In this view every critical historian can concur, no matter what his tastes or where his home. But it is less easy for an English, French, or Italian critic than a German to pardon the incongruities, incoherences, and silly buffooneries which mar the opera. Some of the disturbing elements are dear to the Teutonic heart. Papageno, for instance, is but a slightly metamorphosed Kasperl, a Jack Pudding (Hanswurst) twice removed; and Kasperl is as intimately bound up in the German nature as his cousin Punch in the English. Kasperl is, indeed, directly responsible for "Die Zauberflöte." At the end of the eighteenth century there was in Vienna a singular individual named Emmanuel Schikaneder, a Jack-of-all-trades so far as public amusements were concerned--musician, singer, actor, playwright, and manager. There can be no doubt but that he was a sad scalawag and ribald rogue, with as few moral scruples as ever burdened a purveyor of popular amusements. But he had some personal traits which endeared him to Mozart, and a degree of intellectuality which won him a fairly respectable place among the writers for the stage at the turn of the century. Moreover, when he had become prosperous enough to build a new theatre with the proceeds of "Die Zauberflöte," he was wise enough to give a generous commission, unhampered by his customary meddlesome restrictions, to Beethoven; and discreet enough to approve of the highly virtuous book of "Fidelio." At the beginning of the last decade of the eighteenth century, however, his theatre had fallen on evil days, and in dire straits he went to Mozart, whose friendship he had enjoyed from the latter's Salzburg days, and begged him to undertake the composition of an opera for which he had written the book, in conjunction with one of his actors and choristers, named Gieseke (though this fact never received public acknowledgment at his hands). Wieland's "Oberon" had filled the popular mind with a great fondness for fantastic and Oriental subjects, and a rival manager had been successful with musical pieces in which the principal character was the popular Kasperl. Casting about for an operatic subject which should appeal to the general liking for romanticism and buffoonery at once, Schikaneder hit upon a tale called "Lulu; oder, Die Zauberflöte," written by Liebeskind, but published by Wieland in a volume of Orientalia entitled "Dschinnistan." He had got pretty deep in his work when a rival manager brought out an adaptation of the same story, with music by Wenzel Müller. The farcical character of the piece is indicated by its title, which was "Kasper, der Fagottist; oder, Die Zauberzither"; but it made so striking a success that Schikaneder feared to enter the lists against it with an opera drawn from the same source. He was either too lazy, too much in a hurry, or too indifferent to the principles of art to remodel the completed portion, but finished his book on lines far different from those originally contemplated.