Henri (Hendrik) Conscience was a Belgian writer born on December 3, 1812, and died on September 10, 1883. He is known as the first person to write important books in Dutch in Flanders, a region of Belgium. During his time, French was the main language used by the wealthy and in government and literature. Conscience fought in the Belgian revolution of 1830 and wrote stories in the Romanticist style, which was popular in the early 1800s. His most famous work is the romantic nationalist novel The Lion of Flanders (1838), which tells the story of a group of Flemish farmers defeating French knights in the 1302 Battle of the Golden Spurs during the Franco-Flemish War.
Throughout his life, Conscience wrote over 100 novels and short stories, becoming very popular. After he died, his books were less widely read as Romanticism declined, but they are still regarded as important works in Flemish literature.
Early life
Hendrik was the son of Pierre Conscience, a Frenchman from Besançon. Pierre worked as a wheelhouse master in the navy of Napoleon Bonaparte and later became an assistant harbor manager in Antwerp in 1811, when the city was part of France. Hendrik’s mother was Cornelia Balieu, a Fleming who could not read or write. In 1815, after the Congress of Vienna, the French left Antwerp, but Pierre stayed. He was unusual in his habits and began buying old ships to break them apart, a common practice in the port after the war ended.
Hendrik grew up in an old shop filled with supplies for ships. His father later added a collection of books that were not easy to sell, including old stories that sparked Hendrik’s imagination. His mother died in 1820, and Hendrik and his younger brother had little company other than their serious and strict father. In 1826, Pierre married again, this time to Anna Catherina Bogaerts, a woman much younger than himself.
Hendrik loved reading and spent hours exploring old, worn books in the attic of The Green Corner, where they were sent before being thrown away. After his second marriage, Pierre became unhappy with the town and sold the shop. He moved to the Campine region, a flat, empty area near Antwerp and Venlo, which Hendrik later described in his books. There, Pierre bought a small farm with a large garden. While Pierre traveled to faraway ports to buy ships, Hendrik and his brother lived with their stepmother for weeks or even months.
At seventeen, Hendrik left his father’s home to work as a tutor in Antwerp and continue his studies. His education was interrupted by the Belgian Revolution of 1830. He joined the Belgian revolutionary army, fighting near Turnhout and against the Dutch near Oostmalle, Geel, Lubbeek, and Louvain. After the Ten Days’ Campaign of 1831, he stayed in army barracks at Dendermonde and became a non-commissioned officer, eventually reaching the rank of sergeant-major. In 1837, he left the army and returned to civilian life. Through his time with people from different backgrounds, Hendrik became an observer of their lives. He considered writing in Dutch, even though French was the language of the educated and ruling class in Belgium.
Although the Netherlands, across the Scheldt River, had a long tradition of literature in a language similar to Dutch spoken in Belgium, many Belgians still preferred French. French was chosen as Belgium’s national language in 1830, when the country gained independence from the Netherlands. At that time, no major works had been written in Dutch for many years. Hendrik saw the power of the Flemish language and wrote in 1830: “I find the Flemish language very romantic, mysterious, and powerful. If I ever write, I will use it.”
Work and career
His poems, written during his time as a soldier, were all in French. When he was discharged from the military, he returned to his father’s home without a job and decided to write in Dutch. A passage from Guicciardini inspired him, and he quickly wrote a series of short stories set during the Dutch Revolt, titled In 't Wonderjaer (1837). He self-published the work, which cost nearly a year’s salary to produce.
His father was upset that his son wrote a book in Dutch and kicked him out of the house. The future famous novelist left with only two francs and a bundle of clothes. An old school friend found him on the street and helped him. Soon, respected people, including the painter Gustaf Wappers, showed interest in the struggling young man. Wappers gave him clothes and introduced him to King Leopold I, who ordered Wonderjaar to be added to every Belgian school’s library. With the king’s support, Conscience published his second book, Fantasy, in 1837. A small job in provincial archives helped ease his financial struggles, and in 1838, he achieved his first major success with the historical novel De Leeuw van Vlaenderen (The Lion of Flanders), which remains one of his greatest works. Its influence reached beyond literature, though Conscience earned little from its sales due to high printing costs.
During the 19th century, many European writers, poets, and artists used historical figures and myths to create symbols of national pride. Conscience did this successfully with Robert of Bethune, a character from Flanders’ history who fought to protect the region’s independence. Historians have criticized Conscience for inaccuracies, such as claiming Robert fought in the Battle of the Golden Spurs, which he did not. Also, Robert and his father, Guy de Dampierre, did not speak Dutch. Despite these errors, Robert of Bethune remains a symbol of Flemish pride, thanks to Conscience’s romantic but incorrect portrayal. This portrayal also inspired De Vlaamse Leeuw (The Flemish Lion), the unofficial anthem of Flemish nationalists, which was later officially recognized as the anthem of Flanders.
After The Lion of Flanders, Conscience wrote other books, including How to Become a Painter (1843), What a Mother Can Suffer (1843), Siska van Roosemael (1844), Lambrecht Hensmans (1847), Jacob van Artevelde (1849), and The Conscript (1850). During these years, he lived a varied life, working as a gardener for thirteen months and later as a secretary to the Academy of Fine Arts in Antwerp. His books were praised but rarely sold, so he remained financially unstable. However, his ideas gained acceptance. At a 1841 congress in Ghent, his writings were called the most promising seed for national literature. The patriotic movement supported his work, and each new book he published was celebrated as a contribution to Belgium’s identity.
In 1845, Conscience was made a Knight of the Order of Leopold. Writing in Dutch was no longer seen as vulgar; instead, it became fashionable, and Flemish literature flourished. That same year, he published a History of Belgium at King Leopold I’s request. He then returned to writing about Flemish daily life, which became the most valuable part of his work. At the height of his talent, he wrote Blind Rosa (1850), Rikketikketak (1851), The Poor Gentleman (1851), and The Miser (1853), which greatly influenced later fiction.
In 1855, translations of his books appeared in English, French, German, Czech, and Italian, gaining popularity worldwide. By 1942, a German translation of The Poor Gentleman had sold over 400,000 copies. The French writer Alexandre Dumas copied parts of The Conscript to create his own work, taking advantage of weak copyright laws at the time. Many pirated translations also appeared.
In 1867, King Leopold I created the position of keeper of the Royal Belgian Museums and gave it to Conscience. From then on, he lived in the Wiertz Museum, now near the European Parliament. He continued writing regularly, producing nearly eighty books. He became the most respected Belgian writer. In Antwerp, his 70th birthday was celebrated with public events. After a long illness, he died in his home in Brussels in 1883. His funeral took place at St. Boniface’s Church in Ixelles, and he was buried at Schoonselhof Cemetery in Antwerp, where his tomb honors his legacy as a great writer.
Critical reception
Conscience's writing is mostly connected to the Romanticism movement in literature. His work often includes long speeches and focuses on emotions. Later changes in how literature is understood, especially the rise of realism during his lifetime, have led some modern readers to view his work as outdated or simple. His use of language has also faced criticism. Theo Hermans noted that Conscience was not a skilled language user, and that his stories are emotional, his plots are not realistic, and his moral views are traditional and sometimes seen as old-fashioned. However, Hermans also acknowledged that Conscience had the ability to make readers feel immersed in his stories. He praised Conscience's skill in describing battles and natural scenes, as well as his use of varying pacing to highlight important parts of his writing.