kept a low profile but he tried to keep the spirit going by camouflaged resistance poetry. In 1940, Henningsen contributed the song to Kjeld Abell's revue Dyveke, which called for resistance to the Nazis in a conspicuously fashion that German censors misinterpreted as a song about the restrictive bonds of marriage. Before the Nazis could deport him to the concentration camps or otherwise endanger him, he secretly left Denmark along with most Jewish Danes in 1943. He fled to neutral Sweden with the Jewish architect Arne Jacobsen and their wives in a rowboat led by a Jewish civil engineer and student rower named Herbert Marcus. The drastic move to flee from Denmark likely saved Henningsen's life. The Danish Nazi leader Wilfred Petersen had planned an assassination plot to kill Henningsen and his family by setting their home on fire. Petersen may have been motivated to murder by PH's Dagmar-revyen (1942), where Henningsen mockingly referred to Petersen as "Vilfred Pedrsen" and comparing him to his rival Frits Clausen in the song And two hearts beat sweetly at the same time (Danish: Så slår to hjerter sødt i samme takt). Post-war activities Henningsen returned to Denmark in 1945. After the war, he dissociated himself from the communists, who were criticizing him for humanitarianism in his attitude toward the settlement with the Nazis and for his growing skepticism about the Soviet Union, and in many ways, he was isolated. He kept writing and debating, however, and during the 1960s in many ways, the new generation made him something of a guru. In 1946, he re-designed the Glass Hall (Danish: Glassalen) for Tivoli in Copenhagen. In 1948, Henningsen jointly published a collection of children's songs with Bernhard Christensen. One of these songs was Oh! Monkey or There was once a monkey (Danish: Oh! Abe or Der var engang en abe) which became extremely popular and is one of the most well-known children's songs in Denmark today. In many ways Poul Henningsen is the one who completed the work of Danish critic and scholar Georg Brandes (1842–1927). He was somewhat superficial and light, but more modern and less elitist in his views. Being a tease and a provoker who often tried turning concepts upside down (as George Bernard Shaw also did) and whose conclusions might be both somewhat unjust and exaggerated, he was however, a man of firm principles and ideals of a democratic, natural,