r Night's
Dream_ under the direction of Bjornstjerne Bjornson at Christiania
Theater, April 17, 1865. The story belongs rather to the history of
Shakespeare on the Norwegian stage, but the documents of the affair are
contributions to Shakespearean criticism and must, accordingly, be
discussed here. Bjornson's fiery reply to his critics of April 28
is especially valuable as an analysis of his own attitude toward
Shakespeare.

Bjornson became director of Christiania Theater in January, 1865, and
the first important performance under his direction was _A Midsummer
Night's Dream_ (Skjaersommernatsdroemmen) in Oehlenschlaeger's translation,
with music by Mendelssohn.[8] Bjornson had strained the resources
of the theater to the utmost to give the performance distinction.
But the success was doubtful. _Aftenposten_ found it tiresome, and
_Morgenbladet_, in two long articles, tore it to shreds.[9] It is
worth while to review the controversy in some detail.

[8. Blanc. _Christianias Theaters Historie_, p. 196.]

[9. April 26-27, 1865.]

The reviewer begins by saying that the play is so well known that it
is needless to give an account of it. "But what is the meaning," he
exclaims, "of this bold and poetic mixture of clowns and fairies, of
mythology, and superstition, of high and low, of the earthly and
the supernatural? And the scene is neither Athens nor Greece, but
Shakespeare's own England; it is his own time and his own spirit." We
are transported to an English grove in early summer with birds, flowers,
soft breezes, and cooling shadows. What wonder that a man coming in from
the hunt or the society of men should fill such a place with fairies and
lovely ladies and people it with sighs, and passions, and stories? And
all this has been brought together by a poet's fine feeling. This it is
which separates the play from so many others of its kind now so common
and often so well presented. Here a master's spirit pervades all, unites
all in lovely romance. Other plays are mere displays of scenery and
costume by comparison. Even the sport of the clowns throws the whole
into stronger relief.

Now, how should such a play be given? Obviously, by actors of the first
order and with costumes and scenery the most splendid. This goes without
saying, for the play is intended quite as much to be seen as to be
heard. To do it justice, the performance must bring out some of the
splendor and the fantasy with which it was conceived