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Wilhelmus
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This article is about the national anthem of the Netherlands. It is not to be confused with the grand ducal anthem of Luxembourg, De Wilhelmus.
Wilhelmus
English: William
Early version of the Wilhelmus as preserved in a manuscript from 1617[1]
National anthem of Netherlands
Lyrics
disputed, 1568 ~ 1572
Music
adapted by Adrianus Valerius, composer of original unknown, 1568
Adopted
1932 (officially)
1954 (Netherlands Antilles)
Relinquished
1964 (Netherlands Antilles)
Audio sample
Wilhelmus (instrumental)
file
help
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Wilhelmus van Nassouwe, usually known just as the Wilhelmus (Dutch: Het Wilhelmus; pronounced [ɦɛt ʋɪlˈɦɛlmɵs] ( listen); English translation: the William), is the national anthem of the Kingdom of the Netherlands. It dates back to at least 1572, making it the oldest known national anthem in the world.[2] The national anthem of Japan, Kimigayo, has the oldest lyrics, dating from the 9th century. However, a melody was added only in the late 19th century, making it a poem rather than an anthem for most of its lifespan. Although the Wilhelmus was not recognised as the official national anthem until 1932, it has always been popular with parts of the Dutch population and resurfaced on several occasions in the course of Dutch history before gaining its present status.[3] It was also the anthem of the Netherlands Antilles from 1954 to 1964.
Protestant confessions in Europe in the 16th century. Calvinism (cyan) was adopted by a majority of the population in the Netherlands.
The Wilhelmus originated in the Dutch Revolt, the nation's struggle to achieve independence from the Spanish Empire. It tells of the Father of the Nation William of Orange who was stadholder in the Netherlands under the king of Spain. In the first person, as if quoting himself, William speaks to the Dutch people about both the revolt and his own, personal struggle: to be faithful to the king,[4] without being unfaithful to his conscience: to serve God and the Dutch people. In the lyrics William compares himself with the biblical David who serves under the tyrannic king Saul. As the merciful David defeats the unjust Saul and is rewarded by God with the kingdom of Israel, so too William hopes to be rewarded a kingdom. Both the Wilhelmus and the Dutch Revolt should be seen in the light of the 16th century Reformation in Europe and the resulting persecution of Protestants by the Spanish Inquisition in the Low Countries. Militant music proved very useful not only in lampooning Roman clerks and repressive monarchs but also in generating class transcending social cohesion. In successfully combining a psalmic character with political relevancy, the Wilhelmus stands as the pre-eminent example of the genre.[5]
Contents
[hide]
1 Inception
1.1 Origins of melody
1.2 Origins of lyrics
2 Structure and interpretation
3 Performance
3.1 History
3.2 Current
4 Variations
5 Lyrics
6 Notes and references
7 External links
Inception[edit]
Origins of melody[edit]
The melody of the Wilhelmus was borrowed from a well known Roman Catholic French song titled "Autre chanson de la ville de Chartres assiégée par le prince de Condé" or in short: "Chartres". This song ridiculed the failed Siege of Chartres in 1568 by the Huguenot (Protestant) Prince de Condé during the French Wars of Religion. However, the triumphant contents of the Wilhelmus is the opposite of the content of the original song, making it subversive at several levels. Thus, the Dutch Protestants had taken over an anti-Protestant song, and adapted it into propaganda for their own agenda. In that way, the Wilhelmus was typical for its time, since It was common practice in the 16th century for warring groups to steal each other's songs in order to rewrite them.[6]
Even though the melody stems from 1568, the first known written down version of it comes from 1574, in the time the anthem was sung in a much quicker pace.[7] Dutch composer Adriaen Valerius recorded the current melody of the Wilhelmus in his "Nederlantsche Gedenck-clanck" in 1626, slowing down the melody's pace, probably to allow it to be sung in churches. The current official version is the 1932 arrangement by Walther Boer.
Philips of Marnix presents the Wilhelmus to William the Silent, by Jacob Spoel (ca 1850).
Origins of lyrics[edit]
The origins of the lyrics are uncertain. The Wilhelmus was first written some time between the start of the Eighty Years' War in April 1568 and the Capture of Brielle on 1 April 1572,[8] making it at least 444–445 years old. Soon after the anthem was finished it was said that either Philips of Marnix, a writer, statesman and former mayor of Antwerp, or Dirck Coornhert, a politician and theologian, wrote the lyrics. However, this is disputed as both Marnix and Coornhert never mentioned that they wrote the lyrics. This is strange since the song was immensely popular in their time. The Wilhelmus also has some odd rhymes in it. In some cases the vowels of certain words were altered to allow them to rhyme with other words. Some see this as evidence that neither Marnix or Coornhert wrote the anthem as they were both experienced poets when the Wilhelmus was written and they would not have taken these small liberties. Hence some believe that the lyrics of the Dutch national anthem were the creation of someone who just wrote one poem for the occasion and then disappeared from history. A French translation of the Wilhelmus appeared around 1582.[9]
Recent stylometric research mentioned Petrus Dathenus as a possible author of the text of the Dutch national anthem.[10] Dutch and Flemish researchers (Meertens Institute, Utrecht University and University of Antwerp) discovered by chance a striking number of similarities between his style and the style of the national anthem.[11][12]
Structure and interpretation[edit]
The complete text comprises fifteen stanzas. The anthem is an acrostic: the first letters of the fifteen stanzas formed the name 'Willem van Nassov' (Nassov was a contemporary orthographic variant of Nassau). In the current Dutch spelling the first words of the 12th and 13th stanzas begin with Z instead of S.
Like many of the songs of the period, it has a complex structure, composed around a thematic chiasmus: the text is symmetrical, in that verses one and 15 resemble one another in meaning, as do verses two and 14, three and 13, etc., until they converge in the 8th verse, the heart of the song: "Oh David, thou soughtest shelter from King Saul's tyranny. Even so I fled this welter", where the comparison is made between not only the biblical David and William of Orange as merciful and just leader of the Dutch Revolt, but also between the tyran King Saul and the Spanish crown, and between the promised land of Israel granted by God to David, and a kingdom granted by God to William.[13]
In the first person, as if quoting himself, William speaks about how his disagreement with his king troubles him; he tries to be faithful to his king,[14] but he is above all faithful to his conscience: to serve God and the Dutch people. Therefore, the last two lines of the first stanza, indicate that the leader of the Dutch civil war against the Spanish Empire of which they were part, had no specific quarrel with king Philip II of Spain, but rather with his emissaries in the Low Countries, like Fernando Álvarez de Toledo, 3rd Duke of Alba. This may have been because at the time (late 16th century) it was uncommon to publicly doubt the Divine Right of Kings, who was accountable to God alone.[15] In 1581 the Netherlands nevertheless rejected the legitimacy of the king of Spain's rule over it in the Act of Abjuration.
"Duytschen" (in English generally translated as "Dutch", "native" or Germanic) in the first stanza as a reference to William's roots, whose modern Dutch equivalent, "Duits", exclusively means "German", may refer to William's ancestral house (Nassau, Germany) or to the lands of the Holy Roman Empire, including the Netherlands.[16][17] But most probably it is simply a reference to the broader meaning of the word, which points out William as a ''native'' of the fatherland, as appose to the king of Spain, who was seldom or not in the Netherlands. The prince thus states that his roots are Germanic rather than Romance – in spite of his being Prince of Orange as well.[18] See also Theodiscus and Low Countries (terminology).
Performance[edit]
William the Silent (William I), leader and icon of the Dutch revolt against the Spanish.
History[edit]
Though only proclaimed the national anthem in 1932, the Wilhelmus already had a centuries-old prior history. It had been sung on many official occasions and at many important events since the outbreak of the Dutch Revolt in 1568, such as the siege of Haarlem in 1573 and the ceremonial entry of the Prince of Orange into Brussels on 18 September 1578.
It has been claimed that during the gruesome torture of Balthasar Gérard (the assassin of William of Orange) in 1584, the song was sung by the guards who sought to overpower Gérard's screams when boiling pigs' fat was poured over him. Gérard allegedly responded "Sing! Dutch sinners! Sing! But know that soon I shall be sung of!".[19]
Another legend claims that following the Navigation Acts (a 1651 ordinance by Oliver Cromwell requiring all foreign fleets in the North Sea or the Channel to dip their flag in salute) the Wilhelmus was sung (or rather, shouted) by the sailors on the Dutch flagship Brederode in response to the first warning shot fired by an English fleet under Robert Blake, when their captain Maarten Tromp refused to lower his flag. At the end of the song, which coincided with the third (i.e. last) English warning shot, Tromp fired a full broadside thereby beginning the Battle of Goodwin Sands and the First Anglo-Dutch War.[20]
During the Dutch Golden Age, it was conceived essentially as the anthem of the House of Orange-Nassau and its supporters – which meant, in the politics of the time, the anthem of a specific political faction which was involved in a prolonged struggle with opposing factions (which sometimes became violent, verging on civil war). Therefore, the fortunes of the song paralleled those of the Orangist faction. Trumpets played the Wilhelmus when Prince Maurits visited Breda, and again when he was received in state in Amsterdam in May 1618. When William V arrived in Schoonhoven in 1787, after the authority of the stadholders had been restored, the church bells are said to have played the Wilhelmus continuously. After the Batavian Revolution, inspired by the French Revolution, it had come to be called the "Princes' March" as it was banned during the rule of the Patriots, who did not support the House of Orange-Nassau.
However, at the foundation of the Kingdom of the Netherlands in 1813, the Wilhelmus had fallen out of favour. Having become monarchs with a claim to represent the entire nation and stand above factions, the House of Orange decided to break with the song which served them as heads of a faction, and the Wilhelmus was hence replaced by Hendrik Tollens' song Wien Neêrlands bloed door d'aderen vloeit, which was the official Dutch anthem from 1815 till 1932. However, the Wilhelmus remained popular and lost its identification as a factional song, and on 10 May 1932, it was decreed that on all official occasions requiring the performance of the national anthem, the Wilhelmus was to be played – thereby replacing Tollens' song.
During the German occupation of the Netherlands, Arthur Seyss-Inquart, the Nazi Reichskommissar, banned all the emblems of the Dutch royal family, including the Wilhelmus. This was then taken up by all factions of the Dutch resistance, even those socialists who had previously taken an anti-monarchist stance. The pro-German Nationaal-Socialistische Beweging (NSB), who had sung the Wilhelmus at their meetings before the occupation, replaced it with Alle Man van Neerlands Stam ("All Men of Dutch Origin").[21] The anthem was drawn to the attention of the English-speaking world by the 1942 British war film, One of Our Aircraft Is Missing. The film concerns a Royal Air Force bomber crew who are shot down over the occupied Netherlands and are helped to escape by the local inhabitants. The melody is heard during the film as part of the campaign of passive resistance by the population, and it finishes with the coat of arms of the Netherlands on screen while the Wilhelmus is played.[22]
Current[edit]
First stanza of the Wilhelmus
The Wilhelmus is played only once at a ceremony or whatever other event and, if possible, it is to be the last piece of music to be played. When receiving a foreign head of state or emissary, the Dutch anthem may not be played unless a member of the Dutch Royal House is present. This is virtually unique in the world as most countries play the anthem of the foreign relation followed by their own anthem.
During international sport events, such as the World Cup, UEFA European Football Championship and the Olympic Games the Wilhelmus is also played. In nearly every case the 1st and 6th stanza (or repeating the last lines), or the 1st stanza alone, are sung/played rather than the entire song, which would result in about 15 minutes of music.[23]
The "Wilhelmus" is also widely used in Flemish nationalist gatherings as a symbol of cultural unity with the Netherlands. Yearly rallies like the "IJzerbedevaart" and the "Vlaams Nationaal Zangfeest" close with singing the 6th stanza, after which the Flemish national anthem "De Vlaamse Leeuw" is sung.
Variations[edit]
An important set of variations on the melody of Wilhelmus van Nassouwe is that by the blind carillon-player Jacob Van Eyck in his mid-17th century collection of variations Der Fluyten Lust-hof.[24]
The royal anthem of Luxembourg, called de Wilhelmus, has a shared origin with the Dutch anthem het Wilhelmus. It is in official use since 1919, and was first used in Luxembourg (at the time in personal union with the Kingdom of the United Netherlands) on the occasion of the visit of the Dutch King and Grand Duke of Luxembourg William III in 1883. Later, the anthem was played for Grand Duke Adolph of Luxembourg along with the national anthem. The melody is very similar, but not identical to that of the Wilhelmus, since the melody of the latter has been adapted considerably in history.
The melody is used, with rewritten English lyrics, as the alma mater of Northwestern College in Orange City, Iowa, USA. Northwestern College is associated with the historically Dutch Christian denomination the Reformed Church in America. Orange City, the college's location, is named for the House of Orange. Small local governmental districts, townships, are named Nassau, Holland and East Orange.
The melody is used in the Swedish folksong Ack, Göta konungarike (Alas, Gothic kingdom), written down in 1626. The song deals with the liberation struggle of Sweden under Gustav Vasa in the 16th century.
Lyrics[edit]
The Wilhelmus
A choir accompanied by an organ sings the first and sixth stanza.
Problems playing this file? See media help.
The Wilhelmus was first printed in a geuzenliedboek, literally "Beggars' songbook" in 1581. It used the following text as an introduction to the Wilhelmus:
Een nieuw Christelick Liedt gemaect ter eeren des Doorluchtichsten Heeren, Heere Wilhelm Prince van Oraengien, Grave van Nassou, Patris Patriae, mijnen Genaedigen Forsten ende Heeren. Waer van deerste Capitael letteren van elck veers syner Genaedigen Forstens name metbrengen. Na de wijse van Chartres.
A new Christian song made in the honour of the most noble lord, lord William Prince of Orange, count of Nassau, Pater Patriae (Father of the Nation), my merciful prince and lord. [A song] of which the first capital letter of each stanza form the name of his merciful prince. To the melody of Chartres.
Original Dutch lyrics (1568)
Contemporary Dutch lyrics
Melodic English lyrics[25]
Non-melodic English translation
First stanza
Wilhelmus van Nassouwe
Ben ick van Duytschen bloet,
Den Vaderlant getrouwe
Blyf ick tot in den doet:
Een Prince van Oraengien
Ben ick vrij onverveert,
Den Coninck van Hispaengien
Heb ick altijt gheeert.
Wilhelmus van Nassouwe
ben ik, van Duitsen bloed,
den vaderland getrouwe
blijf ik tot in den dood.
Een Prinse van Oranje
ben ik, vrij onverveerd,
den Koning van Hispanje
heb ik altijd geëerd.
William of Nassau, scion
Of a German and ancient line,
I dedicate undying
Faith to this land of mine.
A prince am I undaunted,
Of Orange, very fearless,
To the king of Spain I've granted
A lifelong loyalty.
William of Nassau
am I, of native blood.
Loyal to the fatherland
I will remain until I die.
A prince of Orange
am I, quite fearless.
The king of Spain
I have always honoured.
Second stanza
In Godes vrees te leven
Heb ick altyt betracht,
Daerom ben ick verdreven
Om Landt om Luyd ghebracht:
Maer God sal mij regeren
Als een goet Instrument,
Dat ick zal wederkeeren
In mijnen Regiment.
In Godes vrees te leven
heb ik altijd betracht,
daarom ben ik verdreven,
om land, om luid gebracht.
Maar God zal mij regeren
als een goed instrument,
dat ik zal wederkeren
in mijnen regiment.
I've ever tried to live in
The fear of God's command
And therefore I've been driven,
From people, home, and land,
But God, I trust, will rate me
His willing instrument
And one day reinstate me
Into my government.
To live in fear of God
I have always attempted.
Because of this I was ousted
bereft of my land and my people.
But God will direct me
like a good instrument.
So that I may return
to my domain.
Third stanza
Lydt u myn Ondersaten
Die oprecht zyn van aert,
Godt sal u niet verlaten
Al zijt ghy nu beswaert:
Die vroom begheert te leven
Bidt Godt nacht ende dach,
Dat hy my cracht wil gheven
Dat ick u helpen mach.
Lijdt u, mijn onderzaten
die oprecht zijt van aard,
God zal u niet verlaten,
al zijt gij nu bezwaard.
Die vroom begeert te leven,
bidt God nacht ende dag,
dat Hij mij kracht zal geven,
dat ik u helpen mag.
Let no despair betray you,
My subjects true and good.
The Lord will surely stay you
Though now you are pursued.
He who would live devoutly
Must pray God day and night
To throw His power about me
As champion of your right.
Hold on my subjects,
who are honest by nature.
God will not abandon you
even though you now are in despair.
He who tries to live piously,
must pray to God day and night,
that He will give me strength
that I may help you.
Fourth stanza
Lyf en goet al te samen
Heb ick u niet verschoont,
Mijn broeders hooch van Namen
Hebbent u oock vertoont:
Graef Adolff is ghebleven
In Vriesland in den slaech,
Syn Siel int ewich Leven
Verwacht den Jongsten dach.
Lijf en goed al te samen
heb ik u niet verschoond,
mijn broeders hoog van namen
hebben 't u ook vertoond:
Graaf Adolf is gebleven
in Friesland in de slag,
zijn ziel in 't eeuwig leven
verwacht de jongste dag.
Life and my all for others
I sacrificed, for you!
And my illustrious brothers
Proved their devotion too.
Count Adolf, more's the pity,
Fell in the Frisian fray,
And in the eternal city
Awaits the judgement day.
My life and fortune altogether
I have not spared you.
My brothers high in rank
have shown you this as well:
Count Adolf died
in battle in Frisia
His soul in eternal life
awaits the final judgement.
Fifth stanza
Edel en Hooch gheboren
Van Keyserlicken Stam:
Een Vorst des Rijcks vercoren
Als een vroom Christen man,
Voor Godes Woort ghepreesen
Heb ick vrij onversaecht,
Als een Helt sonder vreesen
Mijn edel bloet ghewaecht.
Edel en hooggeboren,
van keizerlijke stam,
een vorst des rijks verkoren,
als een vroom christenman,
voor Godes woord geprezen,
heb ik, vrij onversaagd,
als een held zonder vreze
mijn edel bloed gewaagd.
I, nobly born, descended
From an imperial stock.
An empire's prince, defended
(Braving the battle's shock
Heroically and fearless
As pious Christian ought)
With my life's blood the peerless
Gospel of God our Lord.
Noble and high-born,
of imperial descent,
Chosen a prince of the empire,
Like a pious Christian,
for the honoured word of God,
I have without hesitation
like a fearless hero,
ventured my own noble blood.
Sixth stanza
Mijn Schilt ende betrouwen
Sijt ghy, o Godt mijn Heer,
Op u soo wil ick bouwen
Verlaet mij nimmermeer:
Dat ick doch vroom mach blijven
V dienaer taller stondt,
Die Tyranny verdrijven,
Die my mijn hert doorwondt.
Mijn schild ende betrouwen
zijt Gij, o God mijn Heer,
op U zo wil ik bouwen,
Verlaat mij nimmermeer.
Dat ik doch vroom mag blijven,
uw dienaar t'aller stond,
en de tirannie verdrijven
die mijn hart doorwondt.
A shield and my reliance,
O God, Thou ever wert.
I'll trust unto Thy guidance.
O leave me not ungirt.
That I may stay a pious
Servant of Thine for aye
And drive the plagues that try us
And tyranny away.
My shield and reliance
are you, o God my Lord.
It is you on whom I want to rely,
never leave me again.
[Grant] that I may remain brave,
your servant for always,
and [may] defeat the tyranny,
which pierces my heart.
Seventh stanza
Van al die my beswaren,
End mijn Vervolghers zijn,
Mijn Godt wilt doch bewaren
Den trouwen dienaer dijn:
Dat sy my niet verrasschen
In haren boosen moet,
Haer handen niet en wasschen
In mijn onschuldich bloet.
Van al die mij bezwaren
en mijn vervolgers zijn,
mijn God, wil doch bewaren
de trouwe dienaar dijn,
dat zij mij niet verrassen
in hunne boze moed,
hun handen niet en wassen
in mijn onschuldig bloed.
My God, I pray thee, save me
From all who do pursue
And threaten to enslave me,
Thy trusted servant true.
O Father, do not sanction
Their wicked, foul design,
Don't let them wash their hands in
This guiltless blood of mine.
From all those that burden me
and are my pursuers,
my God, do save
your loyal servant.
That they may not surprise me
with their wicked plans
nor wash their hands
in my innocent blood.
Eighth stanza
Als David moeste vluchten
Voor Saul den Tyran:
Soo heb ick moeten suchten
Met menich Edelman:
Maer Godt heeft hem verheven
Verlost uit alder noot,
Een Coninckrijk ghegheven
In Israel seer groot.
Als David moeste vluchten
voor Sauel de tiran,
zo heb ik moeten zuchten
als menig edelman.
Maar God heeft hem verheven,
verlost uit alle nood,
een koninkrijk gegeven
in Israël zeer groot.
O David, thou soughtest shelter
From King Saul's tyranny.
Even so I fled this welter
And many a lord with me.
But God the Lord did save him
From exile and its hell
And, in His mercy, gave him
A realm in Israel.
Like David, who was forced to flee
from Saul, the tyrant.
I had to sigh,
as did many other nobles.
But God raised him,
relieving him of despair,
and gave him a kingdom
very great in Israel.
Ninth stanza
Na tsuer sal ick ontfanghen
Van Godt mijn Heer dat soet,
Daer na so doet verlanghen
Mijn Vorstelick ghemoet:
Dat is dat ick mach sterven
Met eeren in dat Velt,
Een eewich Rijck verwerven
Als een ghetrouwe Helt.
Na 't zuur zal ik ontvangen
van God mijn Heer het zoet,
daarnaar zo doet verlangen
mijn vorstelijk gemoed:
dat is, dat ik mag sterven
met ere in dat veld,
een eeuwig rijk verwerven
als een getrouwe held.
Fear not 't will rain sans ceasing
The clouds are bound to part.
I bide that sight so pleasing
Unto my princely heart,
Which is that I with honor
Encounter death in war,
And meet in heaven my Donor,
His faithful warrior.
After this sourness I will receive
from God my Lord the sweetness
For that longs so much
my noble mind
which is that I may die
with honour in the fields,
and gain an eternal realm
as a faithful hero.
Tenth stanza
Niet doet my meer erbarmen
In mijnen wederspoet,
Dan dat men siet verarmen
Des Conincks Landen goet,
Dat van de Spaengiaerts crencken
O Edel Neerlandt soet,
Als ick daer aen ghedencke
Mijn Edel hert dat bloet.
Niets doet mij meer erbarmen
in mijne wederspoed
dan dat men ziet verarmen
des Konings landen goed.
Dat u de Spanjaards krenken,
o edel Neerland zoet,
als ik daaraan gedenke,
mijn edel hart dat bloedt.
Nothing so moves my pity
As seeing through these lands,
Field, village, town and city
Pillaged by roving hands.
O that the Spaniards rape thee,
My Netherlands so sweet,
The thought of that does grip me
Causing my heart to bleed.
Nothing makes me pity so much
in my adversity,
then that are seen to be impoverishing
the good lands of the King
That you are molested by the Spaniards,
O Noble Netherlands sweet,
when I think of that,
my noble heart bleeds.
Eleventh stanza
Als een Prins op gheseten
Met mijner Heyres cracht,
Van den Tyran vermeten
Heb ick den Slach verwacht,
Die by Maestricht begraven
Bevreesden mijn ghewelt,
Mijn ruyters sach men draven.
Seer moedich door dat Velt.
Als een prins opgezeten
met mijner heireskracht,
van de tiran vermeten
heb ik de slag verwacht,
die, bij Maastricht begraven,
bevreesden mijn geweld;
mijn ruiters zag men draven
zeer moedig door dat veld.
Astride on steed of mettle
I've waited with my host
The tyrant's call to battle,
Who durst not do his boast.
For, near Maastricht ensconced,
He feared the force I wield.
My horsemen saw one bounce it
Bravely across the field.
Seated [on horseback] like a prince,
with my armed forces,
Defied by the tyrant,
I awaited the battle.
Those dug in at Maastricht
were afraid of my might
People saw my horsemen ride
bravely through the fields.
Twelfth stanza
Soo het den wille des Heeren
Op die tyt had gheweest,
Had ick gheern willen keeren
Van v dit swear tempeest:
Maer de Heer van hier boven
Die alle dinck regeert.
Diemen altijd moet loven
En heeftet niet begheert.
Zo het de wil des Heren
op die tijd was geweest,
had ik geern willen keren
van u dit zwaar tempeest.
Maar de Heer van hierboven,
die alle ding regeert,
die men altijd moet loven,
Hij heeft het niet begeerd.
Surely, if God had willed it,
When that fierce tempest blew,
My power would have stilled it,
Or turned its blast from you
But He who dwells in heaven,
Whence all our blessings flow,
For which aye praise be given,
Did not desire it so.
If it had been the Lord's will,
at the time,
I would have gladly relieved
you of this heavy tempest.
But the Lord above,
who rules all,
He who we should always praise,
did not desire so.
Thirteenth stanza
Seer Prinslick was ghedreven
Mijn Princelick ghemoet,
Stantvastich is ghebleven
Mijn hert in teghenspoet,
Den Heer heb ick ghebeden
Van mijnes herten gront,
Dat hy mijn saeck wil reden,
Mijn onschult doen bekant.
Zeer christlijk was gedreven
mijn prinselijk gemoed,
standvastig is gebleven
mijn hart in tegenspoed.
De Heer heb ik gebeden
uit mijnes harten grond,
dat Hij mijn zaak wil redden,
mijn onschuld maken kond.
Steadfast my heart remaineth
In my adversity
My princely courage straineth
All nerves to live and be.
I've prayed the Lord my Master
With fervid heart and tense
To save me from disaster
And prove my innocence.
By a Christian mood was driven
My princely heart
Steadfast remained
my heart in adversity
To the Lord I prayed,
from the bottom of my heart,
that He may save my cause,
and proclaim my innocence.
Fourteenth stanza
Oorlof mijn arme Schapen
Die zijt in grooten noot,
V Herder sal niet slapen
Al zijt ghy nu verstroyt:
Tot Godt wilt v begheven,
Syn heylsaem Woort neemt aen,
Als vrome Christen leven,
Tsal hier haest zijn ghedaen.
Oorlof, mijn arme schapen
die zijt in grote nood,
uw herder zal niet slapen,
al zijt gij nu verstrooid.
Tot God wilt u begeven,
zijn heilzaam woord neemt aan,
als vrome christen leven,-
't zal hier haast zijn gedaan.
Alas! my flock. To sever
Is hard on us. Farewell.
Your Shepherd wakes, wherever
Dispersed you may dwell,
Pray God that He may ease you.
His Gospel be your cure.
Walk in the steps of Jesus
This life will not endure.
Farewell, my poor sheep,
who are in deep despair.
Your shepherd will not sleep,
even though you are now dispersed.
Turn to God,
accept his curing word.
Live as a good Christian;
soon, it will be finished here .
Fifteenth stanza
Voor Godt wil ick belijden
End zijner grooter Macht,
Dat ick tot gheenen tijden
Den Coninck heb veracht:
Dan dat ick Godt den Heere
Der hoochster Maiesteyt,
Heb moeten obedieren,
Inder gherechticheyt.
Voor God wil ik belijden
en zijne grote macht,
dat ik tot gene tijden
de Koning heb veracht,
dan dat ik God de Here,
de hoogste Majesteit,
heb moeten obediëren
in de gerechtigheid.
Unto the Lord His power
I do confession make
That ne'er at any hour
Ill of the King I spake.
But unto God, the greatest
Of Majesties I owe
Obedience first and latest,
For Justice wills it so.
I want to confess to God,
and to his great power
that I have never
despised the King.
except that to God the Lord,
the highest Majesty
I've been obedient
in justice.
Acrostic
WILLEM VAN NASSOV
WILLEM VAN NAZZOV
WILLIAM OF NASSAU
(n/a)
Notes and references[edit]
Jump up ^ M. de Bruin, "Het Wilhelmus tijdens de Republiek", in: L.P. Grijp (ed.), Nationale hymnen. Het Wilhelmus en zijn buren. Volkskundig bulletin 24 (1998), p. 16-42, 199–200; esp. p. 28 n. 65.
Jump up ^ national-anthems.org – facts National Anthems facts
Jump up ^ "Netherlands – Het Wilhelmus". NationalAnthems.me. Retrieved 21 November 2011.
Jump up ^ CF.hum.uva.nl
Jump up ^ DeLapp, Nevada Levi (2014-08-28). The Reformed David(s) and the Question of Resistance to Tyranny: Reading the Bible in the 16th and 17th Centuries. Bloomsbury Publishing. p. 87. ISBN 9780567655493.
Jump up ^ "Geuzenliedboek". cf.hum.uva.nl. Retrieved 2016-08-14.
Jump up ^ https://www.youtube.com/watch?v=0YgurxOm_e4
Jump up ^ "Louis Peter Grijp-lezing 10 mei 2016". Vimeo. Retrieved 2016-08-13.
Jump up ^ J. te Winkel, De ontwikkelingsgang der Nederlandsche letterkunde. Deel 2: Geschiedenis der Nederlandsche letterkunde van Middeleeuwen en Rederijkerstijd (Haarlem 1922), p. 491 n. 1.DBNL.org
Jump up ^ "'Schrijver Wilhelmus is te ontdekken met computeralgoritme'" (in Dutch). Retrieved 2016-08-13.
Jump up ^ "Toevallig op Petrus Datheen stuiten" (in Dutch). 2016-05-11. Retrieved 2016-08-13.
Jump up ^ "Louis Peter Grijp-lezing online" (in Dutch). 2016-05-22. Retrieved 2016-08-13.
Jump up ^ DeLapp, Nevada Levi (2014-08-28). The Reformed David(s) and the Question of Resistance to Tyranny: Reading the Bible in the 16th and 17th Centuries. Bloomsbury Publishing. pp. 88–90. ISBN 9780567655493.
Jump up ^ CF.hum.uva.nl
Jump up ^ DeLapp, Nevada Levi (2014-08-28). The Reformed David(s) and the Question of Resistance to Tyranny: Reading the Bible in the 16th and 17th Centuries. Bloomsbury Publishing. p. 155. ISBN 9780567655493.
Jump up ^ Maria A. Schenkeveld, Dutch literature in the age of Rembrandt: themes and ideas (1991), 6
Jump up ^ Leerssen, J. (1999). Nationaal denken in Europa: een cultuurhistorische schets. p. 29.
Jump up ^ DeGrauwe, Luc (2002). Emerging Mother-Tongue Awareness: The special case of Dutch and German in the Middle Ages and the early Modern Period, in: Standardisation: studies from the Germanic languages. pp. 99–116.
Jump up ^ van Doorn, T. H. "Het Wilhelmus, analyse van de inhoud, de structuur en de boodschap". www.cubra.nl. Retrieved 2016-08-14.
Jump up ^ van Doorn, T. H. "Het Wilhelmus, analyse van de inhoud, de structuur en de boodschap". www.cubra.nl. Retrieved 2016-08-14.
Jump up ^ Dewulf, Jeroen (2010), Spirit of Resistance: Dutch Clandestine Literature During the Nazi Occupation, Camden House, New York ISBN 978-1-57113-493-6 (p. 115)
Jump up ^ Furhammar, Leif and Isaksson, Folke (1971), Politics and film, Praeger Publishers, New York (p. 81)
Jump up ^ Each of the 15 stanzas lasts 56 seconds, and the last stanza has a Ritenuto.
Jump up ^ Michel, Winfried and Hermien Teske (eds.) (1984). Jacob van Eyck (ca. 1590–1657): Der Fluyten Lust-hof. Winterthur: Amadeus Verlag – Bernhard Päuler. CS1 maint: Extra text: authors list (link)
Jump up ^ "The Dutch National Anthem". MinBuZa.nl. Retrieved 13 October 2014.
External links[edit]
English Wikisource has original text related to this article:
Het Wilhelmus
Wikimedia Commons has media related to Wilhelmus.
Streaming audio, lyrics and information for the Wilhelmus
Sheet music of the Wilhelmus
"The Wilhelmus", vocal version of the first and sixth verse at the Himnuszok website
O la folle entreprise du prince de Condé, performance of Autre chanson de la ville de Chartres assiégée par le prince de Condé, the song that has the original version of the melody used for the Wilhelmus
Het Wilhelmus (reconstruction), in the pace of the 16th century version
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The Five Pillars of Islam (arkān al-Islām أركان الإسلام; also arkān al-dīn أركان الدين "pillars of the religion") are five basic acts in Islam, considered mandatory by believers and are the foundation of Muslim life. They are summarized in the famous hadith of Gabriel.[1][2][3][4]
The Shia, Ahmadiyya, and Sunni agree on the essential details for the performance and practice of these acts,[5][6] but the Shia do not refer to them by the same name (see Ancillaries of the Faith, for the Twelvers, and Seven pillars of Ismailism). They make up Muslim life, prayer, concern for the needy, self-purification, and the pilgrimage,[7][8] if one is able.[9]
Contents
[hide]
1 Pillars of Sunni Islam
1.1 Shahada: Faith
1.2 Salah: Prayer
1.3 Zakāt: Charity
1.4 Sawm: Fasting
1.5 Hajj: pilgrimage to Mecca
2 Pillars of Shia Islam
2.1 Twelvers
2.2 Ismailis
3 See also
4 References
5 Bibliography
5.1 Books and journals
5.2 Encyclopedias
6 External links
Pillars of Sunni Islam
The Five Pillars of Islam
An artwork depicting the 5 pillars
Shahada: Faith
Shahada is a declaration of faith and trust that professes that there is only one God (Allah) and that Muhammad is God's messenger.[10] It is a set statement normally recited in Arabic: lā ʾilāha ʾillā-llāhu muḥammadun rasūlu-llāh (لَا إِلٰهَ إِلَّا الله مُحَمَّدٌ رَسُولُ الله) "There is no god but God (and) Muhammad is the messenger of God." It is essential to utter it to become a Muslim and to convert to Islam.[11]
Salah: Prayer
Afghan politicians and foreign diplomats praying (making salah) at the U.S. Embassy in Kabul, Afghanistan.
Salah (ṣalāh) is the Islamic prayer. Salah consists of five daily prayers according to the Sunna; the names are according to the prayer times: Fajr (dawn), Dhuhr (noon), ʿAṣr (afternoon), Maghrib (evening), and ʿIshāʾ (night). The Fajr prayer is performed before sunrise, Dhuhr is performed in the midday after the sun has surpassed its highest point, Asr is the evening prayer before sunset, Maghrib is the evening prayer after sunset and Isha is the night prayer. All of these prayers are recited while facing in the direction of the Kaaba in Mecca and form an important aspect of the Muslim Ummah. Muslims must wash before prayer; this washing is called wudu ("purification"). The prayer is accompanied by a series of set positions including; bowing with hands on knees, standing, prostrating and sitting in a special position (not on the heels, nor on the buttocks). A Muslim may perform their prayer anywhere, such as in offices, universities, and fields. However, the mosque is the more preferable place for prayers because the mosque allows for fellowship.
Zakāt: Charity
Zakāt or alms-giving is the practice of charitable giving based on accumulated wealth. The word zakāt can be defined as purification and growth because it allows an individual to achieve balance and encourages new growth. The principle of knowing that all things belong to God is essential to purification and growth. Zakāt is obligatory for all Muslims who are able to do so. It is the personal responsibility of each Muslim to ease the economic hardship of others and to strive towards eliminating inequality.[12] Zakāt consists of spending a portion of one's wealth for the benefit of the poor or needy, like debtors or travelers. A Muslim may also donate more as an act of voluntary charity (sadaqah), rather than to achieve additional divine reward.[13]
There are five principles that should be followed when giving the zakāt:
The giver must declare to God his intention to give the zakāt.
The zakāt must be paid on the day that it is due.
After the offering, the payer must not exaggerate on spending his money more than usual means.
Payment must be in kind. This means if one is wealthy then he or she needs to pay a portion of their income. If a person does not have much money, then they should compensate for it in different ways, such as good deeds and good behavior toward others.
The zakāt must be distributed in the community from which it was taken.[14]
Sawm: Fasting
Muslims traditionally break their fasts in the month of Ramadan with dates (like those offered by this date seller in Kuwait City), as was the recorded practice (Sunnah) of Muhammad.
Three types of fasting (Siyam) are recognized by the Quran: Ritual fasting,[15] fasting as compensation for repentance (both from sura Al-Baqara),[16] and ascetic fasting (from Al-Ahzab).[17][18]
Ritual fasting is an obligatory act during the month of Ramadan.[19] Muslims must abstain from food and drink from dawn to dusk during this month, and are to be especially mindful of other sins.[19] Fasting is necessary for every Muslim that has reached puberty (unless he/she suffers from a medical condition which prevents him/her from doing so).[20]
The fast is meant to allow Muslims to seek nearness and to look for forgiveness from God, to express their gratitude to and dependence on him, atone for their past sins, and to remind them of the needy.[21] During Ramadan, Muslims are also expected to put more effort into following the teachings of Islam by refraining from violence, anger, envy, greed, lust, profane language, gossip and to try to get along with fellow Muslims better. In addition, all obscene and irreligious sights and sounds are to be avoided.[22]
Fasting during Ramadan is obligatory, but is forbidden for several groups for whom it would be very dangerous and excessively problematic. These include pre-pubescent children, those with a medical condition such as diabetes, elderly people, and pregnant or breastfeeding women. Observing fasts is not permitted for menstruating women. Other individuals for whom it is considered acceptable not to fast are those who are ill or traveling. Missing fasts usually must be made up for soon afterward, although the exact requirements vary according to circumstance.[23][24][25][26]
Hajj: pilgrimage to Mecca
The Hajj is a pilgrimage that occurs during the Islamic month of Dhu al-Hijjah to the holy city of Mecca. Every able-bodied Muslim is obliged to make the pilgrimage to Mecca at least once in their life.[27] When the pilgrim is around 10 km (6.2 mi) from Mecca, he/she must dress in Ihram clothing, which consists of two white sheets. Both men and women are required to make the pilgrimage to Mecca. After a Muslim makes the trip to Mecca, he/she is known as a hajj/hajja (one who made the pilgrimage to Mecca).[28] The main rituals of the Hajj include walking seven times around the Kaaba termed Tawaf, touching the Black Stone termed Istilam, traveling seven times between Mount Safa and Mount Marwah termed Sa'yee, and symbolically stoning the Devil in Mina termed Ramee.[28]
The pilgrim, or the haji, is honoured in the Muslim community. Islamic teachers say that the Hajj should be an expression of devotion to God, not a means to gain social standing. The believer should be self-aware and examine their intentions in performing the pilgrimage. This should lead to constant striving for self-improvement.[29] A pilgrimage made at any time other than the Hajj season is called an Umrah, and while not mandatory is strongly recommended. Also, they make a pilgrimage to the holy city of Jerusalem in their alms-giving feast.
Pillars of Shia Islam
Twelvers
Twelver Shia Islam has five Usul al-Din and ten Furu al-Din, i.e., the Shia Islamic beliefs and practices. The Twelver Shia Islam Usul al-Din, equivalent to a Shia Five Pillars, are all beliefs considered foundational to Islam, and thus classified a bit differently from those listed above.[30] They are:
Tawhid (monotheism: belief in the oneness of Allah)
Adl (divine justice: belief in Allah's justice)
Nubuwwah (prophethood)
Imamah (succession to Muhammad)
Mi'ad (the day of judgment and the resurrection)
In addition to these five pillars, there are ten practices that Shia Muslims must perform, called the Ancillaries of the Faith[31] (Arabic: furūʿ al-dīn).
Salah
Sawm
Zakat, similar to Sunni Islam, it applies to money, cattle, silver, gold, dates, raisins, wheat, and barley.
Khums: an annual taxation of one-fifth (20%) of the gains that a year has been passed on without using. Khums is paid to the Imams; indirectly to poor and needy people.
Hajj
Jihad
Enjoining good
Forbidding wrong
Tawalla: expressing love towards good.
Tabarra: expressing disassociation and hatred towards evil.[32]
Ismailis
Main article: Seven pillars of Ismailism
Isma'ilis have their own pillars, which are as follows:
Walayah "Guardianship" denotes love and devotion to God, the prophets, and the Ismaili Imams and their representatives
Tawhid, "Oneness of God".
Salah: Unlike Sunni and Twelver Muslims, Nizari Ismailis reason that it is up to the current imām to designate the style and form of prayer.
Zakat: with the exception of the Druze, all Ismaili madhhabs have practices resembling that of Sunni and Twelvers, with the addition of the characteristic Shia khums.
Sawm: Nizaris and Musta'lis believe in both a metaphorical and literal meaning of fasting.
Hajj: For Ismailis, this means visiting the imām or his representative and that this is the greatest and most spiritual of all pilgrimages. The Mustaali maintain also the practice of going to Mecca. The Druze interpret this completely metaphorically as "fleeing from devils and oppressors" and rarely go to Mecca.[33]
Jihad "Struggle": "the Greater Struggle" and "the Lesser Struggle".
See also
Islamic theology
Sixth Pillar of Islam
Jewish principles of faith
References
Jump up ^ "Pillars of Islam". Encyclopædia Britannica Online. Retrieved 2007-05-02.
Jump up ^ "Pillars of Islam". Oxford Centre for Islamic Studies. United Kingdom: Oxford University. Retrieved 2010-11-17.
Jump up ^ "Five Pillars". United Kingdom: Public Broadcasting Service (PBS). Retrieved 2010-11-17.
Jump up ^ "The Five Pillars of Islam". Canada: University of Calgary. Retrieved 2010-11-17.
Jump up ^ "The Five Pillars of Islam". United Kingdom: BBC. Retrieved 2010-11-17.
Jump up ^ Pillars of Islam , Oxford Islamic Studies Online
Jump up ^ Hooker, Richard (July 14, 1999). "arkan ad-din the five pillars of religion". United States: Washington State University. Archived from the original on 2010-12-03. Retrieved 2010-11-17.
Jump up ^ "Religions". The World Factbook. United States: Central Intelligence Agency. 2010. Retrieved 2010-08-25.
Jump up ^ Hajj
Jump up ^ From the article on the Pillars of Islam in Oxford Islamic Studies Online[permanent dead link]
Jump up ^ Matthew S. Gordon and Martin Palmer, ''Islam'', Info base Publishing, 2009. Books.Google.fr. 2009. p. 87. ISBN 9781438117782. Retrieved 2012-08-26.
Jump up ^ Ridgeon (2003), p.258
Jump up ^ Zakat, Encyclopaedia of Islam Online
Jump up ^ Zakat Alms-giving[dead link]
Jump up ^ Quran 2:183–187
Jump up ^ Quran 2:196
Jump up ^ Quran 33:35
Jump up ^ Fasting, Encyclopedia of the Qur'an (2005)
^ Jump up to: a b Farah (1994), p.144-145
Jump up ^ talhaanjum_9
Jump up ^ Esposito (1998), p.90,91
Jump up ^ Tabatabaei (2002), p. 211,213
Jump up ^ "For whom fasting is mandatory". USC-MSA Compendium of Muslim Texts. Archived from the original on 8 March 2007. Retrieved 2007-04-18.
Jump up ^ Quran 2:184
Jump up ^ Khan (2006), p. 54
Jump up ^ Islam, The New Encyclopædia Britannica (2005)
Jump up ^ Farah (1994), p.145-147
^ Jump up to: a b Hoiberg (2000), p.237–238
Jump up ^ Goldschmidt (2005), p.48
Jump up ^ See chapter on "Islamic Beliefs (the Pillars of Islam)" in Invitation to Islam by Sayed Moustafa Al-Qazwini. http://www.al-islam.org/invitation/
Jump up ^ Walsh, John Evangelist. Walking shadows: Orson Welles, William Randolph Hearst, and Citizen Kane. Madison, Wisconsin: University of Wisconsin Press/Popular Press, 2004.
Jump up ^ "The Fundamental Beliefs of Muslims". Comprehensive Database Mstbsryn, missionaries and Rhyaftgan.
Jump up ^ "Isma'ilism". Retrieved 2007-04-24.
Bibliography
Books and journals
Brockopp, Jonathan; Tamara Sonn; Jacob Neusner (2000). Judaism and Islam in Practice: A Sourcebook. Routledge. ISBN 0-415-21673-7.
Farah, Caesar (1994). Islam: Beliefs and Observances (5th ed.). Barron's Educational Series. ISBN 978-0-8120-1853-0.
Muhammad Hedayetullah (2006). Dynamics of Islam: An Exposition. Trafford Publishing. ISBN 978-1-55369-842-5.
Khan, Arshad (2006). Islam 101: Principles and Practice. Khan Consulting and Publishing, LLC. ISBN 0-9772838-3-6.
Kobeisy, Ahmed Nezar (2004). Counseling American Muslims: Understanding the Faith and Helping the People. Praeger Publishers. ISBN 978-0-313-32472-7.
Momen, Moojan (1987). An Introduction to Shi`i Islam: The History and Doctrines of Twelver Shi`ism. Yale University Press. ISBN 978-0-300-03531-5.
Levy, Reuben (1957). The Social Structure of Islam. UK: Cambridge University Press. ISBN 978-0-521-09182-4.
Muhammad Husayn Tabatabaei (2002). Islamic teachings: An Overview and a Glance at the Life of the Holy Prophet of Islam. R. Campbell (translator). Green Gold. ISBN 0-922817-00-6.
Arthur Goldschmidt Jr. & Lawrence Davidson (2005). A Concise History of the Middle East (8th ed.). Westview Press. ISBN 978-0-8133-4275-7.
Hoiberg, Dale; Indu Ramchandani (2000). Students' Britannica India. Encyclopædia Britannica (UK) Ltd. ISBN 978-0-85229-760-5.
Ridgeon, Lloyd (2003). Major World Religions (1st ed.). RoutledgeCurzon. ISBN 978-0-415-29796-7.
Encyclopedias
P.J. Bearman; Th. Bianquis; C.E. Bosworth; E. van Donzel; W.P. Heinrichs (eds.). Encyclopaedia of Islam Online. Brill Academic Publishers. ISSN 1573-3912.
Salamone Frank, ed. (2004). Encyclopedia of Religious Rites, Rituals, and Festivals (1st ed.). Routledge. ISBN 978-0-415-94180-8.
External links
Tenets of Islam
Pillars of Islam in Oxford Islamic Studies Online
Pillars of Islam. A brief description of the Five Pillars of Islam.
Five Pillars of Islam. Complete information about The Five Pillars of Islam.
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