66 pages • 2 hours read
Sigrid UndsetA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide describes and discusses the source text’s treatment of attempted sexual assault, misogyny, and child loss.
Kristin Lavransdatter is a young girl growing up in a small village in rural Norway in the 14th century. Her father is Lavrans Bjørgulfsøn, who is descended from a noble family and is well-respected in the community. Kristin’s mother, Ragnfrid, has been deeply troubled by the loss of her first three sons when they were still infants. As such, she dotes on her daughter. Kristin leaves her village for the first time, accompanying her father on horseback up into the mountains. She looks down on her village and the neighboring villages from a great height. After wandering off alone, the young Kristin spots a mysterious woman across a clearing. This “dwarf maiden” (20) beckons to her but Kristin, fearing the folk stories she has been told, runs back to her father.
Some years later, Kristin and her family visit the town of Hamar. Kristin is shown around a large church and is impressed by the art. She meets a Franciscan friar named Edvin who is responsible for the paintings in the “great cathedral” (26). She befriends Edvin and meets other unfortunates who are cared for by the church. Edvin seems to possess “a luminous and secret joy” (300), showing her his paintings and books.
Ragnfrid gives birth to another daughter, Ulvhild, whom she seems to love even more than Kristin. Ulvhild helps to pull Ragnfrid out of the deep depression into which she had sunk following the deaths of her sons. One day, however, a loose ox knocks down a cut tree trunk. In the chaos, the trunk falls on baby Ulvhild. Ragnhild blames herself for the injured baby, while Lavrans struggles to forgive his brother-in-law, Trond, who was present when the ox broke free. The family sends for the priest and a local woman named Fru Aashild, a childless woman who lives nearby with her husband. Though she is from a noble family, many people think that Fru Aashild is a “witch” (46). Aashild does what she can to help Ulvhild; the baby lives, but will likely be permanently impaired.
Kristin makes friends with Aashild, who lives with the family while the baby recovers. Though she does not understand the ramifications of all the woman’s advice, Kristin is fascinated by Aashild, particularly her mention of her nephew, Erlend Nikulaussøn. Aashild assures young Kristin that she is a “good match” (53) for any man.
At the age of 14, Kristin is betrothed to Simon Darre (also known as Simon Andressøn), a boy from the nearby town of Dyfrin. People congratulate Lavrans for making such a good match for his daughter. Kristin is not so sure. She likes Simon well enough, gradually growing accustomed to the idiosyncrasies of his appearance. In truth, however, she is becoming aware of how this match affects her relationship with Arne Grydsøn, a local boy and apprentice blacksmith. Kristin and Arne grew up together and, though she cannot express her feelings, she senses that Arne loves her. She knows she will not be allowed to love him. At the same time, Ulvhild grows up with her injury. While she survived the accident, she must always walk with a cane. Her parents plan to send her to a convent when she is of age.
One day, Kristin watches Ulvhild with Arne. While Ulvhild plays, Arne declares his love for Kristin and reveals his sadness that she will marry someone else. He begs her to ask her parents to delay the marriage long enough to give him a chance to prove himself as a worthy match for Kristin. Before she can answer, Ulvhild falls over and Kristin rushes away to help her sister. As she helps Ulvhild, she wonders whether she should take her sister’s place in the convent. Brother Edvin passes through the area and visits the family. Kristin is happy to see the priest and accepts his suggestion that she not question her parents or God.
Arne asks Kristin to meet him alone on a secluded path. Kristin agrees, slipping away from her unsuspecting family in secret. Arne declares his love for her again but Kristin declines his advances. She loves him, she suspects, but she cannot bring herself to defy her parents. Arne leaves, and Kristin returns home alone. As she is walking, she meets Bentein Prestesøn, the grandson of the local priest. Bentein is “quite drunk” (77) and aggressive. He attacks her, attempting to sexually assault her, but Kristin fights him off and runs away. She cannot bring herself to tell her parents about the attempted assault, worrying that she has been shamed or defiled.
Some time later, a funeral procession arrives in the village. Arne has been killed by Bentein in a bar fight in Hamar. Kristin is “very much distressed” (83). When she goes to Arne’s house to mourn with his family, Arne’s mother Inga reveals that the fight was over her. She accuses Kristin of seducing her son and shaming herself with Bentein, suggesting that she willingly had sex with her son’s murderer. Simon aggressively defends his betrothed, earning Lavrans’s appreciation. Kristin is taken home, where she explains “everything that had happened” (91) to her father. She suggests that she should go to the convent instead of her sister. Lavrans does not accept her suggestion at first. Kristin grows more apathetic toward Simon. When Lavrans talks frankly to Simon, they both agree that perhaps Kristin would benefit from spending a year in a convent. They make the arrangements and then escort her to a convent in Nonnester, Oslo.
Kristin Lavransdatter begins with the title character venturing for the first time out of the valley in which she was raised. To young Kristin, the expanse of the valley is an eye-opening sight. She realizes that the world is not limited to her own small farmstead and town: The world is broad and filled with people, far more than she ever expected to exist. This introduction to the sheer scale of existence is ironic, given the number of times Kristin will return to Jørundgaard in later life. Then, having been made jaded and cynical by her experiences, she will no longer possess the childlike wonder that she held in this moment, so that this instance comes to represent a moment of pure nostalgia for Kristin. The journey is also made memorable by Kristin’s sighting of a so-called “dwarf maiden,” an elusive female figure in the wilderness who tries to tempt Kristin to join her. The dwarf maiden scares Kristen, suggesting to her that the world is not only broad and wondrous, but also dangerous and threatening. Kristin never sees the dwarf maiden again, nor does she elevate such a sighting beyond folklore and superstition, but the incident undergirds her nostalgia with a sense of danger that will color the rest of her life. Even when Kristin is at her happiest, the story suggests, a hint of danger is lurking nearby, waiting to tempt her away. This sense that temptation and danger are aimed specifically at her, waiting to lure her away from her innocence, introduces the theme of The Vanity of Sin and Guilt. Early in her life, Kristin views nearly all her desires as sinful. Her romantic feelings for the blacksmith’s apprentice, Arne, whom her family considers an unsuitable match, is an early experience with the conflict between what she wants and what others expect from her. Conditioned by patriarchal expectations, Kristin sees her own desires as like the dwarf maiden—an unknowable, mysterious force leading her into danger. The presence of the dwarf maiden is also evidence of The Tension Between Pagan and Christian Beliefs—the dwarf maiden is a figure from pre-Christian folklore, and one whose existence the Church would surely repudiate, but here she is repurposed as a symbol of the Christian notions of sin, temptation, and guilt.
The broad, nostalgic vision of the family (and the proposed threat of the folkloric dwarf maiden) contrasts with Kristin’s introduction to Brother Edvin. When she visits the cathedral and sees Edvin’s paintings, Kristin has a similar sense of wonder to that she felt when looking down on the valley. Then, she was struck by the immensity of God’s creation. This time, however, she wonders at the works created by an individual man. Edwin is modest, talking down his talents, but his paintings represent a significant moment in Kristin’s life. For the first time, she senses that humanity, as well as God, is capable of creating something wondrous. This duality, between human and the divine, between the artificial and the natural, helps to shape her understanding of the Christian world. God may have created the world, Kristin learns, but humans have learned to live within it according to their own rules. Their creations, like those of God, can also be worthy of her wonder.