Langhans sums up the mental and emotional conditions of this transition period by saying that "in place of the general subject-matter with which the lyric poetry of the preceding century had been satisfied, the subjective feelings of the poet now came to the front, and the essential nature of lyric poetry, a boundless submersion into the innermost life of the soul, could under these circumstances attain full prominence." Germany was at this time greatly interested in the writings of Byron and of Jean Paul Richter. Romantic poetry in turn began to influence both dramatic and lyric music. Indications of departure from the elevated and reflective style of the great classical composers were apparent. Time-honored rules and traditions began to be neglected. Individualism asserted itself. The general tendency of the epoch embodied a certain mystical element--a return to the chivalrous atmosphere of mediæval romance. And this tendency was in harmony with the very nature of Weber's imaginative trend. In turn, this unfettered realm of imagination, peopled with sylphs, nymphs, fairies, contained latent and most propitious possibilities for progressive orchestration. Weber's instrumentation was founded upon that of Beethoven, but it was none the less distinctive and original. It was above all dramatic. His true greatness lay in the power of orchestral portrayal in the more vivid scenes of his operas, and in his operatic overtures. His two symphonies are comparatively weak. Though deficient in artistic education, Weber's romantic disposition and rare appreciation for instrumental effects enabled him to become one of the greatest modern orchestral writers, and his scoring is a model for all later composers. He stands at the head of modern instrumentation, for with him a new period began. Moreover, he was the creator of modern German romantic opera. As Kapellmeister at Dresden he was instrumental in counteracting the influence of Italian music which was still in vogue at the Court, and he helped to mould the tastes of the public in favor of native dramatic and orchestral music. "Der Freischütz" is the representative of ideal national opera. Here the orchestration is admirably adapted to depict and intensify the scenes and situations. It abounds in striking contrasts that are ever consistent with the demands of what has been called the "local" coloring. Episodes requiring sombre and mysterious tonal tints are again offset by the purest of lyrics and by powerful dramatic climaxes. "Oberon," on the other hand, abounds in more peaceful melodic and harmonic fancies, poetic revery, and dainty scoring. Though the effectiveness of "Euryanthe" is marred by reason of its insipid libretto, it is nevertheless the most important of Weber's operas, considered from a musical standpoint. Its continuous music and the interweaving of recitative and melody directly point the way to Wagner. Weber displayed superb power in the development of his overtures. In the