Maintains that Pfitzner's oft-quoted remark "Weber came into the world to write Der Freischutz" obscures the fact that he also held Euryanthe and Oberon in high esteem. Assessments of Euryanthe as "one of the most inspired opera dramas" are contained in two letters Pfitzner wrote in 1940, which are reproduced here. Reviews several of the revised versions of Euryanthe, including one Pfitzner mounted himself. Pfitzner lashes out against a newly proposed version of the text by an Italian, which is based upon Shakespeare's Cymbeline. Recoils against an Italianate Euryanthe and argues that the original text was inseparably bound with Weber's musical conception. Praises Chezy for what he sees as her lyrical gifts.