To gain a proper estimate of Shakespeare in Denmark during the first half of the twentieth century one should bear in mind certain facts. The Danish people consists of four million inhabitants only—in 1900 there were only two-and-a-half million. The capital has no less than one million inhabitants. On the other hand, the largest town but four has only 50,000. Even in proportion to this the number of theatres is quite small. The Royal Theatre in Copenhagen, which is subsidized by the State, performs plays, operas, and ballets; but apart from that there are few theatres in the capital and the provinces, and they have great difficulties in maintaining a good literary standard. On the other hand, the Royal Theatre, which is now 200 years old, is regarded with remarkable interest and reverence; according to Danish traditions this theatre is a cultural and not a commercial enterprise. Another proof of the remarkable centralization in Denmark is the fact that, till a few years ago, the country had only one university, situated in Copenhagen. Like other small nations, the Danes have been fortunate in that they were forced to acquaint themselves with foreign languages and influences. The geographical position of the country has meant that these influences have never been one-sided. Quite naturally the German influence has been the strongest; rather early, however, an important contact was established with England, whereas the connexion with France after 1800 has been comparatively weak. Danish literary taste has always been determined by these facts, and it is also of great importance to note that the cultural element is largely fostered by an enlightened middle class. Danish civilization rests on a broad basis and is only to a small extent guided by a little group of high-brows.