When Schikaneder learned that Marinelli, a rival manager, also thought of putting on the stage a fairy drama made out of Wieland's "Lulu," he changed the plot of his "Magic flute" and substituted for the evil genius of the play the high priest Sarastro, who appears to be custodian of the secrets and the executor of the wishes of the masonic order. The libretto has been ruthlessly condemned by many for its obscurity, absurdity, triviality and buffoonery. Certain writers, however, have found a deep and symbolical meaning in the most frivolous dialogue and even in the music of the overture. Some have gone so far as to regard the opera as a symbolical representation of the French Revolution: with the Queen of Night as the incarnation of royalty; Pamina as Liberty, for whom Tamino, the People, burns with passionate love; Sarastro as the Wisdom of the Legislature. Others have claimed that no one who was not a Freemason could appreciate the merits of the libretto at their true value. Now, Mozart himself saw nothing in the text but the story of a magic opera. Goethe and Hegel were equally blind. The former once wrote of the text that "the author understood perfectly the art of producing great theatrical effects by contrasts," and Hegel praised the libretto highly for its mixture of the supernatural and the common, for its episodes of the initiations and the tests. Rubinstein likes the variety: "pathetic, fantastic, lyric, comic, naive, romantic, dramatic, tragic, yes, it would be hard to find an expression that is wanting in it. It is evident the genius of a Mozart was required to reproduce it all musically, as he has done; but such texts might incite less genial composers to interesting work." But who in listening to the music heeds Tamino pursued by the snake, the gloomy Queen, or the vengeance of the Moor? Who is disquieted by the padlock or the glockenspiel? He listens to the overture and forgets the "prodigious complexity" in "its clearness, fascination and irresistible effect," and he says with Saint Saëns, "it is a _tour de force_ which Mozart only could have accomplished." He laughs with Papageno; he woos with Tamino; he is initiated into the solemn mysteries. He does not understand the plot; he does not desire to understand it; for his mind and his senses are soothed by the continual and varied melody. As regards the instrumentation Jahn has condensed all criticism into this one sentence: "It is the point of departure for all that modern music has achieved in this direction." Nor can the influence which the opera has exerted in the formation of German music be overrated. For the first time all the resources of great genius were brought to bear upon a genuine German opera. No one has summed up so tersely and so fully the operatic genius of Mozart as Rubinstein: "Gluck had achieved great things in the opera before him; yes, opened new paths, but in comparison with Mozart he is, so to say, of stone. Besides, Mozart