ht notice of _The Merchant of Venice_ (Kjobmanden i Venedig) played
for the first time on Sept. 17, 1861. Rahbek's translation was used, and
this continued to be the standard until 1874, when, beginning with the
eighth performance, it was replaced by Lembcke's.

We come, then, to _A Midsummer Night's Dream_ (Skjaersommernatsdrommen)
played in Oehlenschlaeger's translation under Bjornson's direction on
April 17, 1865. The play was given ten times from that date till
May 27, 1866. In spite of this unusual run it appears to have been only
moderately successful, and when Bjornson dropped it in the spring of
1866, it was to disappear from the repertoire for thirty-seven years.
On January 15, 1903, it was revived by Bjornson's son, Bjorn Bjornson.
This time, however, it was called _Midsommernatsdroemmen_, and the acting
version was based on Lembcke's translation. In this new shape it has
been played twenty-seven times up to January, 1913.

The interesting polemic which Bjornson's production occasioned has
already been discussed at some length. This may be added, however:
A play which, according to the poet's confession, influenced his life as
this one did, has played an important part in Norwegian literature. The
influence may be intangible. It is none the less real.

More popular than any of the plays which had thus far been presented in
Norway was _A Winter's Tale_, performed at Christiania Theater for the
first time on May 4, 1866. The version used had, however, but a faint
resemblance to the original. It was a Danish revision of Dingelstedt's
_Ein Wintermaerchen_. I shall discuss this Holst-Dingelstedt text in
another place. At this point it is enough to say that Shakespeare is
highly diluted. It seems, nevertheless, to have been successful, for
between the date of its premiere and March 21, 1893, when it was given
for the last time, it received fifty-seven performances, easily breaking
all records for Shakespearean plays at the old theater. And at the new
National Theater, where it has never been given, no Shakespearean play,
with the exception of _The Taming of the Shrew_ has approached its
record.

_Aftenbladet_[13] in its preliminary review said: "Although this is
not one of Shakespeare's greatest plays, it is well worth putting on,
especially in the form which Dingelstedt has given to it. It was
received with the greatest enthusiasm." But _Aftenbladet's_ promised
critical review never appeared.

[13. May 5,