turies were the Chambers of Rhetoric.[1] Indeed to Chambers of
Rhetoric. the end of the seventeenth century the conditions of dramatic production were determined by the old customs of these celebrated institutions. The name, and possibly to some extent the institution, of "Rederijkers-kamers" came from France, where these secular and literary developments of the religious guilds were known as "Chambres de Rhétorique," "Puys," "Cours d'amour"; but in no country did they thrive more vigorously than in Flanders, Brabant, Zeeland, and Holland. Every town, and almost every village, had its chamber. They combined the functions and attractions of a dramatic company, a literary society, and a convivial club. "Rederijker, Kannekijker" became a proverb, and Jan Steen's picture in Brussels is characteristic of at any rate their later developments. They instituted competitions—Landjuweelen or smaller Haagspelen—at which prizes were offered for the most magnificent procession into town and the most elaborate decoration of the hostel where a chamber lodged, as well as for the best dramatic or poetic work. This work was not, however, of a high order. The dramatic Zinnespelen (Moralities) and Kluchten (Farces)—of which we shall have something to say in the next chapter—and the lyrical Refereinen and Liedekens of the chambers, were the last colourless products of the Middle Ages touched with the pedantry of the revival of learning, and composed in a style corrupted by bastard French words.
- ↑ Vide Jonckbloet, Geschiedenis, ii.; Kalff, XVIde Eeuw, i.; also van Duyse and Potter, History of the Chambers of Rhetoric.
