The inspiration of ‘Der Freischuetz’ is drawn so directly from the German Volkslied, that at its production Weber was roundly accused of plagiarism by many critics.  Time has shown the folly of such charges.  ‘Der Freischuetz’ is German to the core, and every page of it bears the impress of German inspiration, but the glamour of Weber’s genius transmuted the rough material he employed into a fabric of the richest art.  Of the imaginative power of such scenes as the famous incantation it is unnecessary to speak.  It introduced a new element into music, and one which was destined to have an almost immeasurable influence upon modern music.  Weber’s power of characterisation was remarkable, as shown particularly in the music assigned to Agathe and Aennchen, but in this respect he was certainly inferior to some of his predecessors, notably to Mozart.  But in imaginative power and in the minute knowledge of orchestral detail, which enabled him to translate his conceptions into music, he has never been surpassed among writers for the stage.  Modern opera, if we may speak in general terms, may be said to date from the production of ’Der Freischuetz.’

Operatic composers are too often dogged by a fate which seems to compel them to wed their noblest inspirations to libretti of incorrigible dulness, and Weber was even more unfortunate in this respect than his brethren of the craft.  After ‘Der Freischuetz,’ the libretti which he took in hand were of the most unworthy description, and even his genius has not been able to give them immortality.  ‘Euryanthe’ was the work of Helmine von Chezy, the authoress of ‘Rosamunde,’ for which Schubert wrote his entrancing incidental music.  Weber was probably attracted by the romantic elements of the story, the chivalry of mediaeval France, the marches and processions, the pomp and glitter of the court, and overlooked the weak points of the plot.  To tell the truth, much of the libretto of ‘Euryanthe’ borders upon the incomprehensible.  The main outline of the story is as follows.  At a festival given by the King of France, Count Adolar praises the beauty and virtue of his betrothed Euryanthe, and Lysiart, who also loves her, offers to wager all he possesses that he will contrive to gain her love.  Adolar accepts the challenge, and Lysiart departs for Nevers, where Euryanthe is living.  The second act discovers Euryanthe and Eglantine, an outcast damsel whom she has befriended.  Eglantine secretly loves Adolar, but extracts a promise from Lysiart, who has arrived at Nevers, that he will marry her.  In return for this she gives him a ring belonging to Euryanthe, which she has stolen, and tells him a secret relating to a mysterious Emma, a sister of Adolar, which Euryanthe has incautiously revealed to her.  Armed with these Lysiart returns to the court, and quickly persuades Adolar and the King that he has won Euryanthe’s affection.  No one listens to her denials; she is condemned to death, and Adolar’s lands and