Gids," 1927 II, p. 297.

2 "De Nieuwe Gids," 1938 II, p. 54.

3 Op. cit., p. 251.

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