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Updated: July 17, 2025
It is quite right for Papageno, his necessary contrast, to succeed in getting his Papagena. Men of any worth or value soon come to see that they are in the hands of Fate, and gratefully submit to be moulded by its teachings.
And in The Magic Flute the spell works. It works in the flute itself and in Papageno's lyre when the wicked negro Monostatos threatens him and Tamino with his ugly attendants. Papageno has only to play a beautiful childish tune on his lyre and the attendants all march backwards to an absurd goose-step in time with it.
Papageno enters the room, and he and the jailer run in opposite directions at sight of each other Papageno frightened by the complexion of the blackamoor, Monostatos terror-stricken at the sight of a man in feathers.
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 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.
Papageno has no scruples about accepting credit and gratitude for the deed performed by the ladies, and, though he is the veriest poltroon, he boasts inordinately about the gigantic strength which had enabled him to strangle the serpent.
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.
Welcome to the Cuban ladies and their glorious bird! Viva Cuba Libre! viva Garcia! viva el papageno! long life to the illustrious lady!" Rita, herself again, stepped from the chapel, erect and joyous, holding the parrot aloft. "I thank you, brothers!" she said. "I come to seek freedom among you; I am a daughter of Cuba. Does any among you know Don Carlos Montfort?" The babel rose again.
His sister-in-law had a voice of extraordinary range and elasticity; hence the two display airs; Papageno had to have music in keeping in his character, and Mozart doubtless wrote it with as little serious thought as he did the "Piece for an Organ in a Clock, in F minor, 4-4," and "Andante to a Waltz for a Little Organ," which can be found entered in his autograph catalogue for the last year of his life.
Returning, Papageno convinces himself of the identity of Pamina with the daughter of the Queen of Night, tells her of Tamino, who is coming for her with a heart full of love, and promptly they sing of the divine dignity of the marital state. It is the duet, "Bei Mannern weiche Liebe fuhlen," or "La dove prende, amor ricetto," familiar to concert-rooms, and the melody to some hymnals.
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