The three boys—genii they are, and if I were stage-manager they should fly like Peter Pan—lead Tamino into a grove wherein stand three temples dedicated respectively to Wisdom, Nature, and Reason. The precinct is sacred; the music tells us that—the halo streaming from sustained notes of flutes and clarinets, the muted trumpets, the solemn trombones in softest monotone, the placid undulations of the song sung by the violins, the muffled, admonitory beats of the kettledrums. The genii leave Tamino after admonishing him to be "steadfast, patient, and silent." Conscious of a noble purpose, the hero boldly approaches the Temple of Reason, but before he can enter its portals, is stopped by an imperative injunction from within: "Back!" He essays the Temple of Nature, and is turned away again by the ominous word. Out of the Temple of Wisdom steps an aged priest, from whom he learns that Sarastro is master within, and that no one is privileged to enter whose heart, like his, harbors hatred and vengeful thoughts. Tamino thinks Sarastro fully deserving of hatred and revenge, and is informed that he had been deceived by a woman—one of the sex "that does little, chatters much." Tamino asks if Pamina lives, but the priest is bound by an oath to say nothing on that subject until "the hand of friendship shall lead him to an eternal union within the sanctuary." When shall night vanish and the light appear? Oracular voices answer, "Soon, youth, or never!" Does Pamina live? The voices: "Pamina still lives!" Thus comforted, he sings his happiness, filling the pauses in his song with interludes on the flute, bringing to his feet the wild beasts and forest creatures of all sorts. He hears Papageno's syrinx, and at length finds the fowler with Monostatos; but before their joy can have expression Pamina and the slaves appear and capture them. Papageno recollects him of his magic bells; he plays upon them, and the slaves, willy-nilly, dance themselves out of sight. Scarcely are the lovers free when a solemn strain announces the approach of Sarastro. He comes in a chariot drawn by lions and surrounded by a brave retinue. Pamina kneels to him, confesses her attempt to escape, but explains that it was to free herself from the odious attentions of Monostatos. The latter, asking his reward for having thwarted the plan of Papageno, receives it from Sarastro in the shape of a bastinado. Pamina pleads for restoration to her mother, but the sage refuses to free her, saying that her mother is a haughty woman, adding the ungallant reflection that woman's heart should be directed by man lest she step outside her sphere. He commands that Tamino and Papageno be veiled and led into the Temple of Probation. The first act is ended.
The initiation of Tamino and Papageno into the mysteries, their trials, failures, triumph, and reward, form the contents of the second act. At a conclave of the elect, Sarastro announces that Tamino stands at the door of the Temple of Wisdom, desirous to gaze upon the "great light" of the sanctuary. He prays Isis and Osiris to give strength to the neophytes:—
[Musical excerpt—"O Isis und Osiris schenket Der Weisheit Geist dem neuen Paar.">[
To the impressiveness of this prayer the orchestra contributes as potent a factor as the stately melody or the solemn harmonies. All the bright-voiced instruments are excluded, and the music assigned to three groups of sombre color, composed, respectively, (1) of divided violas and violoncellos; (2) of three trombones, and (3) of two basset horns and two bassoons. The assent of the sacerdotal assembly is indicated by the three trumpet blasts which have been described in connection with the overture, and Tamino and Papageno are admitted to the Temple, instructed, and begin their probationary trials. True to the notion of the order, two priests warn the neophytes against the wiles of woman. Papageno has little inclination to seek wisdom, but enters upon the trials in the hope of winning a wife who shall be like himself in appearance. In the first trial, which is that of silence, the value of the priestly warning just received is at once made apparent. Tamino and Papageno have scarcely been left alone, when the three female attendants of the Queen of Night appear and attempt to terrify them with tales of the false nature of the priests, whose recruits, say they, are carried to hell, body and breeches (literally "mit Haut und Haar," i.e. "with skin and hair"). Papageno becomes terror-stricken and falls to the floor, when voices within proclaim that the sanctity of the temple has been profaned by woman's presence. The ladies flee.
The scene changes. Pamina is seen asleep in a bower of roses, silvered over by the light of the moon. Monostatos, deploring the fact that love should be denied him because of his color, though enjoyed by everything else in nature, attempts to steal a kiss. A peal of thunder, and the Queen of Night rises from the ground. She importunes Pamina to free herself and avenge her mother's wrongs by killing Sarastro. To this end she hands her a dagger and pours out the "hellish rage" which "boils" in her heart in a flood of scintillant staceati in the tonal regions where few soprano voices move:—
[Musical excerpt]
Monostatos has overheard all. He wrenches the dagger from Pamina, urges her again to accept his love, threatens her with death, and is about to put his threat into execution when Sarastro enters, dismisses the slave, and announces that his revenge upon the Queen of Night shall lie in promoting the happiness of the daughter by securing her union with Tamino.
The probationary trials of Tamino and Papageno are continued. The two are led into a hall and admonished to remain silent till they hear a trumpet-call. Papageno falls to chattering with an old woman, is terrified beyond measure by a thunder-clap, and recovers his composure only when the genii bring back the flute and bells and a table of food. Tamino, however, remains steadfast, though Pamina herself comes to him and pleads for a word of love. Papageno boasts of his own hardihood, but stops to eat, though the trumpet has called. A lion appears; Tamino plays his flute, and the beast returns to his cage. The youth is prepared for the final trial; he is to wander for a space through flood and flame, and Pamina is brought to say her tearful farewells. The courage and will of the neophyte remain unshaken, though the maiden gives way to despair and seeks to take her own life. The genii stay her hand, and assure her that Tamino shall be restored to her. Two men in armor guard the gates of a subterranean cavern. They sing of the rewards to be won by him who shall walk the path of danger; water, fire, air, and earth shall purify him; and if he withstand death's terrors, heaven shall receive him and he be enlightened and fitted to consecrate himself wholly to the mysteries of Isis:—
[Musical excerpt—"Der, welcher wandert diese Strasse voll Beschwerde">[
A marvellous piece of music is consorted with this oracular utterance. The words are set to an old German church melody—"Ach Gott, vom Himmel sieh darein"—around which the orchestral instruments weave a contrapuntal web of wondrous beauty. At the gates Pamina joins her lover and accompanies him on his journey, which is happily achieved with the help of the flute. Meanwhile Papageno is pardoned his loquacity, but told that he shall never feel the joy of the elect. He thinks he can make shift with a pretty wife instead. The old woman of the trial chamber appears and discloses herself as the charming, youthful Papageno, but only for an instant. He calls after her in vain, and is about to hang himself when the genii remind him of his magic bells. He rings and sings; his feathered mate comes to him. Monostatos aids the Queen of Night and her companions in an assault upon the sanctuary; but a storm confounds them, and Sarastro blesses the union of Tamino and Pamina, amidst joyful hymning by the elect.