Lembcke's revision, which is the occasion of the article, is greeted with approval and encouragement. There is no need for Norwegians to go about preparing an independent translation. Quite the contrary. The article closes: "Whether or not Lembcke has the strength and endurance for such a gigantic task, time alone will tell. At any rate, it is the duty of the public to encourage the undertaking and make possible its completion."
We come now to the most interesting chapter in the history of Shakespeare in Norway. This is a performance of _A Midsummer Night's Dream_ under the direction of Bjørnstjerne Bjørnson 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. Bjørnson's fiery reply to his critics of April 28 is especially valuable as an analysis of his own attitude toward Shakespeare.
Bjørnson became director of Christiania Theater in January, 1865, and the first important performance under his direction was _A Midsummer Night's Dream_ (Skjärsommernatsdrömmen) in Oehlenschläger's translation, with music by Mendelssohn.[8] Bjørnson 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.]
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.