Margareta van Godewijck (1627-1677)
Latijnse gedichten

Margareta van Godewijck (1627-1677) genoot in haar geboortestad Dordrecht redelijke bekendheid als Nederlands en Neolatijns dichter. Van haar hand zijn in het Regionaal Archief Dordrecht twee manuscripten met in totaal achtentwintig Latijnse gedichten bewaard gebleven. Zes hiervan bevinden zich in een manuscript met voornamelijk Nederlandse gedichten (manuscript 1024, ‘a’). De overige tweeëntwintig zijn te vinden in een apart manuscript dat alleen Latijnse gedichten omhelst (manuscript 1025, ‘b’). Deze verdeling is weerspiegeld in de nummering van de hier geboden editie. Deze editie, inclusief de inleidende tekst bij ieder gedicht, is overgenomen uit: Ouwerkerk, Aron. “The Latin Poems of Margareta van Godewijck (1627-1677)”. Humanistica Lovaniensia 70.2 (2021), p. 229-303.

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Ia
In this poem, Van Godewijck expounds on her last name ‘Godewijck,’ which includes the Dutch words for ‘God’ and ‘shelter.’ Her father had already transformed this family name into the motto ‘tot Gode [is ons] wijck’ (‘God is my shelter’), which he often placed at the end of his published works, sometimes as a pseudonym. He also used the Latin variants ‘Deus mihi vicus,’ and ‘Deus nostrum asylum.’ Here, Van Godewijck is evidently hinting at this motto and its significance: Christ will always be her safe ward; cf. poem XXb.

In symbolon meum, ‘Deus nostrum asylum’

Seu morior seu vivo meum sit Christus asylum,
    mortis hic et vitae sacra sit ara meae.


IIa
Van Godewijck responds to a (lost) ‘rhythmic’ poem that her father had written to her. She first recounts her joy at receiving his poem (vv. 1-8). Unfortunately, however, she lacks the time to express her gratitude properly; she is always occupied with domestic duties (vv. 9-20). Nevertheless, she tries to work as hard at night as the Greek philosopher Cleanthes allegedly did (vv. 21-24). She loves studying and despises those who, instead, waste their time (vv. 25-32). Then she tells her father that she did not appreciate his praise of her. He, however, should be glad about the honor that he receives (vv. 33-36). In the penultimate passage, she praises God, bestower of wisdom, life, and grace — may he be favorable to him (vv. 37-44). Finally, she wishes him a happy life with her dear mother (sc. Sara Cornelisdr Pijpelaar) (vv. 45-48).

Responsio ad parentem meum carissimum, D. Petrum Godewyck, cum nuper ad me dedisset versus suos Latinos rhythmicos

Pater care, cum legissem
    opus tuum rhythmicum,
et cum gaudio vidissem
    carmen tuum musicum,

(5) tum accepi suavitatem
    ex hoc honorario,
etiam hilaritatem
    ex isthoc donario.

O si mihi ad reddendum
    (10) nunc restaret aliquid!—
prompta sum ad largiendum;
    tempus mihi deficit.

O si otium haberem
    ad haec exercitia!—
(15) sane, ego tum gauderem;
    procul sit inertia.

Semper iam sum occupata
    rebus oeconomicis,
et diebus implicata
    (20) in multis negotiis.

Ego conor imitari
    philosophi exemplum,
qui debebat operari,
    nocte scripsit librum.

(25) Amo vere et libenter
    ista alta studia;
doleo, qui indecenter
    tractant hic inania.

Illi semper in hoc mundo
    (30) abutuntur tempore;
manent in impuro fundo
    cum scelesto pecore.

Hoc non fuit mihi gratum
    quod me tollis laudibus;
(35) et tu putas te beatum
    in tantis honoribus.

Dato Deo omnem laudem
    qui dat sapientiam,
et qui docet inscientem,
    (40) habe illi gratiam.

Deus ille qui creavit
    omnia ex nihilo,
et qui populum beavit,
    sit tibi propitio.

(45) Care pater, bene vale
    cum mea matercula;
opto ut non vivas male
    cum tua carissima.


IIIa
Van Godewijck celebrates God’s creation of the world (in the vein of Psalm 103: ‘Benedic anima mea Domino’), addressing him directly. He has created the earth and all life that flourishes on it; his glory is everywhere (vv. 1-12). She continues with a description of the earth: it is immovable, fixed in heaven (vv. 13-14), and contains rivers, meadows, mountains, oceans, trees, birds, crops, cattle, wine-loving men, and (again) birds (vv. 15-36). Van Godewijck ends her poem with praise addressed directly to God, who is content with his creation and whose work is not just a dream, but reality (vv. 37-44).

In creationem mundi

Sancta manu condidisti,
Deus, mundum et dedisti
    nobis tuam gloriam,
    rerum tuam copiam.

(5) Agnos, equos, aves, boves,
et dedisti nobis oves,
    quoque multa pecora;
    laudate Dei decora.

O Iehova! Rex Deorum,
(10) laus et gloria honorum,
    et maiestas eminet,
    globum terrae continet.

Fundata terra nobilis
a te et est immobilis;
    (15) fluunt quoque flumina,
    rigant humi gramina.

Et montes in cacumine,
sunt alti celsitudine;
    hi sunt mari limites,
    (20) ponunt aquis stipites.

Arbores florent floribus,
Et cantant aves moribus,
    aures mulcent cantibus
    in ramis comantibus.

(25) Terrae redundant frugibus,
seminibus et messibus.
    Pecus foeno pascitur,
    gramen dulce nascitur.

Homo tantum non creatur,
(30) quin et pane tunc cibatur;
    vinum facit hominem
    laetum et amabilem.

Alites hic nidos struunt,
et pupillos quoque alunt;
    (35) cum iam sunt volatiles
    volant et sunt faciles.

Laus sit Deo per secula,
est qui formavit aethera;
    illi placent quae creavit,
    (40) opus suum et probavit.

Divina Deo gloria
sit illi, et victoria,
    qui creavit omnia,
    vere non sunt somnia.


IVa
In this poem, Van Godewijck addresses Dordrecht’s most prominent citizens rather critically. Having greeted them (vv.1-4), she introduces the theme of the poem: peace. She hopes that God will always grant them peace and happiness; that is all she wishes for (vv. 5-12). They have lost their inclination to live peacefully, and should therefore strive to regain it (vv. 13-20); let them live harmoniously (vv. 21-24).

Ad cives Dordracenos

Vos, qui Dordrechti sedetis,
primum locum obtinetis,
    scripsi vestro nomine,
    sit foelici omine.

(5) Deus faxit ut pacati
semper sitis et amati;
    vestri cives rideant,
    cuncta vobis placeant.

Utinam id possem clare
(10) vobis semper dedicare,
    vobis amatoribus,
    et pacis tutoribus.

Pacem ante dilexistis,
ah! iam eam perdidistis;
    (15) propinate iterum
    in laudem pacis vitrum.

O! vos omnes †consuevistis
lites†, rixas posuistis,
    et inter omnes fratres
    (20) estote pacis patres.

Sitis semper hic concordes,
et abite qui discordes
    amant in hoc seculo;
    pax sit grata corculo.


Va
Van Godewijck is furious about England’s growing and provocative dominance after the establishment of the Commonwealth in 1649, which had led to the First Anglo-Dutch War (1652-1654). She describes how the Englishmen fiercely try to destroy Holland by naval battle (vv. 1-8). Then she asks God to destroy the enemy and sink their ships (vv. 9-16). Let him be helpful as he once was to Deborah the prophetess who, with the help of Jael, slew Sisera, the adversary (vv. 17-22). Let God grant them the Dutch victory (vv. 23-24). Again, Van Godewijck adds two passages in prose, the first a description of the decapitation of Charles I, taken from Claudius Salmasius’ ‘Defensio regia pro Carolo I,’ the second a comment on heavenly revenge taken from Valerius Maximus.

In furentes et fanaticos Anglos, bellum gerentes adversus Batavos

Angli veniunt destruentes
    classibus in patriam;
illi iam sunt deprimentes
    nostram Hollandiam.

(5) Illi fundunt iam cruorem
    in mare Batavicum;
illi excitant furorem
    saevum et tyrannicum.

Surge Deus in virtute,
    (10) fuge tales bestias;
pugna (precor) pro salute,
    dele has molestias.

Perde, perde hos molossos,
    flige naves Anglicas;
(15) pelle, pelle hosce pravos,
    merge has Britannicas.

Fac ut Marte iam vincamus
    thalassiarchum robora;
tua fide iam pugnamus,
    (20) iuva nos ut Debora.

Quae occidit inimicos,
    manu forti Siseram.
Oro, Deus, flige malos,
    da nobis victoriam.


VIa
In this poem, Van Godewijck praises her fellow citizen Johan van Beverwijck (1594-1647), a famous doctor of medicine and surgery and a colleague of her father, who later also became alderman (Dutch: schepen; Latin: scabinus). Instead of addressing him directly, she talks to the citizens of Dordrecht in general, first mentioning the topic: ‘I am celebrating Van Beverwijck’ (vv. 1-3). Then she offers his curriculum vitae: he was born in Dordrecht and excelled in his studies (vv 4-6); he also studied in Leiden and France, where he obtained his doctor’s degree (in fact, this was in Padua) (vv. 7-15); he traveled to Lyon and also to Italy (vv. 16-18). He is a talented, generous, and honorable man (vv. 19-30). He respected and was familiar with important figures like Cornelis Boy (1611-1655), Daniel Heinsius (1580-1655), and Claudius Salmasius (1588-1653) (vv. 31-36). Van Godewijck finishes rather abruptly: she has now written enough (vv. 37-42).

In laudem doctissimi viri clarissimique Iohannis Beverovicii, scabini et doctoris medicinae primarii apud Dordracenos

Quid iam scribo, si vis scire,
possum paucis expedire:
    laudo Bevervicium;
in hac urbe erat natus,
(5) et a multis veneratus
    propter suum studium.

Ille Leidae habitavit,
et memoriae mandavit
    scita naturalia;
(10) Graeca lingua cum Latina,
et Leidensi disciplina
    usus est et alia.

Post ad Gallos veniebat,
ibi doctor tum fiebat;
    (15) multis quoque placuit.
Tum Lugdunum est profectus,
et Italiam provectus
    diligenter studuit.

Mox poetis laureatis
(20) gratus erat ceu cognatis
    rerum propter copiam;
doctus erat et humanus,
nummos pauperi dans in manus,
    sustulit inopiam.

(25) Numquam fuit cuiquam gravis,
semper mitis, erat suavis;
    multas amicitias
sibi soli comparavit,
numquam neminem vexavit,
    (30) abhorruit nequitias.

Boyum, Heinsium adspexit,
et Salmasium dilexit,
    decora Batavia;
hosce saepe audiebat,
(35) ille etiam sciebat
    quod essent magno nomine.

Satis rhythmicos cantavi,
satis versus hos amavi,
    ego demum desino.
(40) Iam non possum plura scribere,
neque Hippocrenas bibere,
    tandem ego finio.


Ib
This encomium of Dordrecht is markedly the longest Latin poem in Van Godewijck’s oeuvre. She starts off by introducing the topic: praise of Dordrecht, the most eminent of all cities (vv. 1-8). She then recounts what is known as the St. Elizabeth’s flood of 1421, which caused enormous damage to the city’s hinterland (vv. 9-12). Parts of the land, however, were recovered (vv. 13-16). A description of the most prominent buildings of the city follows, mentioning amongst others the houses of Adriaan van Bleyenburg (1616-1682) and Abraham van Beveren (1604-1663) (vv. 17-28). The next section narrates some historical facts: being the oldest city, Dordrecht was always the first to vote in the States of Holland, and the first free assembly of the States of Holland was held here in 1572 (vv. 29-34). There follow a description of the city’s important mercantile position (vv. 35-44), and an apostrophe addressing the Virgin of Dordrecht (vv. 45-46; cf. IIIb, 9), who successfully repelled Fernando Álvarez de Toledo, Duke of Alba (referred to as ‘Albani rabiem’), while Rotterdam wept and suffered under the attack of Maximiliaan de Hénin-Liétard, Count of Bossu, in 1572 (vv. 47-52). As the final and most recent historical event, Van Godewijck describes the Synod of Dort (1618-1619), which safeguarded true Christian religion (vv. 53-60). These historical events, in turn, are transformed into a conclusive, real-time wish addressed to God: may peace, freedom and faith always be thriving for this city! (vv. 61-66).

Encomium Dordrechti

Splendida quid iactat sua fortia moenia Roma,
    Tarpeius surgens tollit ad astra labor?
Erigit ipsa suas ingens Florentia turres,
    luceat aethereo lumine celsa Pharos.
(5) Nobilis illustris Venetum respublica Marci
    ostendit populos Hesperiaeque decus.
Nunc ut Dordrechti flammantia lumina fulgent,
    urbs his carminibus iam celebranda meis.
Merserat australes iam quondam fluctibus agros,
    (10) totque ferox late sorpserat unda lares.
Deseruere domos Nymphae; trux undique Nereu,
    undique crudeles, incubuistis, aquae.
Postea migravit Triton cum Thetide circum,
    et madidos pepulit Vesta Dryasque deos.
(15) Fecundis cinguntur agris tot cincta procellis
    praedia, quaque fuit fluctus et arva virent.
Aedes si spectas, veteris vestigia saecli,
    bellaces heroum aspice, Belga, manus.
Tecta Blyenburgi late tollantur in altum,
    (20) altius augustum tendit ad astra caput.
Ultro si pergas vastam te ferre per urbem,
    magnas spectabis marmoreasque domos.
Hinc Beveri magnas lustrabis consulis aedes,
    gloria conspicuae deliciumque domus.
(25) Hinc etiam cernis magnos attollere fasces,
    ad morem Fabii, maxime consul, eas.
Templum si spectes, aulam, magnamque monetam:
    munera sunt Caroli barbariaeque metus.
Urbs prima ordinibus suffragia liquida donat,
    (30) et pia, sed tutae, nomina pacis amat.
Auriacus dum fortia magnus ad arma rediret,
    Mavors invictus Battaviaeque decus,
hic primum ante urbem tunc colligere agmina coepit,
    primae hinc belli sic sonuere tubae.
(35) Frugifer Autumnus mediam transmigrat in urbem,
    attamen arboribus littora nostra carent.
Est nondum nobis pinguis vindemia Bacchi,
    nec molles uvae deliciumque Mosae.
Huc Rheni merces et vini munera mittunt,
    (40) et Nemetes plenis mustea vina cadis.
Sed Tungri ferrum, commercia plurima donant
    vastaque Eburonum marmora caesa iugis.
Hic forum est magnum, Brittorum maxima merces,
    semper Brittanni quod coluere viri.
(45) Quid plus cantarem, Batavorum maxima virgo?
    Suspice: Fama etenim te super astra vehet.
Quondam tormenta Albani et rabiem repulisti
    a Dordracenis sanguinolenta focis,
efferus in sociam cum se Bossuvius urbem
    (50) funderet, et trepidis Rottera fleret aquis.
At nunc prima sedes inter, non victa, sorores,
    artificum nutrix Battaviaeque decus.
Quondam turbantur magna caligine mentes,
    vix servabatur relligionis amor.
(55) Sed rixis tremuere ardentia limina Phoebi,
    nec iustus iudex aut gravis ultor erat.
Prodibant Dordrechti omnes ex ordine patres,
    hic templum pacis sed pietatis erat.
Curia tunc strepitu, tunc aures lite vacabant,
    (60) omnes florebant uberiore fide.
Florebit felix concordia semper in urbe,
    pectora sed numquam vindice fide carent.
O summum Numen, magnus Regnator Olympi,
    excipe quos querulo fudimus ore sonos.
(65) Ut nobis aeterna manent caelestia dona,
    optima libertas, religionis amor.


IIb
In this laudatory poem, Van Godewijck addresses Andreas Colvius (1594-1671), honoring him in three distinct ways. First, he is described as a godly minister, spreading the message of Christ (vv. 1-6), after which she asks him to be favorable to her girlish verses (vv. 7-12). Then she addresses him as a distinguished cabinet owner, collecting the spoils from heaven, earth, and sea (vv. 13-24). What truly stands out, however, is Colvius’ collection of shells (vv. 19-22); these are described with various metaphors: ‘vacui penates,’ ‘picturatis limina tincta notis,’ ‘aula’. Finally, Colvius is hailed as the safeguard of the Latin school and the pride of Dordrecht (vv. 25-26).

Ad clarissimum eruditissimumque virum D. Andream Colvium

Magne vir et semper Durdrechti gloria gentis,
    quo duce siderea pulpita luce micant,
saepe salutiferi doceas praeconia Christi,
    cum magna cura pendere res superum.
(5) Promis caelestes fecundo pectore voces,
    pandit et aethereos lingua diserta sonos.
Accipe, sed facili, iam nunc mea carmina, vultu,
    sunt pretii exigui virgineusque labor.
Longius a claris Musarum fontibus absum,
    longius a Cirrha Castaliisque vadis.
Sed honor est nobis Colvi dixisse salutem,
    si mea sunt vestra carmina tacta manu.
Oceani scrutator, naturae optime custos,
    quam nobis Oriens, Vespera dives, alit,
(15) quidque aether pandit, quid condit viscere terra,
    Tritonis spolium, capsula vestra tenet.
Iam superos divosque tuas scrutaris in aedes,
    atque coram docto lumine rara vides.
Exuvias animalis habes vacuosque penates,
    (20) et picturatis limina tincta notis.
Quid nunc mirantur aurata palatia regum?—
    splendidior spretis piscibus aula patet.
Omnia rara facis; metiris sidera, terram,
    et victi spoliis aetheris unus ovas.
(25) Dordrechti vivas, celebris tutela lycei,
    Palladii custos maxime et urbis honos.


IIIb
Van Godewijck describes the arrival of the exiled Charles II in Dordrecht in May 1660, who was sailing from Breda to The Hague before he went back to London. She compares him to the break of day (‘Titan splendide’), hinting at the ‘darker’ period that has now come to an end, as he dispels the darkness, liberating the sky (‘Olympum’) (vv. 1-6). His arrival does not pass unnoticed; the Virgin of Dordrecht (a personification of the city) has spotted him, and commends all poets to sing (vv. 7-12). They do so, but unfortunately this poem does not suffice to capture this event (vv. 13-16).

In adventum serenissimi ac invictissimi principis Caroli II, Magnae Britanniae, Franciae et Hiberniae regis

Quid caelum stellis nobis splendentibus ardet,
    praeclara et, Titan splendide, luce venis?
Densas dispersit tenebras, absolvit Olympum,
    laetamque ostendunt mollia fata diem.
(5) Lux tibi, lux nobis fulsit, Brittannia, Belgis:
    Carolus exsurgit, qui mage sole micat.
Fama volatilis exclamat nunc laeta per urbes,
    regem expectatum sospitem adesse canit.
Quem Virgo Durdrechti muris cernit ab altis,
    (10) et simul innumeras huc properare rates.
Voce omnes vates iucunda surgere iussit:
    ‘ludito nunc laetis, fistula, carminibus.’
Protinus auditur Latiae facundia linguae,
    Musa docet Batavae plectra movere lyrae.
(15) Omnes cantabant iam laeto murmure vates;
    quod nunc cantabo (pro dolor!) haud superest.


IVb [also printed]
Van Godewijck congratulates Lambert van den Bosch on his publication ‘Konincklijcke beeltenis, ofte waerachtige historie van Karel de II’. First, she likely refers to Van den Bosch’s related epic ‘Britannias of herstelde majesteyt’, that appeared the same year (‘Heroum’) (vv. 1-2). Then she describes the content of the book: the death of Charles I and the preamble to the Restoration of Charles II in 1660 (vv. 3-7). She compliments Van den Bosch on his enterprise: the Stuarts of old will surely rejoice in his lively description of the Restoration (vv. 8-13). His name may be ‘Sylvius’ (‘Forest-like’), yet his work is by no means ‘silvestris,’ that is, uncultured (v. 14).

In Historiam Restaurationis Caroli II, Magnae Britanniae, Franciae et Hiberniae Regis, a doctissimo viro Lamberto Sylvio descriptam

Vir praestans, quondam nobis funesta dedisti
Heroum audiri tua (pro dolor!) horrida fata.
Nunc Caroli mortem calamo, doctissime, pingis,
infandum facinus nullo umquam tempore visum.
(5) Nunc Caroli tibi stirps, magni genitoris imago,
illustris pietatis apex, nam pectore in uno
virtutum coetus mire constantia condit.
Ad Tamesin ducis vento fremituque secundo,
ostendis digitoque triumphans principis agmen.
(10) Nunc gaudet vidisse diem quo prisca Stuarti
progenies magno decernit frena nepoti,
tergeminamque uno claudit sub Numine gentem.
Haec nunc gesta dabis fluida, dulcissime, penna;
Sylvius in libros haec non silvestria duxit.


Vb
Van Godewijck honors the young William III, Prince of Orange (1650-1702), who began his studies in Leiden in 1659. She mentions his mother, Mary Henrietta Stuart, the recent 1660 Restoration of his uncle Charles II, and his resemblance to his father William II, who had died a week before his birth (vv. 1-6). She then compliments him on his poetic talent and his ‘pietas’ (vv. 7-12). Finally, she wishes that he, the glory of Holland, will continue growing and live happily (vv. 13-16).

In puerum principem Arausiorum Guilielmum III, cum Leydae studeret

Crescito, magne puer, sed sic quoque maxime princeps,
    optima spes matris, gloria Battaviae!
Delicium Caroli magni, qui sceptra potitus
    legitime domat ut sors violenta rapit.
(5) Vivas in magnos, qui mire crescis, honores,
    qui patrem ante annos, noster Iule, refers.
Agnoscit te Leida suum, te magnus Apollo
    vult etiam doctos inter habere choros.
Natus es et Belgas inter Phoebumque deasque,
    (10) Castaliosque bibis, blanda iuventa, lacus.
Ipsa tibi iam nunc Pietas se pectore toto
    abdit, et in tenero Gratia corde latet.
Guillelmus, spes nostra, vivat, lux maxima Belgis,
    Auriaci germen spiraque Battaviae!
(5) Vivito nunc felix, annis iam crescito multis,
    o civiumque decus deliciumque tuum!


VIb
This poem addresses the students of the penultimate and antepenultimate grades at Dordrecht’s Latin school. Van Godewijck recounts their performance of Hugo Grotius’ ‘Sophompaneas’ (referred to as ‘Iosephi Historia’). Having greeted the youths as the glory of Dordrecht (vv. 1-4), she describes how the biblical story of Joseph and Benjamin moved her to tears (vv. 5-10). Finally, she expresses her hope that the excellent students will continue to perform plays in Latin and Greek (vv. 11-16).

Carmen ad secundae tertiaeque classis discipulos; cum Iosephi Historiam ab Hugone Grotio compositam, accurate et artificiose, me spectante agerent

Palladii iuvenes, blandissima pectora Phoebi
    maturis annis, Castalidumque decus,
ingenii dociles et dulcis cura parentum,
    et flores nitidi, gloria gymnasii:
(5) Iosephum magnum concinna voce dedistis,
    maestitiam vidi laetitiamque simul.
Cum fratres fratris mulcebant genua palmis
    Iosephi, maeror magnus et altus erat;
sed lacrimis quaesita madent Beniaminis ora,
    (10) tunc etiam lacrimas eripuere mihi.
Egregii iuvenes, ad Olympum tendite gradus,
    tempore sed eritis nobilis urbis honos.
Atque cothurnatos iam nobis edere versus
    pergite, sic calamo ludite carminibus.
(15) Ludite, sed semper Latia Graiaque Camena:
    hoc iubet, hoc etiam quam iuvat ore loqui!


VIIb
In this poem, Van Godewijck addresses the marching seventh city guard (Dutch: burgervendel) of the Nieuwstraat (‘Platea nova’) in Dordrecht. At first, she wonders whether war has broken out, because of the martial display on the street (vv. 1-10). It turns out, however, to be the men from the neighborhood, who have gathered in a festive and ostentatious parade (vv. 11-14). Hopefully, it can remain mere play, and military glory will never come their way (vv. 15-18).

In cohortem septimam Plateae novae

An fallor, mediam Mavors nunc personat urbem,
    Bellona intrepide voce feroce sonat?
Cur rutilis armis splendent civiumque cohortes,
    magnifice fulgent vestibus Attalicis?
(5) Vexillum auratum lateque ostendit in altum,
    aedes Hulsthouti splendidiore patent.
Sclopos audivi forti clamore tonantes,
    Tartareae pariter sic sonuere tubae.
Vitrea quassabant resonantia murmure magno,—
    (10) pro dolor!— insuavis tunc mihi clangor erat.
Vicinae propter ridebant gesta virorum,
    Dalmanni coniux tunc hilaris modo erat.
Magnifico graditur gressu dux ante cohortem
    ostendens Aiacem, aut Priamum rigidum.
(15) Vicini lepidi, quam dulce est ludere bellum,
    armis iactari, tollere iam galeas!
Numquam cum hostibus opto vobis iungere tela,
    certe vestra equidem gloria inanis erit.


VIIIb
This poem addresses the students of the top grade in Dordrecht’s Latin school. Van Godewijck recounts their performance of Seneca’s ‘Troades’ and ‘Phaedra’ (referred to as ‘Hippolytus’). She mentions some of the main characters and how the performance would not have misfitted the theatres of ancient Rome (vv. 1-6). The boys declaimed with loud voices, yet the enactment was by no means excessive, boorish, or irreligious (vv.7-10). The atmosphere was truly classical and poetic, and the audience was under the spell of the play (vv. 11-16). Nymphs, but also she herself, will therefore always praise the youths, who succeeded in bringing the Muses to the theatre (vv. 17-22).

Ad praestantissimos eruditissimosque iuvenes, primae classis gymnasii Dordraceni auditores; cum Troadem et Hippolytum ex Seneca insigniter, me spectante, agerent

Cur graviter motu quassant ornata theatra?—
    En tremit Hippolyti pulpita picta pede.
Hic Hecuba exsurgit suras iam vincta cothurnis,
    Andromachae alto nunc pondere syrma trahit.
(5) Sic nunc gaudemus magnum spectasse theatrum,
    digna vel orchestris, magne Quirine, tuis.
Gymnasium clamor florens ad sidera tollit,
    nec tamen aut Bacchas, aut Athamanta sonat,
non Veneris, non quae discet ludibria vana,
    (10) sed gravis aut ingens, omnia plena Deo.
Exclamat Theseus infelix: ‘ludite vates,’
    et fontes aperit Pegasus ipse suos.
Hic lyram pulsat magnus redivivus Apollo,
    et priscos reparat docta Minerva iocos.
(15) Vocibus argutis vidi resilire theatrum
    sublime, et lepidis cuncta sonare iocis.
Nunc sua cantabunt iam vobis carmina Nymphae,
    vobis carminibus iam celebrabo meis.
Assidue cantem: ‘sapientes cedite vates,
    (20) et remove lauros, Martia Roma, tuas.
Pieridum domus est, dominatur Phoebus in aula,
    Hic semper Musae regna beata tenent.’


IXb
Van Godewijck honors Dordrecht’s burgomaster Adriaan van Bleyenburg (1616-1682). He should disregard the poor quality of her verses, as they are created by a young woman’s hand; it is she, who is knocking on his door, and not (yet) Anna Maria van Schurman, whose poetry is more eloquent and better known, or any other acclaimed poet (vv. 7-14). She can only hope that Van Bleyenburg will take some pleasure in reading her work; if so, this should be accredited to her diligent study (vv. 15-18). Hopefully, he will consider her poem not too bold; other poets may compose better verses, but no one is more sincere than her (vv. 19-22).

Ad amplissimum nobilissimumque virum consularem D. Adrianum Blyenburgium dominum de Naeldwyk

O patriae columen, Dordrechti gloria gentis!—
    quo duce Palladiae iam viget artis honos,
qui veteres proavos claris virtutibus anteis,
    et genus a prisca nobilitate trahis,
(5) si vacat a gravibus, vir praestantissime, curis,
    et liceat tecum nunc mea Musa loqui:
iam, precor, accipe sed facili mea munera vultu,
    sunt pretii exigui virgineusque labor.
Sunt nondum nobis, fateor, regalia dona;
    (10) vile tuis cogor far adolere focis.
Sum levior vates, nondum tua limina pulsat
    Schurmanna, ingentes conticuere tubae.
Quin etiam superis placeant modo parva, nec illis
    semper inaurata victima fronte cadit.
(15) Si tibi grata mei fuerit propensio mentis,
    hoc pretium studii grande putabo mei.
Si placeant elegi, nihil est quod plenius optem;
    iudicio siquidem stoque cadoque tuo.
Carmina (da veniam!) laxataque fibula linguae
    (20) forte tibi nimium creditur esse loquax.
Te celebrent alii versu meliore poetae,
    pectore me nemo candidiore potest.


Xb
Van Godewijck expresses her gratitude to Arnoldus Senguerdius (1610-1677), who had sent her a letter with some precious gifts (vv. 1-10). She regrets that she is unable to give him anything in return (vv. 11-14). Instead, she presents him with her poetry as a gift; she will dedicate her verses to him (vv. 15-22).

Ad eminentissimum clarissimumque virum D. Arnoldum Senguerdium, in illustri Amstelodamensium schola academica philosophiae professorem primarium, bibliothecarium, scholarumque publicarum curatorem

Siccine selectas, gratissima munera, gemmas
    mittis et in chartis grandia dona tuis?
Munera dum tetigi, ac cera labente reclusi,
    credo mihi ingenuas erubuisse genas:
(5) Baccas fulgentes, praeclara monilia vidi,
    mirabar mecum rarum opus aurificis
et dixi: ‘non has dives mihi donat Hydaspes,
    sed bonitas Senguerdi officiosa mei.’
Per te dives ero, Pelopasque Midamque lacessam
    (10) et strepet ad donum lingua diserta tuum.
Quas nunc persolvam pro tanto munere grates? —
    oceani spoliis capsula nostra caret.
Sunt nondum nobis ingentes, Amstela, merces,
    nec procul Eoae hic inveniuntur opes.
(15) Pro gemmis dabimus gratae tibi munera linguae,
    semper carminibus iam celebrabo meis.
Continuo tibi cantabo de pectore versus,
    sacramus platanis barbita nostra tuis.
Tu, vir magne, vale, et celebris tutela lycei,
    (20) Musarum cultor, tu, decus Amsteliae.
Si desunt Musae, mihi tunc eris alter Apollo,
    te duce iam sequimur, te praeeunte canam.


XIb
This poem, directed to the young François van der Burch (1643-1678), is probably a reply to a (lost) poem in which he had praised Van Godewijck’s poetic talent. In her response, she first humbly asks him to stop extolling her Muse (vv. 1-12): cheap girls never ascend Mt. Helicon. Towards his poetry the Muse is far more favorable; she makes his renown equal to that of the ancient heroes (vv. 13-20). Finally, she mentions his noble father, Johan van der Burch (1612-1688), whose virtue has passed from father to son (vv. 21-22); surely, one day Van der Burch will prove indispensable for the Republic (vv. 23-24).

Ad praestantissimum nobilissimumque iuvenem, Franciscum vander Burgh

Grande decus iuvenum, Burgi clarissime vates,
    cultor Pieridum, Castalidumque decus,
parce precor parvas ad sidera tollere Musas,
    parce, precor, studiis vota favere meis.
(5) Scis, numquam viles scandunt Helicona puellae,
    non fert Parnassus virgineosque choros.
Nulla mihi suaves dictat Polyhymnia versus,
    nulla mihi sacram Musa propinat aquam.
Saepius adversa tentavi Pallade Pindum,
    (10) et mihi, quae reliquis favit, iniqua fuit.
Carmina felices faciant, quis dexter Apollo
    pocula Pegaseis plena propinat aquis.
Musa tibi facilis meliori numine servit,
    cor magis augusto sueta replere Deo.
(15) Illa tibi nullum passura poemata fatum
    dictat et a cunctis scripta probanda viris.
Illa tuos priscis titulos heroibus aequans,
    non sinet ingenii facta perire tui.
Tu Phoebi delubra moves, tu pectora vatum
    (20) concutis et motu fervidiore rapis.
A magno genitore fluis; virtutibus heres
    nasceris, et digno semina patre trahis.
Tempus erit cum nostra tuis respublica curis
    crescet, et optabit te superesse sibi.


XIIb [also printed]
Van Godewijck congratulates Lambert van den Bosch on his publication ‘Britannias of herstelde majesteyt.’ First, she reminds us of an earlier poetic (‘cantasti’) work by Van den Bosch’s, probably his ‘Batavias of Batavische Aeneas’ (vv. 1-4). This time, however, his poetry deals with the history of Charles II (vv. 5-12). Nymphs will read it and reward him for his hard work (vv. 13-16). The glory of kings is nothing compared to that of the poet describing his deeds (vv. 17-18).

Ad clarissimum eruditissimumque virum, Lambertum Sylvium. Cum in lucem ederet Poema suum Heroicum

Quondam cantasti Belgae miracula terrae,
    Cattorumque arces, stemmata Battaviae,
Teuthonumque urbes quondam coluisse Batavos,
    et pulsos nobis restituisse choros.
(5) Ecce, renascentes surgunt nunc foedere Musae,
    et pulchro magnum carmine surgit opus.
Nunc Carolum extollis, sed regis maxima fata,
    proelia, fortunas, tempora, gesta notas.
Materies augusta tibi est, involvis et ostrum
    (10) versibus, et regum sceptra superba canis.
Decurrunt gravibus regalia carmina dictis,
    erigis Aonias, numina clara, deas.
Naiades Batavae, veteris pia numina Rheni,
    saepe tuos numeros et tua scripta legent.
(15) Et vario pictam nectent de flore corollam,
    quae pretium vestri dulce laboris erit.
Quid fulgent sceptris reges? Haec gloria quanta est —
    a te nunc regum sceptra deosque cani!


XIIIb
This celebratory new-year poem (on the model of a genethliacon) is addressed to Pieter van Godewijck, and recounts the birth of Jesus, inaugurating the new year. Van Godewijck first dismisses the profane Muses and invokes Calliope, Muse of epic poetry and eloquence sometimes called the chief of the group, whom she asks to narrate the birth of Jesus (vv. 1-6). A lengthy description of this event follows, which is recounted as if it is happening in the present (vv. 7-26). The coldness and darkness of December are stressed (vv. 23-26), but Jesus’ birth inaugurates the return of the sun, bringing new light (‘diem’) (vv. 27-28). The first of January has come, the ‘holy month’ (‘sacro mense’; an Ovidian epithet; see apparatus); the ‘Octave day’ of the Nativity (‘octava dies’) has arrived (vv. 31-32). Van Godewijck then asks how she can show her gratitude to her father (v. 33). She wishes there will be many more happy new year’s days for him, up until his death (vv. 34-40). Whatever happens, Christ will be his only hope (vv. 41-42).

In annum novum; ad reverendissimum charissimumque parentem meum D. Petrum Godevicium

Ite procul, celebres, Parnassi numina, Divae;
    ite procul studiis, Musa profana, meis.
Tu, Thymbraee, vale, divinae Palladis arces,
    non levet ipse meam Castalis unda sitim.
(5) Tu mihi, Calliope, dicito, sanctissima, partus
    virginis et pueri tempora prima Dei.
Nascitur optato Messias tempore Christus,
    nascitur extincta vivida morte salus.
Talia gaviso memorantes nuntia mundo,
    (10) angelico resonant carmina blanda sono.
Annua iam nati redeunt sollemnia Christi,
    nunc redeat tanto vindice parta Salus.
In caelis residens in terris vagit utrumque,
    de genitore Deus, de genitrice puer.
(15) Sed puer est magnus, Deus est, et virginis infans,
    euge, at nobis est filius ille datus!
Non ebur est lectus; non sunt holoserica vestes,
    sed tenuem panni fasciolaeque tegunt.
Vix habet ipse caput tenerum quo ponat, habetque
    (20) imperium in terras, aequor, et astra tamen.
Hospitium lustra, mitem circumspice matrem,
    et genitum brumae tempore cerne Deum.
En, horret gelidus brumali nocte December,
    frigore stant amnes vinctaque terra gelu est.
(25) Non color est silvis, non est sua gratia campis;
    haec faciem noctis tempora mortis habent.
Sed vertit rapidum caelo sol aureus orbem,
    optatumque novum reddit ab axe diem.
Iam cadit in Iani mira ratione Kalendas,
    (30) pulsus et a sacro mense December abit.
Ecce, octava dies quam rite per omnia quadrat!
    Inchoat haec annum, prima quod orta, novum.
Quid tibi nunc, pater o mi dilectissime, reddam?
    Saepius ut redeat iam precor iste dies,
(35) ut novus optatis tibi cursibus exeat annus,
    per sua decurrens candidus astra precor.
Et divina tuae praestet solacia menti,
    rebus et incolumem te sinat esse tuis,
donec in occursum Christi rapiaris amantis,
    (40) corpore destructo mens animata fide.
Quidquid erit tandem, tua spes est unica Christus,
    haec tibi perpetuo dulce levamen erit.



XIVb [also printed]
Van Godewijck congratulates Lambert van den Bosch on his publication ‘Sacrum melos, of kerck-geheymenis’ (referred to as ‘Poemata Sacra’). At first she wonders whether the Muse is singing because of this new work (‘docto divinas carmine laudes’), or because of Van den Bosch’s earlier heroic epics (‘Heroum’), such as ‘Batavias of Batavische Aeneas’ (vv. 1-2). The next passage, with its rather obscure first distich, opens a description of the work: a new, heavenly, and godly poet (sc. Van den Bosch) praises God’s great works made for the sake of men and his glory (vv. 3-10). Finally, the poet addresses Van den Bosch more directly in the second person: his work truly facilitates one’s spiritual development (vv. 11-16). He should therefore continue his good work (vv. 17-18).

In Poemata Sacra clarissimi eruditissimique viri Lamberti Silvii

Aut celebrat docto divinas carmine laudes,
    aut memor Heroum nomina Musa canit.
Iam novus exoriens sed non sine Numine vates
    Uranius magnas carmine laudat opes,
(5) aeternumque bonum, patrii regna aurea caeli,
    afflictis animis nuntiat iste liber.
Felix, qui cupida bona talia concipit aure,
    semper et infracto corde recepta tenet.
Illum perpetuo Numen caeleste fovebit,
    (10) praesentem vivat laetus ut ante Deum.
Et iucunda tua exercet meditatio mentem,
    seu lux seu gelidae tempora noctis eant.
Te vate aethereas animo iuvat ire per arces,
    quaeque minus possum cernere, mente sequi.
(15) Materies augusta tibi est divina canendi,
    per quam maiestas conspicienda Dei est.
Perge igitur studiis ascendere talibus astra;
    quam cupis, in terris gloria parta tibi est.


XVb
In this poem, Van Godewijck commemorates her father’s seventieth birthday. She is happy that they can celebrate this day in February (‘caeli sub piscibus’), and hopes he will live longer than Nestor of old (vv. 1-6). She then describes him as an honorable man, who has dedicated forty years of his life to educating the boys at the local Latin school (vv. 7-10). The fruits of his work are evidenced by the success of his former students, who can be found everywhere (vv. 11-16). She stresses the fact that he has lived peacefully; teaching grammar was his main concern (vv. 17- 20). Finally, she promises to dedicate her poetry to him and his age, until he will celebrate his birthday in heaven (vv. 21-24).

In diem natalem reverendissimi carissimique parentis mei, D. Petri Godevici, iam septuagesimo anno agente

Splendet natalis tuus, o pater optime, mensis,
    contingit nobis hunc celebrare diem.
Dum fervent calidae caeli sub piscibus ollae,
    natalis retulit festa colenda tui.
(5) Vive, precor, Pyliaeque dies transcende senectae,
    et placido superum munere perge frui.
Mens tranquilla tibi est nec grandis conscia culpae,
    pectore sincero nomina pacis amas.
Lustra octo assidue sudasti in Palladis arces,
    (10) discipulorum a te spargitur ampla seges.
Consul discipulus fuit et grandisque senator,
    a te, quae loquitur verba, iuventus habet.
Discipulos patria omnis habet, per rura, per urbes
    cernis iam curae publica signa tuae.
(15) Qua graderis documenta tui fructumque labori
    vides et ingenii fulgida signa tui.
Ferme denis septem sed sine litibus annis
    vixisti, ac semper mens tua fraude caret.
Non odio tua fama labat nec displicis ullo;
    (20) volvere grammaticam maxima cura fuit.
Nunc tibi, care pater, cantabo gutture versus,
    sacramus et annis carmina laeta tuis,
donec inoffensae transacto tempore vitae
    natalem supera sede beatus agas.


XVIb
In this poem, Van Godewijck consoles Arnoldus Senguerdius on the premature death of his son Wilhelmus (1648-1663). First, she hails him as the pride of Amsterdam, where he held the position of professor of philosophy (vv. 1-2). In accordance with the genre rules of the ‘consolatio,’ she then asks him to stop weeping: there were many other great men from the Dutch Republic, such as Gerardus Vossius, who lost their sons during their lifetime (vv. 3-8). He should also realize that his son was mortal; Senguerdius has paid his debts, as his son belonged to God, who has now rightfully claimed him back (vv. 9-14). He should stop crying, assured that his son is safely in heaven, where he is looking down on our miserable human affairs (vv. 15-26).

Super obitu ornatissimi doctissimique iuvenis Wilhelmi Arnoldi Senguerdii, philosophiae omnisque politioris litteraturae cultoris assidui, die Maii 1663 praemature exstincti. Ad celeberrimum virum D.M. Arnoldum Senguerdium, patrem

Magne vir et Batavis clarum decus addite terris,
    quo duce Amsteliae floruit artis honos,
pone modum lacrimis: nimium plorare recusat,
    cui pietas lacrimas sufficit ipsa suas.
(5) Iam tibi magnanimi praestant solacia patres,
    docta quibus soboles occidit ante diem.
Iam sua praelustres ostendunt funera Vossi,
    Et praematura pignora rapta manu.
Fles natum genitor; luges, sed dedolet ille,
    (10) mortalem qui se scit genuisse sibi.
Non periit tuus ille, ac reddis, nomina solvis,
    quique tuus fuerat, plus erat ille Dei.
Non reperit propere sua qui, non nostra, reposcit,
    Non reperit propere qui moritura rapit.
(15) Siste tuas lacrimas sublime tenet Olympum
    altumque et vultu spendidiore nitet.
Securum nunc astra tenent: formidinis expers
    peccandi didicit dedidicisse modum.
Iam castos inter coetus animasque piorum
    (20) fulgidus aeternae munera pacis habet.
Laetus in Elysia ripa spatiatur amoenus,
    semper ubi vitreas lucus inumbrat aquas.
Non nitidum glacialis hiems constringit Olympum,
    quassa nec immiti grandine tecta sonant.
(25) Perpetuum ver astra colunt, ubi tutus inanes
    nunc hominum curas regnaque vana videt.


XVIIb
Van Godewijck congratulates Wolferdus Senguerdius (1646-1724), son of Arnoldus Senguerdius (see Xb, XVIb), on his birthday. She begins with praising his poetic talent, after which she asks him to be favorable to her poem, composed on the banks of the Merwede (‘ad Mervae undas’); she is only a minor poet, knocking on his door. More renowned poets, like Joan Blasius (1639-1672), are not yet paying him a visit (vv. 1-8; cf. IXb, 11-12). Then she celebrates the day Wolferdus was born in Utrecht, recounting the words that Lachesis, the goddess of Fate, would have used to predict his promising future to his parents (vv. 9-18). Indeed, he now truly resembles his noble father (vv. 19-20). She hopes that Wolferdus will gain the favor of the most mighty men and live a long life, not neglecting poetry (vv. 21-26). Finally, she asks the Muses to honor Wolferdus; she herself, however, will be the first to do so (vv. 27-30).

In natalem doctissimi iuvenis Wolferdi Senguerdii

Optima Senguerdi soboles, cui ubera Pallas
    dedit, et e Clariis praebuit hausta vadis,
accipe quae liquidas ad Mervae scribimus undas
    carmina, amicitiae pignora certa meae.
(5) Sum levior vates, tua nondum limina tangit
    Blasius; ingentes conticuere tubae.
Et quae rara venit, forsan tibi Musa placebit,
    scriptoris novitas non leve pondus habet.
Nunc ludi celebres atque annua festa coluntur,
    (10) natalis apparuit festa colenda tui.
Iam, precor, iste dies fausto tibi sidere fulsit,
    Traiecti dum te protulit alma parens.
Ludite, Pierides, nam me meminisse iuvabit
    quod Lachesis dixit, talia verba patri:
(15) ‘hic Senguerdus erit; clari gaudete penates!
    Haec soboles priscos mascula reddit avos.
Hic heres virtutis erit; non alter Iulus
    Amsteliae poterat conspicuum esse decus.’
Ut faciem Patris ingenium Wolferdus adumbrat,
    (20) et dignum tali se probat esse viro!
Sic virtute tua regum mereare favorem,
    et ducibus placeas principibusque viris.
Vive diu felix, atque utere dulciter annis,
    labraque Pegaseis prolue semper aquis,
(25) ut tibi contingat dulces coniungere Musas,
    et vitae comites semper habere deas.
Cingite, Pierides, iuvenem, pia turba, poetam,
    ambiat implicitum myrtus odora caput.
Ante deas omnes nectam de flore corollam,
    (30) quae pretium vestri dulce laboris erit.


XVIIIb
This poem addresses the students of Dordrecht’s Latin school. Van Godewijck recounts how they performed Seneca’s ‘Agamemnon’ and ‘Medea’ with much display at the theatre (‘aulam Palladis’) (vv. 1-4). Performing the ‘Agamemnon’ is not an easy task. Yet the boys succeeded well in enacting both Clytaemnestra’s (‘Tyndaridem’) murder of her husband Agamemnon (vv. 5-8), and Medea’s character (vv. 9-10). Their play evoked the atmosphere of ancient Roman tragic drama (vv. 11-12), but comedy was also performed (vv. 13-16). Van Godewijck ends by encouraging the young men to continue climbing Mt. Helicon (i.e. performing tragedy and comedy) and enjoy the proximity of Apollo (vv. 17-18); the Muse will grant them honor (vv. 19-20).

Ad praestantissimos eruditissimosque iuvenes, gymnasii Dordraceni auditores, cum Agamemnonem et Medeam ex Seneca me spectante agerent

Nunc Seneca in mediam, non fallor, personat aulam
    Palladis, et graviter pulpita picta sonant.
Prodiit in lucem violenta tragoedia rursus,
    scaena gravis fulget vestibus Attalicis.
(5) Ardua materia est, tenui nec tuta Camenae,
    reddere magnorum tristia facta ducum.
Tyndaridam cerno stillantem sanguine regis;
    heu, flemus lacrimis horrida fata viri.
Sed Medea altis prodit saltata cothurnis:
    (10) quis oculos possit quis satiare animum?
Aurea Romanae redierunt tempora nobis,
    antiquis tragicis nunc suus extat honos.
Interea surgit lepido Comoedia vultu
    nixa pedem socco, cetera serpit humi.
(15) Risimus hanc omnes, omnes risere Camenae,
    et vobis palmam diva Thalia dedit.
Scandite nunc, iuvenes, super ardua culmina montis,
    et frueris Phoebo nunc propiore deo.
At vobis titulos et honos nunc Musa reservat,
    (20) Musa dabit patrio semper honore frui.


XIXb
This poem is perhaps not so much about Van Godewijck’s study (‘Museum’) as it is about her. This room embodies a really safe space where she spends countless hours, separated from the vanities of the outside world (vv. 1-4). In her study, she serves God (vv. 5-6), freed from worries and other affections, in what is probably an allusion to the Stoic concept of ‘ataraxia’ (vv. 7-12).

In Museum meum

Hic mea tuta domus, mea moenia, praedia, turres,
    laeta quies; si me quaeritis, hic habito.
Contenta hic vivo et vanum contemnor honorem,
    nec mundo aut magnis servio divitiis.
(5) Servio iam Domino qui clara morte redemit,
    me in Christo pono spemque fidemque meam.
Numquam me excrucio meditando incommoda vitae,
    non animum temere triste dolore coquo.
Nam multos perimit mens nescia cedere fatis,
    (10) ante diem canos anxia cura facit.
Sum contenta meis, sum nondum obnoxia curis;
    mens mea tum dici iure beata potest.


XXb
In this poem, Van Godewijck expounds on her motto ‘Deus mihi vicus’ (see also the introduction to poem Ia); Christ will be her safe ward as long as she lives (vv. 1-6).

In nomen meum

Vicus Christus erit dum Spiritus hos regit artus,
    dum flabunt venti vicus amoenus erit.
Est mihi vicus Christus solus dum aethera fulgent,
    dum stabit mundus dulce levamen erit.
(5) Est mihi vicus fixus in omni tempore Christus,—
    tempore sit cuncto spes mea fixa tibi.


XXIb [also printed]
Van Godewijck congratulates Matthijs Balen on his publication ‘Beschryvinge der stad Dordrecht’ (referred to as ‘Dordrechti Descriptionem’). She starts off with an a fortiori argument: if by rescuing the fatherland one deserves a crown, what then does Balen deserve, who built it? (vv. 1-2). He is the pride of Dordrecht and the Muses, and deserves eternal renown (vv. 3-4).

In Dordrechti Descriptionem a viro clarissimo Matthia Balen accurate editam

Qui patriam servat meruit gestare coronam;
    quid Balen meruit, qui patriam aedificat?
Delicium, Dordrechta, tuum, laus prima Camenae;
    is pretium famae non morientis habet.


XXIIb [also printed]
In this posthumously published poem, Van Godewijck congratulates Dirck van Bleyswijck on his publication ‘Beschryvinge der stadt Delft’ (referred to as ‘Delphi Descriptionem’). First, she addresses the readers and draws their attention to Van Bleyswijck’s great work (vv. 1-2). She then hints at his political career; the citizens of Delft can rightfully rejoice in Van Bleyswijck, who glorifies his native land in his writings and is such a good ruler over Delft’s inhabitants (vv. 3-4).

In Delphi Descriptionem a nobiliss. clarissimoque D.D. Theodoro a Bleyswyk, I.C. consulari apud Delphenses viro descriptam

Cernite praeclaro calamo depingere Delphin;
    moenia, fata, duces, parva papyrus habet.
Qui patriam celebrat, iusto moderamine flectit,
    sub tali merito consule civis ovat.
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