242:, where the church and nobility possessed an undisputed supremacy; besides Sarastro and his brotherhood of the sun realm represent the Enlightenment and a civil order. But neither the system of the Queen is completely condemned, nor Sarastro's civil brotherhood is uncritical glorified. So the night realm produces the jolly bon vivant Papageno, while the sun realm creates the tortured soul Monostatos. Similar to the play also in reality old and new values tend to claim absoluteness, but are not absolutely right or wrong; like the civil leadership of the
292:. Like the myth of Horus is based on the simple perception of the course of the sun, according to which the sun sinks into the ground in the evening and comes out of the ground in the morning, the child in the coffin is wandering on earth's surface, sinks into the underworld and finally raises oneself in the air. The final scene, where the luminescent genius is surrounded by two lions and flies up, reminds strikingly on pictorial representations of the sun god Horus at sunrise, who is also surrounded by two lions, the representation of the earth deity
798:
1466:
193:
saw each other they fall into a periodic sleep from which they only awoke for a short time just to yield to despair. In this way they are cursed up to now. Sarastro calls
Papageno and his family to visit the royal court. The jolly family and in particular the magic flute should help against the misery. Sarastro stays lonely behind and then climbs a mountain.
272:
order. The
Freemasons of that time were very interested in myths and especially in mystery cults of ancient times, where the initiation into the priesthood was related with a symbolic death experience. In this way, the passing through the darkness by not shunning night, death and other dreads is an important motif of
159:
interrupted by a strong magical power. Afraid of this power and
Sarastro's approach, Monostatos decided to flee, but he took a moment to seal the coffin by the Queen's magic. Thus, the son of Pamina and Tamino should be sealed for all eternity. The second part of the curse is now announced by a Greek-stykle chorus.
463:
in a letter to Iken: "I never doubted that the readers for whom I effectively wrote would grasp the principal significance of the portrayal straight away. It is time that the impassioned dispute between classicists and romantics should finally be reconciled. ... Is it not from this high level that we
192:
Papagena and
Papageno find big and beautiful eggs in their home. Sarastro appears and helps with magical power whereby three children hatch out of the eggs. Then Sarastro informs them about the misery of Pamina and Tamino. After the disappearing of the coffin Pamina visited Tamino. In the moment they
271:
are dedicated to the three ideals of
Freemasonry (wisdom, strength and beauty): "Strength has triumphed, rewarding / beauty and wisdom with an everlasting crown!" These words proclaim the victory of Sarastro's priests and it seems reasonable that Sarastro's order of initiated is based on a Freemason
171:
Papagena and
Papageno live in the countryside. But neither a golden waterfall nor the magic flute (Tamino's gift to their wedding) and glockenspiel, that enables roasted birds to fly directly into the mouth, can distract them from their sadness over not having children. A hidden chorus advises them
397:
Goethe talking about the operatic part in the Helen-act: "The first part ... requires the first tragic artists, and the operatic part must be sustained by the first vocalists, male and female. That of Helena ought to be played, not by one, but by two great female artists; for we seldom find that a
214:
Pamina and Tamino enter the vault and shortly afterwards the Queen of the Night appears to call the guardians up to defend the coffin. The guardians start threatening gestures, but the parents and especially Pamina invoke the mother love. In this way the guardians are appeased and the Queen of the
211:
The coffin is in an underground vault surrounded by two guardians each of them has a spear and a lion on a chain. In this darkness, only lighted up by the coffin, the guardians have a mysterious dialogue about the mystery of life and the human straying between light and darkness, between mania and
158:
Monostatos reports to the Queen of the Night on an unsuccessful plan of revenge: As Pamina and Tamino were expecting a child, the Queen of the Night sent out
Monostatos to kidnap the child immediately after delivery. But Monostatos only managed to put the child inside a magical coffin as he was
660:
Goethes: Die
Zauberflöte II. Die Entdeckung von Goethes ägyptischen Mysterien im Bindeglied zwischen Mozarts "Zauberflöte" und der "Faust"-Dichtung. Vollständiges Textbuch von Goethes "Der Zauberflöte zweyter Theil – Fragment" mit einer Einleitung und Neuinterpretation von George
608:
Goethes: Die
Zauberflöte II. Die Entdeckung von Goethes ägyptischen Mysterien im Bindeglied zwischen Mozarts "Zauberflöte" und der "Faust"-Dichtung. Vollständiges Textbuch von Goethes "Der Zauberflöte zweyter Theil – Fragment" mit einer Einleitung und Neuinterpretation von George
594:
Goethes: Die
Zauberflöte II. Die Entdeckung von Goethes ägyptischen Mysterien im Bindeglied zwischen Mozarts "Zauberflöte" und der "Faust"-Dichtung. Vollständiges Textbuch von Goethes "Der Zauberflöte zweyter Theil – Fragment" mit einer Einleitung und Neuinterpretation von George
552:
Goethes: Die Zauberflöte II. Die Entdeckung von Goethes ägyptischen Mysterien im Bindeglied zwischen Mozarts "Zauberflöte" und der "Faust"-Dichtung. Vollständiges Textbuch von Goethes "Der Zauberflöte zweyter Theil – Fragment" mit einer Einleitung und Neuinterpretation von George
540:
Brown, Jane K.: An den Grenzen des Möglichen. Goethe und "Die Zauberflöte". In: Mathis Mayer, ed.: Modell "Zauberflöte". Der Kredit des Möglichen. Kulturgeschichtliche Spiegelungen erfundener Wahrheiten, Hildesheim 2007 (Echo; vol. 10), pp. 187–200, p.
422:
Goethe talking about hidden aspects of initiation in the Helen-act: "Let the crowd of spectators take pleasure in the spectacle; the higher import will not escape the initiated, as has been the case with the 'Magic Flute', and other things beside." –
178:
In the temple of Sarastro's priesthood the priests have gathered to welcome a brother, who was on pilgrimage for one year. According to the rules of the priesthood now they have to choose a new pilgrim from among the priests by lot. The lot falls to
215:
Night is forced to flee. Now Pamina and Tamino step closer to the coffin and the child hears the voices of its parents. Finally the coffin opens and the child rises up as a brightly illuminated genius, who also illuminates the heads of all others.
276:. Pamina's courage to face the death overcomes even the rules of the brotherhood and paves the way for her initiation in their male society: "A woman unafraid of darkness and death / is worthy and will be consecrated." Considering that the
254:
shows numerous motifs of syntheses (like Papagena and Papageno have to use working and activity as well as enjoyment and calm to get children), that seems to suggest a use of both systems, instead of becoming absolutely obsessed by one.
185:
According to an omen, Pamina wants to dedicate the coffin to the sun. Her entourage sets the coffin on an altar. After a prayer the earth starts shaking. The altar sinks together with the coffin into the earth. Pamina desperately stays
81:
for a great success on stage. But his working process was consistently interrupted, thus the development was protracted. Besides Goethe already stated worries about finding the right composer in 1795. Another negative factor was that
114:
as ending. However, the main story is not completed. Notes and drafts of Goethe give insights in his previous plans and reveal opportunities for a much longer plot; but any reconstruction would be very speculative.
353:
In regard to the plot of the genius, the comparison to the sun god ("like a miniature Apollo", line 9620) and the sun's course (into the underworld and up again) is strikingly in this short passage about Euphorion:
250:. Goethe could meant such value conflicts by the dialogue of the two guardians as they talk about the human straying between light and darkness, between mania and mania. Furthermore, Goethe's
165:
Then the scene shifts to the realm of the sun, where a group of ladies, according to the directions of Sarastro's wise men, keeps the coffin in motion to preserve the child from death.
676:. In: Mathis Mayer, ed.: Modell "Zauberflöte". Der Kredit des Möglichen. Kulturgeschichtliche Spiegelungen erfundener Wahrheiten, Hildesheim 2007 (Echo; vol. 10), pp. 187–200. p. 190.
568:. In: Mathis Mayer, ed.: Modell "Zauberflöte". Der Kredit des Möglichen. Kulturgeschichtliche Spiegelungen erfundener Wahrheiten, Hildesheim 2007 (Echo; vol. 10), pp. 187–200. p. 190.
464:
can learn to appreciate everything in its true physical and aesthetic value, both what is oldest and what is newest?" – Goethe's letter to Iken, September 27, 1827, (translation of
341:, only appears in the third act, also called the Helen-act, which Goethe discussed with Schiller as "peak ... of the whole". Some general themes of the Helen-act with references to
205:
Papageno visits the cursed couple and eases their misery by playing the magic flute. Priests appear, who herald the location of coffin and call the parents up to rescue their son.
199:
Papageno and his family arrive at the royal court, where a group of courtiers welcomes them. Papageno spreads a good mood, but also jokes about the values of court society.
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768:
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in Goethe's other works and especially in his Faustian poetry, which is commonly considered to be the most important work in German literature.
738:
Goethe, Schiller und die verschleierte Wahrheit. Ein kleiner Beitrag zur Mysterienkultur in Goethes "Faust"-Dichtung und der Weimarer Klassik
635:
Goethe, Schiller und die verschleierte Wahrheit. Ein kleiner Beitrag zur Mysterienkultur in Goethes "Faust"-Dichtung und der Weimarer Klassik
1496:
577:"Das ist der kleine 'Faust', – die 'Zauberflöte', wo Homunculus und der Sohn noch Eines sind im leuchtenden Kästchen ..." (Mann, Thomas:
1349:
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1501:
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1113:
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624:. In: Ernst Behler / Manfred Frank, eds.: Athenäum. Jahrbuch für Romantik. Paderborn 2006 (vol. 16). pp. 13–37, pp. 18–22.
1130:
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and a revolutionary spirit. It stands to reason that the Queen of the Night as monarch represents the old values of the
512:. Frankfurt am Main 1993 (Johann Wolfgang Goethe. Sämtliche Werke, Briefe, Tagebücher und Gespräche; vol. 6). p. 1049.
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was the godfather of Goethe's very deepest symbols. Accordingly, numerous studies have discovered influences of
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As an explanation to read the Helen-act, Goethe refers to the big dispute between artists of
445:: "Eleusis servat, quod ostendat revisentibus." – Goethe's letter to Iken, September 27, 1827
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110:
as a fragmentary closet play. It differs from the earlier version with a longer plot and an
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Is it gold and gems, or flames, now, of the spirit's supreme power? (lines 9613/4–9624)
1256:
693:. Stuttgart 1993 (vol. 50. 1993, no. 4), pp. 259–290. p. 260. Or also: Hartmann, Tina:
487:"Der Zauberflöte Zweyter Theil". Musikalische Konzeption einer nicht komponierten Oper.
440:
77:, Goethe began to plan a sequel to Mozart's opera. Originally Goethe had envisaged his
523:"Der Zauberflöte Zweyter Theil". Musikalische Konzeption einer nicht komponierten Oper
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687:"Der Zauberflöte Zweyter Theil". Musikalische Konzeption einer nichtkomponierten Oper
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apparently makes references to the moods of its time, that was influenced by the
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Literary criticism suggests that Goethe continued symbols and other ideas of his
50:
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648:"Ein Weib, das Nacht und Tod nicht scheut, / Ist wĂĽrdig, und wird eingeweiht."
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146:... where the Homunculus and the son are still one in the luminescent box".
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was published for the first time by Friedrich Wilmans in 1802. The subtitle
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by Johann Peter Eckermann, January 25, 1827 (translated by John Oxenford)
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What's that shining round his temples? It's hard to see what's gleaming,
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to carry on, but to enjoy calm. Papagena and Papageno follow the advice.
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Tassels tremble from his shoulders, ribbons flutter round his chest,
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Do buried treasures lie there? Robes embroidered all with flowers,
365:
I stand there, wondering anxiously, but there again's the vision!
499:. Stuttgart 1993 (vol. 50. 1993, no. 4), pp. 259–290.
954:
430:
As an explanation to read the Helen-act, Goethe refers to the
531:, Stuttgart 1993 (vol. 50. 1993, no. 4), pp. 259–290, p. 290.
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shows its stage play character. In 1807 Goethe published the
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708:
Goethes Musiktheater. Singspiele, Opern, Festspiele, "Faust"
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Goethes Musiktheater. Singspiele, Opern, Festspiele, "Faust"
398:
fine vocalist has sufficient talent as a tragic actress." –
377:
And the parents in delight clasp each other to their hearts,
285:
674:
An den Grenzen des Möglichen. Goethe und "Die Zauberflöte"
566:
An den Grenzen des Möglichen. Goethe und "Die Zauberflöte"
258:
128:. The mixture between opera and closet play is used in
359:
But suddenly he's vanished in a crevice of the cavern,
65:, but its final form was published by Goethe in 1807.
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719:
Schiller to Goethe, 23 September 1800 (translation:
622:
Schiller, Mozart und die Suche nach neuen Mysterien
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He steps happily to the overhanging brink: amazing.
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In his hand a golden lyre, like a miniature Apollo,
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417:Initiate of ancient mysteries and Freemasonry
220:
363:His mother grieves for him, father comforts,
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73:In 1795, four years after the premiere of
327:Most frequently is studied the genius of
510:Johann Wolfgang Goethe. Dramen 1791–1832
450:Synthesis of two opposing value systems
1479:
1114:The Green Snake and the Beautiful Lily
68:
750:
689:. In: Hans Heinrich Eggebrecht, ed.:
525:. In: Hans Heinrich Eggebrecht, ed.:
259:Freemasonry and the mysteries of Isis
345:are also accumulating in Euphorion.
225:
1497:Works by Johann Wolfgang von Goethe
848:Gesang der Geister ĂĽber den Wassern
685:See for a review: Waldura, Markus:
308:In literary studies is stated that
21:For the opera by Peter Winter, see
13:
1140:Wilhelm Meister's Journeyman Years
408:, January 25, 1827 (translated by
337:. Euphorion, the son of Faust and
319:
54:. Parts were published in 1802 by
14:
1518:
583:. Frankfurt am Main 1965. p. 263)
94:in cooperation with the composer
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1131:Wilhelm Meister's Apprenticeship
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48:, which is inspired by Mozart's
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646:Geharnischte, act 2, scene 28:
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122:in other works, especially his
1502:Works based on The Magic Flute
740:. Norderstedt 2019. pp. 42–44.
663:. Norderstedt 2016, pp. 46–66.
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597:. Norderstedt 2016, pp. 50–51.
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104:Draft of a Dramatic Fairy Tale
1:
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86:, the librettist of Mozart's
35:Der Zauberflöte zweyter Theil
23:The Magic Flute's Second Part
1382:Goethe in the Roman Campagna
1122:The Sorrows of Young Werther
691:Archiv fĂĽr Musikwissenschaft
528:Archiv fĂĽr Musikwissenschaft
496:Archiv fĂĽr Musikwissenschaft
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331:in relation to Euphorion of
263:Both Mozart and Goethe were
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901:Nur wer die Sehnsucht kennt
10:
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1265:Catharina Elisabeth Goethe
778:Johann Wolfgang von Goethe
637:. Norderstedt 2019, p. 31.
611:. Norderstedt 2016, p. 61.
555:. Norderstedt 2016, p. 65.
221:Context and interpretation
46:Johann Wolfgang von Goethe
20:
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924:The Sorcerer's Apprentice
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508:Borchmeyer, Dieter, ed.:
425:Conversations with Goethe
401:Conversations with Goethe
369:He has fittingly assumed.
69:Development history
1404:(1939 Thomas Mann novel)
1341:Goethe–Schiller Monument
1333:Goethe Monument (Berlin)
1319:Goethe House (Frankfurt)
1058:The Magic Flute Part Two
834:Die erste Walpurgisnacht
710:. TĂĽbingen 2004. p. 299.
697:. TĂĽbingen 2004. p. 299.
491:Hans Heinrich Eggebrecht
138:even described Goethe's
100:The Magic Flute Part Two
30:The Magic Flute Part Two
1209:Metamorphosis of Plants
387:Further related aspects
361:And it seems he's lost.
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725:Faust. The First Part.
658:Cebadal, George, ed.:
606:Cebadal, George, ed.:
592:Cebadal, George, ed.:
550:Cebadal, George, ed.:
406:Johann Peter Eckermann
384:
1443:Pied Piper of Hamelin
1303:Goethe House (Weimar)
1160:Dichtung und Wahrheit
1040:Götz von Berlichingen
356:
300:Preliminary draft of
1434:Young Goethe in Love
1392:Goethe at the Window
1353:Monument (Milwaukee)
1238:Gespräche mit Goethe
1068:The Natural Daughter
946:West–östlicher Divan
938:Wanderer's Nightsong
931:Welcome and Farewell
879:Hermann and Dorothea
432:Eleusinian Mysteries
267:. The last words of
1326:Goethe-Gesellschaft
1106:Elective Affinities
1061:(libretto fragment)
1049:Iphigenia in Tauris
863:Harzreise im Winter
802:Cultural depictions
288:' son, the sun god
134:at central points.
84:Emanuel Schikaneder
37:) is a fragmentary
887:Der König in Thule
343:The Magic Flute II
329:The Magic Flute II
314:The Magic Flute II
310:The Magic Flute II
16:Libretto by Goethe
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1394:(1786/7 painting)
1280:Weimar Classicism
1257:Christine Vulpius
1218:Theory of Colours
975:Der BĂĽrgergeneral
721:David Constantine
633:Cebadal, George:
521:Waldura, Markus:
485:Waldura, Markus:
278:mysteries of Isis
244:French Revolution
230:Already Mozart's
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56:Friedrich Wilmans
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92:his own sequel
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202:Scenes 14–15
196:Scenes 12–13
143:
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96:Peter Winter
90:, published
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1492:1802 operas
1436:(2010 film)
1414:(1975 film)
461:romanticism
457:classicissm
439: [
189:Scenes 9-11
140:Magic Flute
136:Thomas Mann
98:. Goethe's
59: [
1481:Categories
1374:Goetheanum
908:Prometheus
820:Epiphanias
473:References
265:Freemasons
248:The Terror
175:Scenes 6–7
162:Scenes 3–4
155:Scenes 1–2
112:apotheosis
1189:Propyläen
349:Euphorion
240:Dark Ages
179:Sarastro.
33:(German:
1343:(Weimar)
1267:(mother)
1180:Journals
1011:Faust II
827:Erlkönig
334:Faust II
321:Faust II
131:Faust II
42:libretto
1426:(novel)
1249:Related
1002:Faust I
984:Clavigo
841:Ganymed
723:, ed.:
661:Cebadal
609:Cebadal
595:Cebadal
553:Cebadal
493:, ed.:
323:: act 3
186:behind.
182:Scene 8
168:Scene 5
1457:Portal
1259:(wife)
1077:Stella
1022:Egmont
955:Xenien
212:mania.
39:closet
1471:Opera
1097:Prose
993:Faust
966:Plays
812:Poems
443:]
392:Opera
339:Helen
302:Faust
290:Horus
144:Faust
125:Faust
63:]
541:190.
489:In:
294:Aker
286:Isis
150:Plot
404:by
44:by
1483::
727:).
441:de
296:.
61:de
1459::
770:e
763:t
756:v
468:)
412:)
25:.
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