In 1858 Bjoernson assumed the directorship of the theatre in Bergen, and there published his second tale, "Arne," in which the same admirable self-restraint, the same implicit confidence in the intelligence of his reader, the same firm-handed decision and vigor in the character-drawing, in fact, all the qualities which delighted the public in "Synnoeve Solbakken," were found in an intensified degree. In the meanwhile, Bjoernson had also made his _debut_ as a dramatist. In the year 1858 he had published two dramas, "Mellem Slagene" (Between the Battles) and "Halte-Hulda" (Limping Hulda) both of which deal with national subjects, taken from the old sagas. As in his tales he had endeavored to concentrate into a few strongly defined types the modern folk-life of the North, so in his dramas the same innate love of his nationality leads him to seek the typical features of his people, as they are revealed in the historic chieftains of the past. "Between the Battles" is a dramatic episode rather than a drama. During the civil war between King Sverre and King Magnus in the twelfth century, the former visits in disguise a hut upon the mountains where a young warrior, Halvard Gjaela and Inga, his beloved, are living together. The long internecine strife has raised the hand of father against son, and of brother against brother. Halvard sympathizes with Sverre; Inga, who hates the king because he has burned her father's farm, is a partisan of Magnus. In the absence of her lover she goes to the latter's camp and brings back with her a dozen warriors for the purpose of capturing Halvard, and thereby preventing him from joining the enemy. Sverre discovers the warriors, whom she has hidden in the cow-stable, and persuading them that he is a spy for King Magnus sends two of them to his own army for reinforcements. In the meanwhile he reconciles the estranged lovers, makes peace between them and Inga's father, and finally, in the last scene, as his men arrive, is recognized as the king. This is, of course, a venerable _coup de theatre_. Whatever novelty there is in the play must be sought, not in the situations, but in the pithy and laconic dialogue, which has a distinct national coloring. This was not the amiable diffuseness of Oehlenschlaeger, who had hitherto dominated the Norwegian as well as the Danish stage; and yet it did not by any means represent so complete a breach with the traditions of the romantic drama as was claimed by Bjoernson's admirers. The fresh naturalness and absence of declamation were a gain, no doubt; but there are yet several notes remaining which have the well-known romantic cadence. "Between the Battles," though too slight to be called an achievement, was accepted as a pledge of achievement in future.