In Westermann's Monatshefte for January, 1891, and later in his ‘Life of Lessing,‘ Professor Erich Schmidt has outlined the chief features of the history and transformations of the story of the three rings in Europe. On examination it will be found that all the versions of the story belong to one or the other of two types, which are represented by the two earliest forms of the story preserved to us. The oldest version, that of the Spanish Jew Salomo ben Verga, tells of two rings or jewels only, which were in outward appearance exactly alike, and there is no question of one being genuine and the other false, but only of the relative value of the two. In the absence of the father it is found impossible to decide the question, and thus the decision between Christianity and Judaism is simply avoided. In Li Dis dou vrai aniel, a French poem of the end of the twelfth century, three rings appear, and to the original or genuine ring is attributed a marvelous healing power by which it may be recognized, and following which a decision is arrived at among the three religions, in this case in favor of Christianity, although ther were not wanting later narrators so bold as to hint that the true ring was possessed by Judaism. The version of Etienne de Bourbon, the versions of the Cento Novelle, the three versions of the Gesta Romanorum, all belong to one or the other of two types. We may refer to these two types as the Spanish type and the French type. Those of the first type, to which belongs also the version of Boccaccio, the one from which Lessing took his point of departure, avoid a decision, implying that all religions are equally authoritative, but without inherent or inner evidence of their quality. Those of the second type, to which in many of its features Lessing's final version of the story is allied, lead to a decision, making religion of divine origin indeed, but supplying a test, that of good works, whereby the true religion may be recognized.
Theology at Thresholds: Learning from a Practice ‘In Transition’
