Belgian literature

Because Belgium is a multilingual country,[note 1] Belgian literature is divided into two main linguistic branches following the two most prominently spoken languages in the country - Dutch and French. [note 2] German is the third language in Belgium and is spoken by a small community of about 70,000 German-speakers of the German-speaking Community of Belgium bordering on Germany.

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Some literature also exists in the regional languages of Belgium, with published works in both the Walloon language, which is related to French, and also in various regional Flemish or Dutch-related dialects.


Belgian literature in Dutch


See also
  • (in Dutch) Lijst van Vlaamse schrijvers (list of Flemish authors)
  • "Museum of the Flemish literature" (in Dutch). Het Letterenhuis. Archived from the original on 19 July 2012. Retrieved 11 November 2012.

Belgian literature in French

Belgian literature in Walloon

Literature in Walloon has been printed since the 16th century or at least since the beginning of the 17th century.[1] Its golden age was in the 19th century: 'That period saw an efflorescence of Walloon literature, plays and poems primarily, and the founding of many theaters and periodicals.' [2] Yves Quairiaux counted 4800 plays for 1860–1914, published or not.[3] In this period plays were almost the only popular show in Wallonia. But this theater remains popular in present-day Wallonia: Theatre is still flourishing with over 200 non-professional companies playing in the cities and villages of Wallonia for an audience of over 200,000 each year.[4] Jacques Ancion wanted to develop a regular adult audience.[5] This regional literature most commonly deals with local folklore and ancient traditions, the most prominent Walloon author being Arthur Masson.[6][7]

  • Charles-Nicolas Simonon (1774-1847): "Li Côparèye" (1822)
  • Nicolas Defrecheux (1825-1874): "Lèyîs-m'plorer" (Let me weep, 1854)
  • Edward Remouchamps (1836-1900) wrote the vaudeville theater piece "Tatî l'pèriquî" (Gautier, the barber, 1885)
  • Salme Dieudonné: the novel "Li Houlot" (The cadet, 1888)
  • Willame Georges (1863-1917), sonnets
  • François Renkin (1872-1906), stylized prose
  • Henri Simon (1856-1939): "Li Mwert di l'abe" (The death of the tree, 1909) and "Li pan dè bon Dieu" (The Bread of the Good Lord, 1914)
  • Jules Claskin (1884-1926), poetry
  • Laloux Auguste (1908-1976): "Li p'tit Bêrt", written before 1940, published in 1963
  • Geo Libbrecht (1891-1976): poetry, "Les cloques / Les cleokes (1964)."
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gollark: A 17x17 grid is small enough that you can probably get away with inefficiency, ubq.
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gollark: Quoted from my notes:The relevant factors for course choice are probably something like this, vaguely in order: “personal fit” - how much I'll actually like it. This is quite hard to tell in advance. During the Y11 careers interview I was recommended some kind of trial thing for engineering, but I doubt that's on now, like many other things. Probably more important than other things, as I'd spend 3-5 years on said course, will perform better if I do enjoy it, and will probably not get much use out of studying a subject I would not like enough to do work related to. flexibility/generality - what options are opened by studying this stuff? Especially important in a changing and unpredictable world. how hard a subject is to learn out of university - relates to necessity of feedback from people who know it much better, specialized equipment needed, availability of good teaching resources, etc. Likely to decline over time due to the internet/modern information exchange systems and advancing technology making relevant equipment cheaper. earning potential - how much money does studying this bring? I don't think this is massively significant, it's probably outweighed by other things quite rapidly, but something to consider. Apparently high for quantitative and applied subjects. entry requirements - how likely I am to be able to study it. There are some things I probably cannot do at all now, such as medicine, but I didn't and don't really care about those, and there shouldn't be many. Most of the high-requirement stuff is seemingly available with more practical ones at less prestigious universities, which is probably fine.

See also

Notes and references
  • Notes:
  1. Dutch, French and German are legally the three official languages in Belgium, see: Belgium, European Union
  2. And therefore usually discussed under French and Dutch literature
  • References:
  1. In his Anthologie de la littérature wallonne, Mardaga, Liège, 1978, ISBN 2-8021-0024-6 Maurice Piron is speaking (p. 5) about four dialogues printed between 1631 and 1636
  2. 'Switching Languages', Translingual Writers Reflect on Their Craft, Edited by Steven G. Kellman Lincoln: University of Nebraska Press, 2003, p. 153. ISBN 978-0-8032-2747-7
  3. Yves Quairiaux, L'image du Flamand en Wallonie, Essai d'analyse sociale et politique (1830-1914), Labor, Bruwxelles, 2006, p. 126. ISBN 2-8040-2174-2
  4. "The Walloon Language Page" (in Walloon). Retrieved 1 January 2012.
  5. Joan Gross, Speaking in Other Voices: An Ethnography of Walloon Puppet Theaters. Amsterdam and Philadelphia: John Benjamins Press, 2001, ISBN 1-58811-054-0
  6. "Biography of Arthur Masson" (in French). Retrieved 11 November 2012.
  7. "Arthur Masson Museum bibliography" (in French). www.espacemasson.be. Archived from the original on 3 March 2016. Retrieved 11 November 2012.
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