Female writers of the Romantic movement did not have the academic training in literary tradition enjoyed by the majority of their male colleagues; this did not, however, mean that they approached literature with no prior aptitude whatsoever. If anything, being voracious readers they were stuffed with the male writers’ descriptions of the world and of themselves. They had an overwhelming urge to supplement and correct these pictures of women and the world according to their own minds. The female writers displayed a strong sense of having something new to tell.They were, naturally, aware that they were inscribing themselves in a literary institution that neither bid them welcome to the profession nor accepted their texts as authoritative. It was not easy to win readers for the images of woman and world that the female writers were attempting to project. Furthermore, the gender dualism and idealisation of intimate sphere-femininity of romanticism meant that the women writers struggled to integrate their writing self in their female self-image.
Madame de Sévigné turned the epistolary genre into a women’s genre, not in the sense that it was mostly populated by women, but because the women in this one genre had the status of role models, both for men and for women.Starting with Madame de Sévigné, and moving through numerous collections of letters written by women (and men, too), we eventually reach, a good one hundred years later, Charlotta Dorothea Biehl, in whom we find an amazingly undiluted Nordic counterpart to Madame de Sévigné. Madame de Sévigné created a female genre, Miss Biehl executed it ‘to the letter’.