Wilhelmus

This article is about the national anthem of the Netherlands. 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
National anthem of the Netherlands
Lyrics	Disputed, between 1568 and 1572
Music	Adapted by Adrianus Valerius, composer of original unknown, 1568
Adopted	10 May 1932 (1932-05-10) 1954 (Netherlands Antilles)
Relinquished	1964 (Netherlands Antilles)
Preceded by	"Wien Neêrlands Bloed"
Audio sample
"Wilhelmus" (instrumental, one stanza) file help

"Wilhelmus van Nassouwe", known simply as "Wilhelmus", is the national anthem of both the Netherlands and its sovereign state, the Kingdom of the Netherlands. It dates back to at least 1572, making it the oldest national anthem in use today, provided that the latter is defined as consisting of both a melody and lyrics. Although "Wilhelmus" was not recognized 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. It was also the anthem of the Netherlands Antilles from 1954 to 1964.

"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 about both the revolt and his own, personal struggle: to be faithful to the king, without being unfaithful to his conscience: to serve God and the Dutch. In the lyrics, William compares himself with the biblical David who serves under the tyrannical 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 with a kingdom. Both "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, "Wilhelmus" stands as the pre-eminent example of the genre.

Inception

Origins of melody

The melody of "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 Chartres in short). 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 "Wilhelmus" differ greatly from 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, "Wilhelmus" was typical for its time: it was common practice in the 16th century for warring groups to steal each other's songs in order to rewrite them.

Even though the melody stems from 1568, the first known written down version of it comes from 1574; at the time the anthem was sung at a much quicker pace. Dutch composer Adriaen Valerius recorded the current melody of "Wilhelmus" in his Nederlantsche Gedenck-clanck in 1626, slowing down the melody's pace, probably to allow it to be sung in churches.

Philips of Marnix presents "Wilhelmus" to William the Silent, by Jacob Spoel (ca 1850).

Origins of lyrics

The origins of the lyrics are uncertain. "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. Soon after the anthem was finished, it was said that either former Antwerp mayor Philips of Marnix or the politician Dirck Coornhert wrote the lyrics. However, this is disputed as neither Marnix nor Coornhert ever mentioned that they had written the lyrics, even though the song was immensely popular in their time. "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 "Wilhelmus" was written, and it is said 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 "Wilhelmus" appeared around 1582.

Recent stylometric research has mentioned Pieter Datheen as a possible author of the text of the Dutch national anthem. By chance, Dutch and Flemish researchers (Meertens Institute, Utrecht University and University of Antwerp) discovered a striking number of similarities between his style and the style of the national anthem.

Structure and interpretation

See also: Theodiscus and Terminology of the Low Countries

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 not only between the biblical David and William of Orange as a merciful and just leader of the Dutch Revolt, but also between the tyrant 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.

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, 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, such as Fernando Álvarez de Toledo, 3rd Duke of Alba. This may have been because at the time (late 16th century) it was uncommon to doubt publicly the divine right of kings, who were accountable to God alone. In 1581 the Netherlands nevertheless rejected the legitimacy of the king of Spain's rule over it in the Act of Abjuration.

The word Duytschen in the first stanza, generally translated into English as 'Dutch', 'native' or 'Germanic', is a reference to William's roots; its modern Dutch equivalent, Duits, exclusively means 'German', and while it may refer to William's ancestral house (Nassau, Germany) or to the lands of the Holy Roman Empire it is most probably a reference to an older meaning of the word, which can loosely be translated as 'Germanic', and seeks to position William as a person with a personal connection with the Low Countries as opposed to the king of Spain, Philip II, who was commonly portrayed as foreign, disconnected and out of touch. In doing so, William is also implicitly comparing himself with the well liked Charles V (Philip's father) who, unlike his son, was born in the Low Countries, spoke Dutch and visited the Low Countries more often than any other part of his realm.

Performance

William I, leader of the Dutch Revolt, by Adriaen Thomasz. Key

History

First recording of the "Wilhelmus" in 1899

Vocal rendition of the "Wilhelmus" in 1920

Though only proclaimed the national anthem in 1932, the "Wilhelmus" already had a centuries-old 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!".

Another legend claims that following the Navigation Act 1651 (an 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 and last English warning shot, Tromp fired a full broadside, thereby beginning the Battle of Goodwin Sands and the First Anglo-Dutch War.

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 replaced by Hendrik Tollens' song "Wien Neêrlands Bloed", which was the official Dutch anthem from 1815 until 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.

"Wilhelmus" was also translated into Malay, of which was sung back when Indonesia was under Dutch colonial rule.

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". It 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"). 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.

Current

First stanza of the "Wilhelmus"

The "Wilhelmus" is to be played only once at a ceremony or 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.

During international sport events, such as the World Cup, UEFA European Football Championship, the Olympic Games and the Dutch Grand Prix, the "Wilhelmus" is also played. In nearly every case the 1st and 6th stanzas (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.

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

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.

The royal anthem of Luxembourg (called "De Wilhelmus") is a variation on the "Wilhelmus". The melody 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 their national anthem. The melody is similar, but not identical to that of the "Wilhelmus"; it has been in official use since 1919.

The song „Wenn alle untreu werden“ ("When All Become Unfaithful"), better known as „Das Treuelied“, written by the poet Max von Schenkendorf, used exactly the same melody as the "Wilhelmus". After World War I, this song became popular among German nationalist groups. It became one of the most popular songs of the SS, together with the „Horst-Wessel-Lied“.

The melody is also used in the Swedish folk song "Ack, Göta konungarike" ("Alas, Gothic Kingdom"), written in 1626, which deals with the liberation struggle of Sweden under Gustav Vasa during the 16th century.

Lyrics

The "Wilhelmus" was first printed in a geuzenliedboek (lit. '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.

The original text contains 15 stanzas and is written in the form of an acrostic; the first letter in each of the following stanzas, highlighted in bold below, spell out William of Nassau.

Original Dutch (1568) WILLEM VAN NASSOV	Contemporary Dutch WILLEM VAN NAZZOV	IPA transcription	English translation WILLIAM OF NASSAU
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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Seer Christlick 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. 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. 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.	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. 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. 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 wil geven, dat ik u helpen mag. 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. 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. 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, de tirannie verdrijven die mij mijn hart doorwondt. 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. Als David moeste vluchten voor Sauel den tiran, zo heb ik moeten zuchten als menig edelman. Maar God heeft hem verheven, verlost uit alder nood, een koninkrijk gegeven in Israël zeer groot. 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. 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. 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. 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. 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. 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. 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.	[ʋɪɫ.ˈɦɛɫ.mʏs̠ vɑn nɑ.ˈs̠ɑu̯.ə] [bɛn ɪk vɑn ˈdœy̑t.s̠ən blut] [dɛn ˈvaː.dər.ˌlɑnt ɣə.ˈtrɑu̯.ə] [blɛi̯v ɪk tɔt ɪn dɛn doːt] [ən ˈprɪn.s̠ə vɑn ˌoː.ˈrɑn.jə] [bɛn ɪk frɛi̯ ˌɔɱ.vər.ˈveːrt] [dɛn ˈkoː.nɪŋ vɑn ɦɪ.ˈs̠pɑn.jə] [ɦɛp ɪk ˈɑɫ.tɛi̯t ɣə.ˈeːrt] [ɪn ˈɣɔ.dəs̠ vreːs̠ tə ˈleː.vən] [ɦɛp ɪk ˈɑɫ.tɛi̯t bə.ˈtrɑxt] [daːr.ˈɔm bɛn ɪk vər.ˈdreː.vən] [ɔm lɑnt ɔm lœy̑t ɣə.ˈbrɑxt] [maːr ɣɔt z̠ɑɫ mɛi̯ rə.ˈɣeː.rən] [ɑɫs̠ eːn ɣut ˌɪn.s̠try.ˈmɛnt] [dɑt ɪk z̠ɑɫ ˌʋeː.dər.ˈkeː.rən] [ɪn ˈmɛi̯.nən ˌreː.ʒi.ˈmɛnt] [lɛi̯t y mɛi̯n ˌɔn.dər.ˈz̠aː.tən] [di ɔ.ˈprɛxt z̠ɛi̯t vɑn aːrt] [ɣɔt z̠ɑɫ y nit vər.ˈlaː.tən] [ɑɫ z̠ɛi̯t ɣɛi̯ nʏ bə.ˈz̠ʋaːrt] [di vroːm bə.ˈɣeːrt tə ˈleː.vən] [bɪt ɣɔt nɑxt ˈɛn.də dɑx] [dɑt ɦɛi̯ mɛi̯ krɑxt ʋɪɫ ˈɣeː.vən] [dɑt ɪk y ˈɦɛɫ.pən mɑx] [lɛi̯v ən ɣut ɑɫ tə ˈs̠aː.mən] [ɦɛp ɪk y nit vər.ˈs̠xoːnt] [mɛi̯n ˈbru.dərs̠ ɦoːx vɑn ˈnaː.mən] [ˈɦɛ.bən t‿y oːk vər.ˈtoːnt] [ɣraːv ˈaː.dɔɫf ɪs̠ ɣə.ˈbleː.vən] [ɪn ˈfris̠.lɑnt ɪn də s̠lɑx] [z̠ɛi̯n z̠iɫ ɪn t‿ˈeːu̯.əx ˈleː.vən] [vər.ˈʋɑxt də ˈjɔŋ.s̠tə dɑx] [ˈeː.dəɫ ən ˌɦoː.ɣə.ˈboː.rən] [vɑn ˈkɛi̯.z̠ər.lə.kə s̠tɑm] [ən vɔrs̠t dɛs̠ rɛi̯ks̠ vər.ˈkɔ.rən] [ɑɫs̠ ən vroːm ˈkrɪs̠.tən.mɑn] [voːr ˈɣɔ.dəs̠ ʋoːrt ɣə.ˈpreː.z̠ən] [ɦɛp ɪk vrɛi̯ ˌɔɱ.vər.ˈs̠aːxt] [ɑɫs̠ ən ɦɛɫt ˈz̠ɔn.dər ˈvreː.z̠ə] [mɛi̯n ˈeː.dəɫ blut ɣə.ˈʋaːxt] [mɛi̯n s̠xɪɫt ˈɛn.də bə.ˈtrɑu̯.ən] [ˈz̠ɛi̯t ɣɛi̯ oː ɣɔt mɛi̯n ɦeːr] [ɔp y z̠oː ʋɪɫ ɪk ˈbɑu̯.ən] [vər.ˈlaːt mɛi̯ ˌnɪ.mər.ˈmeːr] [dɑt ɪk dɔx froːm mɑɣ ˈblɛi̯.vən] [yu̯ ˈdi.naːr ˈt‿ɑ.lər s̠tɔnt] [də ˌti.rɑ.ˈni vər.ˈdrɛi̯.vən] [di mɛi̯ mɛi̯n ɦɑrt ˈdoːr.ʋɔnt] [vɑn ɑɫ di mɛi̯ bə.ˈz̠ʋaː.rən] [ɛn mɛi̯n vər.ˈvɔɫ.gərs̠ z̠ɛi̯n] [mɛi̯n ɣɔt ʋɪɫ dɔx bə.ˈʋaː.rən] [də ˈtrɑu̯.ə ˈdi.naːr dɛi̯n] [dɑt z̠ɛi̯ mɛi̯ nit və.ˈrɑ.s̠ən] [ɪn ˈɦʏ.nə ˈboː.z̠ə mut] [ˈɦʏn ˈɦɑn.dən nit ɛn ˈʋɑ.s̠ən] [ɪn mɛi̯n ˌɔn.ˈs̠xʏɫ.dəx blut] [ɑɫs̠ ˈdaː.vɪt ˈmu.s̠tə ˈvlʏx.tən] [voːr ˈs̠ɑu̯.əɫ dɛn ti.ˈrɑn] [z̠oː ɦɛp ɪk ˈmu.tən ˈz̠ʏx.tən] [ɑɫs̠ ˈmeː.nəx ˈeː.dəɫ.ˌmɑn] [maːr ɣɔt ɦeːft ɦɛm vər.ˈɦeː.vən] [vər.ˈlɔs̠t œy̑t ˈɑɫ.dər noːt] [ən ˈkoː.nɪŋ.ˌkrɛi̯k ɣə.ˈɣeː.vən] [ɪn ˈɪs̠.raː.ˌɛɫ z̠eːr ɣroːt] [naː‿t z̠yːr z̠ɑɫ ɪk ɔnt.ˈfɑŋ.ən] [vɑn ɣɔt mɛi̯n ɦeːr ɦɛt z̠ut] [ˈdaːr.ˌnaːr z̠oː dut vər.ˈlɑŋ.ən] [mɛi̯n ˈvɔr.s̠tə.lək ɣə.ˈmut] [dɑt ɪs̠ dɑt ɪk mɑx ˈs̠tɛr.vən] [mɛt ˈeː.rə ɪn dɑt vɛɫt] [ən ˈeːu̯.əx rɛi̯k vər.ˈʋɛr.vən] [ɑɫs̠ ən ɣə.ˈtrɑu̯.ə ɦɛɫt] [nits̠ dut mɛi̯ meːr ɛr.ˈbɑr.mən] [ɪn ˈmɛi̯.nə ˈʋeː.dər.ˌs̠put] [dɑn dɑt mɛn z̠it vər.ˈɑr.mən] [dɛs̠ ˈkoː.nɪŋs̠ ˈlɑn.dən ɣut] [dɑt y də ˈs̠pɑn.jaːrts̠ ˈkrɛŋ.kən] [oː ˈeː.dəɫ ˈneːr.ˌlɑnt z̠ut] [ɑɫs̠ ɪk ˈdaːr.ˌaːn ɣə.ˈdɛŋ.kə] [mɛi̯n ˈeː.dəɫ ɦɑrt dɑt blut] [ɑɫs̠ ən prɪns̠ ˈɔp.ɣə.ˌz̠eː.tən] [mɛt ˈmɛi̯.nər ˈɦɛi̯.rəs̠.ˌkrɑxt] [vɑn də ti.ˈrɑn vər.ˈmeː.tən] [ɦɛp ɪk də s̠lɑx vər.ˈʋɑxt] [di bɛi̯ maː.ˈs̠trɪxt bə.ˈɣraː.vən] [bə.ˈvreːz̠.dən mɛi̯n ɣə.ˈʋɛɫt] [mɛi̯n ˈrœy̑.tərs̠ z̠ɑx mɛn ˈdraː.vən] [z̠eːr ˈmu.dəɣ doːr dɑt vɛɫt] [z̠oː ɦɛt də ʋɪɫ dɛs̠ ˈɦeː.rən] [ɔp di tɛi̯t ʋɑs̠ ɣə.ˈʋeːs̠t] [ɦɑt ɪk ɣeːrn ˈʋɪ.lən ˈkeː.rən] [vɑn y dɪt z̠ʋaːr tɛm.ˈpeːs̠t] [maːr də ɦeːr vɑn ˌɦiːr.ˈboː.vən] [di ˈɑ.lə dɪŋ rə.ˈɣeːrt] [di mɛn ˈɑɫ.tɛi̯t mut ˈloː.vən] [ɦɛi̯ ɦeːft ɦɛt nit bə.ˈɣeːrt] [z̠eːr ˈkrɪs̠t.lək ʋɑs̠ ɣə.ˈdreː.vən] [mɛi̯n ˈprɪn.s̠ə.lək ɣə.ˈmut] [ˌs̠tɑnd.ˈvɑs̠.təx ɪs̠ ɣə.ˈbleː.vən] [mɛi̯n ɦɑrt ɪn ˈteː.ɣən.ˌs̠put] [də ɦeːr ɦɛp ɪk ɣə.ˈbeː.dən] [œy̑t ˈmɛi̯.nəs̠ ˈɦɑr.tən ˈɣrɔnt] [dɑt ɦɛi̯ mɛi̯n z̠aːk ʋɪɫ ˈrɛ.dən] [mɛi̯n ˈɔn.s̠xʏɫt ˈmaː.kən kɔnt] [ˈoːr.lɔf mɛi̯n ˈɑr.mə ˈs̠xaː.pən] [di z̠ɛi̯t ɪn ˈɣroː.tə noːt] [yu̯ ˈɦɛr.dər z̠ɑɫ nit ˈs̠laː.pən] [ɑɫ z̠ɛi̯t ɣɛi̯ ny vər.ˈs̠troːi̯t] [tɔt ɣɔt ʋɪɫt y bə.ˈɣeː.vən] [z̠ɛi̯n ˈɦɛi̯ɫ.z̠aːm ʋoːrt neːmt aːn] [ɑɫs̠ ˈvroː.mə ˈkrɪs̠.tən ˈleː.vən] [t‿z̠ɑɫ ɦiːr ɦaːs̠t z̠ɛi̯n ɣə.ˈdaːn] [voːr ɣɔt ʋɪɫ ɪk bə.ˈlɛi̯.dən] [ɛn ˈz̠ɛi̯.nə ˈɣroː.tə mɑxt] [dɑt ɪk tɔt ˈɣeː.nə ˈtɛi̯.dən] [də ˈkoː.nɪŋ ɦɛb vər.ˈɑxt] [dɑn dɑt ɪk ɣɔd də ˈɦeː.rə] [də ˈɦoːx.s̠tə maː.jəs̠.ˈtɛi̯t] [ɦɛp ˈmu.tən ˌoː.bə.di.ˈeː.rən [ɪn də ɣə.ˈrɛx.təx.ɦɛi̯t]	William of Nassau, scion Of a Dutch and ancient line, I dedicate undying Faith to this land of mine. A prince I am, undaunted, Of Orange, ever free, To the king of Spain I've granted A lifelong loyalty. 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. 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. 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. 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. 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 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. 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 me From exile and its hell And, in His mercy, gave him A realm in Israel. 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. 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. A stride 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. 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. 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. 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 Jesu This life will not endure. 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.

External links

• Media related to Wilhelmus at Wikimedia Commons
• Sheet music of "Wilhelmus"
• "Wilhelmus", vocal version of the first and sixth verse at the Himnuszok website (in Hungarian)
• A song for Prince William authentic version on YouTube
• Strauss: "Variationen über 'Wilhelm von Oraniên'" for military band