The number and quality of treatises discussing women’s talents or lack there of was high sixteenth and seventeenth century Europe. The works were divided up by genre and were available in both printed and handwritten form. It is an established fact that readers in the Nordic countries were familiar with European concepts such as “Feminae illustres” (illustrious women), “Feminae doctae” (learned women), “Musa decimal” (the tenth muse), and so forth. Awareness of “feminae illustres” or “feminae doctae” seems to have been linked to the Renaissance period. There were, of course, earlier examples of learned women, but the desire to count them and classify them, and even promote them, would seem to have been a Renaissance inclination that surfaced among the progressive male learned circles.
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Agneta Horns autobiography, which she called “Description of my wretched and much-troubled wanderings” is a ‘memory of lament’ recounting the story of a criticised, neglected, and little-loved girl who nonetheless manages to assert her will and give her opponents as good as she gets.Agneta Horns lefverne is fundamentally an account of Agneta Horn’s relationship with her father and with paternal power, of the identity as dutiful daughter that she and the times considered to be the ideal. Between the lines we can read disgreement between Agneta Horn and her stepmother, Sigrid Bielke. Objectively, the conflict revolved on the inheritance from Agneta’s father; ideologically, it revolved on Agneta Horn’s obedience to her father’s resolve.
With the twenty-four stories in En Hverdags-Historie (An Everyday Story) from 1828, Thomasine Gyllembourg consolidated a new literary tradition – the realistic prose story. She shows her reader around in the external forum where everyday life takes place, ornamented with particulars that might seem like knick-knacks, but which all share in the function of making her universe recognisable actuality. While En Hverdags-Historie shows family life in a concave mirror, a number of Gyllembourg’s other short stories reflect family life in a magic mirror.When Thomasine Gyllembourg wrote her everyday stories, the nuclear family was still a new phenomenon, and she herself had lived through a considerable part of its cultural genesis. With En Hverdags-Historie, she positions herself midstream between the old family with its awareness of lineage and the new family with its orientation towards the individual, and from this vantage point she views the evolution of the family, weighs up loss and gain, and exposes the inherent cracks in the foundation of the nuclear family. The trends identified by Thomasine Gyllembourg in the 1840s thus anticipate the particular modern way of life that would be put to debate some decades later in the literature of the Modern Breakthrough.
Camilla Collett’s major work Amtmandens Døttre (The District Governor’s Daughters) is the first realistic ‘propaganda novel’ in the annals of Norwegian literature, and the first Norwegian novel to take a broad and critical look at conditions offered to women in the better-off strata of society. The work was no run-of-the-mill novel when it was published in 1854-55. Many people were affected by the thematic line of the book: the attack on marriages of convenience and marriages contracted solely to provide for the woman, the complaints about the restricting parameters of life for women. Even the male critics were delighted in the innovation of her style.After Amtmandens Døttre and a volume of Fortællinger (Short Stories), Camilla Colett stopped writing fiction. Instead, she used the 1860s to explore the grey area between autobiography, memoirs, and travel writing. She then took the plunge and concentrated on polemical writings, publishing two new volumes of Sidste Blade (Last Leaves) in 1872 and 1873, and in 1877 the collection that was to be her breakthrough as feminist cultural critic, Fra de Stummes Leir (From the Camp of the Mute).Her writing career drew to a close with two new collections of essays, and a number of one-off articles on a range of subjects. She must be given a large measure of credit for the strong feminist influence exercised on the Norwegian Modern Breakthrough, and she contributed to avoidance of the deep divide between the female and male outlook on sexual morality that marked Danish cultural life in the 1880s.
The nineteenth century was the century of reading, and from the outset women – as readers and writers – captured a large part of the rapidly expanding literary market. Given that it was the women who had formerly been left out of the (Latin) academic culture, these women now formed the majority of all the new readers. Readers were particularly enthusiastic about entertaining prose fiction. Of the new varieties now put into production by the media, the main genres were first the fantastical (Gothic) and later the realistic novel. Women writers had access to the media, if, that is, they could tap into the readers’ desires and needs – and this they could.From the end of the eighteenth century onwards, female authors put their stamp on European popular literature in a manner that literary history has by no means chronicled to any adequate extent.
In the course of a long life the Norwegian author and pastor’s wife Hanna Winsnes wrote – both for entertainment and edification – poetry and religious texts in verse, novels, short stories, and tales for children. She had no real artistic ambition, but liked to tell her ‘stories’ within the family circle and was always interested in the communication of ideas. Hanna Winsnes was well-read and well-versed in the literature of the past and of her modern day. Hanna Winsnes’s written world is generally harmonious and well-arranged, because she never expresses doubt as to the foundation for what is right and what is wrong. She repeatedly returns to the fact that love – between mother and child and between man and woman – along with belief in God and humility have the highest priority in life. Above all, Hanna Winsnes is famous, loved – and criticised – as Norway’s cookbook writer. From its very first edition in 1845, her Lærebog i de forskjellige Grene af Huusholdningen (A Guide to the Various Aspects of Housekeeping) proved to be popular reading.
The post-1814 world was a different place. The dual realm Denmark-Norway was dissolved, and Norway entered a union with Sweden. Women’s diaries from the period tell of daily life under the dramatic historical changes. One direct motivation for the women to write their memoirs was often the next generation’s wish for first-hand knowledge of the past.The oldest of the memoir-writers chronicle everyday life and the march of history, and often speak directly to their children or to other close relatives. These reminiscences are intended for the private sphere; they have no literary ambitions. Other memoirists had the public domain in mind. The best-known of these was Camilla Collett. Her work Amtmandens Døttre sounded the starting signal for women authors, and was Norway’s first major realist novel.
It was a feeling of sorrow and hopelessness that led the actress Johanne Luise Heiberg to start writing her memoirs in 1855, at the age of forty-two: Et Liv gjenoplevet i Erindringen (A Life Relived in Memory). The most highly-acclaimed Danish actress of the Romantic Age, she had become a myth in her own lifetime. But the demand for greater realism on stage gradually began to signal a new era.In her four-volume memoirs, the desire for clarification also becomes a construal in words, highlighting and illuminating those parts of the personal story needed to create the lasting monument to her life and art. A description of a life seen through sharply selective eyes. To glorify and preserve – and also to understand – that which had been, her own ephemeral art.
In the history of Swedish literature, Hedvig Charlotta Nordenflycht is usually credited with introducing subjective poetry. She was the first writer in Swedish literature to view her writing as a vocation, an assignment, a cultural calling in itself. This is in turn linked to her status as one of the first Swedish cultural personages to live by her pen. As Levertin writes of Mrs Nordenflycht: “She is the first modern individual in Swedish literature.”Throughout her writing career, Mrs Nordenflycht pleaded for an improvement in women’s status. She spent much time and energy refuting the contention of women’s weakness, demonstrating that the woman is just as mentally capable as the man, and arguing that she, like him, should be permitted to use her abilities and mental powers.
Eighteenth-century diaries, like the letters, were written with one or more readers in mind – be they children, family, or future generations. These readers were sometimes addressed directly in the text. The eighteenth-century diary does not have the private or outright secret quality that it acquires in the course of the nineteenth century, when it is often written as a journal intime as the writers become more analytical and self-scrutinising.Queen Hedvig Elisabeth Charlotta’s diary is the only extant nineteenth-century diary to offer more incisive analyses of personal feelings. She was well-read and cultured, with a good understanding of the French art of letter-writing, and she had most likely learnt to analyse emotions from the examples of both Richardson and Rousseau. Her diary thus forges a natural transition to Romanticism’s journal intime and the emerging new view of human nature.