, however,
convinces her of his beneficent intentions. The lovers go through the
ordeals of fire and water successfully, and are happily married. The
Queen of Night and her dark kingdom perish everlastingly, and the reign
of peace and wisdom is universally established. The humours of Papageno
in his search for a wife have nothing to do with the principal interest
of the plot, but they serve as an acceptable contrast to the more
serious scenes of the opera.

The libretto of the 'Die Zauberfloete' is usually spoken of as the climax
of conceivable inanity, but the explanation of many of its absurdities
seems to lie in the fact that it is an allegorical illustration of the
struggles and final triumph of Freemasonry. Both Mozart and Schikaneder
were Freemasons, and 'Die Zauberfloete' is in a sense a manifesto of
their belief. Freemasonry in the opera is represented by the mysteries
of Isis, over which the high-priest Sarastro presides. The Queen of
Night is Maria Theresa, a sworn opponent of Freemasonry, who interdicted
its practice throughout her dominions, and broke up the Lodges with
armed force. Tamino may be intended for the Emperor Joseph II., who,
though not a Freemason himself as his father was, openly protected the
brotherhood; and we may look upon Pamina as the representative of the
Austrian people. The name of Monostatos seems to be connected with
monasticism, and may be intended to typify the clerical party, which,
though outwardly on friendly terms with Freemasonry, seems in reality to
have been bent upon its destruction. Papageno and his wife Papagena are
excellent representatives of the light-hearted and pleasure-loving
population of Vienna. It is difficult to make any explanation fit the
story very perfectly, but the suggestion of Freemasonry is enough to
acquit Mozart of having allied his music to mere balderdash; while,
behind the Masonic business, the discerning hearer will have no
difficulty in distinguishing the shadowy outlines of another and a far
nobler allegory, the ascent of the human soul, purified by suffering and
love, to the highest wisdom. It was this, no doubt, that compelled
Goethe's often expressed admiration, and even tempted him to write a
sequel to Schikaneder's libretto. 'Die Zauberfloete' is in form a
Singsgiel--that is to say, the music is interspersed with spoken
dialogue--but there the resemblance to Hiller's creations ceases. From
the magnificent fugue in the overture to the majesti