greatest Dutch poet of his generation, who achieved not only an intensely original imagery but also an astounding command of poetic technique.

In his first volume, De wandelaar (1916; “The Wanderer”), his negative feelings of isolation and noninvolvement are symbolized in wildly grotesque figures, and the image of the dance of death is prevalent. The only solution to this spiritual frustration is suicide, as enacted in the short verse drama Pierrot aan de lantaarn (1918; “Pierrot at the Lamppost”). The demonic element is again apparent in his second volume, Vormen (1924; “Forms”), which also reveals Nijhoff 's realistic, direct approach to Christianity in, for example, “De soldaat die Jezus kruisigde” (“The Soldier Whom Jesus Crucified”).

Nijhoff 's best volume, Nieuwe gedichten (1934; “New Poems”), shows a spiritual rebirth, an affirmation of the richness of earthly existence, which is most apparent in the optimism of the magnificent “Awater.” This tale of a mythical, biblical character set in a sober modern townscape combines a sensitive use of colloquialism with extreme virtuosity of form.

“Awater” and Het uur U (1942; “U-Hour”), the story of a stranger's shattering effect on a self-satisfied community, firmly establish Nijhoff as one of Europe's foremost 20th-century poets.