The Queen of Night and her dark kingdom perish everlastingly, and the reign of peace and wisdom is universally established. The humours of Papageno in his search for a wife have nothing to do with the principal interest of the plot, but they serve as an acceptable contrast to the more serious scenes of the opera. The libretto of the 'Die Zauberfloete' is usually spoken of as the climax of conceivable inanity, but the explanation of many of its absurdities seems to lie in the fact that it is an allegorical illustration of the struggles and final triumph of Freemasonry. Both Mozart and Schikaneder were Freemasons, and 'Die Zauberfloete' is in a sense a manifesto of their belief. Freemasonry in the opera is represented by the mysteries of Isis, over which the high-priest Sarastro presides. The Queen of Night is Maria Theresa, a sworn opponent of Freemasonry, who interdicted its practice throughout her dominions, and broke up the Lodges with armed force. Tamino may be intended for the Emperor Joseph II., who, though not a Freemason himself as his father was, openly protected the brotherhood; and we may look upon Pamina as the representative of the Austrian people. 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. It is difficult to make any explanation fit the story very perfectly, but the suggestion of Freemasonry is enough to acquit Mozart of having allied his music to mere balderdash; while, behind the Masonic business, the discerning hearer will have no difficulty in distinguishing the shadowy outlines of another and a far nobler allegory, the ascent of the human soul, purified by suffering and love, to the highest wisdom. It was this, no doubt, that compelled Goethe's often expressed admiration, and even tempted him to write a sequel to Schikaneder's libretto. 'Die Zauberfloete' is in form a Singsgiel--that is to say, the music is interspersed with spoken dialogue--but there the resemblance to Hiller's creations ceases. From the magnificent fugue in the overture to the majestic choral finale, the music is an astonishing combination of divinely beautiful melody with marvels of contrapuntal skill. Perhaps the most surprising part of 'Die Zauberfloete' is the extraordinary ease and certainty with which Mozart manipulates what is practically a new form of art. Nursed as he had been in the traditions of Italian opera, it would not have been strange if he had not been able to shake off the influences of his youth. Yet 'Die Zauberfloete' owes but little to any Italian predecessor. It is German to the core. We may be able to point to passages which are a development of something occurring in the composer's earlier works, such as 'Die