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He wrote also a great number of letters, between 60 and 70 elaborate reviews, and some critical essays, the best of which seems to be his commentary to Madame de Staël's De l'Allemagne, while he translated from Anacreon, Dante, Guarini, Horace, Ovid, Petrarch, Vergil, and others, and left a number of fragments including the outline of a pretentious novel of which Heinrich von Veldeke, whom he looked upon as "der Heilige des Enthusiasmus," was to be the hero.
Who this poet was we do not know, but we do know that he was perfectly familiar with all the details of courtly etiquette. He seems also to have been acquainted with the courtly epics of Heinrich von Veldeke and Hartman von Ouwe, but his poem is free from the tedious and often exaggerated descriptions of pomp, dress, and court ceremonies, that mar the beauty of even the best of the courtly epics.
From its very origin Flemish literature acted thus as an intermediary between France and Germany. Veldeke was a noble, and his works were only appreciated in the castles. Jacob van Maerlant, who was hailed, in his time, as the "Father of Flemish Poets," was a bourgeois scribe.
Translations from Nivardus were the origin of the French versions of the Roman du Renard and of the Flemish poem of Reinaert, written by Willem in the thirteenth century, and which surpasses all other variations of the theme. The Reinaert is the first notable work of mediæval Flemish literature. Willem's predecessor, Hendrick van Veldeke, is merely a translator.
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