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Updated: June 15, 2025
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. An extraordinary hodgepodge, truly, yet, taken all in all, an effective stage piece.
They give Tamino a portrait of Pamina, the daughter of their mistress, the Queen of Night, which immediately inspires him with passionate devotion. He is informed that Pamina has been stolen by Sarastro, the high-priest of Isis, and imprisoned by him in his palace.
In the second act the ordeal of silence is imposed upon Tamino. Pamina cannot understand his apparent coldness, and is inclined to listen to the counsels of her mother, who tries to induce her to murder Sarastro. The priest, however, convinces her of his beneficent intentions. The lovers go through the ordeals of fire and water successfully, and are happily married.
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.
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.
They seek to make their escape, but are intercepted. Tamino also is caught, and all are brought before Sarastro. The prince consents to become a novitiate in the sacred rites, and to go through the various stages of probation and purification, and Pamina again returns to her duties.
The gayety of Papageno charmed him; the love of Tamino with its mysterious trials seemed to him worthy of having occupied Mozart; he understood the vengeance of Donna Anna because it cast but a deeper shade upon her mourning. Yet such was his Sybaritism of purity, his dread of the commonplace, that even in this immortal work he discovered some passages whose introduction we have heard him regret.
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.
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!"
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