 Helena's love for the seemingly unlovable Bertram is difficult to explain on the page, but in performance it can be made acceptable by casting an actor of obvious physical attraction or by playing him as a naive and innocent figure not yet ready for love although, as both Helena and the audience can see, capable of emotional growth.This latter interpretation also assists at the point in the final scene in which Bertram suddenly switches from hatred to love in just one line.This is considered a particular problem for actors trained to admire psychological realism.