‘No one who saw her during her début in the rôle of the gay Pierrette, with frolic-humorous eyes and graceful juvenile steps, could imagine that on the next occasion she would be so easily transformed into a tragedienne in Schnitzler’s and Dohnányi’s “Veil of Pierrette.” She practically created her rôle. Her romantic eyes, so full of sorrow and despair, added a magic gloom to her dramatic dance, in which she stands so high above her many contemporaries. She is realistically gripping. Already at the age of nineteen she was an accomplished mute actress of the modern type, and a great solo dancer. Dohnányi, who attended the performance, told me that he had not supposed she could possibly add such a tragic fire to the rôle that he wrote for untrained theatrical dancers. Mrs. Jörgen-Jensen proved in this rôle that she had broken loose from all the traditions of the Bournoville school in which she was trained. You could not see a line of the conventional ballet style. ‘Bournoville, the reformer of the Danish ballet, introduced a strong dramatic element into the national art. Yet his tendency was outspokenly romantic. In this he aimed to be classic and strictly choreographic. In many of his ballets the romantic and the realistic issues are closely interwoven. In these Mrs. Jörgen-Jensen sometimes has gone against the Bournoville principles and used her own judgment. She has figured as the principal dancer in the “Flower Festival at Genzano,” _La Ventana_, “Far from Danemark,” _Coppélia_ and _Swanhilde_. But in “The Little Mermaid,” a ballet based on Hans Andersen’s fairy-tale, she is best of all. While dancing in the rôle of the Mermaid, she makes the impression of a magic creature of a different world, with grace and charms that we have never known, yet which cast a spell upon us. Mrs. Jörgen-Jensen’s repertoire is large, but still larger is the range of her dramatic personifications. The Copenhagen audiences are sorry to see her so little, but the stage of our National Theatre is more adapted to the opera and drama than to the ballet.’