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For more advanced searches and combinations please use the Språkbanken tool Karp. Hedvig Charlotta Nordenflycht was one of the most influential writers and thinkers of the s in Sweden.
A soul of fine and strong and fond and ardent feeling
Hedvig Charlotta Nordenflycht was born into the family of a government official. Both of her parents belonged to socially established families. Her mother came from a clerical background. The family was financially well-off, which meant that the children were privately tutored in the home. Given her talents, Hedvig Charlotta Nordenflycht was sometimes allowed to study along with her brothers.
In this era it was unusual for girls to gain an education which crossed the gender norms. In her brief autobiography Hedvig Charlotta Nordenflycht complains of the lack of a systematic education but she nevertheless learned an amount of German and Latin on top of the normal curriculum which included French. In general, her schooling situation and her educational journey can largely be seen as typical for female authors of the s: each one had to struggle with not only the lack of organised, advanced study opportunities but also the frequently judgemental and negative attitudes towards women who aspired to gain an education.
Hedvig Charlotta Nordenflycht had to seek alternative routes to develop her intellectual interests; one option open to women at that time was to gain stimulation from educated men.
The concept of a relationship between a man and a woman that was equal, tender, and virtuous, in contrast to carnal love, is a frequently recurring theme of hers which, for example, she uses in her bucolic poetry, thus going against the genre conventions of pastoral poetry. Hedvig Charlotta Nordenflycht married Jacob Fabricius, a pastor for the admiralty, in the spring of at which time she described their tender and virtuous friendship and a strong soul-to-soul connection.
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He died in December that same year, however, following a brief illness. During her period of mourning Hedvig Charlotta Nordenflycht produced her better-known work: a collection of poems entitled Den Sörgande Turturdufvan , published in The poems treated issues related to the meaning of life and how God can allow the suffering of virtuous people using the subjective emotional form of expression which became her trademark.
The poetry cycle, which displays similarities with the internal sacred literature of Pietism, is composed in lyrical form, rendering the poems with a musical quality which reveals that they were intended to be sung. Hedvig Charlotta Nordenflycht struggled to find a lasting source of income for much of her life. When her father died in her older brother, Anders, became responsible for the inheritance.
Svenskt kvinnobiografiskt lexikon
Further, in Hedvig Charlotta Nordenflycht lost almost all of her belongings in the major fire which laid ruin to most of Norrmalm in Stockholm, where she was living. For many years she was also responsible for the upkeep of her mother and sister. At that time women faced limited options when seeking to earn an income, but Hedvig Charlotta Nordenflycht was able to do so through her writing.
Her network of contacts was of central importance to her given that writers could not then rely on an expanding book market. However, she had a considerable talent for creating personal connections and finding patrons, including amongst parliamentarians and Queen Lovisa Ulrika. She also made money by writing occasional poems. The need for good contacts, patrons, and an income are all evident in her literary output and her dedications and soliciting letters revealed her strategies for making a living.
Hedvig Charlotta Nordenflycht became a very successful and treasured writer.
The Happy Life. Hedvig Charlotta Nordenflycht on Enlightenment Philosophy and Earthly Happiness
She is the most productive of the Swedish female writers of the s having made her literary debut when she was only a teenager. About half of her literary output comprises occasional poems; in this she was hardly unique but rather followed the common pattern of contemporary writers. The rest of her output was broad both in genre and in format: it included handwritten and printed works, prose, works on contemporary politics, odes, gestes, didactic poetry, lyrical thus musical poetry, ballads, bucolic works, plays, translations, poems for compilations and periodicals.
In she collated her output for the first time in the handwritten publication known as the Cronstedska poemboken which she dedicated to her patron at Fullerö estate, Countess Margareta Beata Cronstedt. A few years later, in , she published the first part in another collected edition entitled Qwinligit Tankespel. She published this volume under the pseudonym of Herdinnan i Norden, but the identity of the author is revealed in the dedication already.
The ensuing three volumes, which were published using her real name, comprise a range of texts, including moral-religious thoughts, translations, and occasional poems. It is worth noting that in a collected works the author takes on the role of main organiser. This was an innovation within eighteenth-century Sweden and had also been used by Hedvig Charlotta Nordenflychts female precursor Sophia Elisabet Brenner , who published her Poetiska Dikter under her own name.