point as her publisher; he made clear the tenets of the Heretica literary
movement in Denmark of which Isak Dinesen was a part. Knud Jensen
for taking time from his position as director of the Louisiana Museum
to help clarify the Pierrot figure Isak Dinesen played out; his observa-
tions on her relationship to the Heretics were particularly helpful.
Viggo Kjær Petersen for sharing his personal insights into Isak
Dinesen at the end of her life, revealing a glimpse of her thinking then.
Bent Mohn for reading from his diaries of his relationship to Isak
Dinesen. And Frans Lasson for agreeing to meet with me and answer-
ing questions about Isak Dinesen's authorship.

For providing a deeper understanding of the Danish culture, I
would like to thank Allan Frederiche, the Danish ballet historian for so
kindly meeting with me, giving me an understanding of the role of the
ballet and theater in Denmark during World War II, and the impor-
tance of the commedia dell'arte to Danish life; Niels Larson, the director of
the Pantomime Theatre at Tivoli Gardens, for sketching in details on
the history of the pantomime and commedia dell'arte; P. O. Olesen of the
Hunting Museum in Rungsted, who rather unexpectedly and on short
notice illuminated the history of the surrounding area of Rungsted-
lund; and Karen Neiiendam, the director of the Royal Court Theatre,
and Kristian Vang, for adding to my knowledge of the importance of
masquerade and the theatrical to Danish history. Steen Eiler Ras-
mussen for providing the crucial information that Isak Dinesen saw
herself as living on a stage, recalling her delight at the stagelike
expanse leading to her home along the Strandvej; he kindly met with
me at a difficult personal time and spoke of his relationship to Isak
Dinesen during World War II. Nils Davidsen-Nielsen for pointing me
in the direction of background material on Denmark during the war,
and for arranging for my quarters in the heart of Copenhagen, near
Tivoli; he and his wife Marianne made my stay during my return visit
to Copenhagen a particularly fruitful one.

While I have a rudimentary knowledge of Danish, several people in
Denmark helped me with translation, including Metta Pors. Helle
Bering-Jensen provided a major shortcut in my research and helped
me avoid translation errors by translating the major portion of the
Danish writings; her observations about Danish life and history, as
well as the literature, were very helpful.

In Africa, I was fortunate enough to meet people who knew Isak
Dinesen when she lived on her coffee plantation at the foot of the
Ngong Hills. In Africa, I would like to thank: Errol Trzebinski for being

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