e and a
tremendous enthusiasm. Romeo (by Wiehe) and Juliet (by Jomfru Svendsen)
revealed careful study and complete understanding. The reviewer in
_Morgenbladet_[6] begins with the little essay on Shakespeare so common
at the time; "Everyone knows with what colors the immortal Shakespeare
depicts human passions. In _Othello_, jealousy; in _Hamlet_, despair;
in _Romeo and Juliet_, love, are sung in tones which penetrate to the
depths of the soul. Against the background of bitter feud, the love of
Romeo and Juliet stands out victorious and beneficent. Even if we cannot
comprehend this passion, we can, at least, feel the ennobling power of
the story." Both of the leading parts are warmly praised. Of Wiehe the
reviewer says: "Der var et Liv af Varme hos ham i fuldt Maal, og den
graendselose Fortvivlelse blev gjengivet med en naesten forfaerdelig
Troskab."

[4. See Aumont og Collin: _Det Danske Nationalteater_. V Afsnit,
pp. 118 ff.]

[5. _Christiania Posten_. November 15, 1845.]

[6. _Morgenbladet_. November 15, 1845.]

The same season (Dec. 11, 1852) the theater also presented _As You
Like It_ in the Danish version by Sille Beyer. The performance of two
Shakespearean plays within a year may rightly be called an ambitious
undertaking for a small theatre without a cent of subsidy. _Christiania
Posten_ says: "It is a real kindness to the public to make it acquainted
with these old masterpieces. One feels refreshed, as though coming
out of a bath, after a plunge into their boundless, pure poetry. The
marvellous thing about this comedy (_As You Like It_) is its wonderful,
spontaneous freshness, and its freedom from all sentimentality and
emotional nonsense." The acting, says the critic, was admirable, but
its high quality must, in a measure, be attributed to the sympathy and
enthusiasm of the audience. Wiehe is praised for his interpretation of
Orlando and Jomfru Svendsen for her Rosalind.[7] Apparently none of the
reviewers noticed that Sille Beyer had turned Shakespeare upside down.
Her version was given for the last time on Sept. 25, 1878, and in this
connection an interesting discussion sprang up in the press.

[7. _Christiania Posten_. Dec. 12, 1852.]

The play was presented by student actors, and the performance
was therefore less finished than it would have been under other
circumstances. _Aftenposten_ was doubtless right when it criticised the
director for entrusting so great a play to unpract