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One of the many voices to be heard during the s was that of Olivia Levison. In , in the newspaper Politiken , she wrote of daughters:. Someone thus developed can safely be left to tackle the vagaries of chance on her own: married or unmarried, that is no longer a case of life or death. This request is turned down in no uncertain terms! What use have you of it? Ladies are always clever enough, that is not what counts. Should I allow my daughter to give lessons! So the word would be that now things were in a really bad way, that now I had to — not a soul would give me credit! She gives up! Desperation sets in, and she gets married! Apathy sets in, and she gets married! Nathalie Zahle. Photographer: Mary Steen. There had already been women in the s — Henriette Lund and Mathilde Fibiger, for example — who had complained of feeling cheated. And by the s and s, the daughters of the bourgeoisie were still obliged to see their schooling come to an end when it was time to be confirmed. The grandest of the bourgeoisie did not send their daughters out of the house at all; they employed a governess who acted as teacher, companion, and chaperone. The school reformer Nathalie Zahle made a tart comment on this educational practice. This required that a woman could marry a lover without having an eye to his prospects as breadwinner. Or, in other words — it required women to be able to support themselves, to have knowledge and education. It was, therefore, not mere rhetoric when Nathalie Zahle preferred to strike the ideal rather than the financial chords. In accordance with this, women of the Modern Breakthrough constructed their novels as a process of cultivation. Erna Juel-Hansen, characteristically, came closest to filling the genre — of all the female Modern Breakthrough writers, she had the greatest confidence in headway being made. Erna Juel-Hansen was a modern woman. In her work, in her marriage, in her writing, and as a mother she experienced for better or for worse what it meant to be of a radical and emancipated disposition. In , free and dauntless and all alone, she explored Berlin — not because she was on a tourist trip, but because she was educating herself. She was, it seems, also modern in her love life: she married Juel-Hansen because she loved and felt desire for him, and not only did she work, like him, she also worked together with him. Photographer: Julie Laurberg. The Royal Library, Copenhagen She was also, however, active outside their partnership — both at the outset, when the kindergarten needed extra working capital, and later when her husband became increasingly depressive and was eventually admitted to a psychiatric hospital, Sct. Hans Hospital. She provided for her four children with the money she earned from translation work — Dostoevsky in a fine blend with English popular literature. To her great annoyance, she was obliged to cease operations in because of low attendance figures. This could have been due to a growing number of competitors in the market, or perhaps because her health propaganda was a step too far; one of her measures was the introduction of shower facilities, which were unheard of given that ladies of the bourgeoisie were not accustomed to full nudity! Her literary output might also have been a hindrance — En ung Dames Historie ; Story of a Young Lady undoubtedly cost her dear. Her ability to do all this was largely due to the fact that her father, the doctor A. Drachmann, had encouraged her throughout her childhood and had urged her to get an education. She could not take the upper secondary school final examination — she was a woman, and her application for dispensation was turned down. She just managed to miss out on the process of development that started with the University of Copenhagen opening its doors to women in Instead, she took up physical education — studying in both Paris and Stockholm, where the Ling system of medical gymnastics was beginning to gain ground. Pehr Henrik Ling , Swedish poet, fencing teacher, and inventor of an exercise technique that was named after him. Unlike his contemporaries, Ling highlighted the importance of thorough anatomical knowledge as the foundation of all physical exercise. In other words, Ling promoted exercise based on rational precepts. However, he was also influenced by the National Romantics, sharing in particular their interest in mythology. That she, in addition, became a writer was the result of a chance combination of factors: things were brewing, and she wanted to let them out — all the enthusiasm for health and naturalness that was bubbling up inside her. On top of this, she had the double work load and the constant pressure to be up to the mark at all times. As a writer, she could take a step back from her own person — structure the coherence that was hard to spot in the daily round. Conversely, her writing activities also led to an intensification of her practical difficulties — because she was a women! When the novel opens, Terese is twenty-three years old and on a study trip in Berlin. She is alone in the world and, incidentally, the outcome of a misalliance between a daughter of the bourgeoisie and an artisan. But what she whispered was a yes, expelled in a sigh. She was besieged, squeezed into him with face and mouth pressed against his solid body. She was close to choking and felt a moment of mortal dread, and also disgust, almost hatred towards this large, heavy body, which seemed an impediment to her breathing. Safely back home in Copenhagen, Terese achieves a hard-won top position in the needlework department of a modern department store. It takes some time before her body gradually emerges from all the work with fabrics and threads; when it does, however, it does so with a vengeance! She falls in love with a student reading theology, a man in the throes of religious and moral qualms and, incidentally, also a man remarkable for his handsome appearance. Meanwhile, she has forgotten to consult with her head because the man is — it turns out — not only weak, he also applies double standards. Accordingly he, too, gets his marching orders. As in the male Bildungsroman, Erna Juel-Hansen sends her woman into a period of homelessness in which she gets in touch, via the people she meets, with aspects of herself that she then incorporates into her identity: the demands of the body and the demands of the mind. But Terese is not yet whole, she has not reached the position where sexual and social appetites fuse. Here, there is marriage between man and woman, body and mind, love and work. The tension in the novel stems from a narrative voice that is not at all sure either. Might Terese not be right after all? The wife, intent on finding validity by abandoning herself in love and forever losing herself and reconstructing her identity in their married life, has nearly ousted the business partner. And this is the very balance that Terese has increasing difficulty in maintaining. Powerless in the face of this division, she falls back into a Romantic claim to the totality of emotion — and in so doing the role of partner is further undermined, eventually vanishing definitively when Mendel takes over her position in the business. This sexual qualification of the relationship continues throughout the marriage — as satisfaction or as loss. The birth of their first child is also described in eroticised terms, even though it is this very child that intensifies the antagonistic tension in their relationship. Terese loses the sexual identity in relation to her husband because he gradually overemphasises her maternal function while she compensates by keeping him in the role of lover in her fantasies. It was as if she saw a shift occur in his heart, where his wife, his beloved, was displaced by the mother of his child. Holger Drachmann: Siddestillinger , in: A. Another new departure is that by taking the cultivation project to its terminus — in a sense Terese goes home to the bottom of her being — the novel undermines its own trajectory. Cultivation encapsulates the individual, the energy cannot combine that which is individual and that which is societal; Terese, Helsen, and their two children move each in their own system, like celestial bodies in an empty universe. In this case, the child who could not be combined with sexual timelessness has returned with a vengeance. This is not as a continuation of the story, but as a nightmarish repetition of the closed relationship — this time between mother and son. Whether it is the son who fetters the mother or the mother who fetters the son is unclear. At all events, it so happens that the newly qualified, newly employed, and newly engaged Henrik contracts a mild case of tuberculosis. On the verge of cutting the apron strings, he abandons any resolve to live an independent life and demands unconditionally that his mother does the same. Terese has plenty of confidence in her own ability. The factor that brings down her project is, paradoxically, a naturalistic version of a Romantic legacy: idealised sexuality. The woman who, in life and attitude, was the most realistic of the women mixing and writing in Copenhagen during the period of the Modern Breakthrough also wrote a body of works that when read as a whole subverts any possible optimism with regard to the process of development. The material does not add up in the writing! Their Bildungsromans are, therefore, mostly in the form of marriage novels. By birth and marriage, however, she was allied to the National Liberals and conservative circles. Her radical attitudes are not writ large in her work, but are present via a sympathetic sensitivity with regard to the universe of childhood — and to the way in which woman was tethered with the finest, most delicate thread in the enclosed forum of the drawing room. She had long ago forgotten what she planned to do with it. She had read for awhile, tossed the book aside, paced up and down the floor, and sat down again to sew a few more stitches. Suddenly she flung down her embroidery, swung her chair completely around and leaned her elbows on the windowsill. Propping her face in her hands, she stared out at the street with bored, apathetic eyes. On the face of it, there is no connection between her widely-read and popular books for children and the rest of her output. Indirectly, however, there is. Mrs Wallin folded the pages away and sat down quietly over by her needlework. Scold me — shake me — you can see how nervousness renders me impossible! Eventually she fell asleep. The young woman in this scene, Christy, has had her wings of fantasy clipped, so now, with no use of force whatsoever, she is confined to the place, to her body, to her sensitivity. Everything takes place on the back burner, rustling, whining, quietly, gently, and listlessly. Soporific boredom — and it is thus that the drawing room disables female growth in the novel Som man gifter sig ; As You Marry. Dance card, Nationalmuseet, Copenhagen Christy has spent her youth waiting for the man of her choice, and when he marries someone else she is left with the prospect of continual confinement, with her mother or in a marriage of convenience. Indolent and slack, she marries a landowner — who changes his manner as soon as the deed is done. His clumsy wooing turns into coarseness and brutality. Maternal dominance in the drawing room was observed in its subtle and almost invisible existence, whereas the husband is portrayed in loud forms and glaring colours. A grotesque monster, straight out of the fantastical world of folktale. Out to … indeed, what? Once Christy has eventually obtained a divorce, contact is again made to the environmental and psychological realism. Grey tones depict the difficulties encountered by a woman with no education when she attempts to survive the daily round as self-supporting single mother. The novel ends with the rightful lovers getting each other anyway. On one level this is unconvincing, but on a symbolic level it is credible. Now, once the symbiosis with her mother has been breached, Christy is at last in a position whence she is able to render her desire personal. Therese Brummer thus has a different weighting in the process of development than does Erna Juel-Hansen. In her second novel, En Kamp ; A Battle , the psychological nerve fibres between mother and child again impede personal development. Massi Bruhn , too, addresses the genre. In terms of outlook, the wife manifests a clear critique of the Romantic female role which idealised but also reified the female individual:. She must be cared for and protected, not because she has the human right as equal to man, but because she is the source of existence … mother of men. This is to some extent because the novel falls apart stylistically: an edgy journalistic style wrestles with traditional narrative; partly because art is literally sacrificed for the cause — the cause of peace, which is the business of the novel. As author of fiction, she wrote mainly derivative literature. Romanticism clings to subjects and forms alike. All sails are otherwise set to navigate the course of the Bildungsroman. That is the fate of the forerunners. But can the common soldier in battle console himself with his death, if only his country may be victorious, — then we two must be able to do so as well. Skip to content.
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