figure, but as subjects in themselves
worthy of artistic treatment. The genius of Weber (1786-1826) was a
curious compound of two differing types. In essence it was thoroughly
German--sane in inspiration, and drawing its strength from the homely
old Volkslieder, so dear to every true German heart. Yet over this solid
foundation there soared an imagination surely more delicate and ethereal
than has ever been allotted to mortal musician before or since, by the
aid of which Weber was enabled to treat all subjects beneath heaven with
equal success. He is equally at home in the eerie horrors of the Wolf's
Glen, in the moonlit revels of Oberon, and in the knightly pomp and
circumstance of the Provencal court.

Weber's early years were a continual struggle against defeat and
disappointment. His musical education was somewhat superficial, and his
first works, 'Sylvana' and 'Peter Schmoll,' gave little promise of his
later glory. 'Abu Hassan,' a one-act comic opera, which was produced in
1811, at Munich, was his first real success. Slight as the story is, it
is by no means unamusing, and the music, which is a piece of the
daintiest filagree-work imaginable, has helped to keep the little work
alive to the present day. Such plot as there is describes the shifts of
Hassan and Fatima, his wife, to avoid paying their creditors, who are
unduly pressing in their demands. Finally they both pretend to be dead,
and by this means excite the regret of their master and mistress, the
Sultan and Sultana, a regret which takes the practical form of
releasing them from their embarrassments.

In 'Der Freischuetz' Weber was at last in his true element. The plot of
the opera is founded upon an old forest legend of a demon who persuades
huntsmen to sell their souls in exchange for magic bullets which never
miss their mark. Caspar, who is a ranger in the service of Prince
Ottokar of Bohemia, had sold himself to the demon Samiel. The day is
approaching when his soul will become forfeit to the powers of evil,
unless he can bring a fresh victim in his place. He looks around him for
a possible substitute, and his choice falls upon Max, another ranger,
who had been unlucky in the preliminary contest for the post of chief
huntsman, and is only too ready to listen to Caspar's promise of
unerring bullets. Max loves Agathe, the daughter of Kuno, the retiring
huntsman, and unless he can secure the vacant post, he has little hope
of being able to marry her. He