of bells, they set out for Sarastro's
temple. Papageno arrives there first, and in time to rescue Pamina
from the persecutions of Monostatos, a slave, who flies when he
beholds Papageno in his feather costume, fancying him the Devil. They
seek to make their escape, but are intercepted. Tamino also is caught,
and all are brought before Sarastro. The prince consents to become a
novitiate in the sacred rites, and to go through the various stages of
probation and purification, and Pamina again returns to her duties.
They remain faithful to their vows, and the last ordeal, that of
passing through a burning lake up to the altar of the temple, is
triumphantly accomplished. The Queen of Night, however, does not
abandon her scheme of revenge. She appears to Pamina in her sleep,
gives her a dagger, and swears that unless she murders Sarastro she
will cast her off forever. Pamina pays no heed to her oath, but goes
on with her sacred duties, trusting to Sarastro's promise that if she
endures all the ordeals she will be forever happy. In the closing
scene, Monostatos, who has been inflamed against Sarastro by the
Queen, seeks to kill him, but is vanquished by the might of the
priest's presence alone. The night of the ordeals is over. At a sign
from Sarastro, the, full sunlight pours in upon them. The evil spirits
all vanish, and Tamino and Pamina are united amid the triumphant
choruses of the priests and attendants, as the reward of their
fidelity.

In the opening scene, after the encounter of Tamino with the serpent,
Papageno has a light and catching song ("Der Vogelfaenger bin ich ja"),
which, like all of Papageno's music, was specially written for
Schickaneder, and has been classed under the head of the "Viennese
ditties." Melodious as Mozart always is, these songs must be regarded
as concessions to the buffoon who sang them. Papageno's song is
followed by another in a serious strain ("Dies Bildniss ist bezaubernd
schoen") sung by Tamino. In the sixth scene occurs the first aria for
the Queen of Night ("O zittre nicht, mein lieber Sohn"), which, like
its companion to be mentioned later, is a remarkable exercise in vocal
power, range, and gymnastics, written for an exceptional voice. The
next scene, known as the Padlock Quintet, is very simple and flowing
in style, and will always be popular for its humorous and melodious
character. In the eleventh scene occurs the familiar duet between
Pamina and Papageno, "Bei Maennern, welche