Henrik Ibsen did not always go unchallenged. On the contrary, several of the women of the Modern Breakthrough felt provoked to correct or revise Ibsen’s original text, and time after time his portraits of women turn up in their plays and short stories, but rewritten on the basis of a different horizon of understanding. Two obvious examples from 1882 of such a female, partly subversive dialogue with Ibsen are Anne Charlotte Edgren Leffler’s short story “Tvifvel” (Doubt), and Alfhild Agrell’s play Räddad (Saved).These texts clearly show how Ibsen’s portrayal of women served as a challenge, a set piece that had to be tested and partly destroyed in order for the two female authors to arrive at a more credible story.
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