his flute; and just then he hears
Papageno's bells. At this juncture Sarastro appears, the wise Master,
before whom they al bow. He punishes the wicked negro; but Tamino and
his Pamina are not to be united without first having given ample proof
of their love and constancy. {194} Tamino determines to undergo
whatever trials may await him, but the Queen of Night, knowing all,
sends her three Ladies, to deter Tamino and his comrade from their
purpose. But all temptation is gallantly set aside; they have given a
promise to Sarastro which they will keep.

Even the Queen of Night herself is unable to weaken their strength of
purpose; temptations of every kind overtake them, but Tamino remains
firm. He is finally initiated into the mysteries of the goddess Isis.

In the interval Pamina deems Tamino faithless. She would fain die, but
the three celestial youths console her, by assuring her that Tamino's
love is true, and that he passes through the most severe trials solely
on her behalf.

On hearing this Pamina at once asks to share in the trials, and so they
walk together through fire and water, protected by the golden flute, as
well as by their courage and constancy. They come out purified and
happy.

Papageno, having lost his companion, has grown quite melancholy and
longs for the little wife, that was promised to him and shown to him
only for a few moments. He resolves at last to end his life by hanging
himself, when the celestial youths appear, reminding him of his bells.
He begins to shake them, and Papagena appears in feathery dress, the
very counter-part of himself. All might now be well, were it not that
the Queen of Night, a somewhat unreasonable lady, broods vengeance.
{195} She accepts the negro Monostatos as her avenger, and promises to
give him her daughter. But already Sarastro has done his work; Tamino
is united to his Pamina, and before the sunny light of truth everything
else vanishes and sinks back into night.

THE MAIDENS OF SCHILDA.

Comic Opera in three acts by ALBAN FORSTER.

Text by RUDOLF BUNGE.

The first work of this composer was produced on the stage of the Royal
Dresden theatre on the twelfth of October 1889 and was received with
great applause. This surprising success is due firstly to the great
popularity, which Forster enjoyed as former Director of the renowned
"Liedertafel" (Society for vocal music) and as teacher, and then to the
numerous pretty melodies intermixed w