An important difference between the Low Countries of Early Modern Europe and Shakespearean England or Japan of the Shogunate era was that during this time when significant innovations in theatrical literature and production styles were taking place women roles were being played by real women.  Although gender-based prejudice was strong in this time period and women were barred from full membership in the Chambers of Rhetoric, they did participate in the activities carried out by the rederjkers and did reap many of the same intellectual benefits that composition and performance accrued for authors and artists.

The identities and specifics of the contributions of vast majority of the female rederijkers are lost to history (as indeed are those of many of their male fellow since most early rederijker works are identified corporately by Chamber instead of by individual member). However we do have the stories of a few women to serve as examples.

First is Anna Bijns. (1493-1575) She was an educator from Antwerp who came to fame rather late in life through her poetry. Along with her brother Martin, she opened and taught at the Keizerstraat in that city until she was 80 years old. Although her father was a rederijker, she was never allowed to join a rederjikammer.  She wrote rederjker-style “chorus poems” usually about love. A devout Catholic, her texts tended to be pious reflections on the nature of love and friendship.

A second example is that of Barbara Ogier (1648-1720).  Being a rederijker also ran in the family for Barbara Ogier. Her father, Guilliam Ogier, was the factor for the De Olijftak (the Olive Branch) Chamber of Rhetoric in Antwerp.  In 1680, she would marry sculptor Willem Kerrickx, who would become prince of the chamber in 1692. Their son, Willem Ignatius would become De Olijftak’s factor in 1700.

Unlike Bijns, Ogier was a member of De Olijftak who was paid for the plays she wrote for the guild. She stands out as a unique example of a female author, but does not attempt to conceal her sex. The prologue to her tragedy The Death of Achilles even dares to argue that woman is best suited to write about a war started over a woman.1

Her poetry likewise takes a witty, self-aware view of her unique position as a female writer:

My poetry, is it full of defects?

Lack of time is the cause:

I do not fear criticism by artists.

Who would dare to contradict a woman?²

Apparently taking her at her word, critics and colleagues rated her poetry praised her poetry as being without equal.

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