Historical Context
Diminishing Danish Influence
In the nineteenth century, Denmark was a significant force militarily, economically, and artistically, a status it would not maintain in the twentieth century. This shift is crucial for understanding Isak Dinesen (1885-1962), whose life spanned both centuries. At the start of the nineteenth century, Denmark ruled over an empire that included Iceland, Greenland, the Faeroe Islands, and the Danish Virgin Islands, as well as the European region of Slesvig-Holstein, which was lost to Prussia in the war of 1864. Denmark's early nineteenth-century status as a power with an empire was diminished by a defeat mid-century, leading to a decline in geopolitical ambitions and a focus on cultural achievements. By the mid-century, Denmark could claim a substantial part of Europe's literary and artistic contributions, with renowned writers like Hans Christian Andersen, Adam Oehlenschlager, Meir Goldschmidt, Jens-Peter Jacobsen, Soren Kierkegaard, and Georg Brandes. Even the formidable Norwegian playwright Henrik Ibsen, who wrote in Danish, was considered part of Danish literature. Georg Brandes, in the latter part of the nineteenth century, emerged as Europe's most influential literary critic, championing the self-aware movement of artistic modernity. In painting, Edvard Munch pioneered the expressionist style.
Dinesen matured precisely at the turn of the century, a period noted for its sophistication. She pursued studies at Det Kongelige Akademi, the Royal Academy of Fine Arts in Copenhagen, intending to become a painter. Although this path did not materialize, her time in Copenhagen immersed her in the forefront of contemporary thought and art. Influenced by Brandes, she acquainted herself with the ideas of Friedrich Nietzsche, the radical German philosopher promoted by Brandes in his widely circulated book, Aristocratic Radicalism. This title mirrors much of Dinesen's own worldview. Nietzsche contended that the traditional "values" of European civilization were obsolete and called for a new kind of person to forge fresh values to replace the outdated ones. According to Nietzsche, life was entirely "immanent," meaning it was defined by what individuals could make of it. If their aspirations were grand, then life would be grand; if their ambitions were small, akin to shopkeepers and bureaucrats, then life would be mundane. In a world without God, Nietzsche argued that true values were found in art, suggesting that life's justification lay in beauty rather than worship.
Just as Denmark was humbled by the war with Prussia in 1864, the World War from 1914 to 1918 served as a humbling experience for all of Europe. Traditionalists believed that adherence to tradition could prevent disaster, while radicals felt that unleashing human will would create a utopia of superior beings. Both groups discovered that humanity is inherently fragile and can spiral out of control without careful oversight. Although Denmark avoided direct involvement in the war, Dinesen found herself affected due to her farm in Kenya, which was located in the conflict zone between British and German forces in East Africa. Upon her return, she encountered a Europe ravaged by war, swept up in the exuberance of the "Roaring Twenties," on the brink of financial ruin with the 1929 global depression, and heading into a period of fascism and nationalism. During the vibrant 1920s, the prominent figures in art and literature were self-proclaimed modernists, whether they were experimentalists like England's James Joyce or social realists such as Denmark's Tom Kristensen. Although Dinesen held a modernist perspective, maintaining her Nietzschean ideals even post-war, she was part of a group of Scandinavian authors who were staunch critics of modernism and advocated for a Gothic or preindustrial ethos.
Two notable writers in this context are Knut Hamsun and Sigrid Undset, both hailing from Norway....
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Hamsun's novels highlight the life of Norwegian coastal villages, focusing on fishermen and small farmers. Undset's works delve into the medieval era, a time when Christianity was becoming established in Scandinavia, and the fishing and farming communities depicted in Dinesen's stories were taking shape. Undset's Gothicism closely aligns with Dinesen's style, and her trilogyKristin Lavransdatter (1920-22) explores themes central to Dinesen's work on an epic scale. However, Dinesen's first major work, Seven Gothic Tales, was published in 1937, significantly later than Undset's writings, with Anecdotes of Destiny appearing in the mid-1950s. Meanwhile, the influence of English literature was evident in Dinesen's work, as she was proficient enough in the language to write the Seven Gothic Tales in English. Shakespeare greatly inspired her, as did Edgar Allan Poe, who was an early critic of modern life and a master of the short story.
During the peak of Dinesen’s career (1937-1957), Europe experienced even greater upheaval than in her earlier years. The continent was engulfed by a second world war, which did not spare Denmark. The Nazis' declared admiration for Nietzsche and his idea of the "superman" tarnished the Brandesian concept of aristocratic radicalism, which was important to Dinesen. Meanwhile, Kierkegaard, a Christian psychologist and aesthetician, emerged as a significant thinker untainted by twentieth-century events and began to influence Dinesen's perspective. Kierkegaard believed human life involved making crucial choices, each presenting an "either-or" scenario that required decisive action. Before Nietzsche and Freud, Kierkegaard had already conducted a profound and unsettling exploration of human motivations. During and after the Second World War, many, including Dinesen, turned to Kierkegaard, favoring him over the now-questioned Nietzsche.
The final decade of Dinesen’s life (1952-1962) was marked by the Cold War and the looming threat of nuclear annihilation. The ambitions of the would-be superman became more perilous than ever. This raised the question of whether the circumstances of the eighteenth- and early nineteenth-century landed gentry were more applicable to modern life or less relevant than ever before. It was still an act of aristocratic radicalism to disregard critics, rely on the judgment of perceptive readers, and continue forward according to one's own understanding. In her later years, the significance of the modern world and its environment decreased for Dinesen. She chose to exert her own influence rather than being guided by contemporary trends.
Literary Style
Style
Throughout her career, Isak Dinesen was often criticized for employing an archaic style that some deemed irrelevant to the contemporary world. Although "The Ring" is less ornate and complex than some of her other works, it still exemplifies the elements of Dinesen's style that critics describe as archaic. In this story, Dinesen moves beyond baroque influences, adopting the style of medieval folktales and sagas. For instance, in The Prose Edda, a significant mythological poem from the Scandinavian Middle Ages, there is a scene where the god Thor battles the World Serpent. According to the poet, Thor will kill the Serpent and then retreat exactly nine paces—not a few, not eight, nor ten—but precisely nine, before succumbing to the Serpent’s venom. This ritualistic precision is conveyed in a straightforward manner.
In "The Ring," Dinesen’s style is characterized by the laconic, ritualistic precision typical of medieval narratives. She recounts Lovisa's encounter with the thief in the glade with saga-like straightforwardness and exactness. When Lovisa discovers the thief, he stands precisely "two steps off" from her; their silent exchange lasts exactly "four minutes." When she offers her wedding ring for the thief to take and leave, "her young form had the grave authoritativeness of a priestess conjuring down some monstrous being by a sacred sign." The thief’s actions, such as picking up Lovisa’s handkerchief, which she accidentally dropped, are described with meticulous detail. Dinesen refers to the encounter as a "pantomime," and by providing each movement with visual precision, she allows the reader to envision it clearly, imbuing every gesture with meaning.
Setting
Much like the English countryside in William Wordsworth's poetry or George Eliot's novels, the Danish countryside becomes almost a character in the works of Isak Dinesen and other Danish authors. However, the Danish landscape is flatter, less varied, more sparse, and sometimes bleak. It is composed of farmsteads and small villages. Throughout the nineteenth century, Denmark's rural areas maintained their isolated nature, existing independently from cities like Copenhagen or Aalborg, but remaining deeply connected to their own enduring traditions. It is in this setting that Dinesen places Lovisa and Sigismund, on a warm day around the year 1800. On Sigismund’s sheep farm, pathways meander through gently rolling furze, with occasional clusters of trees.
A particular stand or glade acts as the main backdrop for the story. Lovisa's hidden glade stands out from the surrounding landscape. It features a dense mix of undergrowth and tree limbs that she must push aside to enter the inner "alcove," as she refers to it. This glade resembles a secluded sanctuary, cut off from the outside world, offering a space of complete privacy—yet it is now disturbed by the thief's presence. The remnants of his fire, scattered with chewed bones from his rough meal, lend the scene a primitive feel.
Stream of Consciousness
While the narrative starts in a traditional third-person style, Lovisa's encounter with the thief introduces elements of stream-of-consciousness narration. During this scene, Dinesen allows readers to experience the event through Lovisa's perspective, uninterrupted and with minimal commentary. This change in narrative style highlights the paradoxical awakening of consciousness.
Realism
Despite the story's archaic and distant setting, Dinesen infuses "The Ring" with her signature realism. This realism is most evident in the depiction of Lovisa's meeting with the thief, whose physical condition Dinesen meticulously describes. Conversely, the thief's sudden disappearance adds a magical element, challenging the episode's realism and imparting a dreamlike quality.
Paradox
One of the central themes of "The Ring" is consciousness, and Dinesen conveys this theme through a paradoxical structure. In her view, consciousness is inherently paradoxical. The paradox lies in the fact that Lovisa's happiness is an illusion. If one were aware of this illusion, they would wish to escape it; however, gaining objective knowledge leads to the dissolution of happiness. From the standpoint of the anxiety and doubt that accompany consciousness, happiness can seem like a haven. Once Lovisa gains consciousness—understanding some truth about her situation—she finds herself unable to share this truth with her husband. For example, she ironically claims she has no idea where her wedding ring vanished. Earlier, Lovisa felt she was "a hundred years older than" Sigismund, but by the story's conclusion, she realizes she is only now wiser than him. She comprehends the significance of his words when he insists that the loss of the ring means nothing because both remain "the same" as on their wedding day. While he remains unchanged, she has transformed into something different.
Structure
The structure of "The Ring" mirrors the evolving relationship between Lovisa and Sigismund. Initially, the couple walks side by side, but soon they part ways, leaving Lovisa to journey home alone. The narrative then leads Lovisa into a clearing where she encounters the thief. After the thief disappears, Lovisa returns to the path with Sigismund, though now she walks ahead of him with her back turned, indicating a significant shift in their unity.
Symbolism
The wedding ring is a central symbol in the story, representing a conventional marker upon which the events' significance hinges. A wedding ring symbolizes the unity of a married couple, reflecting their commitment to becoming one before God. When Lovisa confronts the thief, her wedding ring transforms into an amulet, seemingly capable of dispelling the apparition. By removing the ring, even though she doesn't consciously consider it a trade for her life, she diminishes its marital symbolism. It's unclear if the ring, at that moment, becomes just a trinket or if Lovisa's attempt to give it to the thief holds deeper meaning for her. The narrative connects the ring to a marriage that Lovisa now views negatively, and the act of removing it signifies her "marriage" to a harsher understanding of life and destiny—a philosophical union that overshadows her innocent marriage to Sigismund. Another symbol is the thief's bloody knife, often interpreted with Freudian implications as having phallic qualities. However, the knife also represents violence in a broader sense, including sexual violence. Scholars have also seen the glade as both a symbol of sexuality and a reflection of consciousness; it can be interpreted as the inner workings of Lovisa’s mind.
Bibliography and Further Reading
References
Thurman, Judith. Isak Dinesen: The Life of a Storyteller. New York: St. Martin’s Press, 1982.
Wissen, Thomas R. Isak Dinesen’s Aesthetics. Port Washington, N.Y.: Kennikat Press, 1973.
