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Gendering Seekers and Upstarts in Early Twentieth-Century Finnish Literature

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Gendering Seekers and Upstarts in Early Twentieth-Century Finnish Literature VIOLA PARENTE-ČAPKOVÁ Gendering seekers and upstarts in early twentieth-century Finnish literature DOI: https://doi.org/10.30664/ar.98282 Attribution 4.0 International (CC BY 4.0) he search for truth and spirituality, inter- In this article, I concentrate on two fin twined with the search for one’s self, has de siècle writers, who in their early work, been a perennial theme in arts and lit- T engaged intensely with Symbolism and erature. In some works of Finnish literature at the turn of the twentieth century, the figure of Decadence: Eino Leino (Armas Einar a person seeking for spiritual fulfilment tended Leopold Lönnbohm, 1878–1926) and L. to intertwine with that of the upstart (nousu- Onerva (Hilja Onerva Lehtinen, 1882– kas in Finnish). At first sight, it might seem odd 1972).2 They belong to the category of that these two figures should overlap in literary works, but as I show, especially in early twenti- authors in whose work the figure of the eth-century Finnish literature, such cases are not seeker overlaps, in some cases, with that rare, given the wide range of meanings that the of nousukas. Prolific and versatile liter- 1 word nousukas would denote. ary artists who produced work in vari- ous genres, from poetry, prose and drama 1 Forms of modern esotericism in Finland’s to news paper articles, they have been late nineteenth- and early twentieth-century known for their interest in Theosophy, reli- literature have been mentioned and exam- gion(s) and heterodox spirituality, as well ined in various contexts (see Harmainen 2010; Kortti 2018); however, no deeper as for founding and co-editing the literary research has been done yet on the topic Theosophical journal Sunnuntai (1915–18) within the discipline of literary criticism. and contributing to the Theosophical jour- For a partial overview of recent research on nal Tietäjä. They may be considered rep- fin de siècle esoteric trends in Finnish liter- ature see Parente-Čapková 2019: esp. 7. The resentative of authors with a lively interest fin de siècle in Finland’s literature (and cul- in spiritual and esoteric issues who did not ture in general) is characterized, as in many adhere to any specific branch of modern other countries in Europe, by a ‘revival of esotericism. Both were interested in con- interest in mysticism and mystery trad- itions of all kinds’, turning to the ‘heterodox temporary politics, societal turmoil and spirituality of occultism, with its animistic social problems; Leino especially had a sense of a living universe and broad range of teachings drawn from sources as diverse as those of mystical Christianity, the Her- Leskelä-Kärki 2017 and Kokkinen 2019 and metic traditions of the West, and the reli- in this issue. gions of the East’ (Owen 2004: 4). For more 2 L. Onerva was H. O. Lehtinen’s pen name, background on the fin de siècleesoteric formed by the first letter of her surname trends in Finland, see e.g. Harmainen and and her middle name. Approaching Religion • Vol. 11, No. 1 • March 2021 28 considerable influence on public opinion ideas of comparing art and religion and (see e.g. Larmola 1990: 323). Both Leino considering the former as a substitute and Onerva identified with European cul- for the latter, as expressed for example in ture (see e.g. Nieminen 1982) which they, the ‘Animation of art’ in Human, All-Too- as liberal cultural intellectuals (cf. Kortti Human (1878): art takes over ‘many feel- 2020), mediated by means of various forms ings and moods engendered by religion’ of cultural agency, from translations to (Nietzsche 1878/1910: 156).3 Nietzsche’s journalistic activities, public lectures and radically new way of understanding the debates; they disliked and criticized any relationship between art, artistic beauty form of narrow-minded nationalism and and truth (e.g. Came 2014) had a pro- parochialism. At the same time, they cared found influence on Leino and Onerva.4 a lot for Finnish culture and greatly con- Never theless, apart from their critic al tributed to the development of lyric poetry stance towards the institution of the (Luth- and modern prose genres in the Finnish er an) Church, the Christian and any other language. Hence the ways in which figur- institutionalized religions as such, Chris­­ ations of the seeker and nousukas inter- tianity remained a source of inspiration mingle in their works are especially inter- for both writers, whether intertwined with esting, revealing important aspects of the pre-Christian elements of Finnish folk discourses that surrounded them. What poetry and the ‘Finnish epic’ The Kalevala do the fusion or opposition of seeker and (e.g. Oksala 1986; Parente-Čapková 2019), nousukas tell us about the concept of seek- their search for inspiration in pre-Refor- ership found in the work of Leino and mation medieval Christianity, or a fascin- L. Onerva? What does it tell us about the ation with Catholicism.5 ways in which spiritual and social concerns interact in their texts? To answer these questions, I look at both vertical and hori- 3 German original: ‘[Die Kunst] übernimmt zontal axes of seekers’ and upstarts’ activ- eine Menge durch die Religion erzeugter ities as portrayed by Leino and L. Onerva Gefühle und Stimmungen’ (Nietzsche in their prose works, mostly from the first 1878–9/1967: 146). 4 For more on Leino’s and L. Onerva’s decade of the twentieth century, paying Nietzschean inspirations see, e.g. Ervasti special attention to the gender dynamic of 1960; Kunnas 1972; Lyytikäinen 1997; the figures. Through concentrating mainly Parente-Čapková 2004, 2014. on ideas in the chosen texts I tackle, at least 5 It was typical of many Western European Symbolist and Decadent writers (J.-K. briefly, the rhetorical strategy of irony. Huysmans, Paul Verlaine, Oscar Wilde, In their poetry, we can see Leino’s and Aubrey Beardsley and many others) to L. Onerva’s concern with the concept of convert to Catholicism or to be, at least, seekership in the very titles of some of strongly attracted to it, its mystic tradition, the poems: for example L. Onerva’s poem aesthetic appeal, and the ‘dialectic of shame and grace’ (Hanson 1997: 12, 27). The ‘Seeker’ (‘Etsijä’, 1908), or Leino’s poem (mostly French and British) Decadents’ and ‘Seeker of Truth’ (‘Totuuden etsijä’, 1912) Symbolists’ (Baudelaire, Huysmans, Yeats, (cf. Parente-Čapková 2019: esp. 4–6). For Symons, Machen) interest in esotericism as both L. Onerva and Leino, the search for spirituality or occultism has been a subject of lively interest and various polemics (see, truth fuses with that for art and spirituality. e.g. Pynsent 1989: esp. 215–25; Goodrick- Like many of their contemporaries, the two Clarke 1989; Burrow 2000; Sherry 2015: 8; authors were infatuated with Nietzsche’s Denisoff 2018). Approaching Religion • Vol. 11, No. 1 • March 2021 29 Seekership and (social) climbing Parente-Čapková 2019). The description The concepts of seeker and seekership of the seeker as somebody critical of the (etsijyys), adopted from the sociology of church and seeking ‘a new perspective on religion, have been introduced into the fin religion’, ‘a metaphysical wanderer … drift- de siècle Finnish context by the art historian ing between religious alternatives, remain- Nina Kokkinen (within the project ‘Uuden ing open to the various views (often con- etsijät – Seekers of the New’) in her 2019 nected with esotericism) but ultimately not study on occulture in the visual arts; that subscribing to any of them’ (Kokkinen in is to say manifestations of the mélange of this issue7) fits Leino and L. Onerva very esoteric, mystic and occult trends in early well. twentieth-century visual art in Finland. Seekership implies searching – verti- Kokkinen (2019: 52) speaks about occul- cally, horizontally and beyond all direc- ture as a milieu formed by various esoteric tions. Apart from the metaphorical mean- discourses, seekers being key agents in this ing, it often implies a literal exploration of field. I use the concept of seekership in a varied landscapes and cityscapes. Many fin very similar way, denoting a type of agency de siècle seeker figures look for the truth, relevant for the context. While my main art and spirituality in various places, trav- focus is on literary representations of the elling feverishly to find them in some seeker, the search for spirituality was clearly remote part of the globe. Others, especially a central personal issue for both Leino and those with Nietzschean Over(wo)man L. Onerva; they reflect on it in a similar way (Übermensch) aspirations, try to rise above in both their fictional works and their let- the surrounding society, literally climbing ters. Writers, like other artists, can be seen mountains and exploring the metaphor of as religious and spiritual seekers who, in elevating oneself, typical of many religions their texts, express their need or urge ‘to and other forms of spirituality, includ- shape independently their religiosity and ing Theosophy. Nietzscheanism tends to the art connected to it, bringing together fuse with Romantic and fin de siècleideas and uniting various elements, weighing about the personality of the artist, as well and pondering their personal experiences’ as with ideas of ‘New Humankind’ (uusi (Kokkinen 2019: 56; see also 51–7). It is ihmisyys), and the ‘New Human Being’ remarkable that the very words ‘seekership’ (uusi ihminen). The writer, the artist, who and ‘seeker’ (namely seeker of truth) were became – especially in Symbolism – a kind used so often at the turn of the twentieth of a priest, prophet or seer, imagines him- century, as Kokkinen and Riikka Stewen self (and, in exceptional cases, herself) as have shown (2019: e.g. 55–7).6 In Finnish elevated above a surrounding crowd which literature, the word occurred frequently in cannot understand his genius, in the spirit the work of Eino Leino and L.
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